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  2. Sight-reading - Wikipedia

    en.wikipedia.org/wiki/Sight-reading

    Beauchamp reports success using a Key/Note Visualizer, note-reading flashcards, and computer programs in group and individual practice to develop grand-staff fluency. Udtaisuk also reports that a sense of keyboard geography and an ability to quickly and efficiently match notes to keyboard keys is important for sight-reading.

  3. Musical note - Wikipedia

    en.wikipedia.org/wiki/Musical_note

    Notes in it include a prime symbol below the note's letter. Names of subsequent lower octaves are preceded with "sub". Notes in each include an additional prime symbol below the note's letter. The octave starting at tenor C is called the "small" octave. Notes in it are written as lower case letters, so tenor C itself is written c in Helmholtz ...

  4. Musical notation - Wikipedia

    en.wikipedia.org/wiki/Musical_notation

    The duration (note length or note value) is indicated by the form of the note-head or with the addition of a note-stem plus beams or flags. A stemless hollow oval is a whole note or semibreve, a hollow rectangle or stemless hollow oval with one or two vertical lines on both sides is a double whole note or breve.

  5. Shape note - Wikipedia

    en.wikipedia.org/wiki/Shape_note

    Next, they sing the same notes to the words of the music. The syllables and notes of a shape note system are relative rather than absolute; they depend on the key of the piece. The first note of a major key always has the triangular Fa note, followed (ascending) by Sol, La, etc. The first note of a minor key is always La, followed by Mi, Fa, etc.

  6. 10 Musical Geniuses Who Couldn't Read a Note of Music - AOL

    www.aol.com/lifestyle/10-musical-geniuses-could...

    1. Jimi Hendrix. Known for his superhuman guitar skills, Jimi Hendrix couldn’t read music and taught himself to play by ear. His legendary riffs and solos all came courtesy of his incredible ...

  7. Notes inégales - Wikipedia

    en.wikipedia.org/wiki/Notes_inégales

    The practice of notating pairs of unequal note lengths as pairs with equal notated value may go as far back as the earliest music of the Middle Ages; indeed some scholars believe that some plainchant of the Roman Catholic Church, including Ambrosian hymns, may have been performed as alternating long and short notes.