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Music Theory Lesson No.3a: The Staff and Introduction to Clefs. In this lesson we will learn about the staff and the idea of clefs as well as how we map out pitches and musical time on the staff. You can find all the lessons at the Music Theory Lessons page. Here’s the Youtube link if you want to watch it there.

The staff (plural staves)

Music notation is written on a staff. The staff has five lines and four spaces.

Notes and rhythms can be placed on the lines and spaces of the staff to indicate pitch and musical time.

Ledger lines can extend the range and pitch of the staff. In short, ledger lines create more lines and spaces to place notes on which extends the pitch range of the staff.

The staff is a visual grid that we use to orient musical time (horizontally) and the highness and lowness of pitch (vertically). Musical time on the staff reads from left to right based on what note or rest is indicated. Notes higher on the staff are higher in pitch. Notes lower on the staff are lower in pitch. Notes on ledger lines extend the pitch range of the staff

Line Notes – For a basic orientation, here are some notes on the lines of the staff. Notice that the notehead (the circular part) goes through the centre of the staff line.

Space Notes – Notice how the notehead is placed between the two lines in the space of the staff.

Notes on lines and spaces – Here are some notes on both lines and spaces in order.

Clef

The Clef is a symbol placed on the staff to show the range of the pitch and the exact pitch represented by each line and space on the staff.

Different instruments and voices produce pitches in different ranges. The cello plays notes in a low range. The flute plays notes in a high range. There are many clefs to indicate these ranges.

We’ll be focusing on just two clefs for the first little while: the treble clef and the bass clef.

The Treble Clef

The treble clef (also called the G clef) indicates the location of G on the 2nd line from the bottom. For example, a soprano voice or a flute produce notes in a high range and use the treble clef to indicate notes on the staff. This tells use that the range is generally high and it also tells us what pitch is assigned to each line and space of the staff. 

This image shows how the treble clef indicates G on the 2nd to bottom line.

Here is the note G occurring on the same line as above.

You can see in the below image, the musical alphabet works in order when we place notes on each line and space of the staff with G as a reference point. This is a C major scale.

The Bass Clef

The Bass clef (also called the F clef) indicates the location of F on the 4th line. For example, a lower bass voice or a cello produce notes in a low range and use the bass clef to indicate notes on the staff.

This image shows how the bass clef indicates F on the 4th line from the bottom.

Here is the note F occurring on the same line as above.

You can see in this image that the musical alphabet works in order when we place notes on each line and space of the staff with F as a reference point. This is a C Major scale.

You don’t have to remember any specifics for now.

The only thing to know for now is that the clef is placed on the staff to show the general range and the specific pitch represented by each line and space on the staff. 

You won’t have to worry about it while playing guitar because you’ll only be reading the treble clef and you will simply get to know it super well without thinking about this. 

Summary

The staff, in conjunction with a clef, allows musicians to know the range and specific pitch represented by each line and space on the staff as well as musical time and rhythms reading from left to right.

In future lessons we will look at pitch classes and the grand staff to understand how the different clefs form all the commonly used pitches in music.

Hope you found that helpful. Find more theory lessons on the Music Theory Lessons page. I’m offering these lessons free of charge but feel free to support the site here. If you need any clarification on this particular lesson please leave a comment below.

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Classical guitarist Meng Su performs Where the Echo Sings by Viet Cuong (b.1990). This comes via the Omni Foundation and their Youtube channel (go subscribe). Amazing performance with such clarity and control over the texture as well as excellent dynamic phrasing. Very effective composition in a unrelenting perpetual style that can be challenging for guitar but worked very well in the hands of Meng Su.

Here’s a small bio of the composer via their Youtube description:

Described as “alluring” and “stirring” by The New York Times, the “arresting” (Gramophone), “irresistible” (San Francisco Chronicle), and “exhilarating” (Chicago Tribune) music of Vietnamese-American composer Viet Cuong (b. 1990) has been commissioned and performed on six continents by musicians and ensembles such as the New York Philharmonic, Los Angeles Philharmonic, Saint Paul Chamber Orchestra, Eighth Blackbird, Kronos Quartet, Sandbox Percussion, Alarm Will Sound, Sō Percussion, PRISM Quartet, and Dallas Winds, among many others.

The post Meng Su Performs Where the Echo Sings by Viet Cuong first appeared on This is Classical Guitar.

Learn more or buy from UpGuitarbus

Review: UpGuitarbus Stand and Support for Classical Guitar – I had a great time trying out the UpGuitarbus guitar stand and support from France. This is a high quality and fully adjustable guitar stand allowing you to play while standing promoting stability, good posture, and customizable positioning. Here’s my YouTube review link if you want to watch it there. Here are some of their promotional lines:

PLAY STANDING
PLAY PAIN FREE
PERFORM AT YOUR BEST

The first stand designed entirely for classical guitarists to perform upright with perfect posture — relieve your back and elevate your music. Classical guitarists often struggle with posture and fatigue. UpGuitarbus offers an ergonomic solution: play standing, naturally, and protect your health — without sacrificing technique…the challenge was clear: create a support that doesn’t damage the guitar, doesn’t alter its natural sound, and provides a comfortable, balanced posture. – upguitarbus.com

Features

Stand and play guitar naturally – “Maintain perfect posture, reduce back pain, and rediscover the pleasure of a standing performance.” It really does feel amazing standing naturally with the guitar. However, I will admit, after 30 years of playing sitting it feels quite different. The reduced contact with the guitar feels less secure but imparts a huge freedom of movement aspect that I will continue to explore.

Fits your guitar, fits your style – Adjustable for various guitar sizes, but your instrument body must be at least 85mm deep. If your guitar is slimmer, please contact them.

High quality materials – It’s super sturdy and high quality. The laminated beech wood is very strong and has felt to protect your guitar. The sturdy steel bars are over the top and I would trust my life with them. All the threaded attachments are metal so this will never wear out. The K&F aluminium tripod is amazingly adjustable. Coincidentally, it’s actually the same tripod I use for my camera.

Fully adjustable – Customize height and tilt easily in any direction thanks to the tripod and ball-head system.

Protects your guitar – “Screws with felt-covered articulated foot pads touch the reinforced edge of your instrument and preserve your tone quality while saving its flawless finish.” I trust this completely with my expensive guitars, very well thought out in this regard.

Feel the vibrations – There is almost no contact with the actual vibrating back or soundboard except around the very edge. This should allow the guitar to vibration at its full potential.

Assembly & Mounting Video What I like

• Health – Putting aside whether you like playing with it or not, it’s very likely this is a much healthier way to play. My posture and positioning was exceptional with this support. It took some time to get the right position as it feels very different than sitting but the highly adjustable tripod makes nearly any position possible.
• Quality – Super high quality build and thoughtful design.
• Standing – You can stand while playing and the guitar is perfectly stationary.
• Additional Usage – I would use this for special camera work where I need a hand free for the camera or to teach and point. The stationary aspect is perfect for recording and video applications.
• Unique – Whether you want to stand while playing or not, this has clear applications for special circumstances.
  • People with health concerns preventing them from sitting.
  • Possibly application for people with disabilities. Maybe possible for wheelchairs but I don’t know the logistics of this. A special clamp might be needed.
  • Using this with small children could be interesting. You’d be able to set them up correctly and know they would be in a good position.

Concerns

• Not much – I don’t have any concerns about the usability or quality of the product. Obviously this is a very specific device with a very specific intention.
• Aesthetics – Clearly, there is an aesthetic consideration. With the tripod and clamps it has a bit of a contraption-aspect to it. But it is a nice mix of usability and design and you can see the full guitar at least.
• Mobility is clearly limited in one way and opened up in a different way. Overall there is increased mobility due to you body being able to move around but the stationary aspect of the guitar could be limiting for some people who twist and turn with the guitar as they play. This will largely be a personal choice.
• Cost – At the moment the cost is €390.00 (please check at their website though as it is subject to change). The quality of the device and what it comes with matches the price so no worries there. But that is still a steep price for some people. Maybe in the future with expanded sales it could come down a bit or a student model could be designed at a lower cost. But don’t worry, you’re getting your moneys worth, it’s a quality product. Professional guitarists. or just those who care about their body and instrument, will enjoy the high quality of the product regardless of price.

Ideas

• Could there be a mounting option for a chair, wheelchair or other situations? I know this is not within the nature of the device as it was designed for standing but I’m interested if that could be an option in the future.
• Could the clamping attachment mechanism be on the back instead of the front for visual reasons?
• Can there be a more affordable student model below this professional model?

Summary

The UpGuitarbus is a high quality and fully adjustable guitar stand and support allowing a standing position for classical guitarists. With excellent build quality and a thoughtful design you can play in a healthy way and feel confident your guitar is well protected and resonating. It has clear implications and usages for players with health or sitting issues as well as a wide array of applications for special situations. An important contribution to the world of guitar supports and a viable option for professionals and amateurs alike.

Learn more or buy from UpGuitarbus

PhotosThe post Review: UpGuitarbus Stand and Support first appeared on This is Classical Guitar.

Question: Does the headstock have to be at eye level for classical guitar?

Having the headstock of the guitar at eye level is a guideline that helps to ensure a healthy 45 degree angle or steeper for your guitar position and provides an easy to remember tip for quick positioning. However, it’s only a starting point and generalized tip, not an absolute rule. Some players will have the headstock higher than eye level and some will have it lower. Variables such as the player’s height, guitar size, chair height, guitar support will decide how much this guideline is followed.

Keep in mind that I am promoting the modern classical guitar technique so there can be differences if you look back 25 years or more.

Let’s look at my playing position in the below three photos. I am quite short and as you can see the headstock is at or above eye level regardless of whether I’m using a foot stool or various guitar supports. It’s actually a bit higher with the guitar supports but not by much.

See my full lesson: I have a full dedicated lesson on Sitting and Position for Classical Guitar so check that out first as it has tons of tips and photos with diagrams for much more context. I’ve included the video and a few pictures below.

Let’s look at some professional guitarists. Below you can see Adam Cicchillitti (left) and Steve Cowan (right). Adam’s headstock looks at eye level or below. Steve’s looks quite above eye level.

Below Hao Yang’s headstock is quite a bit above eye level.

Below, Drew Henderson also has a headstock position at or above eye level.

Below, Rebeca Oliveira has a headstock position above eye level.

Below, Lorenzo Micheli (left) and Matteo Mela (right) are a bit different. Lorenzo is a bit below eye level whereas Matteo is above.

As you can see from all these videos, the general guitar angles are all similar but the exact position of the headstock varies slightly. Continue watching the videos I post of pros on the site and you’ll see guitarists of all sorts of heights and body types. Watching all the different players will give you a generalized view of classical guitar positioning.

Questions & Support

If you need any clarification on this particular Q&A please leave a comment below. For new and existing questions please visit the main Classical Guitar Q&A page. If you are enjoying the free Q&As you can support the site here.

The post Does the headstock have to be at eye level for classical guitar? first appeared on This is Classical Guitar.

Pièces caractéristiques pour guitare, Op.123 (1964) by Belgian composer Jean Absil (1893-1974). Performed by Bradford Werner. I’m trying to feature more music by modern and contemporary composers and external publishers on the site and this is a great piece to start with. I’ll be adding all ten movements to this post over the next few weeks so check back often. The sheet music is by Editions Henry Lemoine.

Jean Absil (1893–1974) was a Belgian composer, organist, and teacher known for his modernist style blending neoclassicism with modal and polytonal techniques. A student of Paul Gilson, Absil composed symphonies, concertos, and choral works, and served as a professor at the Brussels Conservatory, influencing generations of Belgian musicians.

Jean Absil wrote a good number of guitar works primarily for Nicolas Alfonso, a prominent Belgian guitarist and pedagogue. Alfonso was one of the leading classical guitarists in Belgium during the mid-20th century and collaborated with several composers, including Absil. I suspect this work was also written for him but I haven’t found any additional information yet.

Pièces caractéristiques Op.123 (Pieces and Youtube Links)

• I. Prélude
• II. Invention
• III. Pastorale
• IV. Humoresque
• V. Valse
• Cantilène
• Scherzo
• Chant du soir
• Pavane
• Tarentelle

This video was performed on a Marcus Dominelli classical guitar with Augustine Regal strings and a GuitarLift Ultimate support. All my gear here. Subscribe to the free membership newsletter and if you’re enjoying the site you can consider supporting it.

The post Pièces caractéristiques Op.123 by Jean Absil first appeared on This is Classical Guitar.

Thomas Viloteau performs Chôro No.1 by Heitor Villa-Lobos (1887-1959) with a Le Support guitar rest which he designed. This comes via his fantastic YouTube channel (go subscribe). As he mentions, “Heitor Villa-Lobos…composed fifteen Chôros between 1920 and 1929 for various instrumentations.”

Wonderful performance and fun interpretation with driving rhythm, beautiful phrasing, and variety of articulations and jazzy additions. The performance really breathes new life and flavour into the piece. Brilliant!

The post Thomas Viloteau Plays Chôro No.1 by Villa-Lobos first appeared on This is Classical Guitar.