If we don't have a complete conception of how rhythmic values can be 'nested' within a measure of music - it is likely we will never develop the necessary ear to relate - mentally and physically - to the complex ideas involved in modern lead guitar playing.
Using A Text Editor To Write Music:
I’ve been disappointed more than once with music notation software. Too often - it can be quite a task to get what I hear in my head into the editor… and too often - the applications overreach by offering playback that rarely has the same ‘rhythmic feel’ I was intending to write. As exciting as these 'apps' can be (with their many powerful features); when I attempt to use them - I find them to be more of a ‘drag’ on the creative moment than an inspiring tool. So, I thought… What if we could just pull up a text editor (or ‘word’ program) and put down ideas that are adequately articulate and consistently translatable to any implementation? The following is a rudimentary text code I created for this purpose. I call it: ‘Cherry Text’ - or - ‘Cherry Code.’ Cherry Code consists of just 21 rules... followed by several supplemental ideas for advanced students:
Cherry Code:
Measures & Measure Ties:
1) A single measure is enclosed in brackets - called measure brackets:
2) Between each measure - we use 2 dashes (with a space on each side). Ideally - there are 4 measures to a line. At the end of any line - we may consider skipping a few lines to allow room for Chord Symbols:
3) If we need to create a tie from the last note in a previous measure into the first note of the next measure - we put parenthesis around the dashes between measures (these can be called: 'measure ties'). MeasureTies that occur from the end of any line appear 'split' - from the end of that line to the beginning of the next line.
Cherry Code - Melody:
As you may know by now - we're advocates of getting to know Solfege Syllables. If they were practical for using text to write music notation - we would surly find a way to use them -- but we have something that's almost as good: the key of 'C' Major - with no accidentals.
...or - the key of 'A' Minor (Aeolian) - with no accidentals:
...or - the Combination of 'C' Minor (Aeolian) and 'C' Major (Ionion) - with essential accidentals:
Cherry Code uses lower case letters: abcdefg - to distinguish melody-notes from chords. Once we fully demonstrate the rhythmic implications of the code, we will add ideas to insert Chord Symbols directly into the rhythmic lines (including power chords and hybrid ideas). For now - lower case letters (a - g) reference melody notes... while we learn the rhythmic system. For the sake of simplicity - we will use the lower case 'g' (most often) to represent any and all vertical and horizontal aspects of tonality. The following (rule #4) applies to melody:
4) Weuse lower case letters: abcdefg - to distinguish melody-notes from chords. We use # for a sharped tone - and the lower case b for a flatted tone. To avoid the ambiguity that can occur between b (the flat symbol) and b (the melodic tone) -- we mark any flatted tones in the melody line with a period on both sides of the note:
Duple Meter Code(s):
5) The number 4 is used (within measure brackets) to indicate whole-notes. It governs any text written within parenthesis that immediately follow it. The following is an example of a single measure of whole-notes. Literally - this says that a 'g' note will 'ring' for 4 beats - or one whole measure of 4/4 (common time).
6) The number 2 is used (within measure brackets) to indicate half-notes. It governs any text written within parenthesis that immediately follow it. The following is an example of a single measure of half-notes. Literally - this says that a 'g' note will 'ring' twice - each time receiving 2 beats (1/2 of a measure) - which is equal to 1 measure of 4/4 (common time).
7) The number 1 is used (within measure brackets) to indicate quarter-notes. It governs any text written within parenthesis that immediately follow it. The following is an example of a single measure of quarter-notes. Literally - this says that a 'g' note will 'ring' four times - each time receiving 1 beat (1/4 of a measure) - which is equal to 1 measure of 4/4 (common time).
8) The number 8 is used (within measure brackets) to indicate eighth-notes. It governs any text written within parenthesis that immediately follow it. The following is an example of a single measure of eighth-notes. Literally - this says that a 'g' note will 'ring' eight times - each time receiving 1/2 of a beat (1/8 of a measure) - which is equal to 1 measure of 4/4 (common time).
9) The number 16 is used (within measure brackets) to indicate sixteenth-notes. It governs any text written within parenthesis that immediately follow it. The following is an example of a single measure of sixteenth-notes. Literally - this says that a 'g' note will 'ring' sixteen times - each time receiving 1/4 of a beat (1/16 of a measure) - which is equal to 1 measure of 4/4 (common time).
Triple Meter & Less Common Time Signatures:
10) In the case(s) where a governing time signature is not desired - we may use the number that indicates the number of beats within a measure (top number of a time signature) - outside the measure brackets. The bottom number of a time signature can be deciphered by comparing the relationship of elements within measure brackets -- to the number outside measure brackets. When no number is indicated outside the measure brackets - the Time Signature is assumed to be 4/4 (common time).
Here's an example of a measure of quarter-notes in 3/4 time:
Here's an example of a measure of quarter-notes in 6/4 time:
When elements within measure brackets don't add 'commonly' to equal the value outside measure brackets -- it's an indication that the bottom number of the time signature is something other than 4. In most cases - 'the beat' (represented 'commonly' by the quarter-note) is either 'split' to become an eighth-note (8) - or 'doubled' to become a half-note (2).
The next three examples illustrate 'Rule #10' being applied to less common time signatures in Triple Meter:
Here would be an example of (what would feel like) a measure of half-notes in 6/8 time:
Here would be an example of (what would feel like) a measure of quarter-notes in 6/8 time:
Here would be an example of (what would feel like) a measure of eighth-notes in 6/8 time:
The next four examples illustrate 'Rule #10' being applied to less common time signatures in Duple Meter:
Here would be an example of (what would feel like) a measure of quarter-notes in 2/2 time (cut time):
Here would be an example of (what would feel like) a measure of quarter-notes in 2/4 time:
Here would be an example of (what would feel like) a measure of eighth-notes in 2/2 time (cut time):
Here would be an example of (what would feel like) a measure of eighth-notes in 4/8 time:
Let's make our way back into the common universe - where (at least) the bottom number of the time signature is always assumed to be 4 --- Here (again) is the example of a measure of eighth-notes in 4/4 (common time):
The Dotted Half-Note & The Tie Within Measures:
11) The number 3 is used (within measure brackets) to indicate dotted half-notes. It governs any text written within parenthesis that immediately follow it. The following is an example of a single measure of dotted half-notes. Literally - this says that a 'g' note will 'ring' for 3 beats - or an entire measure of 3/4 time.
Here is an example of two dotted half-notes within one measure of 6/4 time:
12) To indicate a tie between two notes (within a measure bracket) - we use a set of empty parenthesis () directly between the two notes. The following is an example of a single measure that contains a double-dotted half-note + an eighth-note. Literally - this says that a 'g' note will 'ring' for 3+1/2 beats - then another 'g' note will ring for 1/2 beats -- these two sounds equal 1 measure of 4/4 (common time).
Here is an example of tying eighth-notes together to create (what would sound like) a measure of quarter-notes:
The Dotted Quarter Note:
Here is an example of a dotted quarter-note + an eighth note that occurs twice to fill a measure of 4. Literally - this says that a 'g' note will 'ring' for 1+1/2 beats - then the 'g' note will ring again for 1/2 beats. Then (on beat 3 of the measure) this idea repeats: 1+1/2 + 1/2 + 1+1/2 + 1/2 is equal to 1 measure of 4/4 (common time).
Here is an example two dotted quarter-notes that fill a measure of 3. We see here (for the first time) that eighth-notes do not always appear in pairs (and that quarter-notes do not always appear on a downbeat). Literally - this says that a 'g' note will 'ring' for 1+1/2 beats - then - again for 1+1/2 beats. 1+1/2 + 1+1/2 is equal to 1 measure of 3/4.
As is the case with standard music notation - it's often possible to write the same passage in more than one way. This is another way to write the previous example of consecutive dotted quarter-notes.
In the interest of eliminating ties - under certain circumstances; the following rule #13 may make things easier:
13) The number 83 is used (within measure brackets) to indicate dotted quarter-notes. It governs any text written within parenthesis that immediately follow it. The following example produces the same result as the previous two examples. Again - this literally says that a 'g' note will 'ring' for 1+1/2 beats - then - again for 1+1/2 beats. 1+1/2 + 1+1/2 is equal to 1 measure of 3/4.
Here is another way to write a dotted quarter-note + eighth-note pattern in 4/4. Again - this literally says that a 'g' note will 'ring' for 1+1/2 beats - then the 'g' note will ring again for 1/2 beats. Then (on beat 3 of the measure) this idea repeats: 1+1/2 + 1/2 + 1+1/2 + 1/2 is equal to 1 measure of 4/4 (common time).
Here is another example of how rule #13 may be useful. I wrote this 3-measure phrase as a bass line. 2 measures are in 6/4 time - and 1 measure is in 4/4 time:
The quick tempo I was hearing suggested that the phrase might be better suited to 6/8 time (with the 3rd measure in 4/8 time). Rule #13 made this conversion easy:
Triple Meter Nested Within Duple Meter: 'Triplets'
14) The number 32 is used (within measure brackets) to indicate half-note triplets. It governs any text written within parenthesis that immediately follow it. The following is an example of a single measure of half-note triplets. Literally - this says that a 'g' note will 'ring' three times - each time receiving 1/3 of a measure - which is equal to 1 measure of 4/4 (common time).
15) The number 31 is used (within measure brackets) to indicate quarter-note triplets. It governs any text written within parenthesis that immediately follow it. The following is an example of a single measure of quarter-note triplets. Literally - this says that a 'g' note will 'ring' six times - each time receiving 1/6 of a measure - which is equal to 1 measure of 4/4 (common time).
16) The number 38 is used (within measure brackets) to indicate eighth-note triplets. It governs any text written within parenthesis that immediately follow it. The following is an example of a single measure of eighth-note triplets. Literally - this says that a 'g' note will 'ring' twelve times - each time receiving 1/3 of a beat (1/12 of a measure) - which is equal to 1 measure of 4/4 (common time).
17) The number 316 is used (within measure brackets) to indicate sixteenth-note triplets. It governs any text written within parenthesis that immediately follow it. The following is an example of a single measure of sixteenth-note triplets. Literally - this says that a 'g' note will 'ring' twenty-four times - each time receiving 1/6 of a beat (1/24 of a measure) - which is equal to 1 measure of 4/4 (common time).
Rests & Percussive Notation:
18) The lower case z is used to articulate a rest. Its value is governed by the number before the parenthesis that surround it.
19) The lower case x is used to articulate a percussive sound. Its value is governed by the number before the parenthesis that surround it.
Inline Vertical Ideas - Chord Symbols:
Now that we have seen the first 19 rules - most of them involving the rhythmic aspects of Cherry Code - let's add another idea to indicate vertical (harmonic) content into a single line of text.
20) Chord Symbols may be inserted directly into any rhythmic line of text. Each chord symbol is separated by a space. **Note that this is the first indication of space(s) within the measure brackets.
Riffs & Hybrid Ideas:
It would be an understatement to suggest that a lot of today's (and yesterday's) riffs use a lot of power chords. Often, we can fill the space of 4-measures (or more) with nothing but power chords (E5, F5, Bb5, etc...). Rule #21 makes writing riffs a little easier.
21) Capital letters (with no spaces between) may be used to indicate power chords. When power chords appear in any measure (or piece) -- fully realized chord symbols (C, Cma7, Fmi, Fmi7, etc...) can be included and are distinguished by enclosing them in apostrophes. Any single tones can also be integrated into this scenario by using lower case letters.
This is a famous 4-measure riff from a song called: 'The Zoo' (by Scorpions):
Sometimes, we like to play it like this:
This is a famous 4-measure riff from a song called: 'Barracuda' (by Heart):
Sometimes, we like to play it like this:
Summary - The 21 Rules Of Cherry Code:
1) A single measure is enclosed in brackets - called measure brackets.
2) Between each measure - we use 2 dashes (with a space on each side). Ideally - there are 4 measures to a line. At the end of any line - we may consider skipping a few lines to allow room for Chord Symbols.
3) If we need to create a tie from the last note in a previous measure into the first note of the next measure - we put parenthesis around the dashes between measures (these can be called: 'measure ties'). MeasureTies that occur from the end of any line appear 'split' - from the end of that line to the beginning of the next line.
4) Weuse lower case letters: abcdefg - to distinguish melody-notes from chords. We use # for a sharped tone - and the lower case b for a flatted tone. To avoid the ambiguity that can occur between b (the flat symbol) and b (the melodic tone) -- we mark any flatted tones in the melody line with a period on both sides of the note.
5) The number 4 is used (within measure brackets) to indicate whole-notes. It governs any text written within parenthesis that immediately follow it.
6) The number 2 is used (within measure brackets) to indicate half-notes. It governs any text written within parenthesis that immediately follow it.
7) The number 1 is used (within measure brackets) to indicate quarter-notes. It governs any text written within parenthesis that immediately follow it.
8) The number 8 is used (within measure brackets) to indicate eighth-notes. It governs any text written within parenthesis that immediately follow it.
9) The number 16 is used (within measure brackets) to indicate sixteenth-notes. It governs any text written within parenthesis that immediately follow it.
10) In the case(s) where a governing time signature is not desired - we may use the number that indicates the number of beats within a measure (top number of a time signature) - outside the measure brackets. The bottom number of a time signature can be deciphered by comparing the relationship of elements within measure brackets -- to the number outside measure brackets. When no number is indicated outside the measure brackets - the Time Signature is assumed to be 4/4 (common time). 11) The number 3 is used (within measure brackets) to indicate dotted half-notes. It governs any text written within parenthesis that immediately follow it.
12) To indicate a tie between two notes (within a measure bracket) - we use a set of empty parenthesis () directly between the two notes.
13) The number 83 is used (within measure brackets) to indicate dotted quarter-notes. It governs any text written within parenthesis that immediately follow it.
14) The number 32 is used (within measure brackets) to indicate half-note triplets. It governs any text written within parenthesis that immediately follow it.
15) The number 31 is used (within measure brackets) to indicate quarter-note triplets. It governs any text written within parenthesis that immediately follow it.
16) The number 38 is used (within measure brackets) to indicate eighth-note triplets. It governs any text written within parenthesis that immediately follow it.
17) The number 316 is used (within measure brackets) to indicate sixteenth-note triplets. It governs any text written within parenthesis that immediately follow it.
18) The lower case z is used to articulate a rest. Its value is governed by the number before the parenthesis that surround it.
19) The lower case x is used to articulate a percussive sound. Its value is governed by the number before the parenthesis that surround it.
20) Chord Symbols may be inserted directly into any rhythmic line of text. Each chord symbol is separated by a space. **Note that this is the first indication of space(s) within the measure brackets.
21) Capital letters (with no spaces between) may be used to indicate power chords. When power chords appear in any measure (or piece) -- fully realized chords (C, Cma7, Fmi, Fmi7, etc...) can be included and are distinguished by enclosing them in apostrophes. Any single tones can also be integrated into this scenario by using lower case letters.
Supplemental Ideas:
Considering Melody - Sharps, Flats, & Naturals:
Cherry Code is guided by 21 rules (that's all!). I passed over a few ideas for indicating tonal registers directly within the lines of text - some of them good ideas -- but each new rule seemed to add unnecessary clutter and distract from the original purpose of the code. There is, however, just one more idea (in the spirit of reducing clutter within the text) that we may use in writing melody if we find the reason or have the preference:
We may use the lower case letter n to indicate a note that has been made natural - from a sharp (#) or flat (b). This could be useful when working with a specific key signature that contains accidentals.
Within the confines of the 21 rules - we are using the "what you see is what you get" method for melody. When we write a melody in the key of 'A' Major - we might see something like this:
If we have indicated the key signature of 'A' Major (somewhere on the page) - we could write the following to hear the same tones:
If we wanted to lower both c#-notes - we would only use the lower case n for the first c# in the measure (the second c# that occurs in the measure is 'assumed' to be natural):
Summary:
With the addition of an indication for the natural (n) -- we may follow the rules of standard notation when writing melody - and eliminate clutter - under certain circumstances...
The 'Dash' For Melody - Complex -Nesting- Made Simple:
Consider the following rhythmic idea while counting (or tapping your foot) 3 times for each measure of 3:
It's a common occurrence in styles of music that are rhythmically sophisticated to -nest- triplets within triplets. We may indicate any -nesting- by surrounding it with dashes on both sides. In the following example - the middle note of the eighth-note triplet (code 38) has been divided into 3 - and becomes its own triplet. Consider the following rhythmic idea while counting (or tapping your foot) only 4 times for one measure of 4/4 (common time) -- realize that the following example is identical to the previous example. The only difference is in the counting - or the 'feel' of the idea.
Of course, nesting possibilities are not limited exclusively to triplets.... in actuality, the possibilities for this type of complex nesting are extensive. In the next two examples - I will make an alteration to the previous two examples -- illustrating a group of nested sixteenth-notes that divide the middle note of an eighth-note-triplet into four parts:
Here again - we count 3 beats per measure:
Here - we 'feel' eighth-note triplets - with the middle note of each triplet divided into 4 (instead of 3):
Summary:
With the ability to indicate a -nest- within parenthesis --- we expand the rhythmic possibilities of writing.
The Next Logical Question:
Since rhythmic notation is nothing more than the -nesting- of time values within measures --- and we may use dashes to indicate the placement of any nest... why not use dashes to indicate the more simple -nesting- that often occurs within measures of melody? The answer: Why not!
To use this idea successfully (without creating ambiguity or confusion) - we need only be clear about the actual (and utter) simplicity of Cherry Code... its nuts, bolts, and mechanics.
Cherry Code - Explained In One Paragraph:
Within measure brackets - we find only two things: "number-codes" that represent specific note values - and - "elements" within parenthesis. The 'elements' of melody are: melody-notes (g); percussive sounds (x); and rests (z). Each element that is written within parenthesis is -by itself- always equal to the time value of the number-code that governs those parenthesis.
Ruling The Nest - Two Rules For Nesting Anything:
The dash (-) on both sides of any group of elements within parenthesis is an indication that everything within the dashes will combine to equal the same value as each of the other elements within those parenthesis. Because any -nest- can be seen as just another element within parenthesis - there are only two 'rules' that need be observed for -nesting--anything--anywhere--within the code:
1) Dashes are used on both sides of any -nest- !!! (absolutely no exceptions - even when the nested elements appear first or last within the parenthesis - and/or - when consecutive nests are employed). Any element without a dash on both sides -- or -- any element with a dash on only one side --- is recognized as a single (stand alone) element with the full value of the number-code that governs its parenthesis. Also - in some cases - single (stand alone) elements will appear with dashes on both sides -- I see nothing ambiguous about this -- in fact - there are certain circumstances where intentionally adding a dash between single (stand alone) elements can serve to clarify those elements as such - and make a measure or phrase easier to read.
2) The value of the number-code that governs the elements within its set of parenthesis cannot indicate a shorter time duration than any 'nested value' within those parenthesis. It is not possible to -nest- a longer time value within a shorter time value.
Here is an example of a quarter-note nest within the half-note (number-code 2).
Here is an example of a quarter-note & eighth-note nest within the half-note (number-code 2).
The next two examples illustrate eighth-note & sixteenth-note nests within the quarter-note (number-code 1).
This example illustrates an eighth-note - sixteenth-note - and eighth-note-triplet nest within the quarter-note (number-code 1).
The following two examples illustrate eighth-notes that are 'swung.' When we 'swing' our eighth-notes -- we are (in actuality) tying the first two notes of an eighth-note-triplet together. To indicate 'swing' (and avoid writing all these ties) we may write the following code at the top of the page: 1(-gg-)=1(-g()gg-).
When the middle note of an eighth-note-triplet is a rest (z) or a percussive sound (x) -- it's usually referred to as a 'shuffle' rhythm:
The next two examples illustrate using the number-code 8 for combinations of eighth & sixteenth-notes:
The next two examples illustrate using the number-code 16 for combinations of 16th & 32nd-notes:
The following two examples are identical:
Here is a case where intentionally adding a dash between single (stand alone) elements can serve to clarify those elements as such - and make a measure or phrase easier to read. The following three examples are identical and each are technically correct. The first example is crystal clear - but a bit redundant with number-codes. The second example seems to require the counting of dashes to recognize that the pair of g's in the middle of the measure are single (stand alone) elements. In the third example - a dash is inserted between the pair of g's so that we can more easily see they are single (stand alone) elements:
Summary:
While -nested- elements must be surrounded with dashes; the intentional use of dashes around or between single (stand alone) elements is arbitrary.
Code Logic - Suggestions for 'Missing' Number-Codes:
The 32nd-Note
You may have noticed that within the 21 rules of Cherry Code - there is no number-code for the 32nd-note. If there were no such thing as the triplet - the number 32 would be the most logical choice... but the number 32 has been reserved for the half-note-triplet. Realize that this conflict is only the result of the coincidence of the number three's appearance in a duple meter concept (this problem does not occur with any idea to use the number-code 64 for a 64th-note). The logic I chose was to use the number 3 (at the beginning of a number-code) to indicate a triplet (rather than a straight fraction in duple meter). My first thought was to use the number 216 for the 32nd-note... but then I thought the number 816 would be just as logical (from another perspective). In the end I decided (for my purposes) I would just use the forward slash (/) to distinguish the straight fraction of the 32nd-note in duple meter. So there it is - my final answer: /32 is the number-code (for me) to indicate the 32nd-note.
Here is an example of a measure of 32nd-notes. This literally says that the 'g' note will 'ring' 32 times - each time receiving 1/8 of a beat (1/32 of a measure) - which is equal to 1 measure of 4/4 (common time):
The Dotted Eighth-Note:
The number-code 83 has already been indicated as the number-code for a dotted quarter-note (3 eighth-notes). For the dotted eighth-note - the same logic can be applied with the number-code 163 (3 sixteenth-notes).
Here is a riff that uses dotted eighth-notes and the number-code 163:
Summary:
Cherry Code employs a basic logic for number-code values. Duple meter codes are 4,2,1,8,16,/32,64... etc.. Triplet codes begin with the number 3 and are: 32,31,38,316,332... etc.. To eliminate ties - dotted half-notes use the number-code 3 -- and the number 3 appears at the end of codes for dotted quarter-notes (83) and dotted eighth-notes (163).
Taken from the book: "What Does This Have To Do With Music?" -- by Ben Higgins