Music terminology - why are seven letters used to name scale tonesWhy does the scale have seven (or five) notes? Why not six?Why is music theory built so tightly around the C Major scale?Why are notes named the way they are?Why is the note name “a” not on any important scale position?Why are only even values used for note duration?Is there a name for this: text syncopates otherwise unsyncopated vocal music?Numbering notes instead of giving them letter namesTerminology for harmony using only root notes or root notes an non-chord scale tones?Why are accidentals not just indicated next to the note in sheet music to make sight reading easier?In a music scale why C ? why not D♭♭ or B♯?Why are double staff pieces of music not properly aligned for Middle C?Why are ledger lines (lines below or above the staff) used in writing music?Why are double flats used instead of another note with a flat/sharp/none?
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Music terminology - why are seven letters used to name scale tones
Why does the scale have seven (or five) notes? Why not six?Why is music theory built so tightly around the C Major scale?Why are notes named the way they are?Why is the note name “a” not on any important scale position?Why are only even values used for note duration?Is there a name for this: text syncopates otherwise unsyncopated vocal music?Numbering notes instead of giving them letter namesTerminology for harmony using only root notes or root notes an non-chord scale tones?Why are accidentals not just indicated next to the note in sheet music to make sight reading easier?In a music scale why C ? why not D♭♭ or B♯?Why are double staff pieces of music not properly aligned for Middle C?Why are ledger lines (lines below or above the staff) used in writing music?Why are double flats used instead of another note with a flat/sharp/none?
Since the scale is logarithmic with each interval (half-step) being a constant multiple of the previous frequency, why didn't they just name the pitches A to F with each note having a half-step #/b in between?
You would then have a B#/Cb where C is currently, and E#/Fb would fall where F# is currently. Consequently there would be no need for G/G# in the nomenclature and everything would follow a logical progression. Having to adapt to B-C, and E-F being half-steps, but the other natural notes having a whole-step distance between them gets confusing when you first learn.
notation terminology
New contributor
add a comment |
Since the scale is logarithmic with each interval (half-step) being a constant multiple of the previous frequency, why didn't they just name the pitches A to F with each note having a half-step #/b in between?
You would then have a B#/Cb where C is currently, and E#/Fb would fall where F# is currently. Consequently there would be no need for G/G# in the nomenclature and everything would follow a logical progression. Having to adapt to B-C, and E-F being half-steps, but the other natural notes having a whole-step distance between them gets confusing when you first learn.
notation terminology
New contributor
Hi Henry. Might this be a duplicate of Why are notes named the way they are?? music.stackexchange.com/questions/32971/… might also be helpful.
– topo morto
4 hours ago
They're not - in German.
– Tim
3 hours ago
1
"confusing when you first learn". Sure. Have you thought about other contexts? Not everyone who cares about music is a beginner right now like you are.
– only_pro
1 hour ago
add a comment |
Since the scale is logarithmic with each interval (half-step) being a constant multiple of the previous frequency, why didn't they just name the pitches A to F with each note having a half-step #/b in between?
You would then have a B#/Cb where C is currently, and E#/Fb would fall where F# is currently. Consequently there would be no need for G/G# in the nomenclature and everything would follow a logical progression. Having to adapt to B-C, and E-F being half-steps, but the other natural notes having a whole-step distance between them gets confusing when you first learn.
notation terminology
New contributor
Since the scale is logarithmic with each interval (half-step) being a constant multiple of the previous frequency, why didn't they just name the pitches A to F with each note having a half-step #/b in between?
You would then have a B#/Cb where C is currently, and E#/Fb would fall where F# is currently. Consequently there would be no need for G/G# in the nomenclature and everything would follow a logical progression. Having to adapt to B-C, and E-F being half-steps, but the other natural notes having a whole-step distance between them gets confusing when you first learn.
notation terminology
notation terminology
New contributor
New contributor
edited 49 mins ago
Richard
43.7k7102187
43.7k7102187
New contributor
asked 5 hours ago
Henry WilliamsHenry Williams
92
92
New contributor
New contributor
Hi Henry. Might this be a duplicate of Why are notes named the way they are?? music.stackexchange.com/questions/32971/… might also be helpful.
– topo morto
4 hours ago
They're not - in German.
– Tim
3 hours ago
1
"confusing when you first learn". Sure. Have you thought about other contexts? Not everyone who cares about music is a beginner right now like you are.
– only_pro
1 hour ago
add a comment |
Hi Henry. Might this be a duplicate of Why are notes named the way they are?? music.stackexchange.com/questions/32971/… might also be helpful.
– topo morto
4 hours ago
They're not - in German.
– Tim
3 hours ago
1
"confusing when you first learn". Sure. Have you thought about other contexts? Not everyone who cares about music is a beginner right now like you are.
– only_pro
1 hour ago
Hi Henry. Might this be a duplicate of Why are notes named the way they are?? music.stackexchange.com/questions/32971/… might also be helpful.
– topo morto
4 hours ago
Hi Henry. Might this be a duplicate of Why are notes named the way they are?? music.stackexchange.com/questions/32971/… might also be helpful.
– topo morto
4 hours ago
They're not - in German.
– Tim
3 hours ago
They're not - in German.
– Tim
3 hours ago
1
1
"confusing when you first learn". Sure. Have you thought about other contexts? Not everyone who cares about music is a beginner right now like you are.
– only_pro
1 hour ago
"confusing when you first learn". Sure. Have you thought about other contexts? Not everyone who cares about music is a beginner right now like you are.
– only_pro
1 hour ago
add a comment |
4 Answers
4
active
oldest
votes
While this might make some logical sense now, I see three possible problems:
One is the historical perspective: that musical notation developed over several centuries, and as such we didn't sit down to develop the most logical, efficient system. Many of these issues are amply covered in Why is music theory built so tightly around the C Major scale? and Why are notes named the way they are?
But perhaps more importantly, your system results in an oddity when we consider that most basic element of Western music: the scale. Most scales are heptatonic, meaning they are comprised of seven note names. In your six-step musical system, a music scale would therefore require two types of one note name. The A scale in your system, for instance, would be A B C C♯ D♯ E♯ F♯ A
or A B C D♭ E♭ F♭ A♭ A
. It's much more intuitive to have a heptatonic scale include just one of each note name.
Lastly, there's the practical reason: who is going to translate centuries worth of music into this new form of notation?
1
Your first "A" scale has 9 notes, remove the G and it makes sense!
– coconochao
4 hours ago
add a comment |
If I understand your meaning, the natural letters A B C D E F
in your system would all be one whole steps apart and create a whole tone scale.
That might seem logical, but it doesn't reflect the fact that the whole tone scale is not the basis for western music.
Western music is largely based on the diatonic scale...
W W H W W W H
...where W
means whole step and H
means half step.
The letters were assigned to the tones of that asymmetrical pattern of whole/half steps.
Sharps and flats are used to transpose that pattern to various starting tones. The system can get messy.
I try to think of it as a combination of two series of tones - one in base 7 counting and the other in base 12. If the clock - using base 60 and 24 - gets a little confusing when calculating times, then music gets a bit confusing using base 7 and 12 and transposing asymmetrical patterns. You can translate the crazy music patterns from letters and sharps and flats to purely numeric sequences (like in a computer program) and that may feel more like pure logical patterns, but I don't think it helps with reading staff notation. You can add music to the list of crazy systems evolved in our culture like the clock, the calendar, and the entire English language!
This reminds me that there are some instruments that are purely diatonic (e.g., harmonica, recorder, bagpipes). Their note name and notation logics would suffer under the proposed system.
– Todd Wilcox
4 hours ago
@ToddWilcox - bagpipes - diatonic? Don't even think they use 12tet.
– Tim
4 hours ago
@Tim Fair point, I incorrectly used the word "diatonic" to mean "not chromatic". I think my larger point still stands. That said, I'm not sure whether the temperament of an instrument alone determines whether it's diatonic or not. I think there's a case to be made that at least the Scottish Highland pipes could be called diatonic.
– Todd Wilcox
4 hours ago
@ToddWilcox - it's my feeling that bagpipes play in Mixolydian. Whether that constitutes diatonic is another issue.
– Tim
3 hours ago
@Tim Looks like they are played in mixolydian exactly like harmonicas are played ionian - often but not remotely always.
– Todd Wilcox
3 hours ago
add a comment |
Actually, based on overlapping hexachords, the letter "A" does (in some sense) represent the lowest tone (it does on an 88-key piano, but not necessarily on others.) The "modes" were rotated major scale patterns starting on D, E, F, or G. Each mode had a "plagal" version (lower range) using the same interval pattern but starting a fifth lower; "hypodorian" had A-A to a range. If these are overlapped, the A of the D-mode is the lowest note. Thus the pattern starts with A. Later a lower note "G" was added (probably because some singer had a good low voice) below the other notes and given the name G-ut or Gamma-ut in Greek and using "ut" and older version of "do" givies the word "gamut."
A music developed the (unnamed) modes on C (and A) became more prevalent (and got the names Ionian and Aeolian) so modern theory describes things in terms of the C-scale.
add a comment |
Your scale ignores the relationship between sound and the overtone spectrum.
If you have a string vibrating at 100Hz, it's actually also vibrating at 200Hz, 300Hz, 400Hz, and so on. Now you know that music is perceived as the logarithm of frequency, and doubling the frequency is equivalent to going up one octave. So, for the first few overtones, you get the following:
0: 100Hz = Base
1: 200Hz = Octave
2: 300Hz = Octave * 3/2
3: 400Hz = 2 Octaves
4: 500Hz = 2 Octaves * 5/4
5: 600Hz = 2 Octaves * 3/2
6: 700Hz = 2 Octaves * 7/4
7: 800Hz = 3 Octaves
You see, all perfect quotients. And those perfect quotients sound pleasing. Now, 3/2 = 1.5
, which is pretty damn near to 2^(7/12) = 1.498
. Also, you find5/4 = 1.25 ~ 1.260 = 2^(4/12)
. We have names for these ratios:
Overtone 1 to 2: 3/2 ~ 2^(7/12) = perfect fifth
Overtone 2 to 3: 4/3 ~ 2^(5/12) = perfect fourth
Overtone 3 to 4: 5/4 ~ 2^(4/12) = large third
Overtone 4 to 5: 6/5 ~ 2^(3/12) = small third
You know what's missing on that table? It's the factor 2^(6/12)
. This factor is not close to any nice, small fraction, and cannot be found in the overtone spectrum. The associated interval sounds quite displeasing, and it's very rarely used in music.
So, any music notating system that's usable must contain those nice sounding 2^(5/12)
and 2^(7/12)
intervals, but should exclude the 2^(6/12)
interval as much as possible. And that's exactly what our usual scale does. The major scale looks like this
2^(0/12) = 1
2^(2/12) = 3/2 / 4/3 = 9/8
2^(4/12) = 5/4
2^(5/12) = 4/3
2^(7/12) = 3/2
2^(9/12) = 4/3 * 5/4 = 5/3
2^(11/12) = 3/2 * 5/4 = 15/8
2^(12/12) = 2
You see, this scale is fully built upon the factors 3/2
, 4/3
, and 5/4
. The minor scale, and the other common modes like the dorian, use the same factors between the notes, they just change which note is perceived as the base note.
TL;DR: A scale with constant spacing between the named nodes is deeply impractical because it excludes the most important intervals (perfect fourth and fifth), but includes the most glaring interval (tritone).
add a comment |
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4 Answers
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4 Answers
4
active
oldest
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While this might make some logical sense now, I see three possible problems:
One is the historical perspective: that musical notation developed over several centuries, and as such we didn't sit down to develop the most logical, efficient system. Many of these issues are amply covered in Why is music theory built so tightly around the C Major scale? and Why are notes named the way they are?
But perhaps more importantly, your system results in an oddity when we consider that most basic element of Western music: the scale. Most scales are heptatonic, meaning they are comprised of seven note names. In your six-step musical system, a music scale would therefore require two types of one note name. The A scale in your system, for instance, would be A B C C♯ D♯ E♯ F♯ A
or A B C D♭ E♭ F♭ A♭ A
. It's much more intuitive to have a heptatonic scale include just one of each note name.
Lastly, there's the practical reason: who is going to translate centuries worth of music into this new form of notation?
1
Your first "A" scale has 9 notes, remove the G and it makes sense!
– coconochao
4 hours ago
add a comment |
While this might make some logical sense now, I see three possible problems:
One is the historical perspective: that musical notation developed over several centuries, and as such we didn't sit down to develop the most logical, efficient system. Many of these issues are amply covered in Why is music theory built so tightly around the C Major scale? and Why are notes named the way they are?
But perhaps more importantly, your system results in an oddity when we consider that most basic element of Western music: the scale. Most scales are heptatonic, meaning they are comprised of seven note names. In your six-step musical system, a music scale would therefore require two types of one note name. The A scale in your system, for instance, would be A B C C♯ D♯ E♯ F♯ A
or A B C D♭ E♭ F♭ A♭ A
. It's much more intuitive to have a heptatonic scale include just one of each note name.
Lastly, there's the practical reason: who is going to translate centuries worth of music into this new form of notation?
1
Your first "A" scale has 9 notes, remove the G and it makes sense!
– coconochao
4 hours ago
add a comment |
While this might make some logical sense now, I see three possible problems:
One is the historical perspective: that musical notation developed over several centuries, and as such we didn't sit down to develop the most logical, efficient system. Many of these issues are amply covered in Why is music theory built so tightly around the C Major scale? and Why are notes named the way they are?
But perhaps more importantly, your system results in an oddity when we consider that most basic element of Western music: the scale. Most scales are heptatonic, meaning they are comprised of seven note names. In your six-step musical system, a music scale would therefore require two types of one note name. The A scale in your system, for instance, would be A B C C♯ D♯ E♯ F♯ A
or A B C D♭ E♭ F♭ A♭ A
. It's much more intuitive to have a heptatonic scale include just one of each note name.
Lastly, there's the practical reason: who is going to translate centuries worth of music into this new form of notation?
While this might make some logical sense now, I see three possible problems:
One is the historical perspective: that musical notation developed over several centuries, and as such we didn't sit down to develop the most logical, efficient system. Many of these issues are amply covered in Why is music theory built so tightly around the C Major scale? and Why are notes named the way they are?
But perhaps more importantly, your system results in an oddity when we consider that most basic element of Western music: the scale. Most scales are heptatonic, meaning they are comprised of seven note names. In your six-step musical system, a music scale would therefore require two types of one note name. The A scale in your system, for instance, would be A B C C♯ D♯ E♯ F♯ A
or A B C D♭ E♭ F♭ A♭ A
. It's much more intuitive to have a heptatonic scale include just one of each note name.
Lastly, there's the practical reason: who is going to translate centuries worth of music into this new form of notation?
edited 4 hours ago
answered 5 hours ago
RichardRichard
43.7k7102187
43.7k7102187
1
Your first "A" scale has 9 notes, remove the G and it makes sense!
– coconochao
4 hours ago
add a comment |
1
Your first "A" scale has 9 notes, remove the G and it makes sense!
– coconochao
4 hours ago
1
1
Your first "A" scale has 9 notes, remove the G and it makes sense!
– coconochao
4 hours ago
Your first "A" scale has 9 notes, remove the G and it makes sense!
– coconochao
4 hours ago
add a comment |
If I understand your meaning, the natural letters A B C D E F
in your system would all be one whole steps apart and create a whole tone scale.
That might seem logical, but it doesn't reflect the fact that the whole tone scale is not the basis for western music.
Western music is largely based on the diatonic scale...
W W H W W W H
...where W
means whole step and H
means half step.
The letters were assigned to the tones of that asymmetrical pattern of whole/half steps.
Sharps and flats are used to transpose that pattern to various starting tones. The system can get messy.
I try to think of it as a combination of two series of tones - one in base 7 counting and the other in base 12. If the clock - using base 60 and 24 - gets a little confusing when calculating times, then music gets a bit confusing using base 7 and 12 and transposing asymmetrical patterns. You can translate the crazy music patterns from letters and sharps and flats to purely numeric sequences (like in a computer program) and that may feel more like pure logical patterns, but I don't think it helps with reading staff notation. You can add music to the list of crazy systems evolved in our culture like the clock, the calendar, and the entire English language!
This reminds me that there are some instruments that are purely diatonic (e.g., harmonica, recorder, bagpipes). Their note name and notation logics would suffer under the proposed system.
– Todd Wilcox
4 hours ago
@ToddWilcox - bagpipes - diatonic? Don't even think they use 12tet.
– Tim
4 hours ago
@Tim Fair point, I incorrectly used the word "diatonic" to mean "not chromatic". I think my larger point still stands. That said, I'm not sure whether the temperament of an instrument alone determines whether it's diatonic or not. I think there's a case to be made that at least the Scottish Highland pipes could be called diatonic.
– Todd Wilcox
4 hours ago
@ToddWilcox - it's my feeling that bagpipes play in Mixolydian. Whether that constitutes diatonic is another issue.
– Tim
3 hours ago
@Tim Looks like they are played in mixolydian exactly like harmonicas are played ionian - often but not remotely always.
– Todd Wilcox
3 hours ago
add a comment |
If I understand your meaning, the natural letters A B C D E F
in your system would all be one whole steps apart and create a whole tone scale.
That might seem logical, but it doesn't reflect the fact that the whole tone scale is not the basis for western music.
Western music is largely based on the diatonic scale...
W W H W W W H
...where W
means whole step and H
means half step.
The letters were assigned to the tones of that asymmetrical pattern of whole/half steps.
Sharps and flats are used to transpose that pattern to various starting tones. The system can get messy.
I try to think of it as a combination of two series of tones - one in base 7 counting and the other in base 12. If the clock - using base 60 and 24 - gets a little confusing when calculating times, then music gets a bit confusing using base 7 and 12 and transposing asymmetrical patterns. You can translate the crazy music patterns from letters and sharps and flats to purely numeric sequences (like in a computer program) and that may feel more like pure logical patterns, but I don't think it helps with reading staff notation. You can add music to the list of crazy systems evolved in our culture like the clock, the calendar, and the entire English language!
This reminds me that there are some instruments that are purely diatonic (e.g., harmonica, recorder, bagpipes). Their note name and notation logics would suffer under the proposed system.
– Todd Wilcox
4 hours ago
@ToddWilcox - bagpipes - diatonic? Don't even think they use 12tet.
– Tim
4 hours ago
@Tim Fair point, I incorrectly used the word "diatonic" to mean "not chromatic". I think my larger point still stands. That said, I'm not sure whether the temperament of an instrument alone determines whether it's diatonic or not. I think there's a case to be made that at least the Scottish Highland pipes could be called diatonic.
– Todd Wilcox
4 hours ago
@ToddWilcox - it's my feeling that bagpipes play in Mixolydian. Whether that constitutes diatonic is another issue.
– Tim
3 hours ago
@Tim Looks like they are played in mixolydian exactly like harmonicas are played ionian - often but not remotely always.
– Todd Wilcox
3 hours ago
add a comment |
If I understand your meaning, the natural letters A B C D E F
in your system would all be one whole steps apart and create a whole tone scale.
That might seem logical, but it doesn't reflect the fact that the whole tone scale is not the basis for western music.
Western music is largely based on the diatonic scale...
W W H W W W H
...where W
means whole step and H
means half step.
The letters were assigned to the tones of that asymmetrical pattern of whole/half steps.
Sharps and flats are used to transpose that pattern to various starting tones. The system can get messy.
I try to think of it as a combination of two series of tones - one in base 7 counting and the other in base 12. If the clock - using base 60 and 24 - gets a little confusing when calculating times, then music gets a bit confusing using base 7 and 12 and transposing asymmetrical patterns. You can translate the crazy music patterns from letters and sharps and flats to purely numeric sequences (like in a computer program) and that may feel more like pure logical patterns, but I don't think it helps with reading staff notation. You can add music to the list of crazy systems evolved in our culture like the clock, the calendar, and the entire English language!
If I understand your meaning, the natural letters A B C D E F
in your system would all be one whole steps apart and create a whole tone scale.
That might seem logical, but it doesn't reflect the fact that the whole tone scale is not the basis for western music.
Western music is largely based on the diatonic scale...
W W H W W W H
...where W
means whole step and H
means half step.
The letters were assigned to the tones of that asymmetrical pattern of whole/half steps.
Sharps and flats are used to transpose that pattern to various starting tones. The system can get messy.
I try to think of it as a combination of two series of tones - one in base 7 counting and the other in base 12. If the clock - using base 60 and 24 - gets a little confusing when calculating times, then music gets a bit confusing using base 7 and 12 and transposing asymmetrical patterns. You can translate the crazy music patterns from letters and sharps and flats to purely numeric sequences (like in a computer program) and that may feel more like pure logical patterns, but I don't think it helps with reading staff notation. You can add music to the list of crazy systems evolved in our culture like the clock, the calendar, and the entire English language!
edited 5 hours ago
answered 5 hours ago
Michael CurtisMichael Curtis
10.3k637
10.3k637
This reminds me that there are some instruments that are purely diatonic (e.g., harmonica, recorder, bagpipes). Their note name and notation logics would suffer under the proposed system.
– Todd Wilcox
4 hours ago
@ToddWilcox - bagpipes - diatonic? Don't even think they use 12tet.
– Tim
4 hours ago
@Tim Fair point, I incorrectly used the word "diatonic" to mean "not chromatic". I think my larger point still stands. That said, I'm not sure whether the temperament of an instrument alone determines whether it's diatonic or not. I think there's a case to be made that at least the Scottish Highland pipes could be called diatonic.
– Todd Wilcox
4 hours ago
@ToddWilcox - it's my feeling that bagpipes play in Mixolydian. Whether that constitutes diatonic is another issue.
– Tim
3 hours ago
@Tim Looks like they are played in mixolydian exactly like harmonicas are played ionian - often but not remotely always.
– Todd Wilcox
3 hours ago
add a comment |
This reminds me that there are some instruments that are purely diatonic (e.g., harmonica, recorder, bagpipes). Their note name and notation logics would suffer under the proposed system.
– Todd Wilcox
4 hours ago
@ToddWilcox - bagpipes - diatonic? Don't even think they use 12tet.
– Tim
4 hours ago
@Tim Fair point, I incorrectly used the word "diatonic" to mean "not chromatic". I think my larger point still stands. That said, I'm not sure whether the temperament of an instrument alone determines whether it's diatonic or not. I think there's a case to be made that at least the Scottish Highland pipes could be called diatonic.
– Todd Wilcox
4 hours ago
@ToddWilcox - it's my feeling that bagpipes play in Mixolydian. Whether that constitutes diatonic is another issue.
– Tim
3 hours ago
@Tim Looks like they are played in mixolydian exactly like harmonicas are played ionian - often but not remotely always.
– Todd Wilcox
3 hours ago
This reminds me that there are some instruments that are purely diatonic (e.g., harmonica, recorder, bagpipes). Their note name and notation logics would suffer under the proposed system.
– Todd Wilcox
4 hours ago
This reminds me that there are some instruments that are purely diatonic (e.g., harmonica, recorder, bagpipes). Their note name and notation logics would suffer under the proposed system.
– Todd Wilcox
4 hours ago
@ToddWilcox - bagpipes - diatonic? Don't even think they use 12tet.
– Tim
4 hours ago
@ToddWilcox - bagpipes - diatonic? Don't even think they use 12tet.
– Tim
4 hours ago
@Tim Fair point, I incorrectly used the word "diatonic" to mean "not chromatic". I think my larger point still stands. That said, I'm not sure whether the temperament of an instrument alone determines whether it's diatonic or not. I think there's a case to be made that at least the Scottish Highland pipes could be called diatonic.
– Todd Wilcox
4 hours ago
@Tim Fair point, I incorrectly used the word "diatonic" to mean "not chromatic". I think my larger point still stands. That said, I'm not sure whether the temperament of an instrument alone determines whether it's diatonic or not. I think there's a case to be made that at least the Scottish Highland pipes could be called diatonic.
– Todd Wilcox
4 hours ago
@ToddWilcox - it's my feeling that bagpipes play in Mixolydian. Whether that constitutes diatonic is another issue.
– Tim
3 hours ago
@ToddWilcox - it's my feeling that bagpipes play in Mixolydian. Whether that constitutes diatonic is another issue.
– Tim
3 hours ago
@Tim Looks like they are played in mixolydian exactly like harmonicas are played ionian - often but not remotely always.
– Todd Wilcox
3 hours ago
@Tim Looks like they are played in mixolydian exactly like harmonicas are played ionian - often but not remotely always.
– Todd Wilcox
3 hours ago
add a comment |
Actually, based on overlapping hexachords, the letter "A" does (in some sense) represent the lowest tone (it does on an 88-key piano, but not necessarily on others.) The "modes" were rotated major scale patterns starting on D, E, F, or G. Each mode had a "plagal" version (lower range) using the same interval pattern but starting a fifth lower; "hypodorian" had A-A to a range. If these are overlapped, the A of the D-mode is the lowest note. Thus the pattern starts with A. Later a lower note "G" was added (probably because some singer had a good low voice) below the other notes and given the name G-ut or Gamma-ut in Greek and using "ut" and older version of "do" givies the word "gamut."
A music developed the (unnamed) modes on C (and A) became more prevalent (and got the names Ionian and Aeolian) so modern theory describes things in terms of the C-scale.
add a comment |
Actually, based on overlapping hexachords, the letter "A" does (in some sense) represent the lowest tone (it does on an 88-key piano, but not necessarily on others.) The "modes" were rotated major scale patterns starting on D, E, F, or G. Each mode had a "plagal" version (lower range) using the same interval pattern but starting a fifth lower; "hypodorian" had A-A to a range. If these are overlapped, the A of the D-mode is the lowest note. Thus the pattern starts with A. Later a lower note "G" was added (probably because some singer had a good low voice) below the other notes and given the name G-ut or Gamma-ut in Greek and using "ut" and older version of "do" givies the word "gamut."
A music developed the (unnamed) modes on C (and A) became more prevalent (and got the names Ionian and Aeolian) so modern theory describes things in terms of the C-scale.
add a comment |
Actually, based on overlapping hexachords, the letter "A" does (in some sense) represent the lowest tone (it does on an 88-key piano, but not necessarily on others.) The "modes" were rotated major scale patterns starting on D, E, F, or G. Each mode had a "plagal" version (lower range) using the same interval pattern but starting a fifth lower; "hypodorian" had A-A to a range. If these are overlapped, the A of the D-mode is the lowest note. Thus the pattern starts with A. Later a lower note "G" was added (probably because some singer had a good low voice) below the other notes and given the name G-ut or Gamma-ut in Greek and using "ut" and older version of "do" givies the word "gamut."
A music developed the (unnamed) modes on C (and A) became more prevalent (and got the names Ionian and Aeolian) so modern theory describes things in terms of the C-scale.
Actually, based on overlapping hexachords, the letter "A" does (in some sense) represent the lowest tone (it does on an 88-key piano, but not necessarily on others.) The "modes" were rotated major scale patterns starting on D, E, F, or G. Each mode had a "plagal" version (lower range) using the same interval pattern but starting a fifth lower; "hypodorian" had A-A to a range. If these are overlapped, the A of the D-mode is the lowest note. Thus the pattern starts with A. Later a lower note "G" was added (probably because some singer had a good low voice) below the other notes and given the name G-ut or Gamma-ut in Greek and using "ut" and older version of "do" givies the word "gamut."
A music developed the (unnamed) modes on C (and A) became more prevalent (and got the names Ionian and Aeolian) so modern theory describes things in terms of the C-scale.
answered 2 hours ago
ttwttw
8,978932
8,978932
add a comment |
add a comment |
Your scale ignores the relationship between sound and the overtone spectrum.
If you have a string vibrating at 100Hz, it's actually also vibrating at 200Hz, 300Hz, 400Hz, and so on. Now you know that music is perceived as the logarithm of frequency, and doubling the frequency is equivalent to going up one octave. So, for the first few overtones, you get the following:
0: 100Hz = Base
1: 200Hz = Octave
2: 300Hz = Octave * 3/2
3: 400Hz = 2 Octaves
4: 500Hz = 2 Octaves * 5/4
5: 600Hz = 2 Octaves * 3/2
6: 700Hz = 2 Octaves * 7/4
7: 800Hz = 3 Octaves
You see, all perfect quotients. And those perfect quotients sound pleasing. Now, 3/2 = 1.5
, which is pretty damn near to 2^(7/12) = 1.498
. Also, you find5/4 = 1.25 ~ 1.260 = 2^(4/12)
. We have names for these ratios:
Overtone 1 to 2: 3/2 ~ 2^(7/12) = perfect fifth
Overtone 2 to 3: 4/3 ~ 2^(5/12) = perfect fourth
Overtone 3 to 4: 5/4 ~ 2^(4/12) = large third
Overtone 4 to 5: 6/5 ~ 2^(3/12) = small third
You know what's missing on that table? It's the factor 2^(6/12)
. This factor is not close to any nice, small fraction, and cannot be found in the overtone spectrum. The associated interval sounds quite displeasing, and it's very rarely used in music.
So, any music notating system that's usable must contain those nice sounding 2^(5/12)
and 2^(7/12)
intervals, but should exclude the 2^(6/12)
interval as much as possible. And that's exactly what our usual scale does. The major scale looks like this
2^(0/12) = 1
2^(2/12) = 3/2 / 4/3 = 9/8
2^(4/12) = 5/4
2^(5/12) = 4/3
2^(7/12) = 3/2
2^(9/12) = 4/3 * 5/4 = 5/3
2^(11/12) = 3/2 * 5/4 = 15/8
2^(12/12) = 2
You see, this scale is fully built upon the factors 3/2
, 4/3
, and 5/4
. The minor scale, and the other common modes like the dorian, use the same factors between the notes, they just change which note is perceived as the base note.
TL;DR: A scale with constant spacing between the named nodes is deeply impractical because it excludes the most important intervals (perfect fourth and fifth), but includes the most glaring interval (tritone).
add a comment |
Your scale ignores the relationship between sound and the overtone spectrum.
If you have a string vibrating at 100Hz, it's actually also vibrating at 200Hz, 300Hz, 400Hz, and so on. Now you know that music is perceived as the logarithm of frequency, and doubling the frequency is equivalent to going up one octave. So, for the first few overtones, you get the following:
0: 100Hz = Base
1: 200Hz = Octave
2: 300Hz = Octave * 3/2
3: 400Hz = 2 Octaves
4: 500Hz = 2 Octaves * 5/4
5: 600Hz = 2 Octaves * 3/2
6: 700Hz = 2 Octaves * 7/4
7: 800Hz = 3 Octaves
You see, all perfect quotients. And those perfect quotients sound pleasing. Now, 3/2 = 1.5
, which is pretty damn near to 2^(7/12) = 1.498
. Also, you find5/4 = 1.25 ~ 1.260 = 2^(4/12)
. We have names for these ratios:
Overtone 1 to 2: 3/2 ~ 2^(7/12) = perfect fifth
Overtone 2 to 3: 4/3 ~ 2^(5/12) = perfect fourth
Overtone 3 to 4: 5/4 ~ 2^(4/12) = large third
Overtone 4 to 5: 6/5 ~ 2^(3/12) = small third
You know what's missing on that table? It's the factor 2^(6/12)
. This factor is not close to any nice, small fraction, and cannot be found in the overtone spectrum. The associated interval sounds quite displeasing, and it's very rarely used in music.
So, any music notating system that's usable must contain those nice sounding 2^(5/12)
and 2^(7/12)
intervals, but should exclude the 2^(6/12)
interval as much as possible. And that's exactly what our usual scale does. The major scale looks like this
2^(0/12) = 1
2^(2/12) = 3/2 / 4/3 = 9/8
2^(4/12) = 5/4
2^(5/12) = 4/3
2^(7/12) = 3/2
2^(9/12) = 4/3 * 5/4 = 5/3
2^(11/12) = 3/2 * 5/4 = 15/8
2^(12/12) = 2
You see, this scale is fully built upon the factors 3/2
, 4/3
, and 5/4
. The minor scale, and the other common modes like the dorian, use the same factors between the notes, they just change which note is perceived as the base note.
TL;DR: A scale with constant spacing between the named nodes is deeply impractical because it excludes the most important intervals (perfect fourth and fifth), but includes the most glaring interval (tritone).
add a comment |
Your scale ignores the relationship between sound and the overtone spectrum.
If you have a string vibrating at 100Hz, it's actually also vibrating at 200Hz, 300Hz, 400Hz, and so on. Now you know that music is perceived as the logarithm of frequency, and doubling the frequency is equivalent to going up one octave. So, for the first few overtones, you get the following:
0: 100Hz = Base
1: 200Hz = Octave
2: 300Hz = Octave * 3/2
3: 400Hz = 2 Octaves
4: 500Hz = 2 Octaves * 5/4
5: 600Hz = 2 Octaves * 3/2
6: 700Hz = 2 Octaves * 7/4
7: 800Hz = 3 Octaves
You see, all perfect quotients. And those perfect quotients sound pleasing. Now, 3/2 = 1.5
, which is pretty damn near to 2^(7/12) = 1.498
. Also, you find5/4 = 1.25 ~ 1.260 = 2^(4/12)
. We have names for these ratios:
Overtone 1 to 2: 3/2 ~ 2^(7/12) = perfect fifth
Overtone 2 to 3: 4/3 ~ 2^(5/12) = perfect fourth
Overtone 3 to 4: 5/4 ~ 2^(4/12) = large third
Overtone 4 to 5: 6/5 ~ 2^(3/12) = small third
You know what's missing on that table? It's the factor 2^(6/12)
. This factor is not close to any nice, small fraction, and cannot be found in the overtone spectrum. The associated interval sounds quite displeasing, and it's very rarely used in music.
So, any music notating system that's usable must contain those nice sounding 2^(5/12)
and 2^(7/12)
intervals, but should exclude the 2^(6/12)
interval as much as possible. And that's exactly what our usual scale does. The major scale looks like this
2^(0/12) = 1
2^(2/12) = 3/2 / 4/3 = 9/8
2^(4/12) = 5/4
2^(5/12) = 4/3
2^(7/12) = 3/2
2^(9/12) = 4/3 * 5/4 = 5/3
2^(11/12) = 3/2 * 5/4 = 15/8
2^(12/12) = 2
You see, this scale is fully built upon the factors 3/2
, 4/3
, and 5/4
. The minor scale, and the other common modes like the dorian, use the same factors between the notes, they just change which note is perceived as the base note.
TL;DR: A scale with constant spacing between the named nodes is deeply impractical because it excludes the most important intervals (perfect fourth and fifth), but includes the most glaring interval (tritone).
Your scale ignores the relationship between sound and the overtone spectrum.
If you have a string vibrating at 100Hz, it's actually also vibrating at 200Hz, 300Hz, 400Hz, and so on. Now you know that music is perceived as the logarithm of frequency, and doubling the frequency is equivalent to going up one octave. So, for the first few overtones, you get the following:
0: 100Hz = Base
1: 200Hz = Octave
2: 300Hz = Octave * 3/2
3: 400Hz = 2 Octaves
4: 500Hz = 2 Octaves * 5/4
5: 600Hz = 2 Octaves * 3/2
6: 700Hz = 2 Octaves * 7/4
7: 800Hz = 3 Octaves
You see, all perfect quotients. And those perfect quotients sound pleasing. Now, 3/2 = 1.5
, which is pretty damn near to 2^(7/12) = 1.498
. Also, you find5/4 = 1.25 ~ 1.260 = 2^(4/12)
. We have names for these ratios:
Overtone 1 to 2: 3/2 ~ 2^(7/12) = perfect fifth
Overtone 2 to 3: 4/3 ~ 2^(5/12) = perfect fourth
Overtone 3 to 4: 5/4 ~ 2^(4/12) = large third
Overtone 4 to 5: 6/5 ~ 2^(3/12) = small third
You know what's missing on that table? It's the factor 2^(6/12)
. This factor is not close to any nice, small fraction, and cannot be found in the overtone spectrum. The associated interval sounds quite displeasing, and it's very rarely used in music.
So, any music notating system that's usable must contain those nice sounding 2^(5/12)
and 2^(7/12)
intervals, but should exclude the 2^(6/12)
interval as much as possible. And that's exactly what our usual scale does. The major scale looks like this
2^(0/12) = 1
2^(2/12) = 3/2 / 4/3 = 9/8
2^(4/12) = 5/4
2^(5/12) = 4/3
2^(7/12) = 3/2
2^(9/12) = 4/3 * 5/4 = 5/3
2^(11/12) = 3/2 * 5/4 = 15/8
2^(12/12) = 2
You see, this scale is fully built upon the factors 3/2
, 4/3
, and 5/4
. The minor scale, and the other common modes like the dorian, use the same factors between the notes, they just change which note is perceived as the base note.
TL;DR: A scale with constant spacing between the named nodes is deeply impractical because it excludes the most important intervals (perfect fourth and fifth), but includes the most glaring interval (tritone).
edited 29 mins ago
answered 35 mins ago
cmastercmaster
1113
1113
add a comment |
add a comment |
Henry Williams is a new contributor. Be nice, and check out our Code of Conduct.
Henry Williams is a new contributor. Be nice, and check out our Code of Conduct.
Henry Williams is a new contributor. Be nice, and check out our Code of Conduct.
Henry Williams is a new contributor. Be nice, and check out our Code of Conduct.
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Hi Henry. Might this be a duplicate of Why are notes named the way they are?? music.stackexchange.com/questions/32971/… might also be helpful.
– topo morto
4 hours ago
They're not - in German.
– Tim
3 hours ago
1
"confusing when you first learn". Sure. Have you thought about other contexts? Not everyone who cares about music is a beginner right now like you are.
– only_pro
1 hour ago