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The Exonerated is a 2000 play by Jessica Blank and Erik Jensen that debuted Off-Broadway on October 30, 2000 at 45 Bleecker Theater and ran for over 600 performances. It won numerous awards including the Lucille Lortel Award for Unique Theatrical Experience, the Drama Desk Award for Unique Theatrical Experience, and the Outer Critics Circle Award for Outstanding Off-Broadway Play. It was adapted into a 2005 film by the same name.

Plot[edit]

The work combines first-person narrative with legal records to tell the stories of six wrongfully convicted inmates: Delbert Tibbs, Kerry Max Cook, Gary Gauger, David Keaton, Robert Earl Hayes and Sunny Jacobs, and their paths to freedom.^[1] The production is performed as an anthology by 10 actors seated behind music stands. Their accounts of the freed convicts emphasize their lives after being sentenced to death, including much of the legal proceedings that gained their exoneration.^[2]

Cast[edit]

The original cast was as follows:^[1]

• Delbert Tibbs – Charles Brown
• Robert Earl Hayes – David Brown, Jr.
• Sunny Jacobs – Jill Clayburgh
• Kerry Max Cook – Richard Dreyfuss
• Sue Gauger/Sandra – Sara Gilbert
• Male Ensemble – Bruce Kronenberg, Philip Levy
• David Keaton – Curtis McClarin
• Gary Gauger – Jay O. Sanders
• Georgia Hayes, et al. – April Yvette Thompson

Productions[edit]

During the summer of 2000, Jensen and Blank traveled to interview 40 former death row inmates who had been freed by the state after having served as much as 22 years in prison.^[3] After previews beginning on October 1,^[3] the play debuted Off-Broadway on October 10, 2002 at 45 Bleecker Theater, directed by Bob Balaban.^[2] The original run lasted from October 10, 2002 to March 7, 2004.

A revival of the play ran from September 19, 2012 to December 2, 2012 at the same theater, with a rotating cast that included Brian Dennehy, Stockard Channing, Delroy Lindo, Brooke Shields, and Lyle Lovett.^[4][5][6] The play was later performed for a 16-week run at the Riverside Studios theater in London, where it was supported by death penalty opponent Amnesty International.^[7]

In December 2002, the play was performed by a cast that included Richard Dreyfuss, Danny Glover and Mike Farrell, for Illinois Governor George Ryan, other politicians, and attorneys. A group of exonerated individuals also attended.^[8][9]

Ryan was reviewing how to handle death row inmates in light of the publicity surrounding those who had been convicted during Chicago Police Commander Jon Burge's tenure, which ended when he was fired in 1993.^[10][11] He had been the subject of numerous complaints to the police board and suits against the city for abusing suspects and coercing confessions.^[10] In 2006 the results of an investigation were presented to the city of Chicago, saying there was evidence sufficient to indict Burge, but the statute of limitations for the crimes had been exceeded.^[10]

Ryan declared a moratorium on the use of the death sentence in the state in 2000. In early January 2003, shortly before he left office, he pardoned four men whom he believed to be innocent. On January 11, 2003, having lost confidence in the state's penal system, Ryan commuted the death sentences of 167 prisoners on Illinois’ death row to life imprisonment.^[12] He said that would allow them to appeal their convictions.

In 2005, the play was adapted into a film of the same name, starring Susan Sarandon, Danny Glover and Brian Dennehy.^[13] That February, Simon & Schuster published Jenson and Blank's memoir, Living Justice: Love, Freedom and the Making of The Exonerated.^[9]

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In 2018 a notable revival took place at The Secret Theatre in Queens, NY, produced by Richard Mazda. It was unusual in that the cast acted out all of scenarios as they were described, a departure from the traditional reader's theatre staging. The director was DeMone Seraphin, assisted by Krysta Hibbard. Movement by Tamrin Goldberg and Fight Direction and Dramaturgy by Meron Langsner. The cast consisted of James Washington, Laura Lockwood, Alphonso Walker Jr., Chelsea Davis, Mark Keeton, Tommy Norton, Greg Warren, Ruby Littman, Tyler Waage, and Sean Jarrel. ^[14] The final performances were attended by Kerry Max Cook.

Awards[edit]

The original production, which ran for 608 performances,^[15] won the 2003 Lucille Lortel Award for Unique Theatrical Experience,^[16] the 2003 Drama Desk Award for Unique Theatrical Experience,^[17] and the 2003 Outer Critics Circle Award for Outstanding Off-Broadway Play.^[18] It has also won the National Association of Criminal Defense Lawyers' Champion of Justice Award and Court TV's Scales of Justice Award.^[3]

Notes[edit]

1. ^ ^abIsherwood, Charles (October 13, 2002). 'Review: 'The Exonerated''. Variety. Retrieved July 17, 2015.
2. ^ ^abBrantley, Ben (October 11, 2002). 'THEATER REVIEW; Someone Else Committed Their Crimes'. The New York Times. Retrieved July 16, 2015.
3. ^ ^abc'The Critically Acclaimed Hit Off Broadway Play, The Exonerated, Receives a Series of Theatrical and Cultural Accolades and Honors'(PDF). The Culture Project. Retrieved July 17, 2015.
4. ^'The Exonerated'. Lortel.org. Retrieved July 16, 2015.
5. ^Jaworowski, Ken (September 19, 2012). 'When Justice Makes You Gasp: 'The Exonerated,' Revived at the Culture Project'. The New York Times. Retrieved July 16, 2015.
6. ^Stransky, Tanner (September 19, 2012). 'The Exonerated'. Entertainment Weekly. Retrieved July 23, 2015.
7. ^'Amnesty supports The Exonerated play'. Amnesty International. February 20, 2006. Retrieved July 17, 2015.
8. ^Jones, Chris (December 18, 2002). '`Exonerated' an enlightening evening for Ryan'. Chicago Tribune. Retrieved July 17, 2015.
9. ^ ^abBussel, Rachel Kramer (April 11, 2005). 'Jessica Blank and Erik Jensen, playwrights, The Exonerated, authors, Living Justice'. Gothamist. Archived from the original on February 20, 2015. Retrieved July 17, 2015.
10. ^ ^abcFerkenhoff, Eric (July 19, 2006). 'Chicago's Toughest Cop Goes Down'. Time. Time Inc. Retrieved July 16, 2008.
11. ^Wilgoren, Jodi (January 10, 2003). 'Illinois Expected To Free 4 Inmates'. The New York Times Company. Retrieved November 17, 2007.
12. ^Flock, Jeff (January 13, 2003). ''Blanket commutation' empties Illinois death row'. CNN. Archived from the original on February 8, 2008. Retrieved October 5, 2007.
13. ^Lowry, Brian (January 26, 2005). 'Review: 'The Exonerated''. Variety. Retrieved July 17, 2015.
14. ^Desk, BWW News. 'Writer Erik Jensen Visits the Cast of The Secret Theatre's EXONERATED'. BroadwayWorld.com. Retrieved June 16, 2018.
15. ^Hernandez, Ernio (March 7, 2004). 'Wrongful Imprisonment Drama The Exonerated Closes Off-Broadway, March 7'. Playbill. Retrieved July 17, 2015.
16. ^Jones, Ken (May 5, 2003). '2003 Lucille Lortel Awards Announced; Take Me Out, Avenue Q Big Winners'. Playbill. Retrieved July 17, 2015.
17. ^Simonson, Robert (May 19, 2003). 'Hairspray Cleans Up at Drama Desk Awards; Take Me Out Is Outstanding Play'. Playbill. Retrieved July 17, 2015.
18. ^Gans, Andrew (May 5, 2003). 'Outer Critics Circle Award Winners Announced; Hairspray Leads the Pack'. Playbill. Retrieved July 17, 2015.

External links[edit]

• The Exonerated at Lortel.org's Internet Off-Broadway Database

Have you ever heard a song on the radio and thought, “Hey, it’d be really cool to know how to play that?” Do you have friends who play musical instruments, and you want to get in on the fun? Do you just want to expand your general artistic knowledge? Well, learning the basics of how to read sheet music can help you achieve all of these, and in a shorter amount of time than you might have thought!

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At its very simplest, music is a language just like you’d read aloud from a book. The symbols you’ll see on pages of sheet music have been used for hundreds of years. They represent the pitch, speed, and rhythm of the song they convey, as well as expression and techniques used by a musician to play the piece. Think of the notes as the letters, the measures as the words, the phrases as the sentences and so forth. Learning to read music really does open up a whole new world to explore!

Follow our step-by-step introduction to the language of music below, download your FREE tools at the end of this article, and you’ll be playing along in no time at all.

How to Read Sheet Music

Step 1: Learn the Basic Symbols of Notation

Music is made up of a variety of symbols, the most basic of which are the staff, the clefs, and the notes. All music contains these fundamental components, and to learn how to read music, you must first familiarize yourself with these basics.

The Staff

The staff consists of five lines and four spaces. Each of those lines and each of those spaces represents a different letter, which in turn represents a note. Those lines and spaces represent notes named A-G, and the note sequence moves alphabetically up the staff.

Treble Clef

There are two main clefs with which to familiarize yourself; the first is a treble clef. The treble clef has the ornamental letter G on the far left side. The G’s inner swoop encircles the “G” line on the staff. The treble clef notates the higher registers of music, so if your instrument has a higher pitch, such as a flute, violin or saxophone, your sheet music is written in the treble clef. Higher notes on a keyboard also are notated on the treble clef.

We use common mnemonics to remember the note names for the lines and spaces of the treble clef. For lines, we remember EGBDF by the word cue “Every Good Boy Does Fine.” Similarly, for the spaces, FACE is just like the word “face.”

Bass Clef

The line between the two bass clef dots is the “F” line on the bass clef staff, and it’s also referred to as the F clef. The bass clef notates the lower registers of music, so if your instrument has a lower pitch, such as a bassoon, tuba or cello, your sheet music is written in the bass clef. Lower notes on your keyboard also are notated in the bass clef.

A common mnemonic to remember note names for the lines of the bass clef is: GBDFA “Good Boys Do Fine Always.” And for the spaces: ACEG, “All Cows Eat Grass.”

Notes

Notes placed on the staff tell us which note letter to play on our instrument and how long to play it. There are three parts of each note, the note head, the stem, and the flag.

Every note has a note head, either filled (black) or open (white). Where the note head sits on the staff (either on a line or space) determines which note you will play. Sometimes, note heads will sit above or below the five lines and four spaces of a staff. In that case, a line (known as a ledger line) is drawn through the note, above the note or below the note head, to indicate the note letter to play, as in the B and C notes above.

The note stem is a thin line that extends either up or down from the note head. The line extends from the right if pointing upward or from the left if pointing downward. The direction of the line doesn’t affect how you play the note but serves as a way to make the notes easier to read while allowing them to fit neatly on the staff. As a rule, any notes at or above the B line on the staff have downward pointing stems, those notes below the B line have upward pointing stems.

The note flag is a curvy mark to the right of the note stem. Its purpose is to tell you how long to hold a note. We’ll see below how a single flag shortens the note’s duration, while multiple flags can make it shorter still.

Now that you know the parts to each note, we’ll take a closer look at those filled and open note heads discussed above. Whether a note head is filled or open shows us the note’s value, or how long that note should be held. Start with a closed note head with a stem. That’s our quarter note, and it gets one beat. An open note head with a stem is a half note, and it gets two beats. An open note that looks like an “o” without a stem is a whole note, and it gets held for four beats.

There are other ways to extend the length of a note. A dot after the note head, for example, adds another half of that note’s duration to it. So, a half note with a dot would equal a half note and a quarter note; a quarter note with a dot equals a quarter plus an eighth note. A tie may also be used to extend a note. Two notes tied together should be held as long as the value of both of those notes together, and ties are commonly used to signify held notes that cross measures or bars.

The opposite may also happen, we can shorten the amount of time a note should be held, relative to the quarter note. Faster notes are signified with either flags, like the ones discussed above, or with beams between the notes. Each flag halves the value of a note, so a single flag signifies 1/2 of a quarter note, a double flag halves that to 1/4 of a quarter note, et cetera. Beams do the same while allowing us to read the music more clearly and keep the notation less cluttered. As you can see, there’s no difference in how you count the eighth and 16th notes above. Follow along with the sheet music for “Alouette” to see how beams organize notes!

But what happens when there isn’t a note taking up each beat? It’s easy, we take a rest! A rest, just like a note, shows us how long it should be held based on its shape. See how whole and quarter rests are used in the song “Here We Go Looby-Loo.”

Step 2: Pick Up the Beat

To play music, you need to know its meter, the beat you use when dancing, clapping or tapping your foot along with a song. When reading music, the meter is presented similar to a fraction, with a top number and a bottom number, we call this the song’s time signature. The top number tells you how many beats to a measure, the space of staff in between each vertical line (called a bar). The bottom number tells you the note value for a single beat, the pulse your foot taps along with while listening.

In the example above, the time signature is 4/4, meaning there are 4 beats per bar and that every quarter note gets one beat. Click here to listen to sheet music written in 4/4 time, and try counting along 1,2,3,4 – 1,2,3,4 with the beat numbers above.
In the example below, the time signature is 3/4, meaning there are 3 beats per bar and that every quarter note gets one beat. Click here to listen to sheet music written in 3/4 time, try counting the beats, 1,2,3 – 1,2,3.

Let’s look again at the above examples, notice that even though the 4/4 time signature in “Twinkle, Twinkle Little Star” calls for 4 beats per bar, there aren’t 4 notes in the second bar? That’s because you have two quarter notes and one half note, which added together equal 4 beats.

In addition to your note values and time signature, the last piece to feeling the rhythm is knowing your tempo or beats per minute. Tempo tells you how fast or slow a piece is intended to be played, and often is shown at the top of a piece of sheet music. A tempo of, say 60 BPM (beats per minute) would mean you’d play 60 of the signified notes every minute or a single note every second. Likewise, a tempo of 120 would double the speed at 2 notes every second. You may also see Italian words like “Largo,” “Allegro” or “Presto” at the top of your sheet music, which signifies common tempos. Musicians use a tool, called a metronome, to help them keep tempo while practicing a new piece. Click here to see an online metronome tool, and click on the circles next to the BPM values to see how a tempo can speed up and slow down.

Step 3: Play a Melody

Congratulations, you’re almost on your way to reading music! First, let’s look at scales. A scale is made of eight consecutive notes, for example, the C major scale is composed of C, D, E, F, G, A, B, C. The interval between the first note of your C major scale and the last is an example of an octave. The C major scale is very important to practice since once you have the C scale down, the other major scales will start to fall into place. Each of the notes of a C major scale corresponds with a white key on your keyboard. Here’s how a C major scale looks on a staff and how that corresponds to the keys on your keyboard:

You’ll notice that as the notes ascend the staff, and move to the right on your keyboard, the pitch of the notes gets higher. But, what about the black keys? Musically, whole tones, or whole steps between the note letters, would limit the sounds we’re able to produce on our instruments. Let’s consider the C major scale you just learned to play. The distance between the C and the D keys in your C scale is a whole step, however, the distance between the E and the F keys in your C scale is a half step. Do you see the difference? The E and the F keys don’t have a black key in between them, thus they’re just a half step away from one another. Every major scale you’ll play on a keyboard has the same pattern, whole-whole-half-whole-whole-whole-half. There are many other types of scales, each with unique sounds, like minor scales, modal scales and more that you’ll come across later on, but for now, let’s focus just on major scales and the major scale pattern. Look at the C major scale again on the keyboard below.

Semitones, or half-steps on the keyboard, allow us to write an infinite variety of sounds into music. A sharp, denoted by the ♯ symbol, means that note is a semitone (or half step) higher than the note head to its right on sheet music. Conversely, a flat, denoted by a ♭ symbol, means the note is a semitone lower than the note head to its right. You’ll notice on the keyboard picture and notated staff below, showing each half step between the C and the E notes, that whether you use the sharp or the flat of a note depends on whether you’re moving up or down the keyboard.

There’s one more symbol to learn regarding semitones, and that’s the natural, denoted by a ♮. If a note is sharp or flat, that sharp or flat extends throughout the measure, unless there’s a natural symbol. A natural cancels a sharp or flat within a measure or a song. Here’s what playing C to E would look like with natural symbols.

Finally, in order to read music, you’ll need to understand key signatures. You actually already know one key signature, the key of C! The C major scale you learned above was in the key of C. Scales are named after their tonic, the preeminent note within the scale, and the tonic determines what key you play in. You can start a major scale on any note, so long as you follow the whole-whole-half-whole-whole-whole-half pattern. Now, following that pattern in keys other than the key of C will require you to use sharps and flats. Since that’s the case, we place the sharps or flats for your song’s key signature right before the meter, after the clef, on your sheet music. That tells you to maintain those sharps or flats throughout the music unless of course there’s a natural symbol to override it. You will begin to recognize the key signatures of pieces based on what sharps or flats are shown. Here’s a quick glimpse at some key signatures using sharps and flats:

Step 4: Don’t Forget Your FREE Tools!

We hope you’re excited to start reading music! In order to help you along on your musical journey, we’ve created a few FREE tools to start practicing with.

First, we’re offering you a FREE Beginner Notes download! Click here for the sheet music to “Mary Had a Little Lamb,” just add the free song to your cart and proceed through checkout to claim your copy, and be sure to take a look at our huge Beginner Notes sheet music assortment, all of which you’ll be able to play using the steps above. Play popular hits like the Star Wars Theme, “Let It Go” from ‘Frozen’, or “Hallelujah” by Leonard Cohen, just to name a few. We’re adding NEW Beginner Notes daily, so be sure to check back often and learn to play all your favorite songs!

We’ve also created a handy guide for lettering the keys on your keyboard or piano. Download your Keyboard Note Guide here, to print, fold and place on your keyboard. Once you become familiar with the keys, you can easily remove it and continue to strengthen your note-reading skills. For those who don’t have access to a keyboard, you can download a free keyboard app for your iPad here, or a free Android keyboard app here.

And don’t forget to download our 100% free iPad, iPhone, Android and desktop apps! The apps offer instant access to all of your Musicnotes sheet music files, plus leading-edge tools and features created by musicians, for musicians. Say goodbye to hauling around stacks of paper, and experience the ultimate in sheet music accessibility.

Good luck, and most importantly, have fun!