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<title>Musical note</title>

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Musical note

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In <a href="Music" title="Music">music</a>, notes are distinct and isolatable <a href="Sound" title="Sound">sounds</a> that act as the most basic building blocks for nearly all of <a href="Music" title="Music">music</a>. This <a href="Musical_analysis#Discretization" title="Musical analysis">discretization</a> facilitates performance, comprehension, and <a href="Musical_analysis" title="Musical analysis">analysis</a>.<a href="#cite_note-FOOTNOTENattiez199081,_note_9-1">[1]</a> Notes may be visually communicated by <a href="Writing" title="Writing">writing</a> them in <a href="Musical_notation" title="Musical notation">musical notation</a>.

Notes can distinguish the general <a href="Pitch_class" title="Pitch class">pitch class</a> or the specific <a href="Pitch_(music)" title="Pitch (music)">pitch</a> played by a pitched <a href="Musical_instrument" title="Musical instrument">instrument</a>. Although this article focuses on pitch, notes for <a href="Unpitched_percussion_instrument" title="Unpitched percussion instrument">unpitched percussion instruments</a> distinguish between different percussion instruments (and/or different manners to sound them) instead of pitch. <a href="Note_value" title="Note value">Note value</a> expresses the relative <a href="Duration_(music)" title="Duration (music)">duration</a> of the note in <a href="Time" title="Time">time</a>. <a href="Dynamics_(music)" title="Dynamics (music)">Dynamics</a> for a note indicate how <a href="Loudness" title="Loudness">loud</a> to play them. <a href="Articulation_(music)" title="Articulation (music)">Articulations</a> may further indicate how performers should shape the <a href="Envelope_(music)" title="Envelope (music)">attack and decay</a> of the note and express fluctuations in a note's <a href="Timbre" title="Timbre">timbre</a> and <a href="Pitch_(music)" title="Pitch (music)">pitch</a>. Notes may even distinguish the use of different <a href="Extended_techniques" class="mw-redirect" title="Extended techniques">extended techniques</a> by using special symbols.

The term note can refer to a specific musical event, for instance when saying the <a href="Song" title="Song">song</a> "<a href="Happy_Birthday_to_You" title="Happy Birthday to You">Happy Birthday to You</a>", begins with two notes of identical pitch. Or more generally, the term can refer to a class of identically sounding events, for instance when saying "the song begins with the same note repeated twice".

<div class="mw-heading mw-heading2"><h2 id="Distinguishing_duration">Distinguishing duration</h2></div>

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</style><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Note_value" title="Note value">Note value</a></div>

A note can have a <a href="Note_value" title="Note value">note value</a> that indicates the note's <a href="Duration_(music)" title="Duration (music)">duration</a> relative to the <a href="Musical_meter" class="mw-redirect" title="Musical meter">musical meter</a>. In order of halving duration, these values are:

</caption>

<th>

</th>

<th>"American" name

</th>

<th>"British" name

</th></tr>

<tr>

<td>

</td>

<td><a href="Double_note" class="mw-redirect" title="Double note">double note</a>

</td>

<td>breve

</td></tr>

<tr>

<td>

</td>

<td><a href="Whole_note" title="Whole note">whole note</a>

</td>

<td>semibreve

</td></tr>

<tr>

<td>

</td>

</td>

<td>minim

</td></tr>

<tr>

<td>

</td>

<td><a href="Quarter_note" title="Quarter note">quarter note</a>

</td>

<td>crotchet

</td></tr>

<tr>

<td>

</td>

<td><a href="Eighth_note" title="Eighth note">eighth note</a>

</td>

<td>quaver

</td></tr>

<tr>

<td>

</td>

<td><a href="Sixteenth_note" title="Sixteenth note">sixteenth note</a>

</td>

<td>semiquaver

</td></tr>

<tr>

<td>

</td>

<td><a href="Thirty-second_note" title="Thirty-second note">thirty-second note</a>

</td>

<td>demisemiquaver

</td></tr>

<tr>

<td>

</td>

<td><a href="Sixty-fourth_note" title="Sixty-fourth note">sixty-fourth note</a>

</td>

<td>hemidemisemiquaver

</td></tr>

<tr>

<td>𝅘𝅥𝅲

</td>

<td><a href="Hundred_twenty-eighth_note" title="Hundred twenty-eighth note">hundred twenty-eighth note</a>

</td>

<td>semihemidemisemiquaver, quasihemidemisemiquaver

</td></tr>

</tbody></table>

Longer note values (e.g. the <a href="Longa_(music)" title="Longa (music)">longa</a>) and shorter note values (e.g. the <a href="Two_hundred_fifty-sixth_note" title="Two hundred fifty-sixth note">two hundred fifty-sixth note</a>) do exist, but are very rare in modern times. These durations can further be <a href="Divisive_rhythm" class="mw-redirect" title="Divisive rhythm">subdivided</a> using <a href="Tuplets" class="mw-redirect" title="Tuplets">tuplets</a>.

A <a href="Rhythm" title="Rhythm">rhythm</a> is formed from a sequence in <a href="Time" title="Time">time</a> of consecutive notes (without particular focus on pitch) and <a href="Rest_(music)" title="Rest (music)">rests</a> (the time between notes) of various durations.

<div class="mw-heading mw-heading2"><h2 id="Distinguishing_pitch">Distinguishing pitch</h2></div>

<div class="mw-heading mw-heading3"><h3 id="Distinguishing_pitches_of_a_scale">Distinguishing pitches of a scale</h3></div>

<a href="Music_theory" title="Music theory">Music theory</a> in most <a href="European_countries" class="mw-redirect" title="European countries">European countries</a> and others<a href="#cite_note-2">[note 1]</a> use the <a href="Solf%C3%A8ge" title="Solfège">solfège</a> naming convention. <a href="Fixed_do_solfege" class="mw-redirect" title="Fixed do solfege">Fixed do</a> uses the <a href="Syllable" title="Syllable">syllables</a> re–mi–fa–sol–la–ti specifically for the <a href="C_major" title="C major">C major</a> scale, while <a href="Movable_do_solfege" class="mw-redirect" title="Movable do solfege">movable do</a> labels notes of any <a href="Major_scale" title="Major scale">major scale</a> with that same order of syllables.

Alternatively, particularly in English- and some Dutch-speaking regions, pitch classes are typically represented by the first seven letters of the <a href="Latin_alphabet" title="Latin alphabet">Latin alphabet</a> (A, B, C, D, E, F and G), corresponding to the <a href="A_minor" title="A minor">A minor</a> scale. Several European countries, including Germany, use H instead of B (see <a href="#12-tone_chromatic_scale">§ 12-tone chromatic scale</a> for details). <a href="Byzantine_Empire" title="Byzantine Empire">Byzantium</a> used the names Pa–Vu–Ga–Di–Ke–Zo–Ni (Πα–Βου–Γα–Δι–Κε–Ζω–Νη).<a href="#cite_note-3">[2]</a>

In traditional <a href="Indian_classical_music" title="Indian classical music">Indian music</a>, musical notes are called <a href="Svara" title="Svara">svaras</a> and commonly represented using the seven notes, Sa, Re, Ga, Ma, Pa, Dha and Ni.

<div class="mw-heading mw-heading3"><h3 id="Writing_notes_on_a_staff">Writing notes on a staff</h3></div>

In a <a href="Sheet_music" title="Sheet music">score</a>, each note is assigned a specific vertical position on a <a href="Staff_position" class="mw-redirect" title="Staff position">staff position</a> (a line or space) on the <a href="Musical_staff" class="mw-redirect" title="Musical staff">staff</a>, as determined by the <a href="Clef" title="Clef">clef</a>. Each line or space is assigned a note name. These names are memorized by <a href="Musician" title="Musician">musicians</a> and allow them to know at a glance the proper pitch to play on their instruments.<div class="center">

</div>

The <a href="Staff_(music)" title="Staff (music)">staff</a> above shows the notes C, D, E, F, G, A, B, C and then in reverse order, with no key signature or accidentals.

<div class="mw-heading mw-heading3"><h3 id="Accidentals">Accidentals</h3></div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Accidental_(music)" title="Accidental (music)">Accidental (music)</a></div>

Notes that belong to the <a href="Diatonic_scale" title="Diatonic scale">diatonic scale</a> relevant in a <a href="Tonality" title="Tonality">tonal</a> context are called <a href="Diatonic" class="mw-redirect" title="Diatonic">diatonic</a> notes. Notes that do not meet that criterion are called <a href="Chromatic" class="mw-redirect" title="Chromatic">chromatic</a> notes or <a href="Accidentals" class="mw-redirect" title="Accidentals">accidentals</a>. Accidental symbols visually communicate a modification of a note's pitch from its tonal context. Most commonly,<a href="#cite_note-4">[note 2]</a> the <a href="Sharp_(music)" title="Sharp (music)">sharp</a> symbol (♯) raises a note by a <a href="Half_step" class="mw-redirect" title="Half step">half step</a>, while the <a href="Flat_(music)" title="Flat (music)">flat</a> symbol (♭) lowers a note by a half step. This half step <a href="Interval_(music)" title="Interval (music)">interval</a> is also known as a <a href="Semitone" title="Semitone">semitone</a> (which has an <a href="Equal_temperament" title="Equal temperament">equal temperament</a> frequency ratio of <a href="Twelfth_root_of_two" title="Twelfth root of two">12√2</a> ≅ 1.0595). The <a href="Natural_(music)" title="Natural (music)">natural</a> symbol (♮) indicates that any previously applied accidentals should be cancelled. Advanced musicians use the <a href="Sharp_(music)" title="Sharp (music)">double-sharp</a> symbol () to raise the pitch by two <a href="Semitone" title="Semitone">semitones</a>, the <a href="Flat_(music)" title="Flat (music)">double-flat</a> symbol () to lower it by two semitones, and even more advanced accidental symbols (e.g. for <a href="Quarter_tone" title="Quarter tone">quarter tones</a>). Accidental symbols are placed to the right of a note's letter when written in text (e.g. F♯ is <a href="F%E2%99%AF_(musical_note)" title="F♯ (musical note)">F-sharp</a>, B♭ is <a href="B%E2%99%AD_(musical_note)" title="B♭ (musical note)">B-flat</a>, and C♮ is <a href="Diatonic_scale" title="Diatonic scale">C natural</a>), but are placed to the left of a <a href="Notehead" title="Notehead">note's head</a> when drawn on a <a href="Staff_(music)" title="Staff (music)">staff</a>.

Systematic alterations to any of the 7 lettered <a href="Pitch_classes" class="mw-redirect" title="Pitch classes">pitch classes</a> are communicated using a <a href="Key_signature" title="Key signature">key signature</a>. When drawn on a staff, accidental symbols are positioned in a key signature to indicate that those alterations apply to all occurrences of the lettered pitch class corresponding to each symbol's position. Additional explicitly-noted accidentals can be drawn next to noteheads to override the key signature for all subsequent notes with the same lettered pitch class in that <a href="Bar_(music)" title="Bar (music)">bar</a>. However, this effect does not accumulate for subsequent accidental symbols for the same pitch class.

<div class="mw-heading mw-heading3"><h3 id="12-tone_chromatic_scale">12-tone chromatic scale</h3></div>

Assuming <a href="Enharmonic" class="mw-redirect" title="Enharmonic">enharmonicity</a>, accidentals can create pitch equivalences between different notes (e.g. the note B♯ represents the same pitch as the note C). Thus, a 12-note <a href="Chromatic_scale" title="Chromatic scale">chromatic scale</a> adds 5 pitch classes in addition to the 7 lettered pitch classes.

The following chart lists names used in different countries for the 12 pitch classes of a <a href="Chromatic_scale" title="Chromatic scale">chromatic scale</a> built on C. Their corresponding symbols are in parentheses. Differences between German and English notation are highlighted in bold typeface. Although the English and Dutch names are different, the corresponding symbols are identical.

<caption>Chromatic scale note naming conventions of various languages and countries

</caption>

<th rowspan="2" style="text-align:left">English

</th>

<td>C <a href="Sharp_(music)" title="Sharp (music)">sharp</a> (C<a href="Sharp_(music)" title="Sharp (music)">♯</a>)</td>

<td>D sharp (D♯)</td>

<td>F sharp (F♯)</td>

<td>G sharp (G♯)</td>

<td>A sharp (A♯)</td>

<td rowspan="2">B

</td></tr>

<tr>

<td>B flat (B♭)

</td></tr>

<tr>

<th rowspan="2" style="text-align:left">German<a href="#cite_note-is-5">[3]</a><a href="#cite_note-6">[note 3]</a>

</th>

<td rowspan="2">H

</td></tr>

<tr>

<td>B

</td></tr>

<tr>

<th rowspan="2" style="text-align:left">Swedish compromise<a href="#cite_note-iss-7">[4]</a>

</th>

<td rowspan="2">H

</td></tr>

<tr>

<td>Bess (B♭)

</td></tr>

<tr>

<th rowspan="2" style="text-align:left">Dutch<a href="#cite_note-is-5">[3]</a><a href="#cite_note-8">[note 4]</a>

</th>

<td rowspan="2">B

</td></tr>

<tr>

<td>Bes (B<a href="Flat_(music)" title="Flat (music)">♭</a>)

</td></tr>

<tr>

<th rowspan="2" style="text-align:left">Romance languages<a href="#cite_note-9">[5]</a><a href="#cite_note-10">[note 5]</a>

</th>

<td>do diesis (do<a href="Sharp_(music)" title="Sharp (music)">♯</a>)</td>

<td>re diesis (re<a href="Sharp_(music)" title="Sharp (music)">♯</a>)</td>

<td>fa diesis (fa<a href="Sharp_(music)" title="Sharp (music)">♯</a>)</td>

<td>sol diesis (sol<a href="Sharp_(music)" title="Sharp (music)">♯</a>)</td>

<td>la diesis (la<a href="Sharp_(music)" title="Sharp (music)">♯</a>)</td>

<td rowspan="2">si

</td></tr>

<tr>

<td>re bemolle (re<a href="Flat_(music)" title="Flat (music)">♭</a>)</td>

<td>mi bemolle (mi<a href="Flat_(music)" title="Flat (music)">♭</a>)</td>

<td>sol bemolle (sol<a href="Flat_(music)" title="Flat (music)">♭</a>)</td>

<td>la bemolle (la<a href="Flat_(music)" title="Flat (music)">♭</a>)</td>

<td>si bemolle (si<a href="Flat_(music)" title="Flat (music)">♭</a>)

</td></tr>

<tr>

<th rowspan="2" style="text-align:left"><a href="Byzantine_music" title="Byzantine music">Byzantine</a><a href="#cite_note-11">[6]</a>

</th>

<td>Ni diesis</td>

<td>Pa diesis</td>

<td>Ga diesis</td>

<td>Di diesis</td>

<td>Ke diesis</td>

<td rowspan="2">Zo

</td></tr>

<tr>

<td>Pa hyphesis</td>

<td>Vu hyphesis</td>

<td>Di hyphesis</td>

<td>Ke hyphesis</td>

<td>Zo hyphesis

</td></tr>

<tr>

<th rowspan="2" style="text-align:left">Japanese<a href="#cite_note-12">[7]</a>

</th>

<td rowspan="2">Ro (ロ)

</td></tr>

<tr>

<td>Hen-ro (変ロ)

</td></tr>

<tr>

<th style="text-align:left"><a href="Hindustani_classical_music" title="Hindustani classical music">Hindustani</a> <a href="Languages_of_India" title="Languages of India">Indian</a><a href="#cite_note-13">[8]</a>

</th>

<td>Re Komal (रे॒)</td>

<td>Ga Komal (ग॒)</td>

<td>Ma Tivra (म॑)</td>

<td>Dha Komal (ध॒)</td>

<td>Ni Komal (नि॒)</td>

<td>Ni (नि)

</td></tr>

<tr>

<th rowspan="2" style="text-align:left"><a href="Carnatic_music" title="Carnatic music">Carnatic</a> Indian

</th>

<td rowspan="2">Shuddha Ri (R1)</td>

<td>Chatushruti Ri (R2)</td>

<td>Sadharana Ga (G2)</td>

<td rowspan="2">Antara Ga (G3)</td>

<td rowspan="2">Shuddha Ma (M1)</td>

<td rowspan="2">Prati Ma (M2)</td>

<td rowspan="2">Shuddha Dha (D1)</td>

<td>Chatushruti Dha (D2)</td>

<td>Kaisika Ni (N2)</td>

<td rowspan="2">Kakali Ni (N3)

</td></tr>

<tr>

<td>Shuddha Ga (G1)</td>

<td>Shatshruti Ri (R3)</td>

<td>Shuddha Ni (N1)</td>

<td>Shatshruti Dha (D3)

</td></tr>

<tr>

<th style="text-align:left"><a href="Music_of_Bengal" title="Music of Bengal">Bengali</a> Indian<a href="#cite_note-14">[9]</a>

</th>

<td>Komôl Re (ঋ)</td>

<td>Komôl Ga (জ্ঞ)</td>

<td>Komôl Dha (দ)</td>

<td>Komôl Ni (ণ)</td>

<td>Ni (নি)

</td></tr></tbody></table>

<div class="mw-heading mw-heading3"><h3 id="Distinguishing_pitches_of_different_octaves">Distinguishing pitches of different octaves</h3></div>

Two pitches that are any number of <a href="Octave" title="Octave">octaves</a> apart (i.e. their <a href="Fundamental_frequency" title="Fundamental frequency">fundamental frequencies</a> are in a ratio equal to a <a href="Power_of_two" title="Power of two">power of two</a>) are perceived as very similar. Because of that, all notes with these kinds of relations can be grouped under the same <a href="Pitch_class" title="Pitch class">pitch class</a> and are often given the same name.

The top note of a <a href="Musical_scale" class="mw-redirect" title="Musical scale">musical scale</a> is the bottom note's second <a href="Harmonic" title="Harmonic">harmonic</a> and has double the bottom note's frequency. Because both notes belong to the same pitch class, they are often called by the same name. That top note may also be referred to as the "<a href="Octave" title="Octave">octave</a>" of the bottom note, since an octave is the <a href="Interval_(music)" title="Interval (music)">interval</a> between a note and another with double frequency.

<div class="mw-heading mw-heading4"><h4 id="Scientific_versus_Helmholtz_pitch_notation">Scientific versus Helmholtz pitch notation</h4></div>

<div role="note" class="hatnote navigation-not-searchable">See also: <a href="Piano_key_frequencies" title="Piano key frequencies">Piano key frequencies</a></div>

Two nomenclature systems for differentiating pitches that have the same pitch class but which fall into different octaves are:

<ol><li><a href="Helmholtz_pitch_notation" title="Helmholtz pitch notation">Helmholtz pitch notation</a>, which distinguishes octaves using <a href="Prime_symbol" class="mw-redirect" title="Prime symbol">prime symbols</a> and <a href="Letter_case" title="Letter case">letter case</a> of the pitch class letter.

<ul><li>The octave below <a href="Middle_C" class="mw-redirect" title="Middle C">tenor C</a> is called the "great" octave. Notes in it and are written as <a href="Upper_case" class="mw-redirect" title="Upper case">upper case</a> letters.

<ul><li>The next lower octave is named "contra". Notes in it include a prime symbol below the note's letter.</li>

<li>Names of subsequent lower octaves are preceded with "sub". Notes in each include an additional prime symbol below the note's letter.</li></ul></li>

<li>The octave starting at tenor C is called the "small" octave. Notes in it are written as <a href="Lower_case" class="mw-redirect" title="Lower case">lower case</a> letters, so <a href="Middle_C" class="mw-redirect" title="Middle C">tenor C</a> itself is written c in <a href="Helmholtz_pitch_notation" title="Helmholtz pitch notation">Helmholtz notation</a>.

<ul><li>The next higher octave is called "one-lined". Notes in it include a prime symbol above the note's letter, so middle C is written c′.</li>

<li>Names of subsequently higher octaves use higher numbers before the "lined". Notes in each include an addition prime symbol above the note's letter.</li></ul></li></ul></li>

<li><a href="Scientific_pitch_notation" title="Scientific pitch notation">Scientific pitch notation</a>, where a pitch class letter (C, D, E, F, G, A, B) is followed by a subscript <a href="Arabic_numerals" title="Arabic numerals">Arabic numeral</a> designating a specific octave.

<ul><li>Middle C is named C4 and is the start of the 4th octave.

<ul><li>Higher octaves use successively higher number and lower octaves use successively lower numbers.</li>

<li>The lowest note on most pianos is A0, the highest is C8.</li></ul></li></ul></li></ol>

For instance, the standard <a href="A440_(pitch_standard)" title="A440 (pitch standard)">440 Hz</a> tuning pitch is named A4 in scientific notation and instead named a′ in Helmholtz notation.

Meanwhile, the <a href="Electronic_musical_instrument" title="Electronic musical instrument">electronic musical instrument</a> standard called <a href="MIDI" title="MIDI">MIDI</a> doesn't specifically designate pitch classes, but instead names pitches by counting from its lowest note: number 0 (C−1 ≈ 8.1758 Hz); up chromatically to its highest: number 127 (G9 ≈ 12,544 Hz). (Although the <a href="MIDI" title="MIDI">MIDI</a> standard is clear, the octaves actually played by any one <a href="MIDI" title="MIDI">MIDI</a> device don't necessarily match the octaves shown below, especially in older instruments.)

<caption>Comparison of pitch naming conventions over different octaves

</caption>

<th colspan="2"><a href="Helmholtz_pitch_notation" title="Helmholtz pitch notation">Helmholtz</a> notation

</th>

<th rowspan="2"><a href="Scientific_pitch_notation" title="Scientific pitch notation">'Scientific'</a> note names

</th>

<th rowspan="2">Latin notation

</th>

<th rowspan="2"><a href="MIDI" title="MIDI">MIDI</a> note numbers

</th>

<th rowspan="2">Frequency of that octave's <a href="A_(musical_note)" title="A (musical note)">A</a> (in <a href="Hertz" title="Hertz">Hertz</a>)

</th>

<th rowspan="2">Frequency of that octave's <a href="C_(musical_note)" title="C (musical note)">C</a> (in <a href="Hertz" title="Hertz">Hertz</a>)

</th></tr>

<tr>

<th>octave name</th>

<th>note names

</th></tr>

<tr>

<td style="text-align:left">  sub-subcontra

</td>

<td>00 – 11

</td>

<td style="text-align:right">13.75

</td>

<td>8.176

</td></tr>

<tr>

<td style="text-align:left">  sub-contra

</td>

<td>12 – 23

</td>

<td style="text-align:right">27.50

</td>

<td>16.352

</td></tr>

<tr>

<td style="text-align:left">  contra

</td>

<td>24 – 35

</td>

<td style="text-align:right">55.00

</td>

<td>32.703

</td></tr>

<tr>

<td style="text-align:left">  great

</td>

<td>36 – 47

</td>

<td style="text-align:right">110.00

</td>

<td>65.406

</td></tr>

<tr>

<td style="text-align:left">  small

</td>

<td>48 – 59

</td>

<td style="text-align:right">220.00

</td>

<td>130.813

</td></tr>

<tr>

<td style="text-align:left">  one-lined

</td>

<td>60 – 71

</td>

<td style="text-align:right">440.00

</td>

<td>261.626

</td></tr>

<tr>

<td style="text-align:left">  two-lined

</td>

<td>72 – 83

</td>

<td style="text-align:right">880.00

</td>

<td>523.251

</td></tr>

<tr>

<td style="text-align:left">  three-lined

</td>

<td>84 – 95

</td>

<td style="text-align:right">1 760.00

</td>

<td>1046.502

</td></tr>

<tr>

<td style="text-align:left">  four-lined

</td>

<td>096 – 107

</td>

<td style="text-align:right">3 520.00

</td>

<td>2093.005

</td></tr>

<tr>

<td style="text-align:left">  five-lined

</td>

<td>108 – 119

</td>

<td style="text-align:right">7 040.00

</td>

<td>4186.009

</td></tr>

<tr>

<td style="text-align:left">  six-lined

</td>

<td>120 – 127 (ends at G9)

</td>

<td style="text-align:right">14 080.00

</td>

<td>8372.018

</td></tr></tbody></table></dd></dl>

<div class="mw-heading mw-heading3"><h3 id="Pitch_frequency_in_hertz">Pitch frequency in hertz</h3></div>

<div role="note" class="hatnote navigation-not-searchable">Main articles: <a href="Music_and_mathematics" title="Music and mathematics">Music and mathematics</a> and <a href="Pitch_(music)" title="Pitch (music)">Pitch (music)</a></div>Pitch is associated with the <a href="Frequency" title="Frequency">frequency</a> of physical <a href="Oscillations" class="mw-redirect" title="Oscillations">oscillations</a> measured in <a href="Hertz" title="Hertz">hertz</a> (Hz) representing the number of these oscillations per second. While notes can have any arbitrary frequency, notes in <a href="Consonance_and_dissonance" title="Consonance and dissonance">more consonant</a> music tends to have pitches with simpler mathematical ratios to each other.

Western music defines pitches around a central reference "<a href="Concert_pitch" title="Concert pitch">concert pitch</a>" of A4, <a href="History_of_pitch_standards_in_Western_music" class="mw-redirect" title="History of pitch standards in Western music">currently standardized</a> as 440 Hz. Notes played in tune with the <a href="12_equal_temperament" title="12 equal temperament">12 equal temperament</a> system will be an <a href="Integer" title="Integer">integer</a> number <math xmlns="http://www.w3.org/1998/Math/MathML" alttext="{\displaystyle h}">

</mstyle>

</mrow>

<annotation encoding="application/x-tex">{\displaystyle h}</annotation>

</semantics>

</math><img src="./b26be3e694314bc90c3215047e4a2010c6ee184a.svg" class="mwe-math-fallback-image-inline mw-invert skin-invert" aria-hidden="true" style="vertical-align: -0.338ex; width:1.339ex; height:2.176ex;" alt="{\displaystyle h}" loading="lazy"> of half-steps above (positive <math xmlns="http://www.w3.org/1998/Math/MathML" alttext="{\displaystyle h}">

</mstyle>

</mrow>

<annotation encoding="application/x-tex">{\displaystyle h}</annotation>

</semantics>

</math><img src="./b26be3e694314bc90c3215047e4a2010c6ee184a.svg" class="mwe-math-fallback-image-inline mw-invert skin-invert" aria-hidden="true" style="vertical-align: -0.338ex; width:1.339ex; height:2.176ex;" alt="{\displaystyle h}" loading="lazy">) or below (negative <math xmlns="http://www.w3.org/1998/Math/MathML" alttext="{\displaystyle h}">

</mstyle>

</mrow>

<annotation encoding="application/x-tex">{\displaystyle h}</annotation>

</semantics>

<msup>

<mfrac>

</mfrac>

</mrow>

</msup>

</mrow>

</mstyle>

</mrow>

<annotation encoding="application/x-tex">{\displaystyle f=2^{\frac {h}{12}}\times 440{\text{ Hz}}\,}</annotation>

</semantics>

</math><img src="./cd11f9a95ecacb7536c76d8dc52ecfe89f3a17f3.svg" class="mwe-math-fallback-image-inline mw-invert skin-invert" aria-hidden="true" style="vertical-align: -0.671ex; width:18.014ex; height:3.843ex;" alt="{\displaystyle f=2^{\frac {h}{12}}\times 440{\text{ Hz}}\,}" loading="lazy"></dd></dl>

Octaves automatically yield <a href="Exponentiation" title="Exponentiation">powers</a> of two times the original frequency, since <math xmlns="http://www.w3.org/1998/Math/MathML" alttext="{\displaystyle h}">

</mstyle>

</mrow>

<annotation encoding="application/x-tex">{\displaystyle h}</annotation>

</semantics>

</math><img src="./b26be3e694314bc90c3215047e4a2010c6ee184a.svg" class="mwe-math-fallback-image-inline mw-invert skin-invert" aria-hidden="true" style="vertical-align: -0.338ex; width:1.339ex; height:2.176ex;" alt="{\displaystyle h}" loading="lazy"> can be expressed as <math xmlns="http://www.w3.org/1998/Math/MathML" alttext="{\displaystyle 12v}">

</mstyle>

</mrow>

<annotation encoding="application/x-tex">{\displaystyle 12v}</annotation>

</semantics>

</math><img src="./b2ba7a0c043144a3eb4d4d910520b0954fb38c7c.svg" class="mwe-math-fallback-image-inline mw-invert skin-invert" aria-hidden="true" style="vertical-align: -0.338ex; width:3.453ex; height:2.176ex;" alt="{\displaystyle 12v}" loading="lazy"> when <math xmlns="http://www.w3.org/1998/Math/MathML" alttext="{\displaystyle h}">

</mstyle>

</mrow>

<annotation encoding="application/x-tex">{\displaystyle h}</annotation>

</semantics>

</math><img src="./b26be3e694314bc90c3215047e4a2010c6ee184a.svg" class="mwe-math-fallback-image-inline mw-invert skin-invert" aria-hidden="true" style="vertical-align: -0.338ex; width:1.339ex; height:2.176ex;" alt="{\displaystyle h}" loading="lazy"> is a multiple of 12 (with <math xmlns="http://www.w3.org/1998/Math/MathML" alttext="{\displaystyle v}">

</mstyle>

</mrow>

<annotation encoding="application/x-tex">{\displaystyle v}</annotation>

</semantics>

</math><img src="./e07b00e7fc0847fbd16391c778d65bc25c452597.svg" class="mwe-math-fallback-image-inline mw-invert skin-invert" aria-hidden="true" style="vertical-align: -0.338ex; width:1.128ex; height:1.676ex;" alt="{\displaystyle v}" loading="lazy"> being the number of octaves up or down). Thus the above formula reduces to yield a <a href="Power_of_2" class="mw-redirect" title="Power of 2">power of 2</a> multiplied by 440 Hz:

<mtr>

<mtd>

</mtd>

<mtd>

<msup>

<mfrac>

<mrow>

</mrow>

</mfrac>

</mrow>

</msup>

</mrow>

</mtd>

</mtr>

<mtr>

<mtd>

<msup>

</mrow>

</msup>

</mrow>

</mtd>

</mtr>

</mtable>

</mrow>

</mstyle>

</mrow>

<annotation encoding="application/x-tex">{\displaystyle {\begin{aligned}f&=2^{\frac {12v}{12}}\times {\text{440 Hz}}\\&=2^{v}\times {\text{440 Hz}}\,.\end{aligned}}}</annotation>

</semantics>

</math><img src="./8a38c2615a3feac61d3c1dc804aaec9a147f82aa.svg" class="mwe-math-fallback-image-inline mw-invert skin-invert" aria-hidden="true" style="vertical-align: -2.838ex; width:19.025ex; height:6.843ex;" alt="{\displaystyle {\begin{aligned}f&=2^{\frac {12v}{12}}\times {\text{440 Hz}}\\&=2^{v}\times {\text{440 Hz}}\,.\end{aligned}}}" loading="lazy"></dd></dl>

<div class="mw-heading mw-heading4"><h4 id="Logarithmic_scale">Logarithmic scale</h4></div>

The <a href="Base-2_logarithm" class="mw-redirect" title="Base-2 logarithm">base-2 logarithm</a> of the above frequency–pitch relation conveniently results in a linear relationship with <math xmlns="http://www.w3.org/1998/Math/MathML" alttext="{\displaystyle h}">

</mstyle>

</mrow>

<annotation encoding="application/x-tex">{\displaystyle h}</annotation>

</semantics>

</math><img src="./b26be3e694314bc90c3215047e4a2010c6ee184a.svg" class="mwe-math-fallback-image-inline mw-invert skin-invert" aria-hidden="true" style="vertical-align: -0.338ex; width:1.339ex; height:2.176ex;" alt="{\displaystyle h}" loading="lazy"> or <math xmlns="http://www.w3.org/1998/Math/MathML" alttext="{\displaystyle v}">

</mstyle>

</mrow>

<annotation encoding="application/x-tex">{\displaystyle v}</annotation>

</semantics>

<mtr>

<mtd>

<msub>

</mrow>

</msub>

</mtd>

<mtd>

<mfrac>

</mfrac>

</mstyle>

</mrow>

<msub>

</mrow>

</msub>

</mrow>

</mtd>

</mtr>

<mtr>

<mtd>

<msub>

</mrow>

</msub>

</mrow>

</mtd>

</mtr>

</mtable>

</mrow>

</mstyle>

</mrow>

<annotation encoding="application/x-tex">{\displaystyle {\begin{aligned}\log _{2}(f)&={\tfrac {h}{12}}+\log _{2}({\text{440 Hz}})\\&=v+\log _{2}({\text{440 Hz}})\end{aligned}}}</annotation>

</semantics>

</math><img src="./a73a6258ecde89033bf20945cdc26bed73edbd5d.svg" class="mwe-math-fallback-image-inline mw-invert skin-invert" aria-hidden="true" style="vertical-align: -2.838ex; width:28.963ex; height:6.843ex;" alt="{\displaystyle {\begin{aligned}\log _{2}(f)&={\tfrac {h}{12}}+\log _{2}({\text{440 Hz}})\\&=v+\log _{2}({\text{440 Hz}})\end{aligned}}}" loading="lazy"></dd></dl>

When dealing specifically with intervals (rather than absolute frequency), the constant <math xmlns="http://www.w3.org/1998/Math/MathML" alttext="{\displaystyle \log _{2}({\text{440 Hz}})}">

<msub>

</mrow>

</msub>

</mrow>

</mstyle>

</mrow>

<annotation encoding="application/x-tex">{\displaystyle \log _{2}({\text{440 Hz}})}</annotation>

</semantics>

</math><img src="./2d3e0adb04e0824700d9bb09c5b0389dcb07b855.svg" class="mwe-math-fallback-image-inline mw-invert skin-invert" aria-hidden="true" style="vertical-align: -0.838ex; width:12.679ex; height:2.843ex;" alt="{\displaystyle \log _{2}({\text{440 Hz}})}" loading="lazy"> can be conveniently ignored, because the difference between any two frequencies <math xmlns="http://www.w3.org/1998/Math/MathML" alttext="{\displaystyle f_{1}}">

<msub>

</mrow>

</msub>

</mstyle>

</mrow>

<annotation encoding="application/x-tex">{\displaystyle f_{1}}</annotation>

</semantics>

</math><img src="./50dfd257a51e037112c917f8a9e47c9c053466df.svg" class="mwe-math-fallback-image-inline mw-invert skin-invert" aria-hidden="true" style="vertical-align: -0.671ex; width:2.193ex; height:2.509ex;" alt="{\displaystyle f_{1}}" loading="lazy"> and <math xmlns="http://www.w3.org/1998/Math/MathML" alttext="{\displaystyle f_{2}}">

<msub>

</mrow>

</msub>

</mstyle>

</mrow>

<annotation encoding="application/x-tex">{\displaystyle f_{2}}</annotation>

</semantics>

</math><img src="./cc886fdaa7adc9be11ff4a5076da5e0943bcff58.svg" class="mwe-math-fallback-image-inline mw-invert skin-invert" aria-hidden="true" style="vertical-align: -0.671ex; width:2.193ex; height:2.509ex;" alt="{\displaystyle f_{2}}" loading="lazy"> in this logarithmic scale simplifies to:

<mtr>

<mtd>

<msub>

</mrow>

</msub>

<msub>

</mrow>

</msub>

<msub>

</mrow>

</msub>

<msub>

</mrow>

</msub>

</mtd>

<mtd>

<mfrac>

<msub>

</mrow>

</msub>

</mfrac>

</mstyle>

</mrow>

<mfrac>

<msub>

</mrow>

</msub>

</mfrac>

</mstyle>

</mrow>

</mtd>

</mtr>

<mtr>

<mtd>

<msub>

</mrow>

</msub>

<msub>

</mrow>

</msub>

</mtd>

</mtr>

</mtable>

</mrow>

</mstyle>

</mrow>

<annotation encoding="application/x-tex">{\displaystyle {\begin{aligned}\log _{2}(f_{1})-\log _{2}(f_{2})&={\tfrac {h_{1}}{12}}-{\tfrac {h_{2}}{12}}\\&=v_{1}-v_{2}\,.\end{aligned}}}</annotation>

</semantics>

</math><img src="./9f4d4af5952913f36a7b8d836237f2bdbf36ef02.svg" class="mwe-math-fallback-image-inline mw-invert skin-invert" aria-hidden="true" style="vertical-align: -2.838ex; width:30.986ex; height:6.843ex;" alt="{\displaystyle {\begin{aligned}\log _{2}(f_{1})-\log _{2}(f_{2})&={\tfrac {h_{1}}{12}}-{\tfrac {h_{2}}{12}}\\&=v_{1}-v_{2}\,.\end{aligned}}}" loading="lazy"></dd></dl>

<a href="Cent_(music)" title="Cent (music)">Cents</a> are a convenient unit for humans to express finer divisions of this logarithmic scale that are <style data-mw-deduplicate="TemplateStyles:r1154941027">

/* start https://en.wikipedia.org/ */

.mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}

/* end https://en.wikipedia.org/ */

</style>1⁄100th of an equally-<a href="Musical_temperament" title="Musical temperament">tempered</a> semitone. Since one semitone equals 100 <a href="Cent_(music)" title="Cent (music)">cents</a>, one octave equals 12 ⋅ 100 cents = 1200 cents. Cents correspond to a difference in this logarithmic scale, however in the regular linear scale of frequency, adding 1 cent corresponds to multiplying a frequency by 1200√2 (≅ 1.000578).

For use with the <a href="MIDI" title="MIDI">MIDI</a> (Musical Instrument Digital Interface) standard, a frequency mapping is defined by:

<msub>

</mrow>

</msub>

<mfrac>

<mrow>

</mrow>

</mfrac>

</mrow>

</mstyle>

</mrow>

<annotation encoding="application/x-tex">{\displaystyle p=69+12\times \log _{2}{\frac {f}{440{\text{ Hz}}}}\,,}</annotation>

</semantics>

</math><img src="./26c44b185c850a84149df3415b88767b23bdff0c.svg" class="mwe-math-fallback-image-inline mw-invert skin-invert" aria-hidden="true" style="vertical-align: -2.005ex; margin-left: -0.089ex; width:27.815ex; height:5.509ex;" alt="{\displaystyle p=69+12\times \log _{2}{\frac {f}{440{\text{ Hz}}}}\,,}" loading="lazy"></dd></dl>

where <math xmlns="http://www.w3.org/1998/Math/MathML" alttext="{\displaystyle p}">

</mstyle>

</mrow>

<annotation encoding="application/x-tex">{\displaystyle p}</annotation>

</semantics>

</math><img src="./81eac1e205430d1f40810df36a0edffdc367af36.svg" class="mwe-math-fallback-image-inline mw-invert skin-invert" aria-hidden="true" style="vertical-align: -0.671ex; margin-left: -0.089ex; width:1.259ex; height:2.009ex;" alt="{\displaystyle p}" loading="lazy"> is the MIDI note number. 69 is the number of semitones between C−1 (MIDI note 0) and A4.

Conversely, the formula to determine frequency from a MIDI note <math xmlns="http://www.w3.org/1998/Math/MathML" alttext="{\displaystyle p}">

</mstyle>

</mrow>

<annotation encoding="application/x-tex">{\displaystyle p}</annotation>

</semantics>

<msup>

<mfrac>

<mrow>

</mrow>

</mfrac>

</mrow>

</msup>

</mrow>

</mstyle>

</mrow>

<annotation encoding="application/x-tex">{\displaystyle f=2^{\frac {p-69}{12}}\times 440{\text{ Hz}}\,.}</annotation>

</semantics>

</math><img src="./38f5a5897d81a5776ce3f9426cb1e67ad69dab97.svg" class="mwe-math-fallback-image-inline mw-invert skin-invert" aria-hidden="true" style="vertical-align: -0.671ex; width:20.37ex; height:4.176ex;" alt="{\displaystyle f=2^{\frac {p-69}{12}}\times 440{\text{ Hz}}\,.}" loading="lazy"></dd></dl>

<div class="mw-heading mw-heading3"><h3 id="Pitch_names_and_their_history">Pitch names and their history</h3></div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Letter_notation" title="Letter notation">Letter notation</a></div>

Music notation systems have used letters of the <a href="Alphabet" title="Alphabet">alphabet</a> for centuries. The 6th century philosopher <a href="Boethius" title="Boethius">Boethius</a> is known to have used the first fourteen letters of the classical <a href="Latin_alphabet" title="Latin alphabet">Latin alphabet</a> (the <a href="Letter_J" class="mw-redirect" title="Letter J">letter J</a> did not exist until the 16th century),

to signify the notes of the two-octave range that was in use at the time<a href="#cite_note-15">[10]</a> and in modern <a href="Scientific_pitch_notation" title="Scientific pitch notation">scientific pitch notation</a> are represented as

Though it is not known whether this was his devising or common usage at the time, this is nonetheless called Boethian notation. Although Boethius is the first author known to use this nomenclature in the literature, <a href="Ptolemy" title="Ptolemy">Ptolemy</a> wrote of the two-octave range five centuries before, calling it the perfect system or complete system – as opposed to other, smaller-range note systems that did not contain all possible species of octave (i.e., the seven octaves starting from A, B, C, D, E, F, and G). A modified form of Boethius' notation later appeared in the Dialogus de musica (ca. 1000) by Pseudo-Odo, in a discussion of the division of the <a href="Monochord" title="Monochord">monochord</a>.<a href="#cite_note-16">[11]</a>

Following this, the range (or compass) of used notes was extended to three octaves, and the system of repeating letters A–G in each octave was introduced, these being written as <a href="Lower-case" class="mw-redirect" title="Lower-case">lower-case</a> for the second octave (a–g) and double lower-case letters for the third (aa–gg). When the range was extended down by one note, to a G, that note was denoted using the Greek letter <a href="Gamma" title="Gamma">gamma</a> (Γ), the lowest note in Medieval music notation. (It is from this gamma that the French word for scale, gamme derives,<a href="#cite_note-17">[12]</a> and the English word <a href="Hexachord" title="Hexachord">gamut</a>, from "gamma-ut".<a href="#cite_note-18">[13]</a>)

The remaining five notes of the chromatic scale (the black keys on a piano keyboard) were added gradually; the first being B♭, since B was flattened in certain <a href="Mode_(music)" title="Mode (music)">modes</a> to avoid the dissonant <a href="Tritone" title="Tritone">tritone</a> interval. This change was not always shown in notation, but when written, B♭ (B flat) was written as a Latin, cursive "𝒷", and B♮ (B natural) a Gothic script (known as <a href="Blackletter" title="Blackletter">Blackletter</a>) or "hard-edged" 𝔟. These evolved into the modern flat (♭) and natural (♮) symbols respectively. The sharp symbol arose from a ƀ (barred b), called the "cancelled b".

In parts of Europe, including Germany, the Czech Republic, Slovakia, Poland, Hungary, Norway, Denmark, Serbia, Croatia, Slovenia, Finland, and Iceland (and Sweden before the 1990s), the <a href="Blackletter" title="Blackletter">Gothic</a> 𝔟 transformed into the letter h (possibly for <a href="https://en.wiktionary.org/wiki/hart#German" class="extiw external" title="wikt:hart">hart</a>, German for "harsh", as opposed to <a href="https://en.wiktionary.org/wiki/Blatt#German" class="extiw external" title="wikt:Blatt">blatt</a>, German for "planar", or just because the Gothic 𝔟 and 𝔥 resemble each other). Therefore, in current German music notation, H is used instead of B♮ (B natural), and B instead of B♭ (B flat). Occasionally, music written in <a href="German_language" title="German language">German</a> for international use will use H for B natural and Bb for B flat (with a modern-script lower-case b, instead of a flat sign, ♭). Since a Bes or B♭ in Northern Europe (notated B in modern convention) is both rare and unorthodox (more likely to be expressed as Heses), it is generally clear what this notation means.

<div class="mw-heading mw-heading4"><h4 id="System_"do–re–mi–fa–sol–la–si"">System "do–re–mi–fa–sol–la–si"</h4></div>

In Italian, Portuguese, Spanish, French, Romanian, Greek, Albanian, Russian, Mongolian, Flemish, Persian, Arabic, Hebrew, Ukrainian, Bulgarian, Turkish and Vietnamese the note names are do–re–mi–fa–sol–la–si rather than C–D–E–F–G–A–B. These names follow the original names reputedly given by <a href="Guido_d'Arezzo" class="mw-redirect" title="Guido d'Arezzo">Guido d'Arezzo</a>, who had taken them from the first syllables of the first six musical phrases of a <a href="Gregorian_chant" title="Gregorian chant">Gregorian chant</a> melody <a href="Ut_queant_laxis" title="Ut queant laxis">Ut queant laxis</a>, whose successive lines began on the appropriate scale degrees. These became the basis of the <a href="Solf%C3%A8ge" title="Solfège">solfège</a> system. For ease of singing, the name ut was largely replaced by do (most likely from the beginning of Dominus, "Lord"), though ut is still used in some places. It was the Italian musicologist and humanist <a href="Giovanni_Battista_Doni" title="Giovanni Battista Doni">Giovanni Battista Doni</a> (1595–1647) who successfully promoted renaming the name of the note from ut to do. For the seventh degree, the name si (from Sancte Iohannes, <a href="John_the_Baptist" title="John the Baptist">St. John</a>, to whom the hymn is dedicated), though in some regions the seventh is named ti (again, easier to pronounce while singing).

<ul><li><a href="Ghost_note" title="Ghost note">Ghost note</a></li>

<li><a href="Grace_note" title="Grace note">Grace note</a></li>

<li><a href="Letter_notation" title="Letter notation">Letter notation</a></li>

<li><a href="Musical_tone" title="Musical tone">Musical tone</a></li>

<li><a href="Pensato" title="Pensato">Pensato</a></li>

<li><a href="Shape_note" title="Shape note">Shape note</a></li>

<li><a href="Universal_key" title="Universal key">Universal key</a></li></ul>

<div class="mw-heading mw-heading2"><h2 id="Notes">Notes</h2></div>

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<li id="cite_note-2"><a href="#cite_ref-2">^</a> <a href="Solf%C3%A8ge" title="Solfège">Solfège</a> is used in <a href="Albania" title="Albania">Albania</a>, <a href="Belgium" title="Belgium">Belgium</a>, <a href="Bulgaria" title="Bulgaria">Bulgaria</a>, <a href="France" title="France">France</a>, <a href="Greece" title="Greece">Greece</a>, <a href="Italy" title="Italy">Italy</a>, <a href="Lithuania" title="Lithuania">Lithuania</a>, <a href="Portugal" title="Portugal">Portugal</a>, <a href="Romania" title="Romania">Romania</a>, <a href="Russia" title="Russia">Russia</a>, <a href="Spain" title="Spain">Spain</a>, <a href="Turkey" title="Turkey">Turkey</a>, <a href="Ukraine" title="Ukraine">Ukraine</a>, most <a href="Latin_American_countries" class="mw-redirect" title="Latin American countries">Latin American countries</a>, Arabic-speaking and Persian-speaking countries.

</li>

<li id="cite_note-4"><a href="#cite_ref-4">^</a> Another style of notation, rarely used in English, uses the suffix "is" to indicate a sharp and "es" (only "s" after A and E) for a flat (e.g. Fis for F♯, Ges for G♭, Es for E♭). This system first arose in Germany and is used in almost all European countries whose main language is not English, Greek, or a Romance language (such as French, Portuguese, Spanish, Italian, and Romanian).

In most countries using these suffixes, the letter H is used to represent what is B natural in English, the letter B is used instead of B♭, and Heses (i.e., H𝄫) is used instead of B𝄫 (although Bes and Heses both denote the English B𝄫). Dutch-speakers in Belgium and the Netherlands use the same suffixes, but applied throughout to the notes A to G, so that B, B♭ and B have the same meaning as in English, although they are called B, Bes, and Beses instead of B, B flat and B double flat. Denmark also uses H, but uses Bes instead of Heses for B𝄫.

</li>

<li id="cite_note-6"><a href="#cite_ref-6">^</a> used in Austria, the Czech Republic, Germany, Denmark, Estonia, Finland, Hungary, Norway, Poland, Serbia, Slovakia, Slovenia, Sweden.

</li>

<li id="cite_note-8"><a href="#cite_ref-8">^</a> used in the Netherlands, and sometimes in Scandinavia after the 1990s, and Indonesia.

</li>

<li id="cite_note-10"><a href="#cite_ref-10">^</a> used in Italy (diesis/bemolle are Italian spellings), France, Spain, Romania, Russia, Latin America, Greece, Israel, Turkey, Latvia and many other countries.

</li>

</ol></div></div>

<div class="mw-heading mw-heading2"><h2 id="References">References</h2></div>

<li id="cite_note-FOOTNOTENattiez199081,_note_9-1"><a href="#cite_ref-FOOTNOTENattiez199081,_note_9_1-0">^</a> <a href="#CITEREFNattiez1990">Nattiez 1990</a>, p. 81, note 9.

</li>

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</style><cite id="CITEREFSavas_I._Savas1965" class="citation book cs1">Savas I. Savas (1965). Byzantine Music in Theory and in Practice. Translated by Nicholas Dufault. Hercules Press.</cite>

</li>

<li id="cite_note-is-5">^ <a href="#cite_ref-is_5-0">a</a> <a href="#cite_ref-is_5-1">b</a> -is = <a href="Sharp_(music)" title="Sharp (music)">sharp</a>; -es (after consonant) and -s (after vowel) = <a href="Flat_(music)" title="Flat (music)">flat</a>

</li>

<li id="cite_note-iss-7"><a href="#cite_ref-iss_7-0">^</a> -iss = <a href="Sharp_(music)" title="Sharp (music)">sharp</a>; -ess (after consonant) and -ss (after vowel) = <a href="Flat_(music)" title="Flat (music)">flat</a>

</li>

<li id="cite_note-9"><a href="#cite_ref-9">^</a> diesis = <a href="Sharp_(music)" title="Sharp (music)">sharp</a>; bemolle = <a href="Flat_(music)" title="Flat (music)">flat</a>

</li>

<li id="cite_note-11"><a href="#cite_ref-11">^</a> diesis (or diez) = <a href="Sharp_(music)" title="Sharp (music)">sharp</a>; hyphesis = <a href="Flat_(music)" title="Flat (music)">flat</a>

</li>

<li id="cite_note-12"><a href="#cite_ref-12">^</a> 嬰 (ei) = ♯ (<a href="Sharp_(music)" title="Sharp (music)">sharp</a>); 変 (hen) = ♭ (<a href="Flat_(music)" title="Flat (music)">flat</a>)

</li>

<li id="cite_note-13"><a href="#cite_ref-13">^</a> According to <a href="Vishnu_Narayan_Bhatkhande" title="Vishnu Narayan Bhatkhande">Bhatkhande</a> Notation. Tivra = ♯ (<a href="Sharp_(music)" title="Sharp (music)">sharp</a>); Komal = ♭ (<a href="Flat_(music)" title="Flat (music)">flat</a>)

</li>

<li id="cite_note-14"><a href="#cite_ref-14">^</a> According to Akarmatrik Notation (আকারমাত্রিক স্বরলিপি). Kôṛi = ♯ (<a href="Sharp_(music)" title="Sharp (music)">sharp</a>); Komôl = ♭ (<a href="Flat_(music)" title="Flat (music)">flat</a>)

</li>

<li id="cite_note-15"><a href="#cite_ref-15">^</a> <cite id="CITEREFBoethius" class="citation book cs1"><a href="Boethius" title="Boethius">Boethius, A.M.S.</a> [[scores:De institutione musica (<a href="Boethius" title="Boethius">Boëthius, Anicius Manlius Severinus</a>) |De institutione musica]]: text at the <a href="International_Music_Score_Library_Project" title="International Music Score Library Project">International Music Score Library Project</a>. Gottfried Friedlein <a href="Boethius" title="Boethius">Boethius</a>. Book IV, chapter 14, page 341.</cite>

</li>

<li id="cite_note-16"><a href="#cite_ref-16">^</a> <cite id="CITEREFBrowne1979" class="citation thesis cs1">Browne, Alma Colk (1979). Medieval letter notations: A survey of the sources (Ph.D. thesis). Urbana-Champaign, IL: University of Illinois.</cite>

<cite id="CITEREFHerlinger2002" class="citation encyclopaedia cs1">Herlinger, Jan (2002). "Medieval canonics". In Christensen, Thomas (ed.). The Cambridge History of Western Music Theory. Cambridge, UK: Cambridge University Press. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-521-62371-5</bdi>.</cite>

</li>

<li id="cite_note-17"><a href="#cite_ref-17">^</a> <cite id="CITEREFPick1869" class="citation book cs1">Pick, Edward (1869). An Etymological Dictionary Of The French Language. John Murray.</cite>

</li>

<li id="cite_note-18"><a href="#cite_ref-18">^</a> <cite id="CITEREFOwens2012" class="citation journal cs1">Owens, Jessie Ann (2012). <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/23488551">"Review of The Renaissance Reform of Medieval Music Theory: Guido of Arezzo between Myth and History"</a>. Speculum. 87 (3): 906–908. <a href="ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0038-7134">0038-7134</a>.</cite>

</li>

</ol></div>

<div class="mw-heading mw-heading2"><h2 id="Bibliography">Bibliography</h2></div>

<ul><li><cite id="CITEREFNattiez1990" class="citation book cs1"><a href="Jean-Jacques_Nattiez" title="Jean-Jacques Nattiez">Nattiez, Jean-Jacques</a> (1990) [1987]. Music and Discourse: Toward a Semiology of Music [Musicologie générale et sémiologie]. Translated by <a href="Carolyn_Abbate" title="Carolyn Abbate">Carolyn Abbate</a>. Princeton University Press. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-691-02714-5</bdi>.</cite></li></ul>

<div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2></div>

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<div class="side-box-text plainlist">Wikimedia Commons has media related to <a href="https://commons.wikimedia.org/wiki/Category:Musical_notes" class="extiw external" title="commons:Category:Musical notes">Musical notes</a>.</div></div>

</div>

<ul><li><a rel="nofollow" class="external text" href="http://www.phys.unsw.edu.au/music/note/">Converter: Frequencies to note name, ± cents</a></li>

<li><a rel="nofollow" class="external text" href="http://www.phys.unsw.edu.au/jw/notes.html">Note names, keyboard positions, frequencies and MIDI numbers</a></li>

<li><a rel="nofollow" class="external text" href="http://www.sengpielaudio.com/calculator-notenames.htm">Music notation systems − Frequencies of equal temperament tuning – The English and American system versus the German system</a></li>

<li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20081219095621/http://www.adamsatoms.com/notes/">Frequencies of musical notes</a></li>

<li><a rel="nofollow" class="external text" href="https://blog.sheetmusicplus.com/2015/12/30/learn-how-to-read-sheet-music-notes/">Learn How to Read Sheet Music</a></li>

<li><a rel="nofollow" class="external text" href="https://www.4attheclub.de/notenpapier-notenblatt/">Free music paper for printing and downloading</a></li></ul>

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</style><div id="Musical_notation357" style="font-size:114%;margin:0 4em"><a href="Musical_notation" title="Musical notation">Musical notation</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Staff_(music)" title="Staff (music)">Staff</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">

<li><a href="Abbreviation_(music)" title="Abbreviation (music)">Abbreviation</a></li>

<li><a href="Dal_segno" title="Dal segno">Dal segno</a></li>

<li><a href="Key_signature" title="Key signature">Key signature</a></li>

<li><a href="Ledger_line" title="Ledger line">Ledger line</a></li>

<li><a href="Ossia" title="Ossia">Ossia</a></li>

<li><a href="Scale_(music)" title="Scale (music)">Scale</a></li>

<li><a href="Rehearsal_letter" title="Rehearsal letter">Rehearsal letter</a></li>

<li><a href="Repeat_sign" title="Repeat sign">Repeat sign</a></li>

<li><a href="Tempo" title="Tempo">Tempo</a></li>

<li><a href="Time_signature" title="Time signature">Time signature</a></li>

<li><a href="Transposition_(music)" title="Transposition (music)">Transposition</a></li>

<li><a href="Transposing_instrument" title="Transposing instrument">Transposing instrument</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Accidental_(music)" title="Accidental (music)">Accidental</a>

<li><a href="Natural_(music)" title="Natural (music)">natural</a></li>

<li><a href="Sharp_(music)" title="Sharp (music)">sharp</a></li></ul></li>

<li><a href="Dotted_note" title="Dotted note">Dotted note</a></li>

<li><a href="Grace_note" title="Grace note">Grace note</a></li>

<li><a href="Note_value" title="Note value">Note value</a>

<li><a href="Notehead" title="Notehead">Notehead</a></li>

<li><a href="Pitch_(music)" title="Pitch (music)">Pitch</a></li>

<li><a href="Tacet" title="Tacet">Tacet</a></li>

<li><a href="Tuplet" title="Tuplet">Tuplet</a></li>

<li><a href="Tremolo" title="Tremolo">Tremolo</a></li>

<li><a href="Interval_(music)" title="Interval (music)">Interval</a></li>

<li><a href="Helmholtz_pitch_notation" title="Helmholtz pitch notation">Helmholtz pitch notation</a></li>

<li><a href="Letter_notation" title="Letter notation">Letter notation</a></li>

<li><a href="Scientific_pitch_notation" title="Scientific pitch notation">Scientific pitch notation</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Articulation_(music)" title="Articulation (music)">Articulation</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Accent_(music)" title="Accent (music)">Accent</a></li>

<li><a href="Caesura" title="Caesura">Caesura</a></li>

<li><a href="Damping_(music)" title="Damping (music)">Damping</a></li>

<li><a href="Dynamics_(music)" title="Dynamics (music)">Dynamics</a></li>

<li><a href="Fermata" title="Fermata">Fermata</a></li>

<li><a href="Fingering_(music)" title="Fingering (music)">Fingering</a></li>

<li><a href="Legato" title="Legato">Legato</a></li>

<li><a href="Marcato" title="Marcato">Marcato</a></li>

<li><a href="Ornament_(music)" title="Ornament (music)">Ornament</a>

<ul><li><a href="Appoggiatura" title="Appoggiatura">Appoggiatura</a></li>

<li><a href="Glissando" title="Glissando">Glissando</a></li>

<li><a href="Grace_note" title="Grace note">Grace note</a></li>

<li><a href="Mordent" title="Mordent">Mordent</a></li>

<li><a href="Slide_(musical_ornament)" title="Slide (musical ornament)">Slide</a></li>

<li><a href="Trill_(music)" title="Trill (music)">Trill</a></li></ul></li>

<li><a href="Portato" title="Portato">Portato</a></li>

<li><a href="Staccato" title="Staccato">Staccato</a></li>

<li><a href="Tenuto" title="Tenuto">Tenuto</a></li>

<li><a href="Tonguing" title="Tonguing">Tonguing</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Sheet_music" title="Sheet music">Sheet music</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="History_of_music_publishing" title="History of music publishing">History of music publishing</a></li>

<li><a href="Music_engraving" title="Music engraving">Music engraving</a></li>

<li><a href="Music_publisher" title="Music publisher">Music publisher</a></li>

<li><a href="Scorewriter" title="Scorewriter">Scorewriter</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other systems</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Braille_music" title="Braille music">Braille music</a></li>

<li><a href="Chord_chart" title="Chord chart">Chord chart</a></li>

<li><a href="Chord_diagram_(music)" title="Chord diagram (music)">Chord diagram</a></li>

<li><a href="Eye_music" title="Eye music">Eye music</a></li>

<li><a href="Figured_bass" title="Figured bass">Figured bass</a></li>

<li><a href="Graphic_notation_(music)" title="Graphic notation (music)">Graphic notation</a></li>

<li><a href="Lead_sheet" title="Lead sheet">Lead sheet</a></li>

<li><a href="Nashville_Number_System" title="Nashville Number System">Nashville Number System</a></li>

<li><a href="Numbered_musical_notation" title="Numbered musical notation">Numbered musical notation</a></li>

<li><a href="Klavarskribo" title="Klavarskribo">Klavarskribo</a></li>

<li><a href="Tablature" title="Tablature">Tablature</a></li>

<li><a href="Parsons_code" title="Parsons code">Parsons</a></li>

<li><a href="Percussion_notation" title="Percussion notation">Percussion notation</a></li>

<li><a href="Simplified_music_notation" title="Simplified music notation">Simplified</a></li>

<li><a href="Musical_system_of_ancient_Greece" title="Musical system of ancient Greece">Ancient Greek</a></li>

<li><a href="Chinese_musical_notation" title="Chinese musical notation">Chinese</a></li>

<li><a href="Ekphonetic_notation" title="Ekphonetic notation">Ekphonetic</a></li>

<li><a href="Gamelan_notation" title="Gamelan notation">Gamelan</a></li>

<li><a href="Kunkunshi" title="Kunkunshi">Kunkunshi</a></li>

<li><a href="Neume" title="Neume">Neume</a></li>

<li><a href="Swaralipi" title="Swaralipi">Swaralipi</a></li>

<li><a href="Shakuhachi_musical_notation" title="Shakuhachi musical notation">Shakuhachi</a></li>

<li><a href="Znamenny_chant#Notation" title="Znamenny chant">Znamenny</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Mensural_notation" title="Mensural notation">Mensural notation</a></li>

<li><a href="Music_stand" title="Music stand">Music stand</a></li>

<li><a href="Absolute_pitch" title="Absolute pitch">Perfect pitch</a></li>

<li><a href="Sight-reading" title="Sight-reading">Sight-reading</a></li>

<li><a href="Transcription_(music)" title="Transcription (music)">Transcription</a></li></ul>

</div></td></tr><tr><td class="navbox-abovebelow" colspan="2"><div>

<ul><li> <a href="List_of_musical_symbols" title="List of musical symbols">List of musical symbols</a></li>

<li> Category:Musical notation</li></ul>

</div></td></tr></tbody></table></div>

<div class="navbox-styles"></div><div role="navigation" class="navbox" aria-labelledby="Consonance_and_dissonance135" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="3"><div id="Consonance_and_dissonance135" style="font-size:114%;margin:0 4em"><a href="Consonance_and_dissonance" title="Consonance and dissonance">Consonance and dissonance</a></div></th></tr><tr><td colspan="2" class="navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Musical_argument" title="Musical argument">Argument</a></li>

<li><a href="Avoid_note" title="Avoid note">Avoid note</a></li>

<li><a href="Beat_(acoustics)" title="Beat (acoustics)">Beating</a></li>

<li><a href="Cadence" title="Cadence">Cadence</a></li>

<li><a href="Chord_(music)" title="Chord (music)">Chord</a></li>

<li><a href="Interval_(music)" title="Interval (music)">Interval</a></li>

<li><a href="Nonchord_tone" title="Nonchord tone">Nonchord tone</a>

<ul><li><a href="Cambiata" title="Cambiata">Cambiata</a></li>

<li><a href="Changing_tones" title="Changing tones">Changing tones</a></li>

<li><a href="Pedal_point" title="Pedal point">Pedal point</a></li>

<li><a href="Preparation_(music)" title="Preparation (music)">Preparation</a></li>

<li><a href="Resolution_(music)" title="Resolution (music)">Resolution</a></li></ul></li>

<li><a href="Harmonic_series_(music)" title="Harmonic series (music)">Spectra</a></li></ul>

</div></td><td class="noviewer navbox-image" rowspan="4" style="width:1px;padding:0 0 0 2px"><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Perfect Consonances</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Unison" title="Unison">Perfect unison</a></li>

<li><a href="Perfect_fourth" title="Perfect fourth">Perfect fourth</a></li>

<li><a href="Perfect_fifth" title="Perfect fifth">Perfect fifth</a></li>

<li><a href="Octave" title="Octave">Perfect octave</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Imperfect Consonances</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Minor_third" title="Minor third">Minor third</a></li>

<li><a href="Major_third" title="Major third">Major third</a></li>

<li><a href="Minor_sixth" title="Minor sixth">Minor sixth</a></li>

<li><a href="Major_sixth" title="Major sixth">Major sixth</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Dissonances</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Minor_second" class="mw-redirect" title="Minor second">Minor second</a></li>

<li><a href="Major_second" title="Major second">Major second</a></li>

<li><a href="Tritone" title="Tritone">Augmented fourth</a></li>

<li><a href="Tritone" title="Tritone">Diminished fifth</a></li>

<li><a href="Minor_seventh" title="Minor seventh">Minor seventh</a></li>

<li><a href="Major_seventh" title="Major seventh">Major seventh</a></li></ul>

</div></td></tr><tr><td class="navbox-abovebelow" colspan="3"><div>

<ul><li><a href="List_of_pitch_intervals" title="List of pitch intervals">List of musical intervals</a></li></ul>

</div></td></tr></tbody></table></div>

<div class="navbox-styles"></div><div role="navigation" class="navbox" aria-labelledby="Harmony11" style="padding:3px"><table class="nowraplinks mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="3" style="background:#dbc3a3;"><div id="Harmony11" style="font-size:114%;margin:0 4em"><a href="Harmony" title="Harmony">Harmony</a></div></th></tr><tr><td colspan="2" class="navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Accompaniment" title="Accompaniment">Accompaniment</a></li>

<li><a href="Alberti_bass" title="Alberti bass">Alberti bass</a></li>

<li><a href="Banjo_roll" title="Banjo roll">Banjo roll</a></li>

<li><a href="Cadence" title="Cadence">Cadence</a></li>

<li><a href="Chord_(music)" title="Chord (music)">Chord</a></li>

<li><a href="Chord_progression" title="Chord progression">Chord progression</a></li>

<li><a href="Harmonic_rhythm" title="Harmonic rhythm">Harmonic rhythm</a></li>

<li><a href="Harmonization" title="Harmonization">Harmonization</a></li>

<li><a href="List_of_chords" title="List of chords">List of chords</a></li>

<li><a href="List_of_chord_progressions" title="List of chord progressions">List of chord progressions</a></li>

<li><a href="Pitch_(music)" title="Pitch (music)">Pitch</a></li>

<li><a href="Sequence_(music)" title="Sequence (music)">Sequence</a></li>

<li><a href="Simultaneity_(music)" title="Simultaneity (music)">Simultaneity</a></li>

<li><a href="Voice_leading" title="Voice leading">Voice leading</a></li></ul>

</div></td><td class="noviewer navbox-image" rowspan="1" style="width:1px;padding:0 0 0 2px"><div></div></td></tr></tbody></table></div>

<div class="navbox-styles"></div><div role="navigation" class="navbox authority-control" aria-labelledby="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q263478#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata498" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><div id="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q263478#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata498" style="font-size:114%;margin:0 4em">Authority control databases </div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">National</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><a rel="nofollow" class="external text" href="https://d-nb.info/gnd/4528562-7">Germany</a></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><a rel="nofollow" class="external text" href="https://islamansiklopedisi.org.tr/nota">İslâm Ansiklopedisi</a></li></ul></div></td></tr></tbody></table></div></div><div><div class="zim-footer">

This article is issued from <a class="external text" title="Last edited on 2025-08-04" href="https://en.wikipedia.org/wiki/?title=Musical_note&oldid=1304155641">Wikipedia</a>. The text is available under <a class="external text" href="https://creativecommons.org/licenses/by-sa/4.0/deed.en">Creative Commons Attribution-Share Alike 4.0</a> unless otherwise noted. Additional terms may apply for the media files.

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