To begin, we have to look at the time signature. That having been said, let’s look at how rhythm is written. You definitely want to have both, but if you don’t have the rhythm, it just won’t sound right. In most cases, getting the correct rhythm is going to result in a song being more recognizable versus just having the notes. On the flip side of that, imagine the song with all the right rhythms, but a completely different set of notes (this is particularly easy to imagine if you’ve ever heard a large group sing “Happy Birthday”). Now, think about that song with all the right notes, but a completely different rhythm (probably hard to do). Let’s try a thought experiment, though, so you can see what I mean. If there’s one thing more important in music than notes, it’s rhythm. We can definitely go beyond these notes (in BOTH directions), but don’t worry about that yet… Identifying the fingerings as numbers can be quite useful if you ever find need to write a quick (and hopefully occasional) reminder in your music to help you play the right note. The second fingering chart uses numbers to represent the fingerings instead of the shaded circles and covers what is often called the “full range” of the trumpet.
The style here shows the fingerings pictographically, with shaded valves pressed down, and the valves going 1, 2, 3 from the top down. My dad wrote it out for me the day we came home with my first trumpet (in the summer of 1996!). The first fingering chart you see is actually the very first fingering chart I ever had.
So an A with a ♯ in front of it is an A-sharp (for various reasons, though, A-sharp is more commonly seen written as B-flat). When the sharp symbol (♯) is written, the pitch goes up by one half step. Following so far? Well, on the flip side of flats, are sharps. So, an A with a ♭ in front of it is an A-flat. The note name would also get the word “flat” added to the end. The flat symbol (♭) lowers a written pitch by one half step. These are notes called sharps and flats, indicated by a proceeding symbol. In addition to the, let’s call them “regular” notes, there are also notes referred to as accidentals. Again, if you just go through the alphabet (A-G), figuring out the notes will become easy. So, ledger lines above the staff, moving upward, are A-C-E-G and so forth (don’t worry, you’ll mostly only need the first two), and ledger lines below the staff, moving downward, are C-A-F (there are technically notes we can play below that (pedal tones), but that’s a whole different beast).
Every other note moving outward from the clef gets a line through it as if the clef were continuing on. But what about those notes outside the clef? Yes, most of our notes will be in the staff, but when we play high or low enough, we run out of room.
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