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51-510: The Solo rank features a 3- octave keyboard with 37 keys that are full width but shorter than standard. Directly above the Solo keyboard runs the Portamento keyboard - a ribbon controller which can be used to play continuously variable pitches roughly corresponding to the Solo keyboard note below. The Portamento keyboard overrides the solo keyboard if used simultaneously. The Solo rank has only

102-540: 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

153-566: 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,

204-416: 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

255-501: 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

306-403: 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

357-698: A frequency of 440  Hz , the note one octave above is at 880 Hz, and the note one octave below is at 220 Hz. The ratio of frequencies of two notes an octave apart is therefore 2:1. Further octaves of a note occur at 2 n {\displaystyle 2^{n}} times the frequency of that note (where n is an integer), such as 2, 4, 8, 16, etc. and the reciprocal of that series. For example, 55 Hz and 440 Hz are one and two octaves away from 110 Hz because they are + 1 ⁄ 2 (or 2 − 1 {\displaystyle 2^{-1}} ) and 4 (or 2 2 {\displaystyle 2^{2}} ) times

408-421: 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

459-549: 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

510-506: A pleasing sound to music. The interval is so natural to humans that when men and women are asked to sing in unison, they typically sing in octave. For this reason, notes an octave apart are given the same note name in the Western system of music notation —the name of a note an octave above A is also A. This is called octave equivalence , the assumption that pitches one or more octaves apart are musically equivalent in many ways, leading to

561-619: A polyphonic glide function. The Pedal rank has a 25-note pedalboard . It is monophonic, with three oscillators but no LFO. Performance controls include a "swell" pedal with footswitch, and a spring-loaded knee controller. All four ranks use a common voice-card design (called a tone generator in Yamaha parlance) to produce their sounds. Each voice card features a voltage-controlled oscillator with multiple waveforms, 2-pole high-pass and low-pass voltage controlled filters , and two envelope generators for filter modulation and VCA control. There

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612-457: A single oscillator, but has a dedicated low-frequency oscillator (LFO), pitch envelope generator and ring modulator . The Upper and Lower ranks each have a full-sized 5-octave, 61-note keyboard. They are both 8-voice polyphonic , with two oscillators per voice. Each poly rank has a dedicated LFO, and there is a common "random" modulation generator. The Upper rank also has horizontal aftertouch which can be assigned to pitch, volume or filter, and

663-417: Is a diminished octave (d8). The use of such intervals is rare, as there is frequently a preferable enharmonically -equivalent notation available ( minor ninth and major seventh respectively), but these categories of octaves must be acknowledged in any full understanding of the role and meaning of octaves more generally in music. Octaves are identified with various naming systems. Among the most common are

714-445: Is a part of most advanced musical cultures, but is far from universal in "primitive" and early music . The languages in which the oldest extant written documents on tuning are written, Sumerian and Akkadian , have no known word for "octave". However, it is believed that a set of cuneiform tablets that collectively describe the tuning of a nine-stringed instrument, believed to be a Babylonian lyre , describe tunings for seven of

765-502: Is also a variable band-pass filtered sawtooth wave , and high-pass filtered square wave on each card. There are a total of 36 voice cards in a GX-1, containing 36 oscillators, 72 envelope generators, and 144 filters. Due to the extensive use of epoxy-potted sub-modules, a complete set of GX-1 voice cards alone weighs more than a Polymoog . Preset sounds are stored on "tone modules" - small cartridges which each contain 26 fixed value resistor-dividers. These produce voltages which drive

816-600: 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 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

867-507: 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

918-479: 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 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

969-403: 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

1020-515: 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

1071-478: The scientific , Helmholtz , organ pipe, and MIDI note systems. In scientific pitch notation, a specific octave is indicated by a numerical subscript number after note name. In this notation, middle C is C 4 , because of the note's position as the fourth C key on a standard 88-key piano keyboard, while the C an octave higher is C 5 . The notation 8 or 8 is sometimes seen in sheet music , meaning "play this an octave higher than written" ( all' ottava : "at

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1122-430: The "basic miracle of music", the use of which is "common in most musical systems". The interval between the first and second harmonics of the harmonic series is an octave. In Western music notation , notes separated by an octave (or multiple octaves) have the same name and are of the same pitch class . To emphasize that it is one of the perfect intervals (including unison , perfect fourth , and perfect fifth ),

1173-456: 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

1224-633: The GX-1, weighs 141 kg (Which together equals a total of 951 kg, or 2096 lb). The GX-1 cost $ 60,000 (equivalent to $ 412,000 today) and was premiered in the US in 1973 at the NAMM Convention . The exact production number is unknown, but thought to total fewer than 100. At least 13 GX-1s are known to exist outside Japan, the remainder are presumed to have stayed in Japan. A number of artists used

1275-514: 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

1326-728: The Tone Module Setting Box. The Upper, Lower and Pedal ranks all have a dual-voice structure, where a different tone is assigned to each of the two voice cards per note. A set of hidden "wave motion" controls allows the second tones of the Upper and Lower ranks to be de-tuned. In the Pedal rank, the second tone is doubled on two voice-cards, both of which have a separate de-tune control. The GX-1 console weighs 300 kg. The pedalboard and stand add 87 kg, and each of its tube-powered speakers , four of which can be connected to

1377-463: The Yamaha GX-1 extensively in their recordings: Octave In music , an octave ( Latin : octavus : eighth) or perfect octave (sometimes called the diapason ) is a series of eight notes occupying the interval between (and including) two notes, one having twice the frequency of vibration of the other. The octave relationship is a natural phenomenon that has been referred to as

1428-449: The chord. The word is also used to describe melodies played in parallel one or more octaves apart (see example under Equivalence, below). While octaves commonly refer to the perfect octave (P8), the interval of an octave in music theory encompasses chromatic alterations within the pitch class, meaning that G ♮ to G ♯ (13 semitones higher) is an Augmented octave (A8), and G ♮ to G ♭ (11 semitones higher)

1479-452: 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

1530-426: The convention "that scales are uniquely defined by specifying the intervals within an octave". The conceptualization of pitch as having two dimensions, pitch height (absolute frequency) and pitch class (relative position within the octave), inherently include octave circularity. Thus all C ♯ s (or all 1s, if C = 0), any number of octaves apart, are part of the same pitch class . Octave equivalence

1581-454: The first seven letters of the Latin alphabet (A, B, C, D, E, F and G), corresponding to 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

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1632-420: 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

1683-510: The frequency, respectively. The number of octaves between two frequencies is given by the formula: Most musical scales are written so that they begin and end on notes that are an octave apart. For example, the C major scale is typically written C D E F G A B C (shown below), the initial and final Cs being an octave apart. Because of octave equivalence, notes in a chord that are one or more octaves apart are said to be doubled (even if there are more than two notes in different octaves) in

1734-471: 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 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

1785-442: 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.

1836-546: The mammalian brain . Studies have also shown the perception of octave equivalence in rats, human infants, and musicians but not starlings, 4–9-year-old children, or non-musicians. Sources Musical note#Written notes In music , notes are distinct and isolatable sounds that act as 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

1887-621: 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

1938-426: 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

1989-506: The octave is designated P8. Other interval qualities are also possible, though rare. The octave above or below an indicated note is sometimes abbreviated 8 or 8 ( Italian : all'ottava ), 8 bassa ( Italian : all'ottava bassa , sometimes also 8 ), or simply 8 for the octave in the direction indicated by placing this mark above or below the staff. An octave is the interval between one musical pitch and another with double or half its frequency . For example, if one note has

2040-690: The octave" or all' 8 ). 8 or 8 stands for ottava , the Italian word for octave (or "eighth"); the octave above may be specified as ottava alta or ottava sopra ). Sometimes 8 is used to tell the musician to play a passage an octave lower (when placed under rather than over the staff), though the similar notation 8 ( ottava bassa or ottava sotto ) is also used. Similarly, 15 ( quindicesima ) means "play two octaves higher than written" and 15 ( quindicesima bassa ) means "play two octaves lower than written." The abbreviations col 8 , coll' 8 , and c. 8 stand for coll'ottava , meaning "with

2091-471: The octave", i.e. to play the notes in the passage together with the notes in the notated octaves. Any of these directions can be cancelled with the word loco , but often a dashed line or bracket indicates the extent of the music affected. After the unison , the octave is the simplest interval in music. The human ear tends to hear both notes as being essentially "the same", due to closely related harmonics. Notes separated by an octave "ring" together, adding

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2142-424: 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

2193-463: 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

2244-405: 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. 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

2295-562: 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

2346-567: 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

2397-514: The seven notes, Sa, Re, Ga, Ma, Pa, Dha and Ni. In a score , each note is assigned 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

2448-487: 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

2499-425: The strings, with indications to tune the remaining two strings an octave from two of the seven tuned strings. Leon Crickmore recently proposed that "The octave may not have been thought of as a unit in its own right, but rather by analogy like the first day of a new seven-day week". Monkeys experience octave equivalence, and its biological basis apparently is an octave mapping of neurons in the auditory thalamus of

2550-411: The voice cards, each resistor controlling one parameter of the sound. The tone modules are installed in compartments on the top panel of the synth. An optional "tone board" programmer could be inserted in place of a tone module, providing a full set of knobs, switches and sliders to control the parameters of a tone manually. Tones created this way could then be "programmed" onto a variable tone module using

2601-529: 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.,

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