Music Notation and Scores

\documentclass{article}
\usepackage{wasysym}
\usepackage{harmony}

\begin{document}

\section{Basic Musical Symbols}

% Note values from wasysym
Whole note: \wholenote

Half note: \halfnote

Quarter note: \quarternote

Eighth note: \eighthnote

Sixteenth note: \sixteenthnote

% Rest symbols
Whole rest: \wholerest

Half rest: \halfrest

Quarter rest: \quarterrest

Eighth rest: \eighthrest

% Accidentals
Sharp: \sharp

Flat: \flat

Natural: \natural

Double sharp: \doublesharp

Double flat: \doubleflat

% Other symbols
Treble clef: \trebleclef

Bass clef: \bassclef

% Time signatures (using text)
Common time: C (4/4)

Cut time: \textit{alla breve} (2/2)

\section{Musical Examples}

A simple melody might be notated as:
\quarternote \quarternote \halfnote \quarternote \quarternote \wholerest

With accidentals:
C\sharp{} D\flat{} E\natural{} F\sharp{} G

\end{document}

\documentclass{article}
\usepackage{musixtex}

\begin{document}

\section{Basic Staff Notation}

% Simple scale
\begin{music}
\parindent10mm
\instrumentnumber{1}
\setname1{Treble}
\setstaffs1{1}
\setclef1\treble
\startextract
\Notes\qu{cdefgab}\en
\bar
\Notes\qu{c'}\en
\endextract
\end{music}

% With different note values
\begin{music}
\parindent10mm
\instrumentnumber{1}
\setstaffs1{1}
\setclef1\treble
\startextract
\Notes\wh{c}\en
\bar
\Notes\hu{de}\en
\bar
\Notes\qu{fgab}\en
\bar
\Notes\cu{c'd'e'f'}\en
\endextract
\end{music}

\section{Bass Clef}

\begin{music}
\parindent10mm
\instrumentnumber{1}
\setstaffs1{1}
\setclef1\bass
\startextract
\Notes\qu{CDEFGAB}\en
\bar
\Notes\qu{c}\en
\endextract
\end{music}

\end{document}

\documentclass{article}
\usepackage{musixtex}

\begin{document}

\section{Piano Score}

% Two-staff piano notation
\begin{music}
\parindent10mm
\instrumentnumber{1}
\setname1{Piano}
\setstaffs1{2}
\setclef1{\treble\bass}
\startextract
% Right hand (treble)
\Notes\qu{ceg}\en
\nextstaff
% Left hand (bass)
\Notes\qu{C}\en
\bar
% Continue with more complex patterns
\Notes\qu{dfh}\en
\nextstaff
\Notes\qu{D}\en
\endextract
\end{music}

\section{Chord Notation}

\begin{music}
\parindent10mm
\instrumentnumber{1}
\setstaffs1{1}
\setclef1\treble
\startextract
% Major chords
\Notes\zq{c}\zq{e}\qu{g}\en
\Notes\zq{d}\zq{f}\qu{a}\en
\Notes\zq{e}\zq{g}\qu{b}\en
\bar
% Minor chords
\Notes\zq{c}\zq{e^}\qu{g}\en
\Notes\zq{d}\zq{f}\qu{a^}\en
\Notes\zq{e}\zq{g}\qu{b^}\en
\endextract
\end{music}

\section{Rhythmic Patterns}

\begin{music}
\parindent10mm
\instrumentnumber{1}
\setstaffs1{1}
\setclef1\treble
\startextract
% Different rhythms
\Notes\qu{c}\cu{dd}\qu{e}\en
\bar
\Notes\hu{f}\qu{g}\en
\bar
\Notes\wh{a}\en
\bar
% Tied notes
\Notes\qu{c}\tqu{d}\en
\bar
\Notes\qu{e}\qu{f}\en
\endextract
\end{music}

\end{document}

\documentclass{article}
\usepackage{musixtex}

\begin{document}

\section{Advanced Notation}

% Key signatures and accidentals
\begin{music}
\parindent10mm
\instrumentnumber{1}
\setstaffs1{1}
\setclef1\treble
\generalsignature{2}  % D major (2 sharps)
\startextract
\Notes\qu{defg}\en
\bar
% Accidentals
\Notes\qu{d^\q{e_}\q{f=}\qu{g}}\en
\endextract
\end{music}

\section{Time Signatures}

% 3/4 time
\begin{music}
\parindent10mm
\instrumentnumber{1}
\setstaffs1{1}
\setclef1\treble
\setmeter1{\meterC{3}{4}}
\startextract
\Notes\qu{cde}\en
\bar
\Notes\hu{f}\qu{g}\en
\bar
\Notes\wh{a}\qu{r}\en
\endextract
\end{music}

% 6/8 time
\begin{music}
\parindent10mm
\instrumentnumber{1}
\setstaffs1{1}
\setclef1\treble
\setmeter1{\meterC{6}{8}}
\startextract
\Notes\cu{cde}\cu{fga}\en
\bar
\Notes\qu{b}\cu{c'}\qu{d'}\cu{e'}\en
\endextract
\end{music}

\section{Beaming and Grouping}

\begin{music}
\parindent10mm
\instrumentnumber{1}
\setstaffs1{1}
\setclef1\treble
\startextract
% Beamed eighth notes
\Notes\ibu0f0\qb0{cde}\tbu0\qb0f\en
\bar
% Beamed sixteenth notes
\Notes\ibbu0f0\qb0{cdef}\tbu0\qb0g\en
\endextract
\end{music}

\section{Slurs and Ties}

\begin{music}
\parindent10mm
\instrumentnumber{1}
\setstaffs1{1}
\setclef1\treble
\startextract
% Slurs
\Notes\isluru0c\qu{c}\tslur0d\qu{d}\qu{e}\qu{f}\en
\bar
% Ties
\Notes\itie0\qu{g}\ttie0\qu{g}\qu{a}\qu{b}\en
\endextract
\end{music}

\end{document}

\documentclass{article}
\usepackage{lilyglyphs}

\begin{document}

\section{LilyPond Musical Symbols}

% Note heads
Whole note: \wholeNote

Half note: \halfNote

Quarter note: \crotchet

Eighth note: \quaver

Sixteenth note: \semiquaver

% Rests
Whole rest: \wholeNoteRest

Half rest: \halfNoteRest

Quarter rest: \crotchetRest

Eighth rest: \quaverRest

% Clefs
Treble clef: \clefTreble

Bass clef: \clefBass

Alto clef: \clefAlto

Tenor clef: \clefTenor

% Accidentals
Sharp: \accidentalSharp

Flat: \accidentalFlat

Natural: \accidentalNatural

Double sharp: \accidentalDoubleSharp

Double flat: \accidentalDoubleFlat

% Time signatures
Four-four time: \timeFourFour

Three-four time: \timeThreeFour

Two-four time: \timeTwoFour

Cut time: \timeCutTime

\section{Dynamic Markings}

Piano: \dynamicPiano

Forte: \dynamicForte

Mezzo piano: \dynamicMezzoPiano

Mezzo forte: \dynamicMezzoForte

Pianissimo: \dynamicPianissimo

Fortissimo: \dynamicFortissimo

% Crescendo and diminuendo
Crescendo: \textit{cresc.} or use hairpins

Diminuendo: \textit{dim.} or use hairpins

\section{Articulations}

Staccato: \textperiodcentered

Accent: \textgreater

Tenuto: \textminus

Fermata: over notes or rests

\end{document}

\documentclass{article}
\usepackage{musixtex}
\usepackage{harmony}

\begin{document}

\section{Lead Sheet Example}

\begin{center}
\Large\textbf{My Funny Valentine}\\
\normalsize Richard Rodgers
\end{center}

% Chord progression with lyrics
\begin{tabular}{|l|l|l|l|}
\hline
Cm & Cm(\MA7) & Cm7 & Cm6 \\
My & fun-ny & Val-en & tine \\
\hline
Dm7b5 & G7 & Cm & Cm \\
Sweet & com-ic & Val-en & tine \\
\hline
\end{tabular}

\section{Chord Symbols}

% Major chords
C major: C or C\textbigcircle

C major 7: C\MA7 or Cmaj7

C dominant 7: C7

% Minor chords
C minor: Cm or C-

C minor 7: Cm7

C half-diminished: Cm7b5 or C\oslash

C diminished: C\textdegree{} or Cdim

% Extended chords
C add 9: Cadd9

C major 9: C\MA9

C 13: C13

% Slash chords
C over E: C/E

F over G: F/G

\section{Nashville Number System}

In key of C:
\begin{tabular}{|c|c|c|c|c|c|c|}
\hline
I & ii & iii & IV & V & vi & vii\textdegree \\
\hline
C & Dm & Em & F & G & Am & Bdim \\
\hline
\end{tabular}

Common progressions:
\begin{itemize}
\item I-V-vi-IV (C-G-Am-F)
\item ii-V-I (Dm-G-C)
\item vi-IV-I-V (Am-F-C-G)
\end{itemize}

\section{Roman Numeral Analysis}

\begin{music}
\parindent10mm
\instrumentnumber{1}
\setstaffs1{1}
\setclef1\treble
\startextract
% I chord
\Notes\zq{c}\zq{e}\qu{g}\en
% V chord
\Notes\zq{d}\zq{f}\qu{a}\en
% vi chord
\Notes\zq{e}\zq{g}\qu{b}\en
% IV chord
\Notes\zq{f}\zq{a}\qu{c'}\en
\endextract
\end{music}

Analysis: I - V - vi - IV

\end{document}

\documentclass{article}
\usepackage{musixtex}
\usepackage{harmony}
\usepackage{amsmath}

\begin{document}

\section{Harmonic Analysis}

% Bach Chorale excerpt analysis
\begin{music}
\parindent10mm
\instrumentnumber{1}
\setstaffs1{2}
\setclef1{\treble\bass}
\generalsignature{0}  % C major
\startextract
% Soprano
\Notes\qu{g}\en
\nextstaff
% Bass
\Notes\qu{C}\en
\bar
% Continue analysis...
\Notes\qu{a}\en
\nextstaff
\Notes\qu{F}\en
\endextract
\end{music}

Roman numeral analysis:
\begin{center}
\begin{tabular}{c|c|c|c}
Measure & 1 & 2 & 3 \\
\hline
Analysis & I & IV & V \\
Function & Tonic & Subdominant & Dominant
\end{tabular}
\end{center}

\section{Voice Leading Analysis}

% Four-part voice leading
\begin{music}
\parindent10mm
\instrumentnumber{1}
\setstaffs1{2}
\setclef1{\treble\treble}
\startextract
% Upper voices
\Notes\zq{e}\qu{g}\zq{f}\qu{a}\en
\nextstaff
% Lower voices
\Notes\zq{c}\qu{e}\zq{d}\qu{f}\en
\endextract
\end{music}

Voice leading principles:
\begin{itemize}
\item Stepwise motion preferred
\item Avoid parallel fifths and octaves
\item Resolve tendency tones
\item Maintain smooth voice leading
\end{itemize}

\section{Schenkerian Analysis}

Background structure:
\[
\hat{3} - \hat{2} - \hat{1}
\]

Linear progressions:
\begin{itemize}
\item Ascending: $\hat{1} - \hat{2} - \hat{3}$
\item Descending: $\hat{3} - \hat{2} - \hat{1}$
\item Chromatic: with chromatic passing tones
\end{itemize}

\section{Set Theory Analysis}

Pitch class sets:
\begin{itemize}
\item Major triad: (0,4,7)
\item Minor triad: (0,3,7)
\item Diminished triad: (0,3,6)
\item Augmented triad: (0,4,8)
\end{itemize}

Twelve-tone operations:
\begin{itemize}
\item Prime (P): Original row
\item Inversion (I): Interval inversion
\item Retrograde (R): Backward order
\item Retrograde Inversion (RI): Both operations
\end{itemize}

\end{document}

\documentclass{article}
\usepackage{gregoriotex}

\begin{document}

\section{Gregorian Chant Notation}

% Simple neume notation
\begin{center}
\Large
Ky-ri-e e-le-i-son
\end{center}

Neume types:
\begin{itemize}
\item Punctum: Single note
\item Virga: Single note with tail
\item Podatus: Two ascending notes
\item Clivis: Two descending notes
\item Scandicus: Three ascending notes
\item Climacus: Three descending notes
\end{itemize}

\section{Renaissance Mensural Notation}

Note values in mensural notation:
\begin{itemize}
\item Maxima: Longest note value
\item Longa: Long note
\item Brevis: Breve (whole note equivalent)
\item Semibrevis: Semibreve (half note equivalent)
\item Minima: Minim (quarter note equivalent)
\item Semiminima: Semiminim (eighth note equivalent)
\end{itemize}

Mensuration signs:
\begin{itemize}
\item C: Tempus imperfectum, prolatio minor (2:2)
\item O: Tempus perfectum, prolatio minor (3:2)
\item \textperiodcentered C: Tempus imperfectum, prolatio maior (2:3)
\item \textperiodcentered O: Tempus perfectum, prolatio maior (3:3)
\end{itemize}

\section{Tablature Notation}

% Lute tablature representation
\textbf{Lute Tablature:}
\begin{verbatim}
e|---0---2---4---
B|---1---3---5---
G|---0---2---4---
D|---2---4---6---
A|---3---5---7---
E|---0---2---4---
\end{verbatim}

\textbf{Guitar Tab:}
\begin{verbatim}
E|---3---5---7---
B|---3---5---7---
G|---4---6---8---
D|---5---7---9---
A|---5---7---9---
E|---3---5---7---
\end{verbatim}

\end{document}

\documentclass{article}
\usepackage{musixtex}
\usepackage{tikz}

\begin{document}

\section{Extended Techniques}

% String techniques
\textbf{String Instruments:}
\begin{itemize}
\item sul ponticello: near the bridge
\item sul tasto: over the fingerboard
\item col legno: with the wood of the bow
\item pizzicato: plucked
\item harmonics: \textcircled{o} natural, \textcircled{$\diamond$} artificial
\item tremolo: rapid bow movement
\end{itemize}

% Wind techniques
\textbf{Wind Instruments:}
\begin{itemize}
\item flutter tonguing: rolled r
\item multiphonics: multiple simultaneous pitches
\item overblowing: forcing higher partials
\item key clicks: percussive key sounds
\item embouchure changes: altered tone quality
\end{itemize}

% Percussion techniques
\textbf{Percussion:}
\begin{itemize}
\item rim shot: stick on rim and head
\item cross stick: stick shaft on head
\item brushes: wire brushes
\item mallets: soft, medium, hard
\item timpani glissando: pedal slide
\end{itemize}

\section{Graphic Notation}

% Using TikZ for graphic notation
\begin{center}
\begin{tikzpicture}
% Time line
\draw[thick] (0,0) -- (8,0);
\foreach \x in {0,2,4,6,8}
  \draw (\x,0) -- (\x,-0.2) node[below] {\x''};

% Graphic elements
\draw[thick] (1,1) -- (3,2) -- (5,0.5) -- (7,3);
\fill[gray!50] (2,1.5) circle (0.3);
\draw[dashed] (4,0) -- (4,4);

% Dynamic envelope
\draw[red, thick] (0,0.5) -- (2,3) -- (4,1) -- (6,2.5) -- (8,0.2);

\node at (4,4.5) {\textbf{Graphic Score Example}};
\node at (0.5,3.5) {ff};
\node at (4.5,3.5) {mp};
\node at (7.5,3.5) {pp};
\end{tikzpicture}
\end{center}

\section{Proportional Notation}

Space = Time relationship:
\begin{itemize}
\item 1 cm = 1 second
\item Note placement indicates precise timing
\item No traditional bar lines
\item Conductor or click track needed
\end{itemize}

\section{Microtonal Notation}

Quarter-tone symbols:
\begin{itemize}
\item Quarter sharp: $\sharp$ + arrow up
\item Quarter flat: $\flat$ + arrow down
\item Three-quarter sharp: $\sharp$ + $\sharp$ + arrow up
\item Three-quarter flat: $\flat$ + $\flat$ + arrow down
\end{itemize}

Cent notation:
\begin{itemize}
\item +50¢: 50 cents sharp
\item -25¢: 25 cents flat
\item Just intonation ratios: 5:4, 3:2, etc.
\end{itemize}

\end{document}

\documentclass{article}
\usepackage{listings}
\usepackage{xcolor}

\begin{document}

\section{MIDI Data Representation}

% MIDI note numbers
\textbf{MIDI Note Numbers:}
\begin{tabular}{|c|c|c|}
\hline
Note & Octave 4 & MIDI Number \\
\hline
C & C4 & 60 \\
C\# & C\#4 & 61 \\
D & D4 & 62 \\
D\# & D\#4 & 63 \\
E & E4 & 64 \\
F & F4 & 65 \\
F\# & F\#4 & 66 \\
G & G4 & 67 \\
G\# & G\#4 & 68 \\
A & A4 & 69 \\
A\# & A\#4 & 70 \\
B & B4 & 71 \\
\hline
\end{tabular}

\section{Music Programming Languages}

% SuperCollider example
\textbf{SuperCollider:}
\begin{lstlisting}[language=C++]
(
SynthDef(\sine, {
    arg freq = 440, amp = 0.1, gate = 1;
    var env, osc;
    env = EnvGen.kr(Env.adsr, gate, doneAction: 2);
    osc = SinOsc.ar(freq, 0, amp) * env;
    Out.ar(0, osc.dup);
}).add;
)

// Play a note
x = Synth(\sine, [\freq, 440, \amp, 0.2]);
x.release;
\end{lstlisting}

% Chuck example
\textbf{ChucK:}
\begin{lstlisting}
// Simple oscillator
SinOsc osc => dac;

// Set frequency and play
440 => osc.freq;
0.5 => osc.gain;
1::second => now;
\end{lstlisting}

\section{Music Information Retrieval}

% Python music analysis
\textbf{Python with music21:}
\begin{lstlisting}[language=Python]
from music21 import stream, note, meter, key

# Create a simple melody
melody = stream.Stream()
melody.append(meter.TimeSignature('4/4'))
melody.append(key.KeySignature(0))  # C major

# Add notes
notes = ['C4', 'D4', 'E4', 'F4', 'G4', 'A4', 'B4', 'C5']
for pitch in notes:
    melody.append(note.Note(pitch, quarterLength=1))

# Analyze the melody
melody.analyze('key')
melody.show('text')
\end{lstlisting}

\section{Music Markup Languages}

% MusicXML structure
\textbf{MusicXML:}
\begin{lstlisting}[language=XML]
<score-partwise>
  <part-list>
    <score-part id="P1">
      <part-name>Piano</part-name>
    </score-part>
  </part-list>
  
  <part id="P1">
    <measure number="1">
      <attributes>
        <divisions>4</divisions>
        <key>
          <fifths>0</fifths>
          <mode>major</mode>
        </key>
        <time>
          <beats>4</beats>
          <beat-type>4</beat-type>
        </time>
      </attributes>
      <note>
        <pitch>
          <step>C</step>
          <octave>4</octave>
        </pitch>
        <duration>4</duration>
        <type>quarter</type>
      </note>
    </measure>
  </part>
</score-partwise>
\end{lstlisting}

\end{document}

\documentclass{article}
\usepackage{musixtex}
\usepackage{lilyglyphs}
\usepackage{fancyhdr}

% Custom headers for music
\pagestyle{fancy}
\fancyhf{}
\fancyhead[L]{\textbf{Sonata in C Major}}
\fancyhead[R]{\textbf{W.A. Mozart}}
\fancyfoot[C]{\thepage}

\begin{document}

\begin{center}
{\Large\textbf{Sonata in C Major, K. 545}}\\[5mm]
{\large\textbf{Allegro}}\\[3mm]
Wolfgang Amadeus Mozart (1756-1791)\\[10mm]
\end{center}

% Performance notes
\textbf{Performance Notes:}
\begin{itemize}
\item Tempo: \quarternote = 120-132
\item Style: Classical, elegant and clear
\item Articulation: Observe all slurs and staccatos
\item Dynamics: Follow markings precisely
\end{itemize}

% Main score
\begin{music}
\parindent10mm
\instrumentnumber{1}
\setname1{Piano}
\setstaffs1{2}
\setclef1{\treble\bass}
\generalsignature{0}  % C major
\setmeter1{\meterC{4}{4}}
\startextract

% Measure 1 - Right hand melody
\Notes\qu{ceg}\qu{c'}\en
\nextstaff
% Left hand accompaniment
\Notes\qu{C}\qu{r}\qu{E}\qu{r}\en
\bar

% Measure 2
\Notes\qu{ded}\qu{d'}\en
\nextstaff
\Notes\qu{G,}\qu{r}\qu{G,}\qu{r}\en
\bar

% Measure 3
\Notes\qu{efe}\qu{e'}\en
\nextstaff
\Notes\qu{C}\qu{r}\qu{E}\qu{r}\en
\bar

% Measure 4
\Notes\hu{df}\hu{d'}\en
\nextstaff
\Notes\qu{G,}\qu{r}\qu{G,}\qu{r}\en

\endextract
\end{music}

\section{Analysis}

This opening phrase demonstrates Mozart's characteristic clarity and elegance:

\begin{itemize}
\item \textbf{Form}: Sentence structure (2+2+4)
\item \textbf{Harmony}: I-V-I-V progression
\item \textbf{Texture}: Melody with Alberti bass accompaniment
\item \textbf{Motivic development}: Simple scalar patterns
\end{itemize}

\section{Technical Considerations}

\textbf{Right Hand:}
\begin{itemize}
\item Finger legato in scalar passages
\item Clear articulation of melody line
\item Balanced phrase shaping
\end{itemize}

\textbf{Left Hand:}
\begin{itemize}
\item Light, even Alberti bass
\item Avoid heavy accents
\item Maintain steady pulse
\end{itemize}

\textbf{Pedaling:}
\begin{itemize}
\item Minimal use on period instrument
\item Clear harmonic changes
\item Support melodic line without blurring
\end{itemize}

\end{document}