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33-612: The Dufay Collective is an early-music ensemble from the United Kingdom , specializing in Medieval and Renaissance music . Founded in 1987, it was named after the Renaissance composer Guillaume Dufay . The group is directed by William Lyons. Group size and personnel varies according to the needs of the project. The group has also collaborated for several movie soundtracks, including those of Hamlet , The Affair of

66-496: A G. These alterations apply to the note as if it were a "natural", regardless of the key signature (see the F [REDACTED] in measure 2 of the Chopin example below). If a note with a double sharp or double flat is followed by a note in the same position with a single sharp or single flat , there are two common notations. Modern notation simply uses a single flat or sharp sign on the second note, whereas older notation may use

99-557: A barline cancels an accidental, with the exception of tied notes. Courtesy accidentals , also called cautionary accidentals or reminder accidentals are used to remind the musician of the correct pitch if the same note occurs in the following measure. The rules for applying courtesy accidentals (sometimes enclosed in parentheses) vary among publishers, though in a few situations they are customary: Publishers of free jazz music and some atonal music sometimes eschew all courtesy accidentals. Composers of microtonal music have developed

132-471: A natural sign (to cancel the double accidental) combined with the single accidental (shown below). Changing a note with a double accidental to a natural may likewise be done with a single natural sign (modern) or with a double natural (older). Only a few instances of triple flats ( [REDACTED] ) or triple sharps ( [REDACTED] ) can be found. As expected, they alter a note by three semitones (one whole tone and one semitone ). In modern scores,

165-475: A note has an accidental and the note is repeated in a different octave within the same measure the accidental is usually repeated, although this convention is not universal. The modern accidental signs derive from the two forms of the lower-case letter  b used in Gregorian chant manuscripts to signify the two pitches of B, the only note that could be altered. The "round" b became the flat sign, while

198-432: A note should be raised or lowered in pitch are derived from variations of the small letter  b : the sharp ( ♯ ) and natural ( ♮ ) signs from the square " b quadratum ", and the flat sign ( ♭ ) from the round " b rotundum ". The different kinds of B were eventually written differently, so as to distinguish them in music theory treatises and in notation. The flat sign ♭ derives from

231-660: A number of instrumental consorts and choral ensembles specialising in Early music repertoire were formed. Groups such as the Tallis Scholars , the Early Music Consort and the Taverner Consort and Players have been influential in bringing Early music to modern audiences through performances and popular recordings. The revival of interest in Early music has given rise to a scholarly approach to

264-604: A number of notations for indicating the various pitches outside of standard notation. One such system for notating quarter tones , used by the Czech Alois Hába and other composers, is shown. In the 19th and early 20th centuries, when Turkish musicians switched from their traditional notation systems—which were not staff-based—to the European staff-based system, they refined the European accidental system so they could notate Turkish scales that use intervals smaller than

297-419: A prescriptive weight that overspecifies and distorts its original openness. Accidentals … may or may not have been notated, but what modern notation requires would then have been perfectly apparent without notation to a singer versed in counterpoint ". Accidental (music) In musical notation , an accidental is a symbol that indicates an alteration of a given pitch . The most common accidentals are

330-428: A previous accidental or reinstate the flats or sharps of the key signature. Accidentals apply to subsequent notes on the same staff position for the remainder of the measure where they occur, unless explicitly changed by another accidental. Once a barline is passed, the effect of the accidental ends, except when a note affected by an accidental is tied to the same note across a barline. An accidental that carries past

363-470: A round b that signified the soft hexachord, hexachordum molle , particularly the presence of B ♭ . The name of the flat sign in French is bémol from medieval French bé mol , which in modern French is bé mou ("soft b"). The natural sign ♮ and the sharp sign ♯ derive from variations of a square b that signified the hard hexachord, hexachordum durum , where the note in question

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396-490: A semitone: for example, if a G ♯ is followed in the same measure by a G ♭ , the flat sign on the latter note means it is two semitones lower than if no accidental were present. Thus, the effect of the accidental must be understood in relation to the "natural" meaning of the note's staff position . In some atonal scores (particularly by composers of the Second Viennese School ), an accidental

429-405: A tempered semitone. There are several such systems, which vary as to how they divide the octave they presuppose or the graphical shape of the accidentals. The most widely used system (created by Rauf Yekta Bey ) uses a system of four sharps (roughly +25 cents , +75 cents, +125 cents and +175 cents) and four flats (roughly −25 cents, −75 cents, −125 cents and −175 cents) , none of which correspond to

462-624: Is B ♮ . The name of the natural sign in French is bécarre from medieval French bé quarre , which in modern French is bé carré ("square b"). In German music notation, the letter B or b always designates B ♭ while the letter H or h – a deformation of a square b – designates B ♮ . In the High Middle Ages , a widespread musical tradition was based on the hexachord system defined by Guido of Arezzo . The basic system, called musica recta , had three overlapping hexachords. Change from one hexachord to another

495-422: Is notated on every note, including natural notes and repeated pitches. This system was adopted for "the specific intellectual reason that a note with an accidental was not simply an inflected version of a natural note but a pitch of equal status." Double flats or sharps lower or raise or the pitch of a note by two semitones. An F double sharp is a whole step above an F, making it enharmonically equivalent to

528-422: Is used loosely to describe any such un-notated accidentals. The implied alterations can have more than one solution, but sometimes the intended pitches can be found in lute tablatures where a fret is specified. The convention of an accidental remaining in force through a measure developed only gradually over the 18th century. Before then, accidentals only applied to immediately repeated notes or short groups when

561-435: The flat ( ♭ ) and the sharp ( ♯ ), which represent alterations of a semitone , and the natural ( ♮ ), which cancels a sharp or flat. Accidentals alter the pitch of individual scale tones in a given key signature ; the sharps or flats in the key signature itself are not considered accidentals. An accidental applies to the note that immediately follows it, and to subsequent instances of that note in

594-429: The hexachordum durum (the hard hexachord ) G–A–B–C–D–E where B is natural, to the hexachordum molle (the soft hexachord ) F–G–A–B ♭ –C–D where it is flat. The note B is not present in the third hexachord hexachordum naturale (the natural hexachord ) C–D–E–F–G–A. Strictly speaking the medieval signs ♮ and ♭ indicated that the melody is progressing inside a (fictive) hexachord of which

627-442: The "square" b diverged into the sharp and natural signs. In most cases, a sharp raises the pitch of a note one semitone while a flat lowers it one semitone. A natural is used to cancel the effect of a flat or sharp. This system of accidentals operates in conjunction with the key signature , whose effect continues throughout an entire piece, or until another key signature is indicated. An accidental can also be used to cancel

660-534: The Necklace , A Knight's Tale , and Harry Potter and the Prisoner of Azkaban . This article on a United Kingdom band or other musical ensemble is a stub . You can help Misplaced Pages by expanding it . Early music Interpretations of historical scope of "early music" vary. The original Academy of Ancient Music formed in 1726 defined "Ancient" music as works written by composers who lived before

693-409: The barline through a tied note does not apply to subsequent notes. Under this system, the notes in the example above are: Though this convention is still in use particularly in tonal music , it may be cumbersome in music that features frequent accidentals, as is often the case in atonal music . As a result, an alternative system of note-for-note accidentals has been adopted, with the aim of reducing

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726-631: The end of the 16th century. Johannes Brahms and his contemporaries would have understood Early music to range from the High Renaissance and Baroque, while some scholars consider that Early music should include the music of ancient Greece or Rome before 500 AD (a period that is generally covered by the term Ancient music ). Music critic Michael Kennedy excludes Baroque, defining Early music as "musical compositions from [the] earliest times up to and including music of [the] Renaissance period". Musicologist Thomas Forrest Kelly considers that

759-514: The essence of Early music is the revival of "forgotten" musical repertoire and that the term is intertwined with the rediscovery of old performance practice . According to the UK's National Centre for Early Music , the term "early music" refers to both a repertory (European music written between 1250 and 1750 embracing Medieval, Renaissance and the Baroque) – and a historically informed approach to

792-403: The mi-sign on F or the fa-sign on G means only that "some kind of F goes to some kind of G, proceeding by a semitone". As polyphony became more complex, notes other than B required alteration to avoid undesirable harmonic or melodic intervals (especially the augmented fourth, or tritone , that music theory writers referred to as diabolus in musica , i.e., "the devil in music"). Nowadays "ficta"

825-411: The number of accidentals required to notate a bar . According to Kurt Stone, the system is as follows: Because seven of the twelve notes of the chromatic equal-tempered scale are naturals (the "white notes", A; B; C; D; E; F; and G on a piano keyboard) this system can significantly reduce the number of naturals required in a notated passage. Occasionally, an accidental may change the note by more than

858-423: The performance of music. Through academic musicological research of music treatises , urtext editions of musical scores and other historical evidence, performers attempt to be faithful to the performance style of the musical era in which a work was originally conceived. Additionally, there has been a rise in the use of original or reproduction period instruments as part of the performance of Early music, such as

891-469: The performance of that music. Today, the understanding of "Early music" has come to include "any music for which a historically appropriate style of performance must be reconstructed on the basis of surviving scores, treatises, instruments and other contemporary evidence." In the later 20th century there was a resurgence of interest in the performance of music from the Medieval and Renaissance eras, and

924-423: The revival of the harpsichord or the viol . The practice of " historically informed performance " is nevertheless dependent on stylistic inference. According to Margaret Bent , Renaissance notation is not as prescriptive as modern scoring, and there is much that was left to the performer's interpretation: "Renaissance notation is under-prescriptive by our standards; when translated into modern form it acquires

957-409: The same measure unless it is canceled by another accidental. A sharp raises a note's pitch by a semitone and a flat lowers it by a semitone. Double flats ( [REDACTED] ) or sharps ( [REDACTED] ) may also be used, which alter the unmodified note by two semitones. If a note with an accidental is tied , the accidental continues to apply, even if the note it is tied to is in the next measure. If

990-508: The signed note is the mi or the fa respectively. That means they refer to a group of notes around the marked note, rather than indicating that the note itself is necessarily an accidental. For example, when a semitone relationship is indicated between F and G, either by placing a mi-sign ( ♮ ) on F or a fa-sign ( ♭ ) on G, only the context can determine whether this means, in modern terms, F ♯ -G or F-G ♭ , or even F ♭ –G [REDACTED] . The use of either

1023-494: The tempered sharp and flat. They presuppose a Pythagorean division of the octave taking the Pythagorean comma (about an eighth of the tempered tone, actually closer to 24 cents, defined as the difference between seven octaves and 12 just-intonation fifths) as the basic interval. The Turkish systems have also been adopted by some Arab musicians. Ben Johnston created a system of notation for pieces in just intonation where

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1056-626: The unmarked C, F, and G major chords are just major chords (4:5:6) and accidentals create just tuning in other keys. Between 2000 and 2003, Wolfgang von Schweinitz and Marc Sabat developed the Extended Helmholtz-Ellis Just Intonation (JI) pitch notation, a modern adaptation and extension of the notation principles first used by Hermann von Helmholtz , Arthur von Oettingen , and Alexander John Ellis that some other musicians use for notating extended just intonation. The three principal symbols indicating whether

1089-483: Was possible, called a mutation . A major problem with the system was that mutation from one hexachord to another could introduce intervals like the tritone that musicians of the time considered undesirable. To avoid the dissonance, a practice called musica ficta arose from the late 12th century onward. This introduced modifications of the hexachord, so that "false" or "feigned" notes could be sung, partly to avoid dissonance. At first only B could be flattened, moving from

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