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Musical annotation system used in Asia since the 19th century.

The numbered musical annotation (simplified Chinese: 简谱; traditional Chinese: 簡譜; pinyin: jiǎnpǔ ; lit. 'simplified notation', not to exist confused with the integer notation), is a cipher notation system used in China, and to some extent in Japan (with 7th beingness si^{[ clarification needed ]}), Indonesia (in a slightly dissimilar format called "not angka"), Malaysia, Commonwealth of australia, Republic of ireland, the United Kingdom^{[ commendation needed ]}, the United States and English language-speaking Canada. Information technology dates back to the system designed by Pierre Galin, known every bit Galin-Paris-Chevé system. It is likewise known as Ziffernsystem , pregnant "number system" or "zero system" in German.

Numbered notation described [edit]

Musical notes [edit]

Numbers 1 to seven represent the musical notes (more accurately the scale degrees). They always represent to the diatonic major scale. For example, in the key of C, their relationship with the notes and the solfège is as follows:

Note:	C	D	East	F	Chiliad	A	B
Solfège:	do	re	mi	fa	and then	la	ti
Notation:	1	2	iii	4	five	6	vii

In G:

Annotation:	Yard	A	B	C	D	E	F ♯
Solfège:	do	re	mi	fa	so	la	ti
Notation:	ane	2	3	iv	five	half-dozen	7

When the notes are read aloud or sung, they are called "do, re, mi, fa, sol, la, si". ("Si" has been supplanted in English by "ti", for the sake of having a dissimilar beginning consonant for each degree.)

Octaves [edit]

Dots in a higher place or beneath a musical note raise or lower it to other octaves. The number of dots equals the number of octaves. For example, " 6 • " is an octave lower than "6". Musical scales tin thus be written as follows:

Major scale:	one	2	3	4	5	6	seven	• 1
Natural modest scale:	vi •	7 •	1	2	3	iv	5	six

Where there is more than one dot higher up or beneath the number, the dots are vertically stacked: • • ane

Where there are note length lines (see following department) underneath the numbers, any dots are placed below the lines. Thus the dots below numbers do not ever vertically align with each other, since some of them may be moved slightly down so as not to collide with the note length lines.

Chords [edit]

Chords can exist transcribed by vertically stacking the notes, with the lowest note at the lesser equally with Western notation. Each notation has its ain octave dots, but only the lowest annotation has the length lines (next section).

Arpeggiated chords are notated by writing the standard Western arpeggiation symbol to the left of the chord.

Chord symbols such as Cm may be used if the verbal voicing is unimportant.

Note length [edit]

The patently number represents a quarter annotation (crotchet). Each underline halves the note length: Ane represents an eighth note (quaver), 2 correspond a sixteenth note (semiquaver), and and so on. Dashes subsequently a annotation lengthen information technology, each dash by the length of a quarter note.

A dot afterward the plain or underlined note works increases its length by one-half, and 2 dots by three quarters.

The underline, along with its joining, are analogous to the number of flags and beaming in standard notation. So are dotted notes.

Whole (semibreve)	1 – – –	Dotted whole	ane – – – – –	Double dotted	1 – – – – – –
One-half (minim)	one –	Dotted half	1 – –	Double dotted	i – – 1
Quarter (crotchet)	i	Dotted quarter	1•	Double dotted	1••
Eighth (quaver)	1	Dotted 8th	1•	Double dotted	1••
16th (semiquaver)	ane

Musical rest [edit]

The number "0" represents the musical residual. The rules for length is similar to that of the note, except that it is customary to repeat "0" instead of adding dashes for rests longer than a quarter remainder. The bar rest of ^three
₄ fourth dimension is | 0 0 0 | and the bar residuum of ⁴
₄ fourth dimension is | 0 0 0 0 |. A more full general symbol for a bar rest is | )0( |. The multi-bar residuum symbol used in standard note may also be adopted.

Undetermined pitch [edit]

When notating rhythms without pitch, such as in many percussion instruments, the symbol "X" or "x" replaces numerals. For example, a common clap design used in cheers can be written like this:

          4/4 Clap: | X  X          X X          10  |          X X X X          0                                              >                              X                                                                        >              X                                ||        

Bar lines [edit]

Bar lines, double bar lines, finish bar lines, repeat signs, first- and second-endings look very similar to their counterparts in the standard notation. The ending numbers, though, are usually slightly less than one-half as big as the numerals representing notes.

When several lines of music are notated together to be sung or played in harmony, the bar lines ordinarily extend through all the parts, except they do non cut across the lyrics if these are printed betwixt the upper and lower parts. However, when notating music for a 2-handed musical instrument (such as the guzheng), it is common for the bar lines of each hand to be drawn separately, simply a score bracket to be drawn on the left of the folio to "demark" the two hands together. This bracket is not the same every bit the subclass used on a Western piano staff; information technology'due south more like the subclass used to demark an orchestral section together in Western music. Sometimes the final double barline, and any barlines marked with repeat signs, also pass through both hands, but this is not consistent fifty-fifty in the same publication (see for example Xinbian Guzheng Jiaocheng ISBN 7-5359-2188-4 pages 108 and 138, where they practice and practise not pass through both hands respectively).

If a slice of music for a two-handed instrument has a passage where only one hand is notated, lines of numbered notation without score brackets at the left can exist used for this passage. Hence a piece of music may shift between ii-handed (with bracket) and 1-handed (without bracket) layouts during the course of the piece.

Cadenza-similar passages can have dotted barlines, or barlines can exist omitted altogether.

It is possible to print a small fermata above a bar line; this represents a cursory pause betwixt the measures either side of the barline, every bit in Western notation.

Accidentals and cardinal signature [edit]

The notation uses a movable Do (1) organization. The cardinal signature defines the pitch of "one". And then one=C means "C major". Minor keys are based on the natural minor or the Aeolian mode, and the key signature defines the pitch of "6" of the minor cardinal's relative major. 6=A tin be used to refer to "A pocket-size", the tonic of which is written every bit half dozen. Naturally, the Dorian mode of D tin can in principle exist marked as ii=D and based on 2. In common practice, however, either are usually denoted as one=C.

The same accidentals in the standard note are used, and as in mutual practice, an adventitious is placed earlier the notes "1 ii 3 4 5 6 7" to enhance or lower the pitch and placed after the note names "C D E F G A B", which are used for key signature and chord markings in the numbered system. But these accidentals are relative to the diatonic calibration (1 ii iii...) rather than the note names (C D Due east...). For case, fifty-fifty though the leading note for the harmonic C small-scale calibration is "B natural", information technology is written as " ♯ 5".

Key signature changes are marked to a higher place the line of music. They may be accompanied past symbols that represent the note'south degrees at previous and present key signatures.

Time signature [edit]

The time signature is written equally a horizontal fraction: 2/four, 3/4, 4/4, half-dozen/8, etc. Information technology is usually placed after the cardinal signature. Change of time signature within the piece of music may be marked in-line or above the line of music. Some pieces that start with cadenza passages are not marked with fourth dimension signatures until the cease of that passage, even if the passage uses dotted barlines (in which example ⁴
_iv fourth dimension is usually implied).

Sometimes a piece is written with multiple time signatures simultaneously. For example, information technology might specify four/iv 2/4 iii/4 5/4, pregnant that the length of measures is irregular and can be 4, 2, three or 5 quarter-notes. The time signature of the first measure is e'er specified first, and the others are placed in increasing lodge of length.

Usually, the time signature is formatted every bit two numbers placed vertically on top of each other, with a horizontal line separating them. This is slightly different from the formatting illustrated in the text above, due to technical restrictions.

A metronome mark may exist placed immediately after the fourth dimension signature if the time signature is part-way through the music, or below it if the fourth dimension signature is at the beginning. If present, this volition be identical to the metronome marks used in Western music (this is the simply place in numbered notation where Western symbols for note values such as quarter-notes and eighth-notes are used).

Expression marks and dynamics [edit]

Expression marks (including fermatas) are also written above the music line. Special attention has to exist paid on the staccato dot since it looks like the octave changer. It is either represented by a bolder dot further abroad from the music line or by the staccatissimo sign instead, which is an inverted triangle.

Dynamics ( p , f , mf , etc.) and hairline crescendos and diminuendos are written beneath the line of music to which they apply, as in Western notation. The font of the dynamics is unremarkably lighter than the font used in Western notation, so as non to be as heavy as the font for the numbers.

Fingering and other instrument-specific marks [edit]

Instrument-specific symbols can exist written above notes. For example, in music for stringed instruments it is common to come across wavy lines representing rolls. Fingering tin be marked using four different kinds of finger symbol, respectively appearing like a lightning strike, the peak half of a semicircle, a backslash, and the bottom left corner of a square.

Other instrument-specific symbols that are sometimes used include one resembling three slashes progressing diagonally downward, placed to the lower correct of the numeral. This represents a tremolo. Another symbol is formed of a line proceeding from slightly to the correct of the height correct corner of the numeral and curving upwards, ending with the left half of an arrowhead. This denotes a slide to a higher note (the exact pitch not always being specified), equivalent to portamento in Western music.

If at that place are slurs or ties and as well fingering symbols, then the fingering symbols are written above the slurs or ties. Rolls (wavy lines) and tuplets are usually written below the slurs or ties. Yet, if a one-off chord results in many digits being stacked on top of each other and also has a roll symbol, it is possible to place that scroll symbol above whatsoever slur or tie line to save space (to avoid moving the slur or necktie whatsoever higher than the chord has already needed to move it).

Glissandi [edit]

Glissandi are represented by diagonal wavy lines with arrowheads at the end. The glissando symbol proceeds from bottom left to acme right for an upwards glissando, or from meridian left to bottom right for a downward glissando. It is used in place of a numeral. For stringed instruments, it usually indicates playing all the notes of the scale in rapid succession, i.e. for a downward glissando,

• 1 six five three two i

and for an upward glissando,

1 two 3 5 6 • 1

Annotation that a pentatonic calibration is usually used in Traditional Chinese music, and so "all the notes of the scale" in this case are 1, 2, 3, 5 and vi.

Extended glissandi (over several octaves) are likewise possible, usually written with a longer diagonal wavy line that is nearly touching the numbers on either side of it. In this case the numbers on either side make up one's mind the starting and ending pitches for the glissando.

Grace notes [edit]

Grace notes are notated like normal notes merely are written in a small (about half-size) script on the line just above. They are written with octave dots and note-length lines, and they are connected to the primary notation with a slur that proceeds vertically downwardly from the eye of the note-length line of the grace notes and points toward the main notation. Grace notes may exist placed either before or after the main notation, indicating that they are to exist played very rapidly either before the start of the main note or afterward the finish.

Variations of the numbered musical annotation [edit]

In some versions of the numbered musical notation, underlines indicating note length are written above the note instead. Ties and slurs may be written below the music line.

In some versions, octave change is represented in a unlike way. Instead of dots above or below the numbers, a horizontal line is fatigued and the number is written on, above, or below the line.

Another variation is to put octave bar "|" on the side of the number. An octave bar on the left is equivalent to a dot at the bottom. An octave bar on the right is equivalent to a dot on superlative. This is used in Digital Common Annotation. Digital Mutual Notation attempts to combine the benefits of the standard notation and numbered musical annotation and is targeted for keyboard performing.

History and usage [edit]

A similar invention was presented past Jean-Jacques Rousseau in his work presented to the French University of Sciences in 1742. Due to its straightforward correspondence to the standard note, it is possible that many other claims of independent invention are also truthful. Grove's credits Emile J.M. Chevé.^[1]

Although the system is used to some extent in Deutschland, France, and kingdom of the netherlands, and more than by the Mennonites in Russia, it has never become pop in the Western globe. Number notation was used extensively in the 1920s and 30s by Columbia University, Teachers College music educator Satis Coleman, who felt information technology "proved to be very effective for speed with adults, and also equally a ways uncomplicated enough for young children to use in writing and reading tunes which they sing, and which they play on simple instruments."^[2] Run across the external links for more data.

The system is very pop among some Asian people, making conventions to encode and decode music more attainable than in the Due west, as more than Chinese can sight read jianpu than standard notation. Near Chinese traditional music scores and popular song books are published in jianpu, and jianpu notation is ofttimes included in vocal music with staff notation.

Indexing with numbered notation makes it possible to search a piece of music by melody rather than by title. An actual example can exist found in the Chinese New Hymnal. Parson's code on the other hand contains information on rise and fall in pitch only but precise pitches tin be decoded from numbered notation. This fashion, a children'south song book tin be indexed similar this:

|1·  1·  |12iii·  | "Row, Row, Row Your Boat"

|1 1 v 5 |6 6 5 – | "Twinkle, Twinkle Little Star"

|1 2 3 one |one 2 3 1 | "Frère Jacques"

A reason for its popularity among Chinese is that jianpu fits in with the Chinese music tradition. It is a natural extension and unification of the gongche notation widely used in ancient China for recording music. Gongche uses a number of characters to indicate the musical notes, and jianpu can exist seen as using numbers to replace those characters. The monophonic nature of music in Chinese tradition too contributes to widespread utilize because and so few elements are needed for monophonic music that music tin be notated with fiddling more than than a typewriter.

Compared with the standard note, the numbered notation is very meaty for merely the melody line or monophonic parts. It is even possible to transcribe music in between the lines of text. Transcribing harmony can be washed by vertically stacking the notes, merely this reward diminishes as the harmony becomes more complex (or polyphonicity increases). The standard notation, with its graphical note, is better in representing the duration and timing among multiple notes.

Examples [edit]

The two images below illustrate how the aforementioned piece of music is written using the standard notation and the numbered notation.

The hymn "Amazing Grace" written in standard note.

The hymn "Astonishing Grace" written in numbered musical note.

Software for press numbered notation scores [edit]

A number of Chinese-linguistic communication Microsoft Windows applications are available for the WYSIWYG editing of scores (optionally with lyrics) in numbered musical notation.^{[3] [iv] [5] [vi] [vii] [8]} Typically these support but the numbered notation, i.eastward. it is not possible to mix the numbered note with a Western-style score in the same file. Information technology was possible to add numbered notation to Sibelius scores via a Chinese-language third-political party plugin which is no longer distributed.^[nine] English language-language applications for working with numbered-annotation scores are relatively rare, but there accept been some developments.^{[10] [eleven]}

In 2019 a project was started to create a cantankerous-platform English language-Chinese scorewriter that can print jianpu, Western or tablature staves and saves its scores in MusicXML using LGPL components.^[12]

There are too technical methods of press numbered annotation (in various forms) with GNU LilyPond. I of them is a converter that converts jianpu to LilyPond notation.^{[13] [14] [15]}

See also [edit]

• Musical notation – Graphic writing of musical parameters
• Staff (music) – Musical notation to represent the pitch
• Siffernotskrift, used in Scandinavia
• ABC notation – Shorthand form of musical notation, used in the Western European folk music scene
• Gongche annotation
• Tonic sol-fa

References [edit]

1. ^ Grove Music Online (subscription required but many public libraries are subscribed; URLs vary). China, §2: History and theory. Alan R. Thrasher, et al.
2. ^ Coleman, Satis. 1939. Your Child's Music. New York: Van Rees Press:165-171
3. ^ JP-Word 简谱编辑, commercial software with express demo version
4. ^ MeiDeLi JianPu
5. ^ 作曲大师简 (Music Master)
6. ^ QuickMake Jianpu software (QuickMake 简谱软件)
7. ^ 简谱乐章 (Jianpu Yuezhang), apparently no longer distributed by its author just a limited freeware version (免费版) is available at diverse Chinese file-sharing sites
8. ^ TTComposer (TT作曲家) published by 打本公司 1999–2001
9. ^ Sibelius 简谱插件 (via Internet Archive)
10. ^ Southward-Music (free software; requires Microsoft Windows)
11. ^ SimpErhu, a freely-available TrueType font with a set of Microsoft Word macros for adding numbered notation to documents
12. ^ XunScore Music Notation Editor. This is currently existence distributed closed-source, with a small fee for non-Linux platforms (the payment method requires a China bank menu). An x86 Linux binary can exist downloaded without charge.
13. ^ LilyPond documentation: Ez_numbers_engraver
14. ^ Jianpu-ly: convert jianpu to lilypond
15. ^ lilypond-user discussion archives: numbered notation using \markup and TeX

External links [edit]

• Ziffersystem (Numerical Musical Notation) in the Global Anabaptist Mennonite Encyclopedia Online.
• Matt Springer: Chinese music notation explained in Western terms

schantzcris1988.blogspot.com

Source: https://en.wikipedia.org/wiki/Numbered_musical_notation

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