Note value
In music notation, note value—also known as time value or duration—refers to the relative length of time a pitch is sustained or a silence is held, forming the basis of rhythm in musical compositions.[1][2] These values are denoted through specific symbols, including the shape of the notehead (open or filled), the presence of a stem, and flags or beams for shorter durations, allowing musicians to interpret the temporal structure of a piece.[3][4] The most common note values derive from binary subdivisions of a whole note (known as a semibreve in British terminology), which serves as the foundational unit equal to four beats in simple quadruple meter like 4/4 time.[1][3] A half note (minim) lasts half as long (two beats), a quarter note (crotchet) one-quarter (one beat), an eighth note (quaver) one-eighth (half a beat), and a sixteenth note (semiquaver) one-sixteenth (a quarter beat), with each subsequent value halving the previous through added notation like flags.[2][4] Rarer durations include the double whole note (breve), twice a whole note, and the 64th note, half a 32nd note, used sparingly in complex rhythms.[4][3] Note values interact with time signatures to organize music into measures, where the bottom number indicates the note value equaling one beat (e.g., 4 for quarter note), and the top number specifies beats per measure, influencing how values fill bars without exceeding the total duration.[1] Modifications like dotted notes extend a value by half its length (e.g., a dotted quarter note equals three eighth notes), while ties connect adjacent notes of the same pitch to combine durations across bar lines.[3] Corresponding rests provide equivalent silences, mirroring note shapes to maintain rhythmic precision.[1][4] This system, rooted in Western staff notation, enables composers and performers to convey intricate temporal patterns across genres.[2]Fundamentals
Definition and Purpose
In music notation, note value refers to the duration for which a specific pitch is sustained during performance, indicating how long the note is held relative to the musical beat. This temporal aspect complements the pitch to fully specify a musical sound, allowing performers to interpret the length of each note within the context of the composition's rhythm.[3][2] Note values play a foundational role in structuring musical rhythm by organizing the timing of sounds and silences, which in turn supports elements like tempo and phrasing. They enable the creation of patterned durations that establish pulse and meter, guiding the overall flow and expressive contour of a piece. Without precise note values, the temporal framework essential to Western musical notation would collapse, rendering rhythmic coherence impossible.[3][5] Critically, note values operate on a relative rather than absolute scale, where durations are proportional to one another and adaptable to varying tempos. For example, in 4/4 time, a whole note equals four quarter notes—each quarter note representing one beat—but the actual elapsed time depends on the piece's speed, measured in beats per minute. This flexibility ensures that the same notation can be performed at different paces while preserving rhythmic relationships.[3][6]Relative Duration System
The relative duration system in Western music notation establishes proportional relationships among note values through a binary subdivision principle, where each successive note represents half the duration of the preceding one. This hierarchical structure allows composers to precisely notate rhythmic patterns by dividing time into increasingly finer units, facilitating the representation of complex rhythms within a consistent framework.[7][8] In modern practice, the hierarchy of note values begins with the breve (double whole note), the longest standard duration and twice the semibreve (whole note), followed by the semibreve, minim (half note, half the semibreve), crotchet (quarter note, half the minim), quaver (eighth note, half the crotchet), semiquaver (sixteenth note, half the quaver), and demisemiquaver (thirty-second note, half the semiquaver). Assuming a common 4/4 time signature where the crotchet equals one beat, these values correspond to relative durations of: breve (8 beats), semibreve (4 beats), minim (2 beats), crotchet (1 beat), quaver (1/2 beat), semiquaver (1/4 beat), and demisemiquaver (1/8 beat). This progression exemplifies the binary halving, such that one semibreve equals two minims, one minim equals two crotchets, and so forth.[9][8] Mathematically, the ratios are expressed as powers of 1/2 relative to a base unit, such as the crotchet at 1 beat, yielding the quaver at \frac{1}{2} beat, the semiquaver at \frac{1}{4} beat, and the demisemiquaver at \frac{1}{8} beat; conversely, longer values double accordingly, with the semibreve at 4 beats and the breve at 8 beats. These ratios ensure that combinations of notes fill measures predictably, as four crotchets equal one semibreve or eight quavers.[10][7] In interaction with time signatures, note values define the pulse by designating the beat unit—typically the crotchet in simple meters like 4/4—allowing the hierarchy to subdivide or aggregate beats within the bar, thus structuring the overall meter and rhythmic flow. For instance, in 4/4 time, the semibreve spans an entire measure, while quavers provide subdivisions for faster passages, enabling precise alignment with the underlying pulse.[10][9]| Note Value | Relative Duration (beats, crotchet=1) | Binary Relation |
|---|---|---|
| Breve | 8 | 2 semibreves |
| Semibreve | 4 | 2 minims |
| Minim | 2 | 2 crotchets |
| Crotchet | 1 | 2 quavers |
| Quaver | 1/2 | 2 semiquavers |
| Semiquaver | 1/4 | 2 demisemiquavers |
| Demisemiquaver | 1/8 | - |
Standard Note Values
Primary Symbols and Durations
In modern Western music notation, the primary note values represent the fundamental durations used to structure rhythm, with each subsequent value halving the duration of the previous one in a binary system. These include the whole note, half note, quarter note, eighth note, and sixteenth note, among others, and their durations are typically measured in beats within a given time signature, such as 4/4 time where the quarter note equals one beat.[3][11] Terminology for these notes differs between American and British English, reflecting historical naming conventions. In American usage, names follow a fractional system (whole, half, quarter, etc.), while British terms derive from older mensural notation (semibreve, minim, crotchet, etc.). The symbols consist of a notehead (oval shape), optionally filled or open, with or without a stem and flags for shorter durations.[3][11] The following table summarizes the primary symbols, their American and British names, brief descriptions, and standard durations in 4/4 time:| American Name | British Name | Symbol Description | Duration (Beats in 4/4) |
|---|---|---|---|
| Whole note | Semibreve | Open oval, no stem | 4 |
| Half note | Minim | Open oval with stem | 2 |
| Quarter note | Crotchet | Filled oval with stem | 1 |
| Eighth note | Quaver | Filled oval with stem and single flag | 1/2 |
| Sixteenth note | Semiquaver | Filled oval with stem and double flag | 1/4 |
Visual Representation
In standard music notation, note heads serve as the foundational graphical element for representing note values. Whole and half notes feature open (unfilled) oval-shaped heads, while quarter notes and shorter durations use filled (blackened) heads to distinguish them visually. These heads are typically oval rather than perfectly round and are tilted slightly upward to the right for consistency across scores.[12][13][14] Stems attach to note heads to further denote shorter durations, with direction determined by the note's position on the staff: stems extend upward from the right side of the head for notes on or below the middle line, and downward from the left side for notes on or above it. For notes on the middle line, the direction may vary based on surrounding notation for balance. Stems are approximately one octave in length (3 1/2 staff spaces), ensuring uniformity. Flags are added to stems for notes shorter than a quarter: a single curved flag extends to the right from the stem's end for eighth notes, while two flags are used for sixteenth notes, also curving toward the head.[12][13][14] To enhance readability, especially in faster passages, individual flags on eighth notes and smaller are often replaced by beams—horizontal lines connecting the stems of multiple adjacent notes. Beams are drawn at a slight angle if needed to align with stem directions and are typically four times thicker than stems, grouping notes in sets that reflect rhythmic or metric divisions. This convention applies primarily to eighth notes and below, promoting cleaner engraving.[12][13][14] Note heads are positioned on the five-line staff, either centered on lines (occupying half the space between adjacent lines) or fully within spaces (touching the lines above and below). For notes extending beyond the staff's range, short horizontal ledger lines are added, with each line supporting a single note head and no additional lines drawn immediately above or below it to avoid clutter. This placement system maintains spatial clarity without altering the core shapes.[12][13]Modifications
Articulation Marks
Articulation marks in music notation instruct performers to modify the execution of notes, altering their perceived duration and rhythmic character without changing the written note value. These marks influence the attack, sustain, and release of sounds, shaping the overall phrasing and expression in a composition. Unlike explicit duration modifiers, such as augmentation dots, articulation primarily affects interpretive performance practices in Western music traditions.[15] Staccato is an articulation that shortens the note to approximately half its notated duration, creating a detached effect by inserting a brief silence equivalent to the omitted portion. For instance, a staccato quarter note is typically performed as if it were an eighth note followed by an eighth rest, imparting a light, bouncy rhythmic feel that enhances clarity and energy in passages. This modification does not alter the underlying meter but compresses the sustained sound, making the rhythm feel more fragmented.[16][17] Tenuto, in contrast, directs the performer to sustain the note for its full written value while applying a subtle emphasis, often through a firmer attack or slight increase in volume, without extending beyond the notated time. This results in a smooth, weighted execution that maintains the note's complete duration, contributing to a connected and expressive flow. The emphasis adds prominence to the note, altering its perceived importance in the phrase without shortening or lengthening it.[15][16] An accent mark applies dynamic stress to the beginning of a note, increasing its intensity and volume relative to surrounding notes, but leaves the duration unchanged. This creates a punchy, highlighted effect that draws attention to rhythmic or melodic points, modifying the overall pulse by emphasizing beats without disrupting the temporal structure. Accents thus enhance contrast and forward momentum in performance.[17][15] These articulations impact performance by refining the rhythmic feel and phrasing, allowing musicians to convey nuance within fixed note values. Staccato introduces separation and playfulness, tenuto fosters sustain and gravity, and accents provide focal points, collectively shaping how listeners perceive the music's flow. In classical music, such marks are interpreted with precision to align with the composer's intent, often resulting in structured, elegant phrasing. In jazz, however, articulations like staccato and accents are applied more flexibly, incorporating swing rhythms and improvisational inflections to create a looser, conversational phrasing style.[16][18] The symbols for these marks are standardized in Western notation for clarity:| Articulation | Symbol | Placement |
|---|---|---|
| Staccato | Small dot (·) | Above or below notehead |
| Tenuto | Horizontal line (–) | Above or below notehead |
| Accent | Wedge or > symbol | Above or below notehead |