
The thick, short horizontal lines in the middle of each bar can be ignored for now (consider them rests, when no music is played, only silence). On these lines, and between these lines, we place notes – written representations of sounds. Figure 1.1 shows a staff, made of five horizontal lines.

Don’t worry if you don’t get it just yet. I will mostly use three sharps in order to represent actual key of F# minor.

For example, Nakai’s notation uses four sharp symbols. Now, I will mention Nakai’s notation once again (since there are mentions of it within other articles on FluteCraft), but what I’m going to teach you will be universal music notation. With this, you’ll be able to play with other musicians, although let’s make this clear: learning theory and notation is one thing, but mastering this requires a lot of practice.
NATIVE AMERICAN INDIAN FLUTE MUSIC HOW TO
The main goal of this series is to teach you how to read traditional and universal music notation, and understand what you’re reading and why we do things the way we do. I wanted to find the middle ground between necessary knowledge and simplicity. I decided to simplify this series of tutorials as much as possible, yet not so much that you would not learn everything that one must know about music theory and notation.

Thus, I want to offer you a short series of tutorials explaining the basics of music theory and music notation with Native American flute in mind. That said, sometimes it’s easier for people to learn both theory and notation when they are given a book explaining these subjects in the context of a specific instrument. In addition, not all parts of standard music theory and notation reading apply in case of playing Native style flutes, even when played with other instruments. Music theory and note reading apply to all instruments and all musical genres. Music theory is universal – there is no such thing as “different music theory for different instruments”.
