Korean Ost Piano Sheet

[Leysan Torri]

KDrama OSTs, K-Pop, Anime Songs Easy & Hard Piano Sheet Music / Midi For Free. Easy sheet is made specifically for piano beginners, improvisers and arrangers. The easy sheet is the most basic and simplest songs of any songs with melody and the bass root notes, any songs can be learnt almost instantly with the easy sheet. It is free for everyone to download and use it for learning and reference purpose.

Musical notation is any system used to visually represent music. Systems of notation generally represent the elements of a piece of music that are considered important for its performance in the context of a given musical tradition. The process of interpreting musical notation is often referred to as reading music.

Distinct methods of notation have been invented throughout history by various cultures. Much information about ancient music notation is fragmentary. Even in the same time frames, different styles of music and different cultures use different music notation methods; for example, classical performers most often use sheet music using staves, time signatures, key signatures, and noteheads for writing and deciphering pieces. But even so, there are far more systems just that, for instance in professional country music, the Nashville Number System is the main method, and for string instruments such as guitar, it is quite common for tablature to be used by players.

The earliest form of musical notation can be found in a cuneiform tablet that was created at Nippur, in Babylonia (today's Iraq), in about 1400 BCE. The tablet represents fragmentary instructions for performing music, that the music was composed in harmonies of thirds, and that it was written using a diatonic scale.[2] A tablet from about 1250 BCE shows a more developed form of notation.[3] Although the interpretation of the notation system is still controversial, it is clear that the notation indicates the names of strings on a lyre, the tuning of which is described in other tablets.[4] Although they are fragmentary, these tablets represent the earliest notated melodies found anywhere in the world.[5]

Ancient Greek musical notation was in use from at least the 6th century BCE until approximately the 4th century CE; only one complete composition (Seikilos epitaph) and a number of fragments using this notation survive. The notation for sung music consists of letter symbols for the pitches, placed above text syllables. Rhythm is indicated in a rudimentary way only, with long and short symbols. The Seikilos epitaph has been variously dated between the 2nd century BCE to the 2nd century CE.

Three hymns by Mesomedes of Crete exist in manuscript. The Delphic Hymns, dated to the 2nd century BCE also use this notation, but they are not completely preserved. Ancient Greek notation appears to have fallen out of use around the time of the Decline of the Western Roman Empire.

Byzantine music once included music for court ceremonies, but has only survived as vocal church music within various Orthodox traditions of monodic (monophonic) chant written down in Byzantine round notation (see Macarie's anastasimatarion with the Greek text translated into Romanian and transliterated into Cyrillic script).[6]

Since the 6th century, Greek theoretical categories (melos, genos, harmonia, systema) played a key role to understand and transmit Byzantine music, especially the tradition of Damascus had a strong impact on the pre-Islamic Near East comparable to the impact coming from Persian music. The earliest evidence are papyrus fragments of Greek tropologia. These fragments just present the hymn text following a modal signature or key (like "ΠΛ Α" for echos plagios protos or "Β" for echos devteros).

Unlike Western notation, Byzantine neumes used since the 10th century were always related to modal steps (same modal degree, one degree lower, two degrees higher, etc.) in relation to such a clef or modal key (modal signatures). Originally this key or the incipit of a common melody was enough to indicate a certain melodic model given within the echos. Next to ekphonetic notation, only used in lectionaries to indicate formulas used during scriptural lessons, melodic notation developed not earlier than between the 9th and the 10th century, when a theta (θ), oxeia (/) or diple (//) were written under a certain syllable of the text, whenever a longer melisma was expected. This primitive form was called "theta" or "diple notation".

Today, one can study the evolution of this notation in Greek monastic chant books like those of the sticherarion and the heirmologion (Chartres notation was rather used on Mount Athos and Constantinople, Coislin notation within the patriarchates of Jerusalem and Alexandria), while there was another gestic notation originally used for the asmatikon (choir book) and kontakarion (book of the soloist or monophonaris) of the Constantinopolitan cathedral rite. The earliest books which have survived, are "kondakars" in Slavonic translation which already show a notation system known as Kondakarian notation.[7] Like the Greek alphabet notational signs are ordered left to right (though the direction could be adapted like in certain Syriac manuscripts). The question of rhythm was entirely based on cheironomia (the interpretation of so-called great signs which derived from different chant books). These great signs (μεγάλα σῃμάδια) indicated well-known melodic phrases given by gestures of the choirleaders of the cathedral rite. They existed once as part of an oral tradition, developed Kondakarian notation and became, during the 13th century, integrated into Byzantine round notation as a kind of universal notation system.[8]

Today the main difference between Western and Eastern neumes is that Eastern notation symbols are "differential" rather than absolute, i.e., they indicate pitch steps (rising, falling or at the same step), and the musicians know to deduce correctly, from the score and the note they are singing presently, which correct interval is meant. These step symbols themselves, or better "phonic neumes", resemble brush strokes and are colloquially called gntzoi ('hooks') in modern Greek.

Notes as pitch classes or modal keys (usually memorised by modal signatures) are represented in written form only between these neumes (in manuscripts usually written in red ink). In modern notation they simply serve as an optional reminder and modal and tempo directions have been added, if necessary. In Papadic notation medial signatures usually meant a temporary change into another echos.

The so-called "great signs" were once related to cheironomic signs; according to modern interpretations they are understood as embellishments and microtonal attractions (pitch changes smaller than a semitone), both essential in Byzantine chant.[9]

Since Chrysanthos of Madytos there are seven standard note names used for "solfge" (parallagē) p, v, gh, dhi, k, zō, nē, while the older practice still used the four enechemata or intonation formulas of the four echoi given by the modal signatures, the authentic or kyrioi in ascending direction, and the plagal or plagioi in descending direction (Papadic Octoechos).[11] With exception of v and zō they do roughly correspond to Western solmization syllables as re, mi, fa, sol, la, si, do. Byzantine music uses the eight natural, non-tempered scales whose elements were identified by Ēkhoi, "sounds", exclusively, and therefore the absolute pitch of each note may slightly vary each time, depending on the particular Ēkhos used. Byzantine notation is still used in many Orthodox Churches. Sometimes cantors also use transcriptions into Western or Kievan staff notation while adding non-notatable embellishment material from memory and "sliding" into the natural scales from experience, but even concerning modern neume editions since the reform of Chrysanthos a lot of details are only known from an oral tradition related to traditional masters and their experience.

In 1252, Safi al-Din al-Urmawi developed a form of musical notation, where rhythms were represented by geometric representation. Many subsequent scholars of rhythm have sought to develop graphical geometrical notations. For example, a similar geometric system was published in 1987 by Kjell Gustafson, whose method represents a rhythm as a two-dimensional graph.[12]

The scholar and music theorist Isidore of Seville, while writing in the early 7th century, considered that "unless sounds are held by the memory of man, they perish, because they cannot be written down."[13] By the middle of the 9th century, however, a form of neumatic notation began to develop in monasteries in Europe as a mnemonic device for Gregorian chant, using symbols known as neumes; the earliest surviving musical notation of this type is in the Musica Disciplina of Aurelian of Rme, from about 850. There are scattered survivals from the Iberian Peninsula before this time, of a type of notation known as Visigothic neumes, but its few surviving fragments have not yet been deciphered.[14] The problem with this notation was that it only showed melodic contours and consequently the music could not be read by someone who did not know the music already.

Notation had developed far enough to notate melody, but there was still no system for notating rhythm. A mid-13th-century treatise, De Mensurabili Musica, explains a set of six rhythmic modes that were in use at the time,[15] although it is not clear how they were formed. These rhythmic modes were all in triple time and rather limited rhythm in chant to six different repeating patterns. This was a flaw seen by German music theorist Franco of Cologne and summarised as part of his treatise Ars Cantus Mensurabilis (the art of measured chant, or mensural notation). He suggested that individual notes could have their own rhythms represented by the shape of the note. Not until the 14th century did something like the present system of fixed note lengths arise.[citation needed] The use of regular measures (bars) became commonplace by the end of the 17th century.[citation needed]

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