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Notehead
Notehead
Notehead
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Parts of the note
Noteheads of quarter (and all further subdivisions), half, whole, and double whole notes
Left: breve in modern notation. Centre: breve in mensural notation used in some modern scores as well. Right: less common stylistic variant of the first form.
Regular, cross, square, and small noteheads
Ride pattern on a cymbal Playⓘ
Natural harmonics on the cello notated first as sounded (more common), then as fingered (easier to sightread).

In music, a notehead is the part of a note, usually elliptical in shape, whose placement on the staff indicates the pitch, to which modifications are made that indicate duration. Noteheads may be the same shape but colored completely black or white, indicating the note value (i.e., rhythmic duration). In a whole note, the notehead, shaped differently than shorter notes, is the only component of the note. Shorter note values attach a stem to the notehead, and possibly beams or flags. The longer double whole note can be written with vertical lines surrounding it, two attached noteheads, or a rectangular notehead.[1] An "x" shaped notehead may be used to indicate percussion, percussive effects (ghost notes), or speaking. A square, diamond, or box shaped notehead may be used to indicate a natural or artificial harmonic. A small notehead can be used to indicate a grace note.

History

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Noteheads ultimately derive from the neumes used to notate Gregorian chant. The punctum, seen at right, is the simplest of the shapes and most clearly anticipates the modern notehead. When placed on a clef, the position of a notehead indicates the relative pitch of a note. The development of different colors of noteheads, and the use of it to indicate rhythmic values, was the use of white mensural notation, adopted around 1450.[2]

Franco of Cologne, ancient composer and music theorist, codified a system of rhythm notation. He explained this system in his work, Ars Cantus Mensurabilis (“The Art of Measurable Music”), circa 1280. In this system, the relative duration of notes was indicated by the note shapes. The noteheads were rectangles, squares, or diamonds depending on the note length. This system was expanded during the Ars Nova period.

Shortly before the Renaissance, scribes began to write the notes of the Franconian and Ars Nova style with open noteheads. During the Renaissance, composers added shorter note durations that used filled-in noteheads. Near the end of the 16th century, the square or diamond-shaped notes changed to the round noteheads that are used today.[3]

See also

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References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Notehead

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from Grokipedia
A notehead is the oval-shaped component of a musical note in standard Western notation, whose vertical position on the staff determines the pitch, while its horizontal placement indicates timing in the sequence of notes. The notehead's form—whether open (unfilled) or closed (filled)—primarily signifies the note's relative duration, with open noteheads denoting longer values such as whole or half notes, and filled ones representing shorter durations like quarters or smaller. It forms the essential visual anchor of the note, often combined with a stem, , beam, or augmentation dot to further specify rhythmic value and articulation. Noteheads exhibit variations beyond the standard to accommodate specialized musical contexts. For instance, an "X"-shaped notehead is commonly used for unpitched percussion instruments, where precise pitch is irrelevant, emphasizing over tone. Other shapes, such as diamonds or clusters, appear in contemporary or microtonal music to denote specific techniques like harmonics or approximate pitches. In software standards like , noteheads can be explicitly defined with attributes for shapes including slashes, squares, or custom glyphs, ensuring compatibility across digital notation tools. Historically rooted in medieval neumes and evolving through mensural notation, the modern notehead system standardized in the balances legibility and expressiveness, allowing composers to convey complex rhythms efficiently on a five-line staff. Its design prioritizes optical clarity, with precise dimensions for height, width, and eccentricity to avoid visual ambiguity in printed scores.

Fundamentals

Definition and Purpose

In music notation, a notehead is the oval or elliptical symbol that forms the primary visual component of a musical note, primarily indicating the pitch when positioned on or relative to the staff lines. It serves as the foundational element of a note, distinguishing it from ancillary parts such as stems or flags, and is essential for musicians to interpret pitch by correlating its vertical placement with specific lines or spaces on the staff. For instance, the notehead for middle C is typically placed on a ledger line below the treble clef staff or above the bass clef staff, allowing performers to identify the exact pitch at a glance. The notehead's role extends to the overall structure of musical notes, where it stands alone as the sole required component for a , representing the longest standard duration without additional attachments. For shorter durations, such as half notes, quarter notes, or eighth notes, other elements like stems and flags are added to the notehead to modify its rhythmic length, building upon this core symbol to convey precise timing in a composition. This modular design enables efficient reading of scores, as the notehead anchors both pitch and the potential for rhythmic variation. In standard Western music notation, noteheads are rendered as either filled (black) or open (white) to provide an immediate visual cue for rhythmic value, with open noteheads denoting longer durations like whole and half notes, while filled noteheads indicate quarter notes and shorter values. This distinction enhances readability, allowing performers to discern duration alongside pitch without relying solely on attached modifiers.

Basic Components

The notehead serves as the foundational element of a musical note, integrating with a vertical stem to form the core structure for notes of durations shorter than a whole note, such as quarter notes and eighth notes. The stem attaches to the right side of the notehead when pointing upward, which occurs for notes positioned at or below the middle line of the staff, and to the left side when pointing downward, for notes above the middle line; notes on the middle line may use either direction depending on contextual legibility with surrounding notes. Flags and beams relate to the notehead indirectly through the stem, enhancing rhythmic indication without altering the notehead's primary role in denoting pitch via its vertical position on the staff. A single extends as a curved line from the end of the stem for notes like eighth notes, while multiple flags indicate progressively shorter durations; alternatively, beams connect the stems of multiple adjacent notes of the same value, replacing individual flags to group rhythms efficiently. These elements attach solely to the stem, preserving the notehead's fixed position and shape for pitch clarity. Standard size and alignment guidelines ensure the notehead's legibility within the staff. The notehead is typically oval-shaped, slightly tilted upward to the right, with a height equal to the distance between two adjacent staff lines (one staff space), filling the space without overlapping lines when centered; on staff lines, it is vertically centered to represent half-step intervals, while in spaces, it touches the bounding lines. This design maintains consistent proportions, with the stem's length equaling approximately four staff spaces when attached. In engraved or printed scores, noteheads adhere to precise specifications for (typically 18°–24° slant angle) and uniform thickness to optimize and aesthetic balance, as defined in standards like those from the Music Publishers Association. Handwritten scores, by contrast, often exhibit variations in notehead and line thickness due to manual execution, such as smaller solid noteheads compared to open ones, which can impact visual uniformity but do not affect interpretive meaning.

Types and Shapes

Standard Noteheads

In Western music notation, the open notehead, also referred to as the white notehead, consists of a hollow oval shape and is employed for longer durations, such as whole notes (semibreves) and half notes (minims). This form originated in mensural notation for denoting breves (double whole notes) and later semibreves, but became standardized for these values in common time signatures where the whole note often fills a measure. Visually, the open notehead provides a clear distinction from shorter notes by its unfilled interior, allowing performers to quickly identify extended holds. The filled notehead, or black notehead, features a solid oval shape and is used for shorter durations, including quarter notes (crotchets), eighth notes, and smaller values. The filling serves to differentiate these notes from open forms, enhancing readability in dense rhythmic passages by creating a bolder, more compact appearance. When attached to a stem, filled noteheads indicate notes requiring precise timing in or . Standard noteheads maintain consistent oval proportions, with the height typically equal to one staff space—the vertical distance between two adjacent staff lines—and the width approximately 1.96 times the height for optimal visual balance. On staff lines, the notehead is slightly flattened to align properly, ensuring it occupies half the spaces above and below without overlapping; in spaces, it touches the enclosing lines. The oval is tilted slightly upward to the right, promoting aesthetic flow in engraved scores. Regardless of key signatures or , standard noteheads retain their oval shape, with , , or placed externally to the left of the notehead to alter pitch without modifying the head itself. This separation ensures that the notehead's primary role in indicating pitch position on the staff remains unaltered.

Special Noteheads

Special noteheads deviate from the standard oval shape to convey specific performance techniques, instrument requirements, or interpretive instructions in . These shapes are standardized in systems like the Standard Music Font Layout (SMuFL), which defines glyphs for various non-standard noteheads to ensure consistency across notation software and printed scores. The X-shaped, or , notehead is commonly employed for unpitched percussion instruments or sounds of indefinite pitch, such as those produced by drum kits, cymbals, or other non-melodic elements. This shape indicates that the precise pitch is not relevant, focusing instead on and ; for example, an X notehead on a staff line assigned to a signifies a strike without tonal specificity. Diamond-shaped noteheads are primarily used to denote , particularly natural or artificial on instruments like the or guitar. In this notation, the diamond is placed at the precise finger position on the where the is lightly touched, often accompanied by a smaller standard notehead above or below to indicate the sounding pitch; for instance, on a guitar, a diamond on the 12th signals a natural an higher than the open . Square or rectangular noteheads appear infrequently in contemporary Western notation but hold significance in certain folk traditions and experimental contexts. In shape-note singing systems, such as those used in American music, square noteheads represent specific scale degrees like "la," aiding communal sight-singing in four-part harmony. In modern microtonal systems, they may denote altered pitches or quarter-tones, providing visual distinction from diatonic notes in compositions exploring extended tunings. Small, or cue-sized, noteheads are reduced in scale to indicate auxiliary elements that do not disrupt the primary rhythmic flow, such as grace notes or passages in staves. Grace notes with small noteheads are performed quickly as embellishments before the main beat, while in parts—alternative lines shown above or below the main staff—they suggest optional or simplified variants for performers facing technical challenges. Slashed noteheads, featuring a diagonal line through the notehead, are used in and lead sheets to indicate rhythmic figures without specifying exact pitches, allowing performers to comp based on chord symbols. For techniques like snap pizzicato (also known as ), where the string is plucked sharply to snap against the producing a percussive , a dedicated —such as a small circled cross—is placed above the note instead of altering the notehead shape. In and , noteheads may incorporate modern extensions like encircling or shading for interpretive flexibility. Circled noteheads can mark optional notes, allowing improvisers to include or omit them based on context, while shaded or filled noteheads represent tone clusters—dense aggregates of adjacent pitches played simultaneously, often with the forearm on or as multiphonics on winds—to evoke dissonant, atmospheric effects.

Notation and Interpretation

Position and Pitch Indication

In standard music notation, the vertical position of a notehead on the staff determines its pitch, with higher placements corresponding to higher pitches and lower placements to lower pitches. The staff consists of five horizontal lines and four spaces, where noteheads are centered precisely on a line or in a space to indicate specific pitches. For example, in the treble clef, the bottom line represents E4, the first space above it F4, and subsequent lines and spaces ascend stepwise through G4, A4, B4, C5, D5, E5, and F5. The horizontal alignment of noteheads along the staff indicates their timing within a measure but must be precise to avoid ambiguity in reading the vertical pitch position. Noteheads are oval-shaped and tilted slightly upward to the right, with their centers aligned exactly on the designated line or ; in chords or polyphonic passages, they are vertically stacked without overlap to maintain clarity. For pitches beyond the staff's range, short horizontal lines extend the staff, allowing noteheads to be placed accurately—for instance, a single line below the treble staff positions C4 (middle C), while double lines accommodate very high or low notes such as those in extreme registers of instruments like the or . The position indicates the diatonic pitch relative to the clef and key signature, with chromatic alterations applied via accidentals (sharps ♯, flats ♭, or naturals ♮) placed immediately before the notehead. Key signatures at the staff's beginning set the default accidentals for the piece. Pitch positions are dependent on the used, which assigns specific notes to the staff lines and spaces. In the bass clef, the middle line is D3, with C4 located on the first line above the staff; the same C4 appears on the first line below the treble staff or on the middle line of the alto clef. Higher or lower placements on the staff indicate octave registers, with positions repeating every eight diatonic steps (an )—for example, the E5 on the top line is an octave above the E4 on the bottom line in treble clef. indications via staff position allow for efficient notation across vocal and instrumental ranges without excessive lines. For transposing instruments, notehead positions represent the written pitch, which differs from the sounding pitch due to the instrument's transposition interval. On a B-flat clarinet, for instance, a notehead placed on the position for written D4 (first space above the middle line in treble clef) sounds as concert C4, requiring performers to adjust mentally or via practice to match the intended pitch in ensemble settings. This system ensures that parts for transposing instruments align visually with non-transposing ones while accounting for the instrument's inherent pitch shift.

Relation to Duration and Rhythm

In standard music notation, the form of the notehead, combined with attachments such as stems, flags, or beams, determines the rhythmic duration of a note, with values expressed relative to beats in common time signatures like 4/4. The whole note, represented by an open notehead without a stem, holds for four beats in 4/4 time, serving as the longest basic duration and filling an entire measure. A half note consists of an open notehead attached to a stem and lasts for two beats, halving the whole note's value. The quarter note, featuring a filled notehead with a stem, occupies one beat, forming the foundational pulse in many compositions. For shorter durations, the filled notehead with a stem remains the base, augmented by flags or beams to subdivide the beat. An adds a single flag or beam to the quarter note's form, equaling half a beat (one-eighth of a ), while a includes two flags or beams, lasting a quarter of a beat (one-sixteenth of a ). These attachments, as outlined in basic notation components, allow for precise rhythmic complexity without altering the notehead's core shape. Modifications to the notehead's basic value extend durations through augmentation dots or ties. A dot placed after the notehead increases its length by half its original value; for instance, a dotted thus equals one and a half beats. Ties, curved lines connecting two noteheads of the same pitch, combine their durations additively, enabling extensions across bar lines or irregular measures without changing the notehead itself. Across different time signatures, the intrinsic relative durations of noteheads—such as a always equaling two half notes or four quarter notes—remain constant, but their beat equivalents adjust based on the signature's beat unit and count per measure. In 6/8 time, for example, the eighth note receives one beat with six beats per measure, making a , equivalent to eight eighth notes, span eight beats and typically more than one measure. This flexibility ensures rhythmic consistency while adapting to metric structures like compound or irregular meters.

Historical Development

Origins in Early Notation

The earliest precursors to the modern notehead emerged in the neumatic notation systems of 9th-century manuscripts, where simple marks known as neumes indicated melodic contours rather than precise pitches or durations. The punctum, a single dot-like or diamond-shaped mark, served as a basic unit representing a single pitch, with its vertical position relative to a rudimentary line or guideline suggesting relative height in the ; this form laid the groundwork for the notehead's role in pitch indication. These neumes, first systematically documented in the 8th-9th centuries at monasteries like St. Gall, evolved from cheironomic hand gestures used by cantors, transitioning from fluid signs to more fixed symbols that approximated noteheads. By the early 11th century, the introduction of the staff system refined these proto-noteheads into more precise indicators. Guido d'Arezzo, in his Micrologus (c. 1025-1028), proposed a four-line staff using red and yellow lines to denote pitches, with colored or shaped points—such as diamonds or squares—placed on or between lines to specify exact notes, marking a shift from approximate neumes to systematic pitch notation. This innovation, detailed in 's work, allowed for the reproduction of chants with greater accuracy, as the notehead-like points directly corresponded to syllables (ut, re, mi, etc.), influencing subsequent Western notation. By the late 12th to , in manuscripts using square notation for , noteheads took on more defined geometric forms like squares or lozenges. These denoted pitch through vertical placement on a four-line staff and began to hint at basic durations via shape variations, though remained fluid and interpretive. Regional influences from Byzantine and traditions introduced alternative shapes, such as rounded or ekphonetic marks in Eastern , which emphasized melodic flow over strict height, but Western notation prioritized vertical positioning for monophonic melody in Gregorian traditions. Pre-13th-century noteheads, however, functioned primarily as ornamental pitch guides rather than rhythmic elements, with their evolution tied to the oral-aural transmission of sacred music rather than mensural precision.

Evolution in Western Music

The evolution of the notehead in Western music notation advanced significantly in the late 13th century with the development of mensural systems. Franco of Cologne's treatise Ars cantus mensurabilis (c. 1280) established discrete notehead shapes to precisely indicate rhythmic durations, using rectangular forms primarily in black ink for values like the minim, while introducing coloration in red ink for the semibreve to denote alterations in motets and polyphonic works. This innovation allowed for measurable rhythm independent of modal rhythms, fundamentally transforming notation for vocal polyphony. From the late medieval period into the , notehead designs shifted toward more rounded and differentiated forms to accommodate increasing rhythmic complexity. By around 1450, increasingly featured open (white) noteheads for longer durations such as breves and semibreves, contrasting with filled (black) noteheads reserved for shorter values like semiminims, which improved legibility in scores. This transition reflected broader changes in polyphonic writing, where visual clarity became essential for performers reading multiple parts simultaneously. The introduction of music further standardized notehead shapes. Ottaviano Petrucci's multiple-impression press, first used in for his Harmonice musices odhecaton, employed consistent oval noteheads instead of the prevailing square or lozenge manuscripts, promoting uniformity across printed editions. By the , round filled noteheads had become dominant in printed sources, facilitating wider dissemination of . In the Baroque and Classical periods, notehead refinements emphasized precision and readability amid growing orchestral demands. Open (void) noteheads were standardized for whole and half notes to distinguish them clearly from filled shorter values, aiding navigation in dense polyphonic textures as seen in works by composers like Bach and . These conventions solidified the modern oval profile, balancing aesthetic elegance with practical function. Twentieth-century innovations expanded notehead variety to represent novel timbres and techniques for emerging instruments, such as diamond-shaped heads for harmonics on strings or cross-shaped ones for indefinite percussion. Digital notation software emerging post-1980s, including Finale, enforced precise oval forms through specialized fonts and rules, ensuring consistent rendering in scores for contemporary ensembles.

References

  1. https://www.numu21.org/notehead.html
  2. https://human.libretexts.org/Bookshelves/Music/Music_Theory/Open_Music_Theory_2e_(Gotham_et_al.)/01%3A_Fundamentals/1.08%3A_Notating_Rhythm
  3. https://ycmusictheory.commons.gc.cuny.edu/mus-110-fundamentals-of-music-theory/standard-1/
  4. https://www.w3.org/2021/06/musicxml40/musicxml-reference/elements/notehead/
  5. http://faculty.washington.edu/garmar/notehead_specs.pdf
  6. https://viva.pressbooks.pub/openmusictheory/chapter/notation-of-notes-clefs-and-ledger-lines/
  7. https://icareifyoulisten.com/2012/03/handwritten-vs-digitally-engraved-scores-an-opinion-post-by-r-andrew-lee/
  8. https://www.dolmetsch.com/musictheory2.htm
  9. https://viva.pressbooks.pub/openmusictheory/chapter/notating-rhythm/
  10. https://musictheory.pugetsound.edu/mt21c/Accidentals.html
  11. https://www.w3.org/2021/03/smufl14/tables/noteheads.html
  12. https://www.rpmseattle.com/of_note/x-cross-noteheads-in-music-notation/
  13. https://douglasniedt.com/Tech_Tip_How_To_Read_Harmonic_Notation.html
  14. https://w3c.github.io/smufl/latest/tables/shape-note-noteheads.html
  15. https://lilypond.org/doc/v2.23/Documentation/notation/inside-the-staff
  16. https://music.stackexchange.com/questions/70576/what-are-these-slashed-noteheads
  17. https://extendedtechniques.blogspot.com/2012/05/bartok-pizzicato.html
  18. https://www.bobzawalich.com/wp-content/uploads/2019/06/Tone-Clusters-for-Sibelius.pdf
  19. https://www.masterclass.com/articles/treble-clef-and-bass-clef-guide
  20. https://www.dolmetsch.com/musicalsymbols.htm
  21. https://www.hoffmanacademy.com/blog/ledger-lines
  22. https://www.allaboutmusictheory.com/musical-staff/learn-read-bass-clef-notes/
  23. https://www.allaboutmusictheory.com/musical-staff/alto-clef/
  24. https://www.nhme.org/transposing.html
  25. https://www.music-theory-for-musicians.com/note-values.html
  26. https://www.hoffmanacademy.com/blog/music-note-symbols
  27. https://www.readmusicmethod.com/note-values
  28. https://www.schoolofcomposition.com/music-notation/
  29. https://musictheory.pugetsound.edu/mt21c/DotsAndTies.html
  30. https://www.musictheory.net/lessons/14
  31. https://www.libertyparkmusic.com/musical-time-signatures/
  32. https://www.studybass.com/lessons/reading-music/time-signatures/
  33. https://www3.nd.edu/~ablachly/MSM60109/60104MensuralNotationFrame.html
  34. https://escholarship.mcgill.ca/downloads/n870zt010.pdf
  35. https://digitalcommons.cedarville.edu/cgi/viewcontent.cgi?article=1053&context=musicalofferings
  36. https://scholarworks.brandeis.edu/view/pdfCoverPage?instCode=01BRAND_INST&filePid=13469804630001921&download=true
  37. http://www.hoasm.org/IVI/EarlyMusicPrinting.html
  38. https://digitalcommons.cedarville.edu/cgi/viewcontent.cgi?article=1063&context=musicalofferings
  39. https://mymusictheory.com/more-music-theory-topics/the-evolution-of-music-notation/
  40. https://usermanuals.finalemusic.com/Finale2014Win/Content/Finale/Shape_note_music.htm
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