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Staff (music)
View on Wikipediafrom Wikipedia
In Western musical notation, the staff[1][2] (UK also stave;[3] plural: staffs or staves),[1] also occasionally referred to as a pentagram,[4][5][6] is a set of five horizontal lines and four spaces that each represent a different musical pitch or in the case of a percussion staff, different percussion instruments. Appropriate music symbols, depending on the intended effect, are placed on the staff according to their corresponding pitch or function. Musical notes are placed by pitch, percussion notes are placed by instrument, and rests and other symbols are placed by convention.
The absolute pitch of each line of a non-percussive staff is indicated by the placement of a clef symbol at the appropriate vertical position on the left-hand side of the staff (possibly modified by conventions for specific instruments). For example, the treble clef, also known as the G clef, is placed on the second line (counting upward), fixing that line as the pitch first G above "middle C".
The lines and spaces are numbered from bottom to top; the bottom line is the first line and the top line is the fifth line.
The musical staff is analogous to a mathematical graph of pitch with respect to time. Pitches of notes are given by their vertical position on the staff and notes are played from left to right. Unlike a graph, however, the number of semitones represented by a vertical step from a line to an adjacent space depends on the key, and the exact timing of the beginning of each note is not directly proportional to its horizontal position; rather, exact timing is encoded by the musical symbol chosen for each note in addition to the tempo.
A time signature to the right of the clef indicates the relationship between timing counts and note symbols, while bar lines group notes on the staff into measures.
Usage and etymology
[edit]Staff is more common than stave in both American English and British English,[citation needed]. with the latter being, in fact, a back-formation from the plural staves.[7] The plural staffs also exists for staff in both American and British English, alongside the traditional plural staves.[1] In addition to the pronunciations expected from the spellings, both plural forms are also pronounced /stævz/ in American English.[2]
Staff positions
[edit]
The vertical position of the notehead on the staff indicates which note to play: higher-pitched notes are marked higher on the staff. The notehead can be placed with its center intersecting a line (on a line) or in between the lines touching the lines above and below (in a space). Notes outside the range of the staff are placed on or between ledger lines—lines the width of the note they need to hold—added above or below the staff.
Which staff positions represent which notes is determined by a clef placed at the beginning of the staff. The clef identifies a particular line as a specific note, and all other notes are determined relative to that line. For example, the treble clef puts the G above middle C on the second line. The interval between adjacent staff positions is one step in the diatonic scale. Once fixed by a clef, the notes represented by the positions on the staff can be modified by the key signature or accidentals on individual notes. A clefless staff may be used to represent a set of percussion sounds; each line typically represents a different instrument.
Ensemble staves
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A vertical line drawn to the left of multiple staves creates a system, indicating that the music on all the staves is to be played simultaneously. A brace (curly bracket) is used to join multiple staves that represent an instrument, such as a piano, organ, harp, or marimba.[8] A bracket is an additional vertical line joining staves to show groupings of instruments that function as a unit, such as the string section of an orchestra. Sometimes a second bracket is used to show instruments grouped in pairs, such as the first and second oboes or first and second violins in an orchestra.[9] In some cases, a brace is used for this purpose.[8][10]
When more than one system appears on a page, often two parallel diagonal strokes are placed on the left side of the score to separate them.[11]
Four-part SATB vocal settings, especially in hymnals, use a divisi notation on a two-staff system with soprano and alto voices sharing the upper staff and tenor and bass voices on the lower staff.
Confusingly, the German System (often in the combined forms Liniensystem or Notensystem) may refer to a single staff as well as to the Akkolade (from the French) or system in the English sense; the Italian term is accollatura.[11][12]
Grand staff
[edit]
When music on two staves is joined by a brace, or is intended to be played at once by a single performer (usually a keyboard instrument or harp), a grand staff (American English) or great stave (British English) is created.[dubious – discuss] Typically, the upper staff uses a treble clef and the lower staff has a bass clef. In this instance, middle C is centered between the two staffs, and it can be written on the first ledger line below the upper staff or the first ledger line above the lower staff. Very rarely, a centered line with a small C clef is written, and usually used to indicate that B, C, or D on the line can be played with either hand (ledger lines are not used from a center alto as this creates confusion). When playing the piano or harp, the upper staff is normally played with the right hand and the lower staff with the left hand. In music intended for organ with pedalboard, a grand staff normally comprises three staves, one for each hand on the manuals and one for the feet on the pedalboard.
History
[edit]
12th-century Beneventan manuscript showing diastematic neumes and a single-line staff
Excerpt from a keyboard work by William Byrd written on a six-line staff, 1591
Early Western medieval notation was written with neumes, which did not specify exact pitches but only the shape of the melodies, i.e. indicating when the musical line went up or down; presumably these were intended as mnemonics for melodies which had been taught by rote.
During the 9th through 11th centuries a number of systems were developed to specify pitch more precisely, including diastematic neumes whose height on the page corresponded with their absolute pitch level (Longobardian and Beneventan manuscripts from Italy show this technique around the year 1000). Digraphic notation, using letter names similar to modern note names in conjunction with the neumes, made a brief appearance in a few manuscripts, but a number of manuscripts used one or more horizontal lines to indicate particular pitches.
The treatise Musica enchiriadis (c. 900) uses Daseian notation for indicating specific pitches, but the modern use of staff lines is attributed to Guido d'Arezzo (990–1050), whose four-line staff is still used (though without the red and yellow coloring he recommended) in Gregorian chant publications today. Five-line staves appeared in Italy in the 13th century and it was promoted by Ugolino da Forlì; staves with four, five, and six lines were used as late as 1600.[13]
See also
[edit]Notes
[edit]- ^ a b c "staff" in the Collins English Dictionary: "in British English: also called: stave; plural: staffs or staves"
- ^ a b "staff" in the Merriam-Webster Dictionary
- ^ "stave Meaning in the Cambridge English Dictionary". dictionary.cambridge.org. Retrieved 17 March 2018.
- ^ Antunes, Ines P.; Rosa, Carlos; Almeida, Flávio (2024). "Information Design and Semiology: A Visual Study on Deconstructing Musical Notation for Improving First-Grade Children's Learning". In Martins, Nuno; Brandão, Daniel (eds.). Advances in Design and Digital Communication IV. Springer Series in Design and Innovation. Vol. 35. Cham: Springer Nature Switzerland. pp. 639–650. doi:10.1007/978-3-031-47281-7_53. ISBN 978-3-031-47281-7.
- ^ "Dolmetsch Online - Chart of Musical Symbols". www.dolmetsch.com. Retrieved 2023-12-03.
- ^ "How To Read The Notes On The Pentagram » The Art Of Playing". 2022-04-06. Retrieved 2023-12-03.
- ^ Pam Peters, The Cambridge Guide to English Usage, p. 514.
- ^ a b Irvine, Demar; Pauly, Reinhard G.; Radice, Mark A. (1999). Irvine's writing about music. Hal Leonard Corporation. p. 213. ISBN 978-1-57467-049-3. Retrieved 18 October 2011.
- ^ Rachmaninoff, Sergei (1965). Piano concertos nos. 1, 2, and 3. Courier Dover Publications. p. 261. ISBN 978-0-486-26350-2. Retrieved 18 October 2011.
- ^ Strauss, Richard (1993) [1904]. Eine Alpensinfonie and Symphonia domestica. New York: Courier Dover Publications. p. 71. ISBN 978-0-486-27725-7. Retrieved 18 October 2011.
- ^ a b Rastall, Richard (2001). "System". In Sadie, Stanley; Tyrrell, John (eds.). The New Grove Dictionary of Music and Musicians (2nd ed.). London: Macmillan Publishers. ISBN 978-1-56159-239-5.
- ^ description in the German language Wikipedia[circular reference]
- ^ Harvard Dictionary of Music (2nd edition, 1972): Neume, Staff
Further reading
[edit]- Haines, John (2008). "The Origins of the Musical Staff". The Musical Quarterly. 91 (3/4). Oxford University Press: 327–378. doi:10.1093/musqtl/gdp002. JSTOR 20534535.
External links
[edit]- Dolmetsch Online: Printable PDF files of musical staff (A4 size)
- Audio Graffiti Free Manuscript Paper: Printable PDF files of musical staff (A4 and Letter size; standard, TAB and more; with or without clefs)
- Printable files of musical staff in PDF and PostScript formats provided by Perry Roland of Alderman Library at The University of Virginia
- Customizable Manuscript Paper: Customizable staff paper in varying dimensions, staff heights, thicknesses, and margins in PDF format
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Staff (music)
View on Grokipediafrom Grokipedia
In Western musical notation, the staff, also known as the stave, is a set of five evenly spaced horizontal lines and the four spaces between them, upon which notes and other symbols are placed to indicate the relative pitches of musical sounds.[1] The position of a note on the staff determines its pitch, with higher placements corresponding to higher pitches and lower ones to lower pitches, while a clef symbol—such as the treble clef (assigning the second line from the bottom to G above middle C) or bass clef (assigning the fourth line up to F below middle C)—is placed at the start to specify the absolute pitch level for the lines and spaces.[2] Additional short lines called ledger lines extend the staff's range for notes above or below the five lines.[1]
The staff's evolution traces back to the 9th and 10th centuries, when neumes—simple symbols above text—were used in monastic chant notation to suggest melodic direction without fixed pitches.[3] In the early 11th century, the Italian monk Guido d'Arezzo introduced a single horizontal line as a reference pitch in his treatise Micrologus, gradually expanding to two, three, and four lines by the 13th century to better represent intervals and pitches in polyphonic music.[3] The five-line staff became standard by the 16th century, coinciding with the development of barlines for rhythm and the widespread adoption of printed music in the 17th century, enabling precise transcription of complex compositions in the Baroque era and beyond.[4][3][5]
In practice, multiple staves are often combined into systems for ensemble scores, with the grand staff—linking treble and bass staves via a brace—serving as the primary format for keyboard instruments like piano to encompass the full range of pitches.[2] Other clefs, such as alto and tenor, are used for vocal or instrumental parts in the middle range, like viola or trombone, to keep notation centered on the staff without excessive ledger lines.[1] While the staff remains central to Western classical, popular, and jazz traditions, alternative notations like tablature or graphic scores exist for non-pitched or experimental music, though the staff's versatility has ensured its dominance for over four centuries.[3]
Introduction and Terminology
Definition and Usage
In Western musical notation, the staff is a foundational system consisting of five horizontal parallel lines and the four spaces between them, used to represent pitches and durations primarily in classical, popular, and other traditions.[6] This structure allows notes—symbolizing sounds—and rests—indicating silences—to be positioned on the lines or in the spaces, where vertical placement denotes relative pitch height, with higher positions corresponding to higher pitches.[6] A clef symbol at the beginning of the staff assigns specific absolute pitches to these positions, enabling precise reading across instruments and voices.[7] The staff's practical role extends to organizing rhythmic elements through supplementary markings: vertical bar lines divide the notation into measures, while a time signature specifies the number of beats per measure and the note value equaling one beat, facilitating coordinated performance.[6] For instance, the treble clef staff is commonly employed for higher-pitched voices such as soprano and instruments like the flute, whereas the bass clef staff suits lower ranges, including the bass voice and trombone.[7] This setup supports notation for solo vocal or instrumental parts, as well as ensemble scores where multiple staves align to convey harmony and counterpoint. Beyond pitched music, the staff adapts to non-pitched sounds, such as in percussion notation, where the five-line format represents different instruments or timbres on specific lines and spaces—for example, a triangle note placed on the first ledger line above the staff.[8] The plural form is typically "staves" in musical contexts, though "staffs" appears in some modern usage; "staff" remains the preferred singular term in contemporary English.[6] In digital music notation software, such as Sibelius and Finale, the staff is rendered electronically to mirror traditional scores, with MIDI integration allowing imported or entered data to generate audio playback that aligns notes on the staff with synthesized or recorded sounds.[9] These tools support unlimited staves in professional versions, enabling composers to create, edit, and share complex arrangements while preserving the staff's visual and functional integrity.[9]Etymology
The term "staff" in the context of music notation originates from the Old English stæf, meaning a stick, rod, or line, which metaphorically extended to the horizontal lines used to represent pitches. This root traces back further to the Proto-Germanic stabaz and Proto-Indo-European stebʰ-, denoting a post or stem for support.[10] In early musical usage, "stave" (as the plural "staves" of "staff") specifically referred to each individual horizontal line within the notation system, emphasizing their role as distinct "sticks" or supports for notes. This application is documented in historical music treatises, where the full set of lines was collectively termed "staves"; for instance, John Playford's Introduction to the Skill of Music (1654) describes "the Staves [as] five lines and four spaces."[11][12] By the late 18th century, back-formation had produced the singular "stave" for an individual line in musical contexts, though the term for the complete set evolved interchangeably with "staff."[13] In the 20th century, "staff" became the standardized singular form for the entire five-line system in both American and British English, supplanting "stave" as the primary term in modern usage, according to authoritative dictionaries including the Oxford English Dictionary and Merriam-Webster's Collegiate Dictionary. While "stave" remains acceptable—particularly in British contexts—and both "staffs" and "staves" serve as plurals, "staff" predominates in contemporary musical literature and education for its clarity and prevalence.[13] The musical "stave" or "staff" must be distinguished from its homonym in poetry, where "stave" denotes a stanza or metrical unit, a sense emerging around 1650 from the same Old English root but applied to rhythmic verse structures rather than notation. No direct etymological ties exist to staff-like systems in non-Western musical traditions, such as Indian sargam or Chinese gongche notation.[12]Structure and Components
Lines, Spaces, and Positions
The musical staff, also known as a stave, is composed of five parallel horizontal lines of equal length, with four intervening spaces between them, forming a standardized grid for notating pitches in Western music.[14] These lines and spaces provide a visual framework where the vertical position of a note head directly corresponds to a specific pitch height, allowing musicians to read and interpret music systematically.[15] The lines are conventionally numbered from bottom to top as 1 (lowest) through 5 (highest), and the spaces follow the same bottom-to-top numbering convention for reference purposes.[16] Note placement on the staff indicates ascending diatonic pitches, with each successive line or space representing the next step in a diatonic collection—typically alternating between whole tones and half tones to outline the natural scale without chromatics.[17] The vertical positioning determines the intervallic relationship to a reference note, such as the lowest line serving as a baseline from which higher or lower positions measure seconds, thirds, or larger intervals upward or downward.[1] For instance, in the treble clef, the bottom line denotes E4, while the four spaces from bottom to top represent F4, A4, C5, and E5, illustrating how the staff's positions map to consecutive diatonic notes.[18] In a typical staff diagram, the five lines are drawn evenly spaced and extend horizontally across the measure, with note heads centered precisely on lines (touching them directly) or within spaces (floating midway between lines) to ensure clarity in pitch identification.[19] This layout emphasizes the staff's role as a neutral, scalable grid that, when combined with a clef, calibrates the positions to absolute pitches, though the core structure remains independent of such calibration.[20]Clefs
A clef is a musical symbol placed at the beginning of a staff to indicate the pitch assigned to each line and space, thereby defining the absolute pitches represented by the staff's positions.[21] The shapes of modern clefs evolved from stylized versions of the letters G, F, and C, which originally served as reference points for specific notes in medieval notation systems.[21] For instance, the treble clef derives from a cursive form of the letter G, while the bass clef stems from the letter F, and the alto and tenor clefs from the letter C.[22] The most common clefs include the treble clef, also known as the G clef, which positions the note G4 on the second line from the bottom of the staff, making it suitable for higher-pitched instruments such as the violin, whose typical range spans from G3 to A7.[20] The bass clef, or F clef, designates F3 on the fourth line from the bottom, accommodating lower ranges like that of the cello (C2–C6).[20][23] C clefs, used less frequently today, include the alto clef, which places middle C (C4) on the third line and is standard for viola parts, and the tenor clef, which assigns C4 to the fourth line, often employed for upper-register cello or bassoon passages.[24] Variations of clefs address specialized needs beyond pitched instruments. The percussion clef, a neutral symbol consisting of two vertical bars, does not assign specific pitches but indicates relative positions for rhythm and timbre on unpitched percussion instruments like drums, where note placement denotes different instruments rather than exact pitches.[25] Similarly, notations for non-Western instruments such as the tabla, a pair of Indian hand drums, may adapt the neutral clef or use specialized symbols to represent rhythmic bols (syllabic strokes) without pitch specificity.[26] In solfège-based music education, movable-do systems treat "do" as the tonic of the prevailing key, allowing flexible clef usage across transpositions to emphasize scale degrees rather than fixed pitches.[27] The placement of a clef on a particular line or space determines the reference pitch, with its position shifting the entire staff's pitch assignment accordingly. Octave modifications, such as an "8" above the treble clef to indicate notes sounding an octave higher than written (used for instruments like the piccolo) or below the clef for an octave lower (as in tenor vocal parts), extend the staff's range without altering the core clef shape.[28]Supplementary Elements
Ledger lines are short horizontal lines added above or below the staff to extend its range for notating pitches beyond the standard five lines and four spaces.[15] These lines are spaced at the same intervals as the staff lines themselves, with noteheads placed on or between them just as within the staff; for instance, in bass clef, the pitch C4 (middle C) appears on a single ledger line above the top staff line.[15][29] Ledger lines are particularly common in solo writing or to accommodate extreme ranges, such as the high notes of a piccolo reaching up to C7, which requires multiple lines above the treble staff.[30] The specific pitches on these lines depend on the prevailing clef.[15] Bar lines consist of vertical strokes drawn through one or more staves to divide the music into measures, facilitating rhythmic organization in relation to the time signature./01:_The_Elements_of_Rhythm-_Sound_Symbol_and_Time/1.03:_Music_Notation_Practices) The standard single (or regular) bar line is a thin vertical line marking the boundary between consecutive measures, while a double bar line—comprising two closely spaced lines, one thin and one thick—signals the end of a section or movement.[31] Dashed or dotted bar lines are used for special cases, such as incomplete pickup measures or to indicate subdivisions without strong metrical emphasis.[31] In ensemble scores, bar lines are aligned vertically across all staves to ensure synchronized performance./01:_The_Elements_of_Rhythm-_Sound_Symbol_and_Time/1.03:_Music_Notation_Practices) Additional elements include the brace, a curved symbol resembling a large bracket that connects multiple staves on the left side, as seen in the grand staff for keyboard instruments to indicate they are played simultaneously.[32] Key signatures, which specify the sharps or flats applying to a piece, are positioned at the start of the staff immediately following the clef and are repeated at the beginning of each new line or page.[33] In modern digital notation software, such as MuseScore and Sibelius, ledger lines are automatically generated and formatted when entering notes outside the staff's range, streamlining the engraving process for composers and engravers.Types of Staves
Single Staff
The single staff, consisting of five horizontal lines and four spaces, serves as the fundamental unit for notating music for a single instrument or voice, particularly in monophonic contexts where a solitary melodic line predominates without accompanying harmony.[15] It is widely applied to vocal melodies or solo instrumental parts, such as those for the flute or guitar, allowing performers to read pitches and rhythms independently.[34] In lead sheets for popular and jazz music, the single staff notates the primary melody line, with chord symbols placed above to guide improvisation.[35] Key characteristics of the single staff include the use of a single clef to define the pitch range, which simplifies notation for simple scores or individual parts but imposes limitations on instruments with wide ranges, often necessitating ledger lines or octave-shift symbols like 8va to avoid excessive extensions.[15] This format is common in educational materials and basic compositions, emphasizing clarity for one performer or part without the complexity of multi-staff systems.[15] For pitched instruments, a representative example is the flute part, notated in treble clef on a single staff to capture its melodic range from middle C upward, using ledger lines for lower notes if needed.[15] In contrast, unpitched percussion notation adapts the single staff for rhythmic patterns across multiple instruments, employing a neutral percussion clef where lines and spaces designate specific drums rather than pitches—for instance, the bottom space for bass drum and the middle line for snare drum in drum kit setups.[36] Variations include specialized uses for unpitched percussion, where a five-line staff accommodates up to a dozen instruments by assigning distinct positions, such as toms on intermediate lines and cymbals on ledger lines above or below.[36] Modern adaptations sometimes overlay guitar tablature beneath the single staff to combine pitch indication with fret positions, facilitating reading for guitarists while maintaining standard rhythmic notation.[37]Grand Staff
The grand staff is a musical notation system comprising two staves—a treble clef staff positioned above a bass clef staff—connected on the left side by a brace and a vertical line, designed to accommodate the wide pitch range of certain instruments.[32] The middle C, serving as a pivotal note connecting the two staves, is typically notated on a ledger line positioned between them, facilitating seamless transitions across the keyboard's central register.[38] This dual-stave arrangement allows for the representation of polyphonic music spanning approximately three to four octaves without excessive use of ledger lines.[32] Primarily applied to keyboard instruments like the piano, the grand staff assigns the upper treble staff to the right hand for higher pitches and the lower bass staff to the left hand for lower pitches, enabling bimanual performance of independent melodic and harmonic lines.[39] It is also used for the harp, where a single performer manages the instrument's extensive range, and for the organ, which may employ three staves to include a separate bass clef staff for the pedalboard.[38] In pedagogical contexts, the grand staff supports the separation of hand parts in beginner piano instruction, promoting coordinated reading of notes, rhythms, and dynamics while building independence between hands.[39] In notation, the two staves of the grand staff share common bar lines that extend vertically across both, ensuring rhythmic alignment, while each maintains its independent clef for pitch specification.[32] For instance, in Ludwig van Beethoven's Piano Sonata No. 4 in E-flat major, Op. 7, the grand staff delineates the right-hand melody in the treble clef against left-hand accompaniment in the bass clef, with shared bar lines guiding the temporal structure throughout the movements.) This format is standard in classical piano repertoire, allowing performers to interpret complex textures efficiently. Variations of the grand staff include the synonymous "piano staff," which emphasizes its conventional use in piano music with the standard treble-bass pairing.[38] In simplified scores for educational or lead-sheet purposes, the grand staff may be condensed to a single staff when the range is narrow, though this sacrifices some clarity for polyphony.[39] Digitally, software like MuseScore renders the grand staff with interactive brace connections and automatic ledger line generation, supporting composition and playback for modern users.[40]Ensemble Staves
In ensemble notation, multiple staves are organized into horizontal alignments known as systems, which span the width of a page to represent simultaneous musical parts performed by a group. These systems connect staves vertically with bar lines extending across all parts in a measure, facilitating synchronized reading by performers.[41] To denote groupings within an ensemble, brackets and braces are employed at the left margin of each system. Braces, typically curly in shape, connect staves for instruments requiring manual coordination, such as keyboards, while straight brackets group related instrument families, like woodwinds or strings, to clarify sectional divisions.[42][43][44] Orchestral scores commonly feature 20 or more staves, arranged by instrument families in descending pitch order: woodwinds at the top, followed by brass, percussion, harp, and strings at the bottom, with brackets enclosing each family.[45][46] In choral settings, SATB (soprano, alto, tenor, bass) parts are typically condensed onto two staves per system, with soprano and alto sharing the upper treble clef staff (stems up for soprano, down for alto) and tenor and bass sharing the lower bass clef staff (stems up for tenor, down for bass).[47][48] Band scores similarly use brackets for sections, such as saxophones, trumpets, and trombones in brass ensembles, with percussion grouped separately below, often reflecting a condensed layout for marching or concert bands.[49][50] Notation practices in ensemble staves include shared elements across systems, such as tempo markings and dynamics placed at the top staff for universal reference. Condensing techniques reduce complexity by combining similar parts onto a single staff during tutti passages, as seen in Gustav Mahler's symphonies, where large orchestral forces are occasionally unified to emphasize full-ensemble textures.[45][51] In contemporary applications, such as film scores, notation software like Dorico automatically generates brackets based on ensemble type and instrument families, streamlining the creation of multi-stave systems. Adaptations of non-Western traditions, like Javanese gamelan ensembles, to staff notation often use multiple bracketed staves to represent the layered percussion and melodic cycles of the full group.[44][52]Historical Development
Early Origins
The earliest precursors to the modern musical staff appeared in the form of neumes, symbolic notations developed for Gregorian chant during the 9th and 10th centuries in Carolingian Europe. These adiastematic neumes, such as the punctum (a dot for a low pitch) and virga (a stroke for a higher pitch), used varying heights above the text to suggest melodic direction without specifying exact intervals or a fixed pitch reference. By the late 9th century, neumes began transitioning to diastematic forms, where their precise vertical placement on the page implied relative pitches and intervals, though still without drawn lines. This evolution allowed for greater accuracy in transmitting monophonic chant orally and visually, originating in monastic scriptoria like those at St. Gall.[53] A significant advancement came with the introduction of explicit horizontal lines to guide pitch placement. Guido d’Arezzo, a Benedictine monk active around 990–1050, formalized the four-line staff in his treatise Micrologus (c. 1026–1032) to notate monophonic Gregorian chant more precisely. This system assigned pitches to lines and spaces, facilitating solmization—the use of syllables (ut, re, mi, fa, sol, la) derived from the hymn Ut queant laxis—and enabling singers to learn music independently without constant reliance on a master. Guido's innovation built on diastematic neumes by providing a stable visual framework, revolutionizing music pedagogy in medieval Europe.[54] Early examples of staff-like notation appear in 11th-century manuscripts, particularly those using Beneventan notation in southern Italy. These diastematic neumes were positioned at varying distances from the text to indicate pitch, often on implied or occasional guide lines, but without the standardized five-line staff that would emerge later. Manuscripts such as the mid-11th-century Beneventan Gradual fragments preserve chants for local feasts, demonstrating the practical application of these early systems in liturgical contexts before broader standardization.[55] The development of these notations likely drew influences from Byzantine and Arabic traditions, which employed horizontal guides or alphabetic symbols for melodic indication. Byzantine ekphonetic notation, using accents and marks from the 8th–9th centuries, provided models for heighted neumes to denote chant inflection. These external elements contributed to the conceptual foundation of line-based Western notation, though direct lineages remain debated among musicologists.[56]Evolution and Standardization
The adoption of the five-line staff began in 13th-century Italy, where it gradually replaced earlier four-line systems to better accommodate the expanding pitch ranges required for polyphonic music.[57] Theorists like Franco of Cologne, active around 1280, advanced mensural notation practices that aligned with this shift, emphasizing precise rhythmic measurement on multi-line staves.[57] By the 15th century, the five-line staff had become widespread in European polyphony, as seen in the masses of composers such as Guillaume Dufay, whose works were notated in manuscripts using this format to support complex vocal layering.[58] During the Renaissance, mensural notation further refined the staff's utility, incorporating elements like colored notes to denote rhythm, while bar lines began appearing sporadically to delineate measures, though they were not consistently used until the early 17th century.[59] The invention of music printing by Ottaviano Petrucci in 1501 marked a pivotal standardization, with his Harmonice Musices Odhecaton—the first collection of printed polyphonic chansons—employing aligned five-line staves across multiple impressions for notes, lines, and text, enabling wider dissemination and uniformity in notation practices.[60] In the Baroque era, the proliferation of clefs, including soprano and mezzo-soprano variants alongside treble and bass, expanded the staff's flexibility for diverse instruments and voices in ensemble settings.[61] By the 19th century, orchestral scores had standardized the five-line staff in multi-stave formats, with conventional ordering of parts (e.g., woodwinds above strings) to facilitate large-scale performance, as exemplified in works by Beethoven and Wagner.[45] The 20th century saw the staff's persistence despite brief alternatives like shaped-note notation, which modified note heads for sight-singing in American sacred music traditions but did not supplant the five-line system. Post-1980s digital evolution, driven by software such as Finale (introduced 1987) and Sibelius (1993), virtualized the staff for engraving and playback, reinforcing its global standardization while enabling precise replication of historical and modern notations.[62] Rare exceptions persist, such as four-line staves in modern reprints of Gregorian chant to preserve medieval monophonic traditions.[63]References
- https://en.wikisource.org/wiki/A_Dictionary_of_Music_and_Musicians/Stave