In music, the term note has two primary meanings:

1. A sign used in musical notation to represent the relative duration and pitch of a sound;
2. A pitched sound itself.

Notes are the "atoms" of much Western music: discretizations of musical phenomena that facilitate performance, comprehension, and analysis.^[1]

The term "note" can be used in both generic and specific senses: one might say either "the piece 'Happy Birthday to You' begins with two notes having the same pitch," or "the piece begins with two repetitions of the same note." In the former case, one uses "note" to refer to a specific musical event; in the latter, one uses the term to refer to a class of events sharing the same pitch.

The 'A' note

Note name[link]

Names of some notes without accidentals

Two notes with fundamental frequencies in a ratio of any power of two (e.g. half, twice, or four times) are perceived as very similar. Because of that, all notes with these kinds of relations can be grouped under the same pitch class. In traditional music theory pitch classes are represented by the first seven letters of the Latin alphabet (A, B, C, D, E, F and G) (some countries use other names as in the table below). The eighth note, or octave is given the same name as the first, but has double its frequency. The name octave is also used to indicate the span of notes having a frequency ratio of two. To differentiate two notes that have the same pitch class but fall into different octaves, the system of scientific pitch notation combines a letter name with an Arabic numeral designating a specific octave. For example, the now-standard tuning pitch for most Western music, 440 Hz, is named a′ or A4. There are two formal ways to define each note and octave, the Helmholtz system and the Scientific pitch notation.

Accidentals[link]

Letter names are modified by the accidentals. A sharp ♯ raises a note by a semitone or half-step, and a flat ♭ lowers it by the same amount. In modern tuning a half step has a frequency ratio of Failed to parse (Missing texvc executable; please see math/README to configure.): \sqrt[12]{2} , approximately 1.059. The accidentals are written after the note name: so, for example, F♯ represents F-sharp, B♭ is B-flat.

Additional accidentals are the double-sharp , raising the frequency by two semitones, and double-flat , lowering it by that amount.

In musical notation, accidentals are placed before the note symbols. Systematic alterations to the seven lettered pitches in the scale can be indicated by placing the symbols in the key signature, which then apply implicitly to all occurrences of corresponding notes. Explicitly noted accidentals can be used to override this effect for the remainder of a bar. A special accidental, the natural symbol ♮, is used to indicate an unmodified pitch. Effects of key signature and local accidentals do not cumulate. If the key signature indicates G-sharp, a local flat before a G makes it G-flat (not G natural), though often this type of rare accidental is expressed as a natural, followed by a flat (♮♭) to make this clear. Likewise (and more commonly), a double sharp sign on a key signature with a single sharp ♯ indicates only a double sharp, not a triple sharp.

Assuming enharmonicity, many accidentals will create equivalences between pitches that are written differently. For instance, raising the note B to B♯ is equal to the note C. Assuming all such equivalences, the complete chromatic scale adds five additional pitch classes to the original seven lettered notes for a total of 12 (the 13th note completing the octave), each separated by a half-step.

Notes that belong to the diatonic scale relevant in the context are sometimes called diatonic notes; notes that do not meet that criterion are then sometimes called chromatic notes.

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 or a Romance language.

In most countries using this system, the letter H is used to represent what is B natural in English, the letter B represents the B♭, and Heses represents the B♭♭ (not Bes, which would also have fit into the system). Belgium and the Netherlands use the same suffixes, but applied throughout to the notes A to G, so that B♭ is Bes. Denmark also uses H, but uses bes instead of heses for B♭♭.

This is a complete chart of a chromatic scale built on the note C4, or "middle C":

Note designation in accordance with octave name[link]

The table of each octave and the frequencies for every note of pitch class A is shown below. The traditional (Helmholtz) system centers on the great octave (with capital letters) and small octave (with lower case letters). Lower octaves are named "contra" (with primes before), higher ones "lined" (with primes after). Another system (scientific) suffixes a number (starting with 0, or sometimes -1). In this system A4 is nowadays standardised to 440 Hz, lying in the octave containing notes from C4 (middle C) to B4. The lowest note on most pianos is A0, the highest C8. The MIDI system for electronic musical instruments and computers uses a straight count starting with note 0 for C-1 at 8.1758 Hz up to note 127 for G9 at 12,544 Hz.

Written notes[link]

A written note can also have a note value, a code that determines the note's relative duration. In order of halving duration, we have: double note (breve); whole note (semibreve); half note (minim); quarter note (crotchet); eighth note (quaver); sixteenth note (semiquaver). Smaller still are the thirty-second note (demisemiquaver), sixty-fourth note (hemidemisemiquaver), and hundred twenty-eighth note (semihemidemisemiquaver).

When notes are written out in a score, each note is assigned a specific vertical position on a staff position (a line or a space) on the staff, as determined by the clef. Each line or space is assigned a note name. These names are memorized by musicians and allow them to know at a glance the proper pitch to play on their instruments for each note-head marked on the page.

The C Major scale

The staff above shows the notes C, D, E, F, G, A, B, C  listen (help·info) and then in reverse order, with no key signature or accidentals.

Note frequency (hertz)[link]

In all technicality, music can be composed of notes at any arbitrary frequency. Since the physical causes of music are vibrations of mechanical systems, they are often measured in hertz (Hz), with 1 Hz = 1 complete vibration per second. For historical and other reasons, especially in Western music, only twelve notes of fixed frequencies are used. These fixed frequencies are mathematically related to each other, and are defined around the central note, A4. The current "standard pitch" or modern "concert pitch" for this note is 440 Hz, although this varies in actual practice (see History of pitch standards).

The note-naming convention specifies a letter, any accidentals (sharps/flats), and an octave number. Any note is an integer of half-steps away from middle A (A4). Let this distance be denoted n. If the note is above A4, then n is positive; if it is below A4, then n is negative. The frequency of the note (f) (assuming equal temperament) is then:

Failed to parse (Missing texvc executable; please see math/README to configure.): f = 2^{n/12} \times 440 \,\mbox {Hz}\,

For example, one can find the frequency of C5, the first C above A4. There are 3 half-steps between A4 and C5 (A4 → A♯4 → B4 → C5), and the note is above A4, so n = +3. The note's frequency is:

Failed to parse (Missing texvc executable; please see math/README to configure.): f = 2^{3/12} \times 440 \,\mbox {Hz} \approx 523.2 \,\mbox {Hz}

To find the frequency of a note below A4, the value of n is negative. For example, the F below A4 is F4. There are 4 half-steps (A4 → A♭4 → G4 → G♭4 → F4), and the note is below A4, so n = −4. The note's frequency is:

Failed to parse (Missing texvc executable; please see math/README to configure.): f = 2^{-4/12} \times 440 \,\mbox {Hz} \approx 349.2 \,\mbox {Hz}

Finally, it can be seen from this formula that octaves automatically yield factors of two times the original frequency, since n is therefore a multiple of 12 (12k, where k is the number of octaves up or down), and so the formula reduces to:

Failed to parse (Missing texvc executable; please see math/README to configure.): f = 2^{12k/12} \times 440 \,\mbox {Hz} = 2^k \times 440 \,\mbox {Hz}

yielding a factor of 2. In fact, this is the means by which this formula is derived, combined with the notion of equally-spaced intervals.

The distance of an equally tempered semitone is divided into 100 cents. So 1200 cents are equal to one octave — a frequency ratio of 2:1. This means that a cent is precisely equal to the 1200th root of 2, which is approximately 1.000578.

For use with the MIDI (Musical Instrument Digital Interface) standard, a frequency mapping is defined by:

Failed to parse (Missing texvc executable; please see math/README to configure.): p = 69 + 12 \times log_2{f \over 440 \,\mbox {Hz}}

Where p is the MIDI note number. And in the opposite direction, to obtain the frequency from a MIDI note p, the formula is defined as:

Failed to parse (Missing texvc executable; please see math/README to configure.): f=440\,\mbox{Hz} \times 2^{(p-69)/12}

For notes in an A440 equal temperament, this formula delivers the standard MIDI note number (p). Any other frequencies fill the space between the whole numbers evenly. This allows MIDI instruments to be tuned very accurately in any microtuning scale, including non-western traditional tunings.

History of note names[link]

Music notation systems have used letters of the alphabet for centuries. The 6th century philosopher Boethius is known to have used the first fifteen letters of the alphabet to signify the notes of the two-octave range that was in use at the time. Though it is not known whether this was his devising or common usage at the time, this is nonetheless called Boethian notation.

Following this, the system of repeating letters A-G in each octave was introduced, these being written as minuscules for the second octave (a-g) and double minuscules for the third (aa-gg). When the compass of used notes was extended down by one note, to a G, it was given the Greek G (Γ), gamma. (It is from this that the French word for scale, gamme is derived, and the English word gamut, from "Gamma-Ut", the lowest note in Medieval music notation.)

The remaining five notes of the chromatic scale (the black keys on a piano keyboard) were added gradually; the first being B, which was flattened in certain modes to avoid the dissonant tritone interval. This change was not always shown in notation, but when written, B♭ (B-flat) was written as a Latin, round "b", and B♮ (B-natural) a Gothic or "hard-edged" b. These evolved into the modern flat and natural symbols respectively. The sharp symbol arose from a barred b, called the "cancelled b".

In parts of Europe, including Germany, the Czech Republic, Poland, Hungary, Norway, Finland, and Russia, the natural symbol transformed into the letter H (possibly for hart, German for hard): in German music notation, H is B♮ (B-natural) and B is B♭ (B-flat). Occasionally, music written in German for international use will use H for B-natural and B^b for B-flat (with a modern-script lowercase b instead of a flat sign). Since a Bes or B♭ in Northern Europe (i.e. a B elsewhere) is both rare and unorthodox (more likely to be expressed as Heses), it is generally clear what this notation means.

In Italian, Portuguese, Greek, French, Russian, Flemish, Romanian, Spanish, Persian, Arabic, Hebrew, Bulgarian and Turkish notation the notes of scales are given in terms of 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 Guido d'Arezzo, who had taken them from the first syllables of the first six musical phrases of a Gregorian Chant melody Ut queant laxis, which began on the appropriate scale degrees. These became the basis of the solfege system. "Do" later replaced the original "Ut" for ease of singing (most likely from the beginning of Dominus, Lord), though "Ut" is still used in some places. "Si" or "Ti" was added as the seventh degree (from Sancte Johannes, St. John, to whom the hymn is dedicated). The use of 'Si' versus 'Ti' varies regionally.

In a newly developed system, primarily in use in the United States, notes of scales become independent to the music notation. In this system the natural symbols C-D-E-F-G-A-B refer to the absolute notes, while the names Do-Re-Mi-Fa-So-La-Ti are relativized and show only the relationship between pitches, where Do is the name of the base pitch of the scale, Re is the name of the second pitch, etc. The idea of so called movable-do, originally suggested by John Curwen in the 19th century, was fully developed and involved into a whole educational system by Zoltán Kodály in the middle of the 20th century, which system is known as the Kodály Method or Kodály Concept.

See also[link]

• Music and mathematics (Mathematics of musical scales)
• Diatonic and chromatic
• Ghost note
• Grace note
• Money note
• Musical temperament
• Note value
• Pensato
• Piano key frequencies
• Solfege
• Universal key

References[link]

1. ^ Nattiez 1990, p.81n9

Bibliography[link]

• Nattiez, Jean-Jacques (1990). Music and Discourse: Toward a Semiology of Music (Musicologie générale et sémiologue, 1987). Translated by Carolyn Abbate (1990). ISBN 0-691-02714-5.

External links[link]

Look up note in Wiktionary, the free dictionary.

• Converter: Frequencies to note name, +/- cents
• Note names, keyboard positions, frequencies and MIDI numbers
• Music notation systems − Frequencies of equal temperament tuning - The English and American system versus the German system
• Frequencies of musical notes

v t e Musical notation and development Staff Bar & bar line Clef Da capo Dal segno Key signature Ledger line Musical mode Musical scale Rehearsal letter Repeat sign Time signature Transposition Transposing instrument Notes Accidental Flat Natural Sharp Dotted note Grace note Note value Beam Note head Stem Pitch Rest Tuplet Interval Helmholtz pitch notation Letter notation Scientific pitch notation Articulation Dynamics Ornament Trill Mordent Grace note Portato Accent Legato Tenuto Marcato Staccato Staccatissimo Tie Slur Fermata Tonguing Development Cell Coda Exposition Figure Harmony Hook Lick Melody Motif Ossia Ostinato Period Phrase Recapitulation Repetition Rhythm Beat Meter Tempo Theme Tonality Atonality Related Braille music Chord chart Figured bass Graphic notation Lead sheet Eye music Neume Tablature List of musical symbols

Daryle Singletary
Daryle Singletary at the Grand Ole Opry in 2007.
Background information
Birth name	Daryle Bruce Singletary[1]
Born	(1971-03-10) March 10, 1971 (age 41)[2]
Origin	Cairo, Georgia, USA[2]
Genres	Country
Occupations	Singer
Instruments	Vocals Guitar
Years active	1994-present
Labels	Giant Audium Shanachie E1 Music
Associated acts	Randy Travis David Malloy

Daryle Bruce Singletary (born March 10, 1971) is an American country music singer. Between 1995 and 1998, he recorded for Giant Records, for which he released three studio albums: Daryle Singletary in 1995, All Because of You in 1996 and Ain't It the Truth in 1998. In the same timespan, Singletary entered the top 40 of the Hot Country Songs charts five times, reaching number two with "I Let Her Lie" and "Amen Kind of Love", and number four with "Too Much Fun".

In 2000, Singletary switched to Audium Entertainment (a division of Koch Entertainment), where he released the albums Now and Again (2000) and That's Why I Sing This Way (2002), both of which were largely composed of cover songs. A third album of covers, 2007's Straight from the Heart, was issued on the independent Shanachie Records label. He returned to Koch (now renamed E1 Music) in 2010, to release Rockin' in the Country.

Early life[link]

Daryle Singletary was born March 10, 1971 in Cairo, Georgia.^[2] His father was a postal worker and his mother was a hair dresser.^[3] At an early age, he sang gospel music with his cousins and brother. Later on, in high school, he began taking vocal classes as well. By the early 1990s, he had moved to Nashville, Tennessee in pursuit of a record deal.

In Nashville, he found work singing during open-mic nights at various venues, before finding work as a demo singer. One of the demos that Singletary sang was "An Old Pair of Shoes", which Randy Travis eventually recorded.^[2] Travis recommended Singletary to his management team, who helped him sign to a recording contract with Giant Records.^[2]

Career[link]

[edit] 1995-1996: Self-titled album

Singletary's self-titled debut album was released in 1995. The lead-off single, "I'm Living Up to Her Low Expectations", spent one week in the Top 40 on the Billboard country charts, peaking at #39. It was followed by his biggest hit, the #2 "I Let Her Lie". This album also produced the #4 "Too Much Fun" and finally "Working It Out" at #50. Despite the two Top Five hits it produced, the album sold poorly and reached #44 on Top Country Albums. The album was produced by David Malloy, James Stroud and Randy Travis.

[edit] 1996-1997: All Because of You

A second album for Giant, All Because of You, was released in 1996. Although its lead-off single "Amen Kind of Love" became his second #2 hit that year, the album's other two tracks — "The Used to Be's" and "Even the Wind" — both fell short of Top 40, peaking at number 48 and 68 respectively.

[edit] 1998-1999: Ain't It the Truth

Ain't It the Truth, his third and final album for Giant, produced a minor hit in "The Note", which peaked at #28 on the country charts and #90 on the Billboard Hot 100. Despite this song's minor crossover success, however, this album also saw its second and third singles miss the Top 40, and Singletary was dropped from Giant's roster.

[edit] 2000-2001: Now and Again

In 2000, Singletary signed to Audium/Koch Entertainment to release his fourth album, 2000's Now and Again. This album's lead-off single was a cover of Savage Garden's 1999 pop single "I Knew I Loved You". Following it were "I've Thought of Everything" at #70, and the album's title track, which failed to chart.

[edit] 2002-2003: That's Why I Sing This Way

His second album for Audium/Koch, That's Why I Sing This Way, was mostly a cover album save for the title track. Both "That's Why I Sing This Way" and a cover of Conway Twitty's "I'd Love to Lay You Down" were released from this album, respectively reaching #47 and #43.

2003-present: Later years[link]

After Audium/Koch closed its country division, Singletary signed to Shanachie Records. His first project for the label was a second album, 2007's Straight from the Heart, which was also largely composed of cover songs. Its singles, "I Still Sing This Way" and "Jesus & Bartenders", both failed to chart.

In 2009, Singletary returned to Koch under the label's new name of E1 Music. He released his next single, "Love You With the Lights On" in February. The single was the lead-off single to a new album, Rockin' in the Country, released in June 2009.

Discography[link]

Studio albums[link]

1990s singles[link]

2000s singles[link]

Music videos[link]

References[link]

External links[link]

• DaryleSingletary.net