In music, a half note (American) or minim (British) is a note played for half the duration of a whole note (or semibreve) and twice the duration of a quarter note (or crotchet). In time signatures with a denominator of 4, such as 4/4 or 3/4 time, the half note is two beats long.

Half notes are notated with a hollow oval note head (like a whole note) and a straight note stem with no flags (like a quarter note; see Figure 1). The half rest (or minim rest) denotes a silence for the same duration. Half rests are drawn as filled-in rectangles sitting on top of the middle line of the musical staff. As with all notes with stems, half notes are drawn with stems to the right of the notehead, facing up, when they are below the middle line of the staff. When they are on or above the middle line, they are drawn with stems on the left of the note head, facing down.

The note derives from the minima in mensural notation, which is Latin for 'least or smallest,' because at one stage it was the shortest of all note values used. The word minim comes from this name. The American term half note is a 19th-century loan translation of German halbe Note.

In music, the term note has two primary meanings:

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

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.

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.

Wynton Kelly (December 2, 1931 – April 12, 1971) was a Jamaican-born jazz pianist, who spent his career in the United States. He is perhaps best known for working with trumpeter Miles Davis from 1959-1962.

Son of Jamaican immigrants, Kelly was born in Jamaica, and started his professional career as a teenager, initially as a member of R&B groups. After working with Lee Abrams, Cecil Payne, Dinah Washington and Dizzy Gillespie, he was a member of Miles Davis's Quintet from 1959 to 1963. He appears on Davis' seminal 1959 album Kind of Blue, replacing Bill Evans on the track "Freddie Freeloader". Kelly likewise appears on a single track from John Coltrane's Giant Steps, replacing Tommy Flanagan on "Naima".

He recorded 14 titles for Blue Note in a trio (1951), and worked with Washington, Gillespie, and Lester Young during 1951-1952. After serving in the military, Kelly worked with Washington (1955–1957), Charles Mingus (1956–1957), and the Dizzy Gillespie Big Band (1957), but he would be most famous for his stint with Miles Davis (1959–1963), recording such albums with him as Kind of Blue, At the Blackhawk, and Someday My Prince Will Come. When he left Davis, Kelly took the rest of the rhythm section (bassist Paul Chambers and drummer Jimmy Cobb) with him to form his trio.