Beat

The unit of musical rhythm.

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Beat

The beat or pulse in a piece of music is the regular rhythmic pattern of the music. Each bar should start with a strong beat and each bar should end with a weak beat. These may be known as the down-beat (strong, at the beginning of a bar) and the up-beat (weak, at the end of a bar). Up and down describe the gestures of a conductor, whose preparatory up-beat is of even greater importance to players than his down-beat.

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BEAT (Wikipedia)

The beat is the basic time unit of music, the pulse of the mensural level, also known as the beat level[2]. However, since the term is in popular use, it often connotes the tempo of a piece or a particular sequence of individual beats, the meter, rhythm or groove. In hip hop and R&B music, the term 'beat' commonly refers to the entire instrumental, non-vocal layer of the song, which is frequently based on a looped recording of a drum-rhythm. It may also refer to particular beats in the measure. Much music is characterised by a sequence of stressed and unstressed beats (often called "strong" and "weak") organised into measures and perhaps indicated by a time signature and tempo indication.

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SCORE

Score

A musical score is written music that shows all parts. A conductor's score, for example, may have as many as thirty different simultaneous instrumental parts on one page, normally having the woodwind at the top, followed below by the brass, the percussion and the strings. A distinction is made between a vocal score, which gives voice parts with a simplified two-stave version of any instrumental parts, and a full score, which includes all vocal and instrumental parts generally on separate staves. To score a work is to write it out in score. A symphony, for example, might be sketched in short score, on two staves, and later orchestrated or scored for the required instruments.

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SCORE
Score is a common alternative (and more generic) term for sheet music, and there are several types of scores, as discussed below. (Note: the term score can also refer to incidental music written for a play, television programme, or film; for the last of these, see film score.)

Scores come in various formats, as follows:A conductor's scoreA full score is a large book showing the music of all instruments and voices in a composition lined up in a fixed order. It is large enough for a conductor to be able to read it while directing rehearsals and performances.

A miniature score is like a full score but much reduced in size. It is too small for practical use but handy for studying a piece of music, whether it be for a large ensemble or a solo performer. A miniature score may contain some introductory remarks. A study score is sometimes the same size as, and often indistinguishable from, a miniature score, except in name. Some study scores are octavo size and are thus somewhere between full and miniature score sizes. A study score, especially when part of an anthology for academic study, may include extra comments about the music and markings for learning purposes.

A piano score (or piano reduction) is a more or less literal transcription for piano of a piece intended for many performing parts, especially orchestral works; this can include purely instrumental sections within large vocal works (see vocal score immediately below). Such arrangements are made for either piano solo (two hands) or piano duet (one or two pianos, four hands). Extra small staves are sometimes added at certain points in piano scores for two hands in order to make the presentation more nearly complete, though it is usually impractical or impossible to include them while playing. As with vocal score (immediately below), it takes considerable skill to reduce an orchestral score to such smaller forces because the reduction needs to be not only playable on the keyboard but also thorough enough in its presentation of the intended harmonies, textures, figurations, etc. Sometimes markings are included to show which instruments are playing at given points. While piano scores are usually not meant for performance outside of study and pleasure (Liszt's concert transcriptions of Beethoven's symphonies being a notable exception), ballets get the most practical benefit most from piano scores because with one or two pianists they allow unlimited rehearsal before the orchestra is absolutely needed. They can be used also to train beginning conductors. Piano scores of operas do not include separate staves for the vocal parts, but they may add the sung text and stage directions above the music. Excerpt of a piano-vocal score (from the opera William Ratcliff, by César Cui).A vocal score (or, more properly, piano-vocal score) is a reduction of the full score of a vocal work (e.g., opera, musical, oratorio, cantata, etc.) to show the vocal parts (solo and choral) on their staves and the orchestral parts in a piano reduction (usually for two hands) underneath the vocal parts; the purely orchestral sections of the score are also reduced for piano. If a portion of the work is a cappella, a piano reduction of the vocal parts is often added to aid in rehearsal (this often is the case with a cappella religious sheet music). While not meant for performance, vocal scores serve as a convenient way for vocal soloists and choristers to learn the music and rehearse separately from the instrumental ensemble.

The vocal score of a musical typically does not include the spoken dialogue, except for cues. The related but less common choral score contains the choral parts with no accompaniment. The comparable organ score exists as well, usually in association with church music for voices and orchestra, such as arrangements (by later hands) of Handel's Messiah. It is like the piano-vocal score in that it includes staves for the vocal parts and reduces the orchestral parts to be performed by one person. Unlike the vocal score, the organ score is sometimes intended by the arranger to substitute for the orchestra in performance if necessary. A collection of songs from a given musical is usually printed under the label vocal selections. This is different from the vocal score from the same show in that it does not present the complete music, and the piano accompaniment usually is simplified and includes the melody line.

A short score is a reduction of a work for many instruments to just a few staves. Rather than composing directly in full score, many composers work out some type of short score while they are composing and later expand the complete orchestration. (An opera, for instance, may be written first in a short score, then in full score, then reduced to a vocal score for rehearsal.) Short scores are often not published; they may be more common for some performance venues (e.g., band) than in others. A lead sheet specifies only the melody, lyrics and harmony, using one staff with chord symbols placed above and lyrics below. It is commonly used in popular music to capture the essential elements of song without specifying how the song should be arranged or performed. A chord chart or "chart" contains little or no melodic information at all but provides detailed harmonic and rhythmic information. This is the most common kind of written music used by professional session musicians playing jazz or other forms of popular music and is intended primarily for the rhythm section (usually containing piano, guitar, bass and drums). A tablature is a special type of musical score -- most typically for a solo instrument -- which shows where' to play the pitches on the given instrument rather than which pitches to produce, with rhythm indicated as well. This type of notation, which dates from the late Middle Ages, has been used for keyboard (e.g., organ) and for fretted

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Bar - Line

Bar
In written Western music the bar-line came to be used, a vertical line through the stave, to mark metrical units or bars (= measures). By the later 17th century the bar-line had come to be used immediately preceding a strong beat, so that a bar came to begin normally with an accented note. The double bar or double bar-line marks the end of a section or piece

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Bar

In musical notation, a bar (or measure) is a segment of time defined as a given number of beats of a given duration. Typically, a piece consists of several bars of the same length, and in modern musical notation the number of beats in each bar is specified at the beginning of the score by a time signature (such as 3/4).
The word measure is heard more frequently in the U.S., while bar is used in other English-speaking countries, although musicians generally understand both usages. The word bar derives from the vertical lines which separate one measure from another, and not the bar-like (i.e., rectangular) dimensions of a typical measure of music.
Although the words bar and measure are often used interchangably the correct use of the word 'bar' refers only to the vertical line itself, while the word 'measure' refers to the music contained between bars.[1] It is thus more correct to think of measure numbers rather than bar numbers, and many critical editions refer to specific locations in this way e.g. m.22, mm.9-16 etc. Actual critical editions using this nomenclature should always include a key to distinguish between bars and beats and it is more precise to reserve the abbreviated form b.1 / bb.3-4 etc. for beats only; bars should be referred to by name in full.

The bar number is itself derived from the measure number and so the measure always follows the bar and while m.1 marks the first metrically complete measure within a piece of music, bar 1 is often left off the score. The exception to this is when the piece begins with a cue measure (again, often confused with the term the "cue bar"); in this instance, a cue measure is the first incomplete measure at the head of a piece of music or of a complete movement within a larger composition. By definition, the cue measure contains only a portion of the total number of beats required to make up a complete measure and is properly understood as a zero measure or m.0 followed by bar 1.

First and second time measures should share the same number but are easily distinguished by the suffix, e.g. m.16a (first time measure) / m.16b (second time measure) etc.

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Brass

The brass section of the orchestra includes metal instruments where the sound is produced by forcing air through a cup-shaped or conical mouthpiece. The brass section usually consists of trumpets, trombones and tuba and French horns.'

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