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FACE.b! @  @"! @fU6-@ !-@@'(!#}36-@?6-@ K6-@5U AhW @-@ @%(16-@u?6-%@M6-&@!$}W AjW @-@@%(16-@c?6-%@M6-&@W Al6-@ @+-!%}@@1(=6-@PK6-%@Y6-&@c A2p @z+ @!&} @! @+ @|ee(]Notes written below or above the stave have lines going through them called LE!'}DGER LINES.~a(a(VThese are smaller versions of the stave lines which extend the range of the stave.Z(Z(OYou ca!(}n use as many ledger lines as you like, but you rarely see more than six. @& @! @ @! @!)}M(M(BThe following are examples of notes below and above the stave. @# @$ @6-@!*}%6-@7-@@=(I6-AU6-@ a6-@hk A@u A6-&@ A@6-!+}&@ A@w @-@@%(16-AQ?6-%@ K6-@cU A@_ Am6-&@!,}w A@_ @-@@%(16-A'?6-%@ K6-@XU A@_ A_ @-!-}@ @%(16-@7?6-%@ K6-@(U A@_ Aw @-@%@%(16-@1!.}?6-%@ K6-@#U A@_ Am6-%@w A@ @6-@`+-@0@1(=6!/}-@$K6-%@ W6-@a A@k Ay6-%@ A@6-%@M A@ @92!0}C @M A - @ @#6-A"- @b6. the bass clef" @4!1}@7(b(&The BASS CLEF (or F CLEF) is placed atdd(\the beginning of the stave and is used to play notes b!2}elow the range of the treble clef.9 @ 6-@%6-@ / A9 @F @ @! @!3}$(F(Each space represents a note.JJ(BAn easy way to remember the notes in thespaces is by the saying..."("( !4} ll ows at rassm6-@!-@@'(36-@?6-@ K6-@@W6-@ c6-@5m !5}Ac @-@ @%(16-@=6-AUK6-%@Y6-&@c AW @-@!6}@%(16-A?6-%@M6-&@W A @-@@%(16-@=6-Aq!7}K6-%@Y6-&@c A2 @+ @ @! @+ @!8}'('(Each line represents a note.II(AAn easy way to remember the notes on thelines is by the saying...-(-(!9}" ood oys eserve avours lways/ @ 6-@%6-@ / Aw6-@ @+-@@!:}1(=6-@ I6-@U6-@Ea6-@ m6-@7w AW @-@ @%(16-A!;}?6-%@M6-&@W Ac @-@@%(16-@=6-A'K6-%@Y6-&@!<}c AW @-@@%(16-A?6-%@M6-&@W A @-@!@!=}%(16-AQ?6-%@M6-&@Y6-@c A2 @+ @!>} @! @+ @ee(]Notes written below or above the stave have lines going through them called LE!?}DGER LINES.a(a(VThese are smaller versions of the stave lines which extend the range of the stave.Z(Z(OYou ca!@}n use as many ledger lines as you like, but you rarely see more than six.{-@@!6(à뺠͠!A}ՠH-@@"_(space to continueqAdAU{ @! @ @! @M(M(BThe follow!B}ing are examples of notes below and above the stave. @# @% @6-@ %6-@16-@!C}C-@@I(U6-@a6-@ m6-@hw A@ A6-&@ A@6-&@ !D}A@w @-@@%(16-@g?6-%@ K6-@cU A@_ Am6-&@w A@!E}_ @-@@%(16-Aa?6-%@ K6-@XU A@_ Ak @-@ @!F}%(16-A'?6-%@ K6-@(W6-@a A@k Aw @-@%@%(16-A!G}?6-%@ K6-@#U A@_ Am6-%@w A@ @-@0@%(16-@?6-!H}%@ K6-@U A@a6-@k Ay6-%@ A@6-%@M A@ @92!I}C @M A I6-A# @# @- @?6. bar linesI @\(\(!J}PBar lines are vertical lines on the stave. The area between two bar lines is gg(_called a measure. Each measure con!K}tains a fixed number of beats depending on thetime signiture. ))(!A double bar line ends the music.  @  @"!L} 6-@P6-@%@/ AP;6-AE@O AP[6-AGe@o AP{6-AI!M}@ AP  @ A  L6-A#  @# @- @B6.time signitureL @ N(N!N}(CThe time signiture always appears at the beginning of the music. mm(eIt tells you the number of beats in eachmeasure!O}, and the type of note that will represent one beat...  @  @" /6-@ 6-@5%@/ A0!P} @ q @ @! @q(KThe top number in the time signiture shows the amount of beats in a bar.!Q} P(P(EThe bottom number indicates the type of note that will have one beat:$ F((E.G.((4=(  time = 4 CR!R}OTCHETS in a barC(4F(& 7 (3.(  time = 3 CROTCHETS in a bar4(47(( 7 (2.(  time = 2 CROTCHETS in a ba!S}r4(47(*  @& @. A 8 S6-A#`#6. note values- @7 @A @S-@!T}: dd([There are many different types of music notes. Each having a time value that is counted in < (regular beats!U}:= 2(2('SEMI-BREVE (whole note) = 4 beats> 2(2('MINIM (half note) = 2 beats@ 1(1(&CROTCHET (!V}quarter note) = 1 beatB 1(1(&QUAVER (eighth note) = 1/2 beatD E(1(&SEMI-QUAVER (sixteenth note)= 1/4 beat;!W} @&E @F 7 @ @! @+ @76-@H 36-(0(Here are the note shapes:3(!X}I d+(# = SEMI-BREVE = QUAVERd(4 = MINIM = SEMI-QUAVER = CROTCHETJ m6-@ 6-@E!Y}% A36-%@= APK6-%@U Ac6-%@m APL %6-%@ A% @N ? !Z} @-@@5( ? @P p @ @! @+ @.(L( Š![}ɭO(p(1 whole note to the measure.R o @  @"#6-@ /6-@59 A0E6-@@Q6-@%!\}[ Ae @o @T n @ @! @+ @.(J( Š͠M(n(2 half notes!]} to the measure.V } @  @"#6-@ /6-@59 A0E6-@@Q6-@0[ APi6-%@@s !^}AP} @W @X r @ @! @+ @.(K( ŠԠN(r(4 quarter not!_}es to the measure.Z s @  @"#6-@ /6-@59 A0E6-@@Q6-@0[ Ai6-%@%s!`} A[ G6-%@% A)6-%@%3 A= @G @\ m @ @! @+ @.(!a}J( ŠҠm(8 eighth notes to the measure.] ll(dN.B. If two or more quavers are shown then they may !b}be joined by a line from the top of the stem.^ 9 @  @"#6-@ /6-@59 A0` K6-@06-@!c}%/-@@9 APG6-%@K b }6-%@%-@@36-%@= AA ES,!d}&@i/%@9&@s @} @d t @ @! @+ @.(M( Šɭ!e}Ҡt("16 sixteenth notes to the measure.e qq(iN.B. If two or more semi-quavers are shown then they may be joined by !f}a line from the top of the stem.f 9 @  @"#6-@ /6-@59 A0g =6-@%6-@$% A!g}36-%@= Ah w6-%@6-%@3-@@= A K6-%@O Sa,&@w/!q}B'DOS SYSB+AUTORUN SYSB-TUTOR B0MEM B>7MOLLOY PICB uCOLLEEN COLB)PLAY COLBPICLOAD2 BMUSIC BMUSIC2 BC(GUITAR2 BdCHAIN B(lPLAYLONG BMEM COMB#COMBINERNEWBCOMBINE2OBJBMOVEP6 OBJBADVANCEDOBJ%@&@j ;,&@'/%@&@1 @; @t @(} @ (v GG(?The val!r}ue of a note can be increased by placing a dot after it.x ^^(VThe effect of the dot is to increase thelength of the note by!s} half it's undottedvalue.z C @  @"#6-@%/6-@09 AC AP| %6-%@  AP% A!t}P~ %6-%@  A% AP %6-%@  AP% AP 96-%@  A% AP/ @!u}9 @ \ @ @! @\(6Here is a table showing the normal and dotted values. +(+( SEMI-BREVE !v} = 4 beats ((( DOTTED SEMI-BREVE = 6 beats ((( MINIM = 2 beats ((( DOTTED MINIM !w} = 3 beats ''(CROTCHET = 1 beat ((( DOTTED CROTCHET = 1&1/2 beats ''(QUAVER = 1/!x}2 beat ''(DOTTED QUAVER = 3/4 beat ''(SEMI-QUAVER = 1/4 beat ;'(DOTTED SEMI-QUAVER = 3/8 beat!y}1 @&; @ 9 @(} @' @9-@ qq(hThe value of a note might also be !z}increased by a tie (or bind). The tie isa curved line that links mm(d two notes on the same line or space on the stave.!{} The first note is played and sounded forthe  (duration of both notes.. O @  @"#6-@ /6-@5!|}9 A0E6-@@O AP 6-@` AP%6-@c16-@7; AG6-@S6-@s] AP!}}i6-@u6-@5 AP [6-A AP%6-AH16-@; APG6-APQ AP[ @!~}  @ A  AP6-9F:A8,%AV$F:A9,%@ED:MUSICQ6-T!} B'gkWAw 67.RR%} Aw1 k6-!A%}@++=@@dOB7t@daAR@k A<@'@@d%}9@AV<$<@@'@9@A(<$yAY'BB@d9A%}AKAA]A`oAa@y @( - $ / $yAY'%}BB@d9AAKAA]A`A(oAa@y @(N @(}6-@%}+6-@5 @9(K@N$@ @-@@ @(à뺠͠ՠ =-@%}@+(space to continue=AdAU F:Ad,"AU@ -F:Ad,"@3*AdAU-%}$ %F:Ad,"@7'% A  F:Ad,"@(' AdAU @, @)%},,$ +@@d1B7t@dCAUA AjAF:A,%}|AR@AdAU$6-?:C:,,$B%@@+%@@?%@(@B$%}o6-6-@`%@/ A;,O/%@ [,APo/AP%@ |6-%}6-@%@/ A;,O/%@ [,APo/AP%@ y @|$/ @6%}-@%6-@u/ A< @6-@%6-@0/ A9 @<$f6-6-@0%@%}/ A5,C/%@ O,APc/AP%@ f$<6-@6-@E%@/ A9 @%}<$<6-@6-@5%@/ A9 @<$t-@@!6(à뺠͠ՠH-@%}@"_(space to continueqAdAUt$]AY'BB@d9AAKAA%}]BqR`BqR'A9AAEKBBA]AY@4`$4-%} 12@@4$ 2@@!@0"$ŠƠ @%}@,)6-&@6-&@) @)6-&@6-&@) @)6-%@6-&%}@) @)6-%@6-&@) @)6-%@6-&@) @!6-%@6-! %}@)6-%@6-%@) @)6-%@6-%@) @)6-%@6-%@) @%})6-&@6-%@) @)6-&@6-%@) @)6-&@6-%@) @%})6-&@6-&@) @)6-%@6-&@) @)6-%@6-&@) @%})6-%@6-&@) @)6-%@6-&@) @)6-%@6-&@) @%}! 6-6-&@! @! 6-6-&@! @)6-%@6-%@) @)6-%@%}6-%@) @)6-%@6-%@) @! 6-6-%@! @)6-&@6-%@%}) @,6-&@6-%@) @,$ Š; @@,+6-%AP16-; @%}7,%@6-%AP-6-%@7 @7,%@6-%AP-6-%@7 @7,%@%}6-%AP-6-%@7 @7,%@ 6-%AP-6-%@ 7 @$ Ԡ@ @%}',%@&@=,%@&@@$ɭҠ ACROTCHET)6-%@6-&@%}) @)6-%@6-&@) @)6-%@6-&@) @,%@&@ )%}6-%@6-&@) @ )6-%@6-&@ ) @)6-%@6-&@) @%$%}&Ҡ( ACROTCHET,)6-%@6-&@) @.)6-%@6-&@) @0)6%}-%@6-&@) @2$XԠZ @\' ,6-%@6-' @^?,&@%}&@'6-%@56-&@? @`?,&@&@'6-%@56-&@? @b?,&@%}&@'6-%@56-&@? @d?,&@&@'6-%@56-&@? @f7,&%}@6-%@-6-&@7 @h?,%@&@'6-%@56-&@? @i@2l%}$ ͠ @,)6-&@6-&@) @)6-&@6-&@) @%}! 6-6-&@! @)6-%@6-&@) @)6-%@6-&@) @)6-%@%}6-&@) @!6-%@6-! @ 6-6- @,%@&@)6-%@%}6-&@) @@2$ŠŠ @,)6-&@6-&@) @%})6-&@6-&@) @! 6-6-&@! @)6-%@6-&@) @)%}6-%@6-&@) @)6-%@6-&@) @!6-%@6-! @# 6-6-%} @# @$ɭҠԠ @@,)6-%@6-&@) @)%}6-%@6-&@) @)6-%@6-&@) @! 6-6-&@! @)6-%@%}6-&@) @,%@&@)6-%@6-&@) @! 6-6-&@! @%})6-%@6-&@) @$ҠԠ @@,)6-%@6-&@ %}) @)6-%@6-&@) @! 6-6-&@! @)6-&@6-&@ ) @%}! 6-6-&@ ! @$ԠԠ @@,)6-&@6-&@) @%}! 6-6-&@! @)6-%@6-&@) @' ,6-6-&@' @)6%}-%@6-&@) @7,%@&@6--6-&@ 7 @)6-%@6-&@) @%})6-%@6-&@) @?,%@&@'6-%@56-&@ ? @)6-%@%}6-&@) @! 6-6-&@! @$ ͠ŠŠԠ @@' ,%}6-%@6-' @7,&@6-%@-6-&@7 @7,&@6-%@-6-&%}@7 @$  Ԡ" @@,#! 6-6-&@! @$/ ,6-%@%6-%}&@/ @%)6-%@6-&@) @&)6-%@6-&@) @')6-%@6-&%}@) @(! 6-6-&@! @)$* Р, @@-/ ,6-&@%6-&@%}/ @.?,%@&@'6-%@56-&@? @/?,&@&@'6-%@56-&@%}? @0?,&@&@'6-%@56-&@? @1$4̠5 @@6%}' ,6-6-&@' @77,&@6-%@-6-&@7 @8/ ,6-%@%6-&@%}/ @9?,%@&@'6-%@56-%@? @:$>ŠŠ? @%}@,@! 6-6-&@ ! @A)6-&@6-&@) @B)6-%@6-&@) @%}C7,&@6-&@-6-&@7 @D36-%@6-&@) @3 @E$G%}ҠŠHF @@-,&@&@C/%@&@F$RҠŠT @@,V%}/%@  @$\ԠΠԩ^ @@,`/%@ ,%@5/%@%}%@ C,%@Y/%@%@ o,&@%@,&@%@b @$fԠ%}Πԩh @@,j/%@ ,%@5/%@%@ C,%@Y/%@%@ %}o,%@%@,%@%@l @$ %-&@%(@2%-&@%}%(@22%-&@%(@2%-&@%(@2%-&@%(@%}2%-&@%(@2%-&@%(@22-&@%(@222/ @%}2$ $-&@$(@222$-&@$(@2222$-&@$(@22%}$-&@$(@22$-&@$(@22$-&@$(@22$-&@$(%}@222221-&@$(@22222. @1$;@h,;AU,WW67@,.Dhhhhhh%}heυϥeЅР͑˥Υ̥`cc67@,.PpppB@BN%}BNcc67@,.PBApppB@BN%}cc67Aa,.P""67AA,.B%}A!!6-?:C:, 77(/The first bar is not played second time round..%}@ q @ @!#6-@ /6-@59 A0E6-@uQ6-@[ Apg6-@`q A`B E6-AG%}6-@`% AP16-AI; APE @z G6-@ 6-A''6-@036-@C= A@G A%}| =6-@06-A'6-@B36-@7= A~ 16-@6-@T'6-@21 A 16-A%}6-@f'6-@71 A -@@ 16-@6-@'6-@51 A 16-@u%}6-A'6-@01 A =6-A6-@'6-A36-@2= AP =6-@06-@'6-%}@ 36-@= A 16-@6-@4'6-@w1 A =6-@ 6-A'6-@H36-@%}= A K6-@%6-A''6-@b36-@= A@G AK  I6-@06-@'6-A%}36-@?6-@I A =6-@ 6-A'6-A36-@= A Q6-A6-A'%}'6-A36-@= A@G APQ @ 9%2/ @9 A  _6-A' %} @# @- @C6. double endingsM @_-@ $$( ŠӠ n(n%}(cTowards the end of a repeated section of music a change in melody may occur for 1 or more bars. f(f([1st and 2nd %}time brackets marked above the stave show where the short skip is to be made.  @& @ $ @ @&}! @$( `L(DBracket 1 is played the first time but left the second time round..V @` @! i6-@&}6-@ '6-@51 A0=6-@uI6-@S Ap_6-@`i A` E6-AG6-@`% AP&}16-AI; APE @ ;6-@6-@X% A 016-@; A @ U @,@X1&}/@IC/@u@IU/@u@X C,@x@X'/@x@I9/AP@IC @ =6&}-@06-@'6-@036-@2= A 16-@6-@B'6-@51 A 16-A6-&}@T'6-@71 A 16-A6-@f'6-@A1 A G6-@6-A''6-@36-@C&}= A@G A =6-@06-A'6-A36-@7= A 16-@6-A'6-@21&} A 16-A6-A0'6-@71 A 16-@6-@ '6-@1 A 16-@u6&}-@5'6-@u1 A =6-A6-@'6-@P36-@w= AP S6-@6-A''6-@& }36-@C= A@I6-@S A =6-@06-A'6-A36-@7= A 16-@& }6-A'6-@21 A 16-A6-A0'6-@71 A 16-A6-@'6-@1 & }A 16-A6-A'6-@1 A Q6-A6-A''6-A 36-@= A@G AP& }Q @ 9%2/ @9 A  _6-A( @# @- @C6. le& }ading notesM @_-@ ll(dWhen a situation arises that requires 1 or more notes introduction then it i&}s called an ANACRUSIS. X(X(MA piece of music with an anacrusis also has a round off note in the last bar. K(K(?If t&}he time signiture is 4/4 and also if there is a crotchet  PP(G(1 beat) leading note then the round off note would be 3 &}beats long or  77(/the last bar would containno more than 3 beats. o(o(cThe rule is that whatever time signitureis u&}sed, the round off bar or note has the same amount of  MM(Ebeats missing as a complete bar minus the amount of beats &}lead in.  @& @ v @ @! @$(v(MIf the time signiture was 3/4 then the round off not&}e would be 2 beats long. E @ @!#6-@/6-@;6-@5E A0 s6-@56-@% A&}P16-@; APG6-@uS6-@`] APi6-AGs AP 6-AI AP =6-@ &}6-@%'6-@236-@= A 16-@@6-@7'6-A1 A 16-@S6-@2'6-&}@1 A 16-@f6-@5'6-@1 A 16-@x6-@7'6-A1 A 16-@&}6-@A'6-A1 A 16-A6-@5'6-@1 A 16-A!6-@7'6-A&}1 A 16-A46-@7'6-A1 A 16-@%6-@w'6-@1 A! 16-@8&}6-@'6-@1 A" 16-@Q6-@'6-A1 A$ =6-@6-@d'6-@36&}-A= A& [6-AP6-@'6-@36-A'= A@G APQ AP[ @, U @&}-@@0( ǠB-@@U(ĠƠ. 9%2/ @9 A &}T [ @ @! @-6-A)?6. the sharpI @[-@V FF(>The sharp sign (#) raise&}s the pitch of anote by one semi-tone.X )()(E.G. F would become F sharp.Z ((Note:([ mm(dThe sharp sign is p&}laced immediatley before the note it effects and the effect of the sharp \ @@(8is not cancelled until the start&} of the next measure.^  @& @h 66. the flat(}$ @6-@j FF(>The flat sign (b) l& }owers the pitch of a note by one semi-tone.l ((((E.G. B would become B flat.n ((Note:(o mm(dThe flat sign i&!}s placed immediatley before the note it effects and the effect of the flat p @@(8is not cancelled until the s&"}tart of the next measure.r  @& @| @ @ @*6. the natural4 @@6-~ U(I(>Th&#}e natural sign cancells the effect of both flats and sharps.L(U(E.G. [ @  @"#6-@/6-@ ;6-&$}@0E AQ6-@0[ AP ;6-@P6-@0% A 16-@`; AP ;6-@6-@0&%}% A16-@; AP E6-A6-@0% A 16-A ; APE @9%2&&}/ @9 A  AP6-9F:A8,%AV$F:A9,%@FD:MUSIC2R6-&'}U B'g$\]uj!{!@@*)}Awi **}@@ !*+}"Y6-+AY1@@dCB7t@dOAY A R6-H;A@*,},;@0,;@$,;@,;@,R @ "-@"( 1#-@@ #(||||||*-} ( %@ ( $?6-!-@ @?( 3-@ *.}@3(| | 3-@ @3( 3-@ @3(|נ*/}ӠҠˠ| 3-@ @3(|ӠҮ| 3-@ @3(|FIRE BUTTON OR RETURN |3-@*0} @ 3(|WILL SHOW FINGERING. |3-@ @!3(|ԠǠ|6-@ @"3(*1}6$F-@@!#-@?( C F$z&9@$,9@,9@*2},26-@>6-@J6-@V6-@b6-@h(}zAR@""6. 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