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71-452: Arpeggios may include all notes of a scale or a partial set of notes from a scale, but must contain notes of at least three pitches (two-pitch sequences are known as trills ). Arpeggios may sound notes within a single octave or span multiple octaves, and the notes may be sustained and overlap or be heard separately. An arpeggio for the chord of C major going up two octaves would be the notes (C, E, G, C, E, G, C). In musical notation ,

142-540: A Bes or B ♭ in Northern Europe (notated B [REDACTED] in modern convention) is both rare and unorthodox (more likely to be expressed as Heses), it is generally clear what this notation means. 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

213-566: A difference in this logarithmic scale, however in the regular linear scale of frequency, adding 1 cent corresponds to multiplying a frequency by √ 2  (≅  1.000 578 ). For use with the MIDI (Musical Instrument Digital Interface) standard, a frequency mapping is defined by: where p {\displaystyle p} is the MIDI note number. 69 is the number of semitones between C −1 (MIDI note 0) and A 4 . Conversely,

284-446: A harp . Despite its Italian origins, its plural usage is usually arpeggios rather than arpeggi . Any instrument may employ arpeggiation, but arpeggios are more commonly used on instruments which serve the role of melodic lead or ornamentation . Arpeggios may be used as an alternative to continuous portamento for instruments which are not able to achieve that, or which have limitations in achieving portamento over multiple notes of

355-416: A musical scale is the bottom note's second harmonic 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 " octave " of the bottom note, since an octave is the interval between a note and another with double frequency. Two nomenclature systems for differentiating pitches that have

426-405: A musical work is built using the notes of a single scale, which can be conveniently represented on a staff with a standard key signature . Due to the principle of octave equivalence, scales are generally considered to span a single octave, with higher or lower octaves simply repeating the pattern. A musical scale represents a division of the octave space into a certain number of scale steps,

497-501: A power of 2 multiplied by 440 Hz: The base-2 logarithm of the above frequency–pitch relation conveniently results in a linear relationship with h {\displaystyle h} or v {\displaystyle v} : When dealing specifically with intervals (rather than absolute frequency), the constant log 2 ⁡ ( 440 Hz ) {\displaystyle \log _{2}({\text{440 Hz}})} can be conveniently ignored, because

568-406: A "tonic" diatonic scale and modulate to the "dominant" scale a fifth above. In the 19th century (to a certain extent), but more in the 20th century, additional types of scales were explored: A large variety of other scales exists, some of the more common being: Scales such as the pentatonic scale may be considered gapped relative to the diatonic scale. An auxiliary scale is a scale other than

639-576: A binary system of twelve zeros or ones to represent each of the twelve notes of a chromatic scale . The most common binary numbering scheme defines lower pitches to have lower numeric value (as opposed to low pitches having a high numeric value). Thus a single pitch class n in the pitch class set is represented by 2^n. This maps the entire power set of all pitch class sets in 12-TET to the numbers 0 to 4095. The binary digits read as ascending pitches from right to left, which some find discombobulating because they are used to low to high reading left to right, as on

710-403: A central reference " concert pitch " of A 4 , currently standardized as 440 Hz. Notes played in tune with the 12 equal temperament system will be an integer number h {\displaystyle h} of half-steps above (positive h {\displaystyle h} ) or below (negative h {\displaystyle h} ) that reference note, and thus have

781-448: A chromatic scale each scale step represents a semitone interval, while a major scale is defined by the interval pattern W–W–H–W–W–W–H, where W stands for whole step (an interval spanning two semitones, e.g. from C to D), and H stands for half-step (e.g. from C to D ♭ ). Based on their interval patterns, scales are put into categories including pentatonic , diatonic , chromatic , major , minor , and others. A specific scale

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852-561: A composition, such as in Claude Debussy 's L'Isle Joyeuse . To the right, the first scale is a whole-tone scale, while the second and third scales are diatonic scales. All three are used in the opening pages of Debussy's piece. Scales in traditional Western music generally consist of seven notes and repeat at the octave. Notes in the commonly used scales (see just below) are separated by whole and half step intervals of tones and semitones. The harmonic minor scale includes

923-421: A frequency of: Octaves automatically yield powers of two times the original frequency, since h {\displaystyle h} can be expressed as 12 v {\displaystyle 12v} when h {\displaystyle h} is a multiple of 12 (with v {\displaystyle v} being the number of octaves up or down). Thus the above formula reduces to yield

994-549: A half step. This half step interval is also known as a semitone (which has an equal temperament frequency ratio of √ 2  ≅ 1.0595). The natural symbol ( ♮ ) indicates that any previously applied accidentals should be cancelled. Advanced musicians use the double-sharp symbol ( [REDACTED] ) to raise the pitch by two semitones , the double-flat symbol ( [REDACTED] ) to lower it by two semitones, and even more advanced accidental symbols (e.g. for quarter tones ). Accidental symbols are placed to

1065-418: A moveable seven-note scale . Indian Rāgas often use intervals smaller than a semitone. Turkish music Turkish makams and Arabic music maqamat may use quarter tone intervals. In both rāgas and maqamat, the distance between a note and an inflection (e.g., śruti ) of that same note may be less than a semitone. Musical note In music , notes are distinct and isolatable sounds that act as

1136-422: A note between G and G ♯ or a note moving between both. In blues, a pentatonic scale is often used. In jazz, many different modes and scales are used, often within the same piece of music. Chromatic scales are common, especially in modern jazz. In Western music, scale notes are often separated by equally tempered tones or semitones, creating 12 intervals per octave. Each interval separates two tones;

1207-449: A piano keyboard. In this scheme, the major scale is 101010110101 = 2741. This binary representation permits easy calculation of interval vectors and common tones, using logical binary operators. It also provides a perfect index for every possible combination of tones, as every scale has its own number. Scales may also be shown as semitones from the tonic. For instance, 0 2 4 5 7 9 11 denotes any major scale such as C–D–E–F–G–A–B, in which

1278-478: A progression between one note and its octave ", typically by order of pitch or fundamental frequency . The word "scale" originates from the Latin scala , which literally means " ladder ". Therefore, any scale is distinguishable by its "step-pattern", or how its intervals interact with each other. Often, especially in the context of the common practice period , most or all of the melody and harmony of

1349-418: A scale step being the recognizable distance (or interval ) between two successive notes of the scale. However, there is no need for scale steps to be equal within any scale and, particularly as demonstrated by microtonal music , there is no limit to how many notes can be injected within any given musical interval. A measure of the width of each scale step provides a method to classify scales. For instance, in

1420-422: A scale, such as keyboards , fretted instruments, and monophonic instruments like the flute . Arpeggios are commonly used in many music genres and are particularly highlighted in genres with significant focus on melody and ornamentation, such as flamenco and neo-classical . Arpeggios are an important part of jazz improvisation . On guitar, sweep-picking is a technique used for rapid arpeggiation, which

1491-400: A semitone. The blue note is an interval that is technically neither major nor minor but "in the middle", giving it a characteristic flavour. A regular piano cannot play blue notes, but with electric guitar , saxophone , trombone and trumpet , performers can "bend" notes a fraction of a tone sharp or flat to create blue notes. For instance, in the key of E, the blue note would be either

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1562-426: A specific vertical position on a staff position (a line or 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. The staff above shows the notes C, D, E, F, G, A, B, C and then in reverse order, with no key signature or accidentals. Notes that belong to

1633-599: A third (in this case a major third); D and F also create a third (in this case a minor third). A single scale can be manifested at many different pitch levels. For example, a C major scale can be started at C4 (middle C; see scientific pitch notation ) and ascending an octave to C5; or it could be started at C6, ascending an octave to C7. Scales may be described according to the number of different pitch classes they contain: Scales may also be described by their constituent intervals, such as being hemitonic , cohemitonic , or having imperfections. Many music theorists concur that

1704-716: A three-semitone step; the anhemitonic pentatonic includes two of those and no semitones. Western music in the Medieval and Renaissance periods (1100–1600) tends to use the white-note diatonic scale C–D–E–F–G–A–B. Accidentals are rare, and somewhat unsystematically used, often to avoid the tritone . Music of the common practice periods (1600–1900) uses three types of scale: These scales are used in all of their transpositions. The music of this period introduces modulation, which involves systematic changes from one scale to another. Modulation occurs in relatively conventionalized ways. For example, major-mode pieces typically begin in

1775-425: A tritone), and one without tritones is atritonic . A scale or chord that contains semitones is called hemitonic, and without semitones is anhemitonic . Scales can be abstracted from performance or composition . They are also often used precompositionally to guide or limit a composition. Explicit instruction in scales has been part of compositional training for many centuries. One or more scales may be used in

1846-526: A very rapid arpeggiated chord may be written with a wavy vertical line in front of the chord. Typically these are read as to be played from the lowest to highest note, though composers may specify a high to low sequence by adding an arrow pointing down. Arpeggios enable composers writing for monophonic instruments that play one note at a time (such as the trumpet ) to voice chords and chord progressions in musical pieces. Arpeggios are also used to help create rhythmic interest, or as melodic ornamentation in

1917-445: Is C–B–A–G–F–E–D–[C], with the bracket indicating an octave lower than the first note in the scale. The distance between two successive notes in a scale is called a scale step . The notes of a scale are numbered by their steps from the first degree of the scale. For example, in a C major scale the first note is C, the second D, the third E and so on. Two notes can also be numbered in relation to each other: C and E create an interval of

1988-482: Is D–E–F ♯ in Chromatic transposition). Since the steps of a scale can have various sizes, this process introduces subtle melodic and harmonic variation into the music. In Western tonal music, the simplest and most common type of modulation (or changing keys) is to shift from one major key to another key built on the first key's fifth (or dominant) scale degree. In the key of C major, this would involve moving to

2059-522: Is defined by its characteristic interval pattern and by a special note, known as its first degree (or tonic ). The tonic of a scale is the note selected as the beginning of the octave, and therefore as the beginning of the adopted interval pattern. Typically, the name of the scale specifies both its tonic and its interval pattern. For example, C major indicates a major scale with a C tonic. Scales are typically listed from low to high pitch. Most scales are octave -repeating , meaning their pattern of notes

2130-408: Is most often found in rock music and heavy metal music . Along with scales , arpeggios are a form of basic technical exercise that students use to develop intonation and technique. They can also be used in call and response ear training dictations, either alone or in conjunction with harmony dictations. Some synthesizers contain arpeggiators , which are step sequencers designed to facilitate

2201-454: Is the same in every octave (the Bohlen–Pierce scale is one exception). An octave-repeating scale can be represented as a circular arrangement of pitch classes, ordered by increasing (or decreasing) pitch class. For instance, the increasing C major scale is C–D–E–F–G–A–B–[C], with the bracket indicating that the last note is an octave higher than the first note, and the decreasing C major scale

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2272-400: The A minor scale. Several European countries, including Germany, use H instead of B (see § 12-tone chromatic scale for details). Byzantium used the names Pa–Vu–Ga–Di–Ke–Zo–Ni (Πα–Βου–Γα–Δι–Κε–Ζω–Νη). In traditional Indian music , musical notes are called svaras and commonly represented using the seven notes, Sa, Re, Ga, Ma, Pa, Dha and Ni. In a score , each note is assigned

2343-507: The MIDI standard is clear, the octaves actually played by any one MIDI device don't necessarily match the octaves shown below, especially in older instruments.) Pitch is associated with the frequency of physical oscillations measured in hertz (Hz) representing the number of these oscillations per second. While notes can have any arbitrary frequency, notes in more consonant music tends to have pitches with simpler mathematical ratios to each other. Western music defines pitches around

2414-403: The diatonic scale relevant in a tonal context are called diatonic notes . Notes that do not meet that criterion are called chromatic notes or accidentals . Accidental symbols visually communicate a modification of a note's pitch from its tonal context. Most commonly, the sharp symbol ( ♯ ) raises a note by a half step , while the flat symbol ( ♭ ) lowers a note by

2485-515: The difference between any two frequencies f 1 {\displaystyle f_{1}} and f 2 {\displaystyle f_{2}} in this logarithmic scale simplifies to: Cents are a convenient unit for humans to express finer divisions of this logarithmic scale that are 1 ⁄ 100 of an equally- tempered semitone. Since one semitone equals 100  cents , one octave equals 12 ⋅ 100 cents = 1200 cents. Cents correspond to

2556-570: The harmonic overtones series. Many musical scales in the world are based on this system, except most of the musical scales from Indonesia and the Indochina Peninsulae, which are based on inharmonic resonance of the dominant metalophone and xylophone instruments. Some scales use a different number of pitches. A common scale in Eastern music is the pentatonic scale, which consists of five notes that span an octave. For example, in

2627-497: The lead or accompaniment . Though the notes of an arpeggio are not sounded simultaneously, listeners may effectively hear the sequence of notes as forming a chord if played in quick succession. When an arpeggio also contains passing tones that are not part of the chord, certain music theorists may analyze the same musical excerpt differently. The word arpeggio comes from the Italian word arpeggiare , which means to play on

2698-411: The longa ) and shorter note values (e.g. the two hundred fifty-sixth note ) do exist, but are very rare in modern times. These durations can further be subdivided using tuplets . A rhythm is formed from a sequence in time of consecutive notes (without particular focus on pitch) and rests (the time between notes) of various durations. Music theory in most European countries and others use

2769-528: The solfège naming convention. Fixed do uses the syllables re–mi–fa–sol–la–ti specifically for the C major scale, while movable do labels notes of any major scale 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 Latin alphabet (A, B, C, D, E, F and G), corresponding to

2840-416: The song " Happy Birthday to You ", 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". A note can have a note value that indicates the note's duration relative to the musical meter . In order of halving duration, these values are: Longer note values (e.g.

2911-620: The Chinese culture, the pentatonic scale is usually used for folk music and consists of C, D, E, G and A, commonly known as gong, shang, jue, chi and yu. Some scales span part of an octave; several such short scales are typically combined to form a scale spanning a full octave or more, and usually called with a third name of its own. The Turkish and Middle Eastern music has around a dozen such basic short scales that are combined to form hundreds of full-octave spanning scales. Among these scales Hejaz scale has one scale step spanning 14 intervals (of

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2982-456: The English and Dutch names are different, the corresponding symbols are identical. Two pitches that are any number of octaves apart (i.e. their fundamental frequencies are in a ratio equal to a power of two ) are perceived as very similar. Because of that, all notes with these kinds of relations can be grouped under the same pitch class and are often given the same name. The top note of

3053-514: The Gothic ; 𝕭 resembles an H ). 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 German for international use will use H for B  natural and B for B  flat (with a modern-script lower-case b, instead of a flat sign, ♭ ). Since

3124-452: The chromatic scale (the black keys on a piano keyboard) were added gradually; the first being B ♭ , since B 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, cursive " 𝑏  ", and B ♮ ( B  natural) a Gothic script (known as Blackletter ) or "hard-edged" 𝕭 . These evolved into

3195-409: The constituent intervals of a scale have a large role in the cognitive perception of its sonority, or tonal character. "The number of the notes that make up a scale as well as the quality of the intervals between successive notes of the scale help to give the music of a culture area its peculiar sound quality." "The pitch distances or intervals among the notes of a scale tell us more about the sound of

3266-439: The first degree is, obviously, 0 semitones from the tonic (and therefore coincides with it), the second is 2 semitones from the tonic, the third is 4 semitones from the tonic, and so on. Again, this implies that the notes are drawn from a chromatic scale tuned with 12-tone equal temperament. For some fretted string instruments, such as the guitar and the bass guitar , scales can be notated in tabulature , an approach which indicates

3337-420: The formula to determine frequency from a MIDI note p {\displaystyle p} is: Music notation systems have used letters of the alphabet for centuries. The 6th century philosopher Boethius is known to have used the first fourteen letters of the classical Latin alphabet (the letter J did not exist until the 16th century), to signify the notes of the two-octave range that

3408-438: The fret number and string upon which each scale degree is played. Composers transform musical patterns by moving every note in the pattern by a constant number of scale steps: thus, in the C major scale, the pattern C–D–E might be shifted up, or transposed , a single scale step to become D–E–F. This process is called "scalar transposition" or "shifting to a new key" and can often be found in musical sequences and patterns. (It

3479-449: The higher tone has an oscillation frequency of a fixed ratio (by a factor equal to the twelfth root of two , or approximately 1.059463) higher than the frequency of the lower one. A scale uses a subset consisting typically of 7 of these 12 as scale steps. Many other musical traditions use scales that include other intervals. These scales originate within the derivation of the harmonic series . Musical intervals are complementary values of

3550-475: The key of G major (which uses an F ♯ ). Composers also often modulate to other related keys. In some Romantic music era pieces and contemporary music, composers modulate to "remote keys" that are not related to or close to the tonic. An example of a remote modulation would be taking a song that begins in C major and modulating (changing keys) to F ♯ major. Through the introduction of blue notes , jazz and blues employ scale intervals smaller than

3621-442: 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 bar . However, this effect does not accumulate for subsequent accidental symbols for the same pitch class. Assuming enharmonicity , accidentals can create pitch equivalences between different notes (e.g.

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3692-477: The middle eastern type found 53 in an octave) roughly similar to 3 semitones (of the western type found 12 in an octave), while Saba scale , another of these middle eastern scales, has 3 consecutive scale steps within 14 commas, i.e. separated by roughly one western semitone either side of the middle tone. Gamelan music uses a small variety of scales including Pélog and Sléndro , none including equally tempered nor harmonic intervals. Indian classical music uses

3763-621: 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 Gothic   𝕭 transformed into the letter H (possibly for hart , German for "harsh", as opposed to blatt , German for "planar", or just because

3834-540: The most basic building blocks for nearly all of music . This discretization facilitates performance, comprehension, and analysis . Notes may be visually communicated by writing them in musical notation . Notes can distinguish the general pitch class or the specific pitch played by a pitched instrument . Although this article focuses on pitch, notes for unpitched percussion instruments distinguish between different percussion instruments (and/or different manners to sound them) instead of pitch. Note value expresses

3905-503: The music than does the mere number of tones." Scales may also be described by their symmetry, such as being palindromic , chiral , or having rotational symmetry as in Messiaen's modes of limited transposition . The notes of a scale form intervals with each of the other notes of the chord in combination . A 5-note scale has 10 of these harmonic intervals, a 6-note scale has 15, a 7-note scale has 21, an 8-note scale has 28. Though

3976-426: The note B ♯ represents the same pitch as the note C). Thus, a 12-note chromatic scale 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 chromatic scale built on C. Their corresponding symbols are in parentheses. Differences between German and English notation are highlighted in bold typeface. Although

4047-494: The notes of a scale, it is customary that each scale degree be assigned its own letter name: for example, the A major scale is written A–B–C ♯ –D–E–F ♯ –G ♯ rather than A–B–D ♭ –D–E–E [REDACTED] –G ♯ . However, it is impossible to do this in scales that contain more than seven notes, at least in the English-language nomenclature system. Scales may also be identified by using

4118-403: The notes of the C major scale using A = 1, B = 2, C = 3, and so on. When we do so, we create a new scale called the A minor scale . See the musical note article for how the notes are customarily named in different countries. The scale degrees of a heptatonic (7-note) scale can also be named using the terms tonic , supertonic , mediant , subdominant , dominant , submediant , subtonic . If

4189-424: 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 , whose successive lines began on the appropriate scale degrees. These became the basis of the solfège system. For ease of singing, the name ut was largely replaced by do (most likely from the beginning of Dominus , "Lord"), though ut

4260-401: The playing of arpeggios, as well as non-arpeggiated sequences also. In early video game music , arpeggios were often the only way to play a chord since sound hardware usually had a very limited number of oscillators, or voices . Instead of tying them all up to play one chord, one channel could be used to play an arpeggio, leaving the rest for drums, bass, or sound effects. A prominent example

4331-444: The primary or original scale. See: modulation (music) and Auxiliary diminished scale . In many musical circumstances, a specific note of the scale is chosen as the tonic —the central and most stable note of the scale. In Western tonal music, simple songs or pieces typically start and end on the tonic note. Relative to a choice of a certain tonic, the notes of a scale are often labeled with numbers recording how many scale steps above

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4402-439: The relative duration of the note in time . Dynamics for a note indicate how loud to play them. Articulations may further indicate how performers should shape the attack and decay of the note and express fluctuations in a note's timbre and pitch . Notes may even distinguish the use of different extended techniques by using special symbols. The term note can refer to a specific musical event, for instance when saying

4473-463: The right of a note's letter when written in text (e.g. F ♯ is F-sharp , B ♭ is B-flat , and C ♮ is C natural ), but are placed to the left of a note's head when drawn on a staff . Systematic alterations to any of the 7 lettered pitch classes are communicated using a key signature . When drawn on a staff, accidental symbols are positioned in a key signature to indicate that those alterations apply to all occurrences of

4544-562: The same pitch class but which fall into different octaves are: For instance, the standard 440 Hz tuning pitch is named A 4 in scientific notation and instead named a′ in Helmholtz notation. Meanwhile, the electronic musical instrument standard called MIDI 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 ( G 9 ≈ 12,544 Hz). (Although

4615-483: The scale is not a chord , and might never be heard more than one note at a time, still the absence, presence, and placement of certain key intervals plays a large part in the sound of the scale, the natural movement of melody within the scale, and the selection of chords taken naturally from the scale. A musical scale that contains tritones is called tritonic (though the expression is also used for any scale with just three notes per octave, whether or not it includes

4686-567: 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 gamma ( Γ ), the lowest note in Medieval music notation. (It is from this gamma that the French word for scale, gamme derives, and the English word gamut , from "gamma-ut". ) The remaining five notes of

4757-487: 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 monochord . 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 lower-case for

4828-405: The subtonic is a semitone away from the tonic, then it is usually called the leading-tone (or leading-note); otherwise the leading-tone refers to the raised subtonic. Also commonly used is the (movable do) solfège naming convention in which each scale degree is denoted by a syllable. In the major scale, the solfège syllables are: do, re, mi, fa, so (or sol), la, ti (or si), do (or ut). In naming

4899-425: The tonic they are. For example, the notes of the C major scale (C, D, E, F, G, A, B) can be labeled {1, 2, 3, 4, 5, 6, 7}, reflecting the choice of C as tonic. The expression scale degree refers to these numerical labels. Such labeling requires the choice of a "first" note; hence scale-degree labels are not intrinsic to the scale itself, but rather to its modes. For example, if we choose A as tonic, then we can label

4970-529: Was in use at the time and in modern scientific pitch notation 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, Ptolemy 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.,

5041-543: Was the music of games and demos on Commodore 64 's SID chip, which only had three oscillators (see also Chiptune ). This technique was highly popular amongst European video game music composers for systems in the 1980s like the NES , with many transferring their knowledge from their days of composing with the Commodore 64. Musical scale In music theory , a scale is "any consecutive series of notes that form

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