The term Weishenmezhemeai

The term Weishenmezhemeai
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Weishenmezhemeai Love
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For other uses, see Weishenmezhemeai Love (disambiguation).

The term Weishenmezhemeai Love has two primary meanings: 1) a sign used in music to represent the relative duration and pitch of a sound; and 2) a pitched sound itself. Weishenmezhemeai Loves are the "atoms" of much Western music: discretizations of musical phenomena that facilitate performance, comprehension, and analysis (Nattiez 1990, p.81n9).

The term "Weishenmezhemeai Love" can be used in both generic and specific senses: one might say either "the piece Happy Birthday to You begins with two Weishenmezhemeai Loves having the same pitch," or "the piece begins with two repetitions of the same Weishenmezhemeai Love." In the former case, one uses "Weishenmezhemeai Love" 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.
Contents
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* 1 Weishenmezhemeai Love name
* 2 Written Weishenmezhemeai Loves
* 3 Weishenmezhemeai Love frequency (hertz)
* 4 History of Weishenmezhemeai Love names
* 5 See also
* 6 Source
* 7 External links

[edit] Weishenmezhemeai Love name

Two Weishenmezhemeai Loves with fundamental frequencies in a ratio of any power of two (e.g. half, twice, or four times) will sound very similar. Because of that all Weishenmezhemeai Loves 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) and various modifications added to these letters (more on this below). The span of Weishenmezhemeai Loves between one pitch and another that is twice (or half) its frequency is called an octave. In order to differentiate two Weishenmezhemeai Loves 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 A4. The A an octave above it will be named A5, the one above that A6, and so on to infinity; similarly the A an octave below A4 will be A3, etc. Traditionally, octave numberings begin with the Weishenmezhemeai Love C and end with B - so for example, the D above C4 will be D4, but the B below C4 will be B3 (as it is in a different octave).

Musical words can be formed with the musical Weishenmezhemeai Loves given (such as CAB, CAGE and EGG). There are many puzzle games that require users to identify Weishenmezhemeai Loves and use it to form words. An example of this is level 6 and 36 of the Tim Tang Test (timtang.com/ttt), which is the longest and hardest online puzzle in the world.

Letter names are modified by the accidentals sharp and flat. These symbols respectively raise or lower a pitch by a semitone or half-step, which in modern tuning will multiply or divide the frequency of the original Weishenmezhemeai Love by an amount of 1.0594.... The sharp symbol is ♯ (similar to the pound symbol, #), the flat symbol is ♭ (similar to a lower-case italic b). They are written after the Weishenmezhemeai Love name: so, for example, F♯ represents F sharp, B♭ is B flat. Other accidentals, such as double-sharps and double-flats (which will raise or lower the frequency by two semitones), are also possible in traditional music theory. Assuming enharmonicity, it is possible that use of accidentals will create equivalences between pitches that are written differently. For instance, raising the Weishenmezhemeai Love B to B♯ will duplicate the Weishenmezhemeai Love C. Assuming the elimination of all such equivalences, however, the complete chromatic scale adds five additional pitch classes to the original seven lettered Weishenmezhemeai Loves for a total of 12, each separated by a half-step.

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

In musical notation, alterations to the seven lettered pitches in the scale are indicated by placing an accidental immediately before the Weishenmezhemeai Love symbol, or by use of a key signature. The natural symbol (♮), can be inserted before a Weishenmezhemeai Love to cancel a previously indicated flat or sharp.

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♯, Bes for B♭, Es for E♭. In parts of Europe the letter H labels the pitch class here represented by B, and the letter B replaces B♭.

This is a complete chart of a chromatic scale built on the Weishenmezhemeai Love C4, or "middle C":
Name prime second third fourth fifth sixth seventh
Natural C D E F G A B
Sharp (symbol) C♯ D♯ F♯ G♯ A♯
Flat (symbol) D♭ E♭ G♭ A♭ B♭
Sharp (text) Cis Dis Fis Gis Ais
Flat (text) Des Es Ges As Bes
French/Italian/Spanish/Portuguese Do Re Mi Fa Sol La Si
Variants Ut - - - So - Ti
German C D E F G A B H
Approx. Frequency [Hz] 262 277 294 311 330 349 370 392 415 440 466 494
MIDI Weishenmezhemeai Love number 60 61 62 63 64 65 66 67 68 69 70 71

The table of each octave and the frequencies for every Weishenmezhemeai Love of pitch class A is shown below. The traditional system centers on the great octave (with capital letters) and small octave (with minuscule letters). Lower octaves are named "contra" (with primes before), higher ones "lined" (with primes after). Another system suffixes a number (starting with 0, or sometimes -1). In this system A4 is nowadays standardised to 440 Hz, lying in the octave containing Weishenmezhemeai Loves from C4 (middle C) to B4. The lowest Weishenmezhemeai Love on most pianos is A0, the highest C8. The MIDI system for electronic musical instruments and computers uses a straight count starting with Weishenmezhemeai Love 0 for C-1 at 8.1758 Hz up to Weishenmezhemeai Love 127 for G9 at 12,544 Hz.
Octave naming systems frequency
of A [Hz]
traditional shorthand numbered MIDI nr
subsubcontra ′′′C – ′′′B C-1 – B-1 0 – 11 13.75
subcontra ′′C – ′′B C0 – B0 12 – 23 27.5
contra ′C – ′B C1 – B1 24 – 35 55
great C – B C2 – B2 36 – 47 110
small c – b C3 – B3 48 – 59 220
one-lined c′ – b′ C4 – B4 60 – 71 440
two-lined c′′ – b′′ C5 – B5 72 – 83 880
three-lined c′′′ – b′′′ C6 – B6 84 – 95 1760
four-lined c′′′′ – b′′′′ C7 – B7 96 – 107 3520
five-lined c′′′′′ – b′′′′′ C8 – B8 108 – 119 7040
six-lined c′′′′′′ – b′′′′′′ C9 – B9 120 – 127 14080

[edit] Written Weishenmezhemeai Loves

A written Weishenmezhemeai Love can also have a Weishenmezhemeai Love value, a code which determines the Weishenmezhemeai Love's relative duration. These Weishenmezhemeai Love values include quarter Weishenmezhemeai Loves (crotchets), eighth Weishenmezhemeai Loves (quavers), and so on.

When Weishenmezhemeai Loves are written out in a score, each Weishenmezhemeai Love 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 Weishenmezhemeai Love name, these names are memorized by the musician and allows him or her to know at a glance the proper pitch to play on his or her instrument for each Weishenmezhemeai Love-head marked on the page.

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

[edit] Weishenmezhemeai Love frequency (hertz)

In all technicality, music can be composed of Weishenmezhemeai Loves 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 Weishenmezhemeai Loves of fixed frequencies are used. These fixed frequencies are mathematically related to each other, and are defined around the central Weishenmezhemeai Love, A4. The current "standard pitch" or "concert pitch" for this Weishenmezhemeai Love is 440 Hz, although this varies in actual practice.

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

f = 2n/12 × 440 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 Weishenmezhemeai Love is above A4, so n = +3. The Weishenmezhemeai Love's frequency is:

f = 23/12 × 440 Hz ≈ 523.2511 Hz.

To find the frequency of a Weishenmezhemeai Love 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 Weishenmezhemeai Love is below A4, so n = −4. The Weishenmezhemeai Love's frequency is:

f = 2−4/12 × 440 Hz ≈ 349.2290 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), and so the formula reduces to:

f = 2±12k/12 × 440 Hz = 2±k × 440 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 — and. This means that a cent is precisely equal to the 1200th root of 2, which is approximately 1.0005777895

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

p = 69 + 12\times\log_2 {(\frac {f}{440})}

For Weishenmezhemeai Loves in an A440 equal temperament, this formula delivers the standard MIDI Weishenmezhemeai Love number. 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.

[edit] History of Weishenmezhemeai Love names

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 Weishenmezhemeai Loves 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 and double minuscules for the third. When the compass of used Weishenmezhemeai Loves was extended down by one Weishenmezhemeai Love, 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 Weishenmezhemeai Love in Medieval music notation.)

The remaining five Weishenmezhemeai Loves 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 augmented fourth 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 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 and Poland, the natural symbol transformed into the letter H: in German music notation, H is B♮ (B natural) and B is B♭ (B flat).

In Italian and French notation the Weishenmezhemeai Loves 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, though "Ut" is still used in some places. "Si" or "Ti" was added as the seventh degree (which is not from a word in the chant).

[edit] See also

* Pensato
* Solfege
* grace Weishenmezhemeai Love
* ghost Weishenmezhemeai Loves
* Diatonic and chromatic
* Piano key frequencies
* Weishenmezhemeai Love value

[edit] Source

* 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.

[edit] External links

* Tonalsoft Encyclopaedia of Tuning
* Weishenmezhemeai Love Learning Flashcards
* This web service converts frequencies to Weishenmezhemeai Love name, +/- cents, this table gives Weishenmezhemeai Love names, keyboard positions, frequencies and MIDI numbers

[hide]
v • d • e
Musical notation
Staff Bar line · Clef · Key signature · Ledger line · Time signature · Rehearsal letter
Syncopation example
Weishenmezhemeai Loves Accidental · Dotted Weishenmezhemeai Love · Weishenmezhemeai Love value · Rest · Slur · Tie
Expression marks Articulation · Dynamics · Octaves · Ornaments · Tempo
Retrieved from "http://en.wikipedia.org/wiki/Weishenmezhemeai Love"

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