Как пишутся ноты на английском

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Notes in English

Название нот по латинской системе: C, D, E, F, G, A, B

А также можно посмотреть Музыкальные инструменты

А также можно посмотреть Лексика

№	На английском	На русском
1	bass clef, F clef	басовый ключ
2	flat	бемоль
3	key, clef	музыкальный ключ
4	natural	бекар
5	treble clef, G clef	скрипичный ключ
6	sharp	диез
7	C; do	До
8	D; re	Ре
9	E; mi	Ми
10	F; fa	Фа
11	G; sol	Соль
12	A; la	Ля
13	B; si	Си

Английский язык уже давно стал средством международного общения. Мировое музыкальное сообщество при этом не является исключением. Поэтому как перед начинающими, так перед профессионалами возникает необходимость понимания основных музыкальных терминах на английском языке. Мы, конечно, не будем переписывать сюда весь словарь, а просто расскажем вам о самых базовых понятиях, которые пригодятся учащимся, преподавателям и просто музыцирующим личностям 😉

Названия нот на английском языке

Начнем с того, что в англоязычном названии нот, используют не слоговую систему латинской сольмизации (до, ре, ми), а буквенную (A, B, C). Буквы при этом, конечно, следует называть как в английском алфавите (эй, би, си), а не как в России озвучивают латиницу (а, бэ, цэ).

до	ре	ми	фа	соль	ля	си
С	D	E	F	G	A	B
[си]	[ди]	[и]	[эф]	[джи]	[эй]	[би]

В отличие от немецкой традиции обозначать си как H, а си-бемоль как B, в англоязычной традиции си называется B, а си-бемоль – В flat.

Общие музыкальные термины на английском языке

Не секрет, что у разных народов исторически сложились разные представления о некоторых явлениях, в том числе о музыке. Именно из-за этого, её фундаментальные элементы не всегда имеют однозначный аналог в другом языке. В частности, российская музыкальная система изначально была основана на немецкой, которая имеет заметные отличия от английской. В общем, мы постараемся все понятно объяснить 🙂

• нота – note
• высота звука – pitch
• музыкальный звук – musical tone
• тон – tone (целый тон – whole tone, whole step)
• полутон – semitone, half step
• восходящий/нисходящий – upward/downward
• музыкальный строй – musical tuning
• мелодия – melody
• гармония – harmony
• ритм – rhythm
• метр – meter
• сильная доля – stressed beat, accented beat
• слабая доля – unstressed beat, unaccented beat
• первая доля – downbeat
• затакт – upbeat
• темп – tempo
• тембр – timbre
• динамика – dynamics
• аппликатура – fingering (для струнных инструментов — stopping)
• артикуляция, штрихи (в английском нет разделения этих понятий) – articulation

Английские термины музыкальной теории

• звукоряд, гамма – scale (в английском гамма, как вид звукоряда, не выделяется отдельным термином);
• ступень звукоряда – scale degree
• тональность – key (параллельная – relative, одноименная – parallel)
• лад – mode
• мажор – major
• минор – minor
• ключевые знаки – key signature
• квинтовый круг – circle of fifths
• знак альтерации – accidental

Знаки альтерации, как и в русском языке, называются после ноты: например, фа-диез это F sharp.

• бемоль – flat
• диез – sharp
• повышение – sharping, raising
• повысить на, повышенный – to raise by, raised
• понижение – flatting, lowering
• понизить на, пониженный – to lower by, lowered
• бекар – natural

Немецкие обозначения тональностей типа G-dur для соль мажора или сis-moll для до-диез минора в английском не используются, как и обозначение повышенных/пониженных нот путем добавления к букве суффиксов -is/-es.

• тоника – tonic, keynote
• субдоминанта – subdominant
• доминанта – dominant

Интервалы и аккорды на английском языке

Почти все интервалы в английском языке обозначаются обычными числительными, по количеству ступеней.

• интервал – interval

прима	секунда	терция	кварта	квинта	секста	септима	октава
unison	second	third	forth	fifth	sixth	seventh	оctave

Характеристики «большая» и «малая» зовутся по-английски «мажорной» и «минорной» соответственно. Например: большая терция – major third, малая секста – minor sixth.

• чистая – perfect
• аккорд – chord
• трезвучие – triad
• септаккорд – seventh chord
• основной тон (аккорда) – root
• обращение – inversion, обратить – to invert
• разрешение – resolution, разрешить – to resolve
• увеличенная (-ый) – augmented
• уменьшенная (-ый) – diminished

Английские термины нотной записи

• нотная запись – notation, staff notation
• нотный стан, нотоносец – staff (мн. ч. staves)
• скрипичный ключ – treble clef
• басовый ключ – bass clef
• дополнительная линейка – ledger line
• длительность – duration, value
• головка ноты – notehead
• штиль ноты – stem
• хвостик, флажок ноты – flag
• группировка длительностей – rhythmic grouping, beaming
• ребро – beam, bar
• пауза – rest
• целая – whole
• половинная – half
• четвертная – quarter
• восьмая – eight
• шестнадцатая – sixteenth
• нота с точкой – dotted note
• особый вид ритмического деления – tuplet
• триоль – triplet
• размер – time signature
• такт – measure, bar
• тактовая черта – bar, bar line

Часто понятия measure и bar используются взаимозаменяемо, хотя правильнее говорить о первом как о такте, а о втором как о тактовой черте.

• реприза – repeat sign
• фразировочная лига (штрих легато) — slur
• связующая лига (залиговка двух одинаковых нот) – tie

Полезные слова, фразы и устойчивые выражения

• score – партитура
• sheet music – нотная запись какого-либо произведения, его части или отдельной партии (в русском мы часто говорим просто «ноты», подразумевая именно это)
• movement – часть (муз. произведения)
• to practice – репетировать
• tune – а) тональность (разговорное), б) мелодия как последовательность звуков, напев, наигрыш
• to tune – настраивать
• jam – исполнение музыки, полностью или частично состоящее из импровизации (to jam – соотвествующий глагол)
• live performance, live – «живое» исполнение
• perfect pitch – абсолютный слух
• key – а) клавиша клавишного инструмента б) клапан духового инструмента
• desk – пюпитр
• scorewriter – нотный редактор
• music notation software – программное обеспечение для записи нот
• solfège – сольфеджирование, сольмизация
• music theory – музыкальная теория
• ear training – развитие музыкального слуха (в отличие от стран СНГ, где сольфеджио включает в себя музыкальную теорию, а также развитие слуха и памяти через сольфеджирование, в англоязычных странах эти две дисциплины не объединены в один предмет)
• musical memory, music-related memory – музыкальная память
• playing by ear – игра на слух, подбор на слух
• sight-reading – чтение с листа (sight-singing в случае вокала)
• method – учебное пособие по исполнительской технике
• false, tuneless – фальшиво
• in tune – чисто
• intone – а) интонировать б) запевать, начинать исполнение
• step и skip – «шаг» и «скачок» мелодии (у нас обычно говорят о шаговом и скачкообразном движении, а не единице этого движения)
• medley – попурри
• instrumental version, instrumental (сокращенно inst.), without vocals – минус, инструментальная версия, букв. без вокала (off vocal и karaoke в случае японских, корейских и китайских песен)

Как мы уже писали, это далеко не все активно употребляемые музыкальные слова и выражения на английском языке. Поэтому чтобы чувствовать себя уверенно в международной музыкальной среде, нужно целенаправленно изучать английский язык. Тем не менее, мы надеемся, что наш мини-словарик вам пригодится!

Пишите в комментариях ваши предложения, какие еще широко употребляемые термины стоит добавить в наш список 🙂

In music, a note is the representation of a musical sound.

Notes can represent the pitch and duration of a sound in musical notation. A note can also represent a pitch class.

Notes are the building blocks of much written music: discretizations of musical phenomena that facilitate performance, comprehension, and analysis.^[1]

The term note can be used in both generic and specific senses: one might say either «the piece ‘Happy Birthday to You’ begins with two notes having the same pitch», or «the piece begins with two repetitions of the same note». In the former case, one uses note 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. (See also: Key signature names and translations.)

Two notes with fundamental frequencies in a ratio equal to any integer power of two (e.g., half, twice, or four times) are perceived as very similar. Because of that, all notes with these kinds of relations can be grouped under the same pitch class.

In European music theory, most countries use the solfège naming convention do–re–mi–fa–sol–la–si, including for instance Italy, Portugal, Spain, France, Romania, most Latin American countries, Greece, Albania, Bulgaria, Turkey, Russia, Arabic-speaking and Persian-speaking countries. However, in English- and Dutch-speaking regions, pitch classes are typically represented by the first seven letters of the Latin alphabet (A, B, C, D, E, F and G). Several European countries, including Germany, adopt an almost identical notation, in which H is substituted for B (see below for details). Byzantium used the names Pa–Vu–Ga–Di–Ke–Zo–Ni (Πα–Βου–Γα–Δι–Κε–Ζω–Νη).^[2]

In traditional Indian music, musical notes are called svaras and commonly represented using the seven notes, Sa, Re, Ga, Ma, Pa, Dha and Ni.

The eighth note, or octave, is given the same name as the first, but has double its frequency (first harmonic). The name octave is also used to indicate the span between a note and another with double frequency. To differentiate two notes 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 a′ or A₄.

There are two formal systems to define each note and octave, the Helmholtz pitch notation and the scientific pitch notation.

Accidentals[edit]

Letter names are modified by the accidentals. The sharp sign ♯ raises a note by a semitone or half-step, and a flat ♭ lowers it by the same amount. In modern tuning a half step has a frequency ratio of ¹²√2, approximately 1.0595. The accidentals are written after the note name: so, for example, F♯ represents F-sharp, B♭ is B-flat, and C♮ is C natural (or C).

Additional accidentals are the double-sharp , raising the frequency by two semitones, and double-flat , lowering it by that amount.

In musical notation, accidentals are placed before the note symbols. Systematic alterations to the seven lettered pitches in the scale can be indicated by placing the symbols in the key signature, which then apply implicitly to all occurrences of corresponding notes. Explicitly noted accidentals can be used to override this effect for the remainder of a bar. A special accidental, the natural symbol ♮, is used to indicate a pitch unmodified by the alterations in the key signature. Effects of key signature and local accidentals do not accumulate. If the key signature indicates G♯, a local flat before a G makes it G♭ (not G♮), though often this type of rare accidental is expressed as a natural, followed by a flat (♮♭) to make this clear. Likewise (and more commonly), a double sharp sign on a key signature with a single sharp ♯ indicates only a double sharp, not a triple sharp.

Assuming enharmonicity, many accidentals will create equivalences between pitches that are written differently. For instance, raising the note B to B♯ is equal to the note C. Assuming all such equivalences, the complete chromatic scale adds five additional pitch classes to the original seven lettered notes for a total of 12 (the 13th note completing the octave), each separated by a half-step.

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

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♯, Ges for G♭, Es for E♭. This system first arose in Germany and is used in almost all European countries whose main language is not English, Greek, or a Romance language (such as French, Portuguese, Spanish, Italian, and Romanian).

In most countries using these suffixes, the letter H is used to represent what is B natural in English, the letter B is used instead of B♭, and Heses (i.e., H) is used instead of B (although Bes and Heses both denote the English B). Dutch-speakers in Belgium and the Netherlands use the same suffixes, but applied throughout to the notes A to G, so that B, B♭ and B have the same meaning as in English, although they are called B, Bes, and Beses instead of B, B flat and B double flat. Denmark also uses H, but uses Bes instead of Heses for B.

12-tone chromatic scale[edit]

The following chart lists the names used in different countries for the 12 notes of a chromatic scale built on C. The corresponding symbols are shown within parenthesis. Differences between German and English notation are highlighted in bold typeface. Although the English and Dutch names are different, the corresponding symbols are identical.

Names of notes in various languages and countries

Naming convention	1	2	3	4	5	6	7	8	9	10	11	12
English	C	C sharp (C♯)	D	D sharp (D♯)	E	F	F sharp (F♯)	G	G sharp (G♯)	A	A sharp (A♯)	B
D flat (D♭)	E flat (E♭)	G flat (G♭)	A flat (A♭)	B flat (B♭)
German[3] (used in Austria, Czech Republic, Germany, Denmark, Estonia, Finland, Hungary, Norway, Poland, Serbia, Slovakia, Slovenia, Sweden)	C	Cis (C♯)	D	Dis (D♯)	E	F	Fis (F♯)	G	Gis (G♯)	A	Ais (A♯)	H
Des (D♭)	Es (E♭)	Ges (G♭)	As (A♭)	B
Swedish compromise[4] (Sweden)	C	Ciss (C♯)	D	Diss (D♯)	E	F	Fiss (F♯)	G	Giss (G♯)	A	Aiss (A♯)	H
Dess (D♭)	Ess (E♭)	Gess (G♭)	Ass (A♭)	Bess (B♭)
Dutch[3] (used in Netherlands, and sometimes in Scandinavia after the 1990s, and Indonesia)	C	Cis (C♯)	D	Dis (D♯)	E	F	Fis (F♯)	G	Gis (G♯)	A	Ais (A♯)	B
Des (D♭)	Es (E♭)	Ges (G♭)	As (A♭)	Bes (B♭)
Romance languages[5] (used in Italy, France, Spain, Romania, Russia, Latin America, Greece, Israel, Turkey, Latvia and many other countries) diesis/bemolle are Italian spelling	do	do diesis (do♯)	re	re diesis (re♯)	mi	fa	fa diesis (fa♯)	sol	sol diesis (sol♯)	la	la diesis (la♯)	si
re bemolle (re♭)	mi bemolle (mi♭)	sol bemolle (sol♭)	la bemolle (la♭)	si bemolle (si♭)
Byzantine[6]	Ni	Ni diesis	Pa	Pa diesis	Vu	Ga	Ga diesis	Di	Di diesis	Ke	Ke diesis	Zo
Pa hyphesis	Vu hyphesis	Di hyphesis	Ke hyphesis	Zo hyphesis
Japanese[7]	Ha (ハ)	Ei-ha (嬰ハ)	Ni (ニ)	Ei-ni (嬰ニ)	Ho (ホ)	He (ヘ)	Ei-he (嬰へ)	To (ト)	Ei-to (嬰ト)	I (イ)	Ei-i (嬰イ)	Ro (ロ)
Hen-ni (変ニ)	Hen-ho (変ホ)	Hen-to (変ト)	Hen-i (変イ)	Hen-ro (変ロ)
Indian (Hindustani)[8]	Sa (सा)	Re Komal (रे॒)	Re (रे)	Ga Komal (ग॒)	Ga (ग)	Ma (म)	Ma Tivra (म॑)	Pa (प)	Dha Komal (ध॒)	Dha (ध)	Ni Komal (नि॒)	Ni (नि)
Indian (Carnatic)	Sa	Shuddha Ri (R1)	Chatushruti Ri (R2)	Sadharana Ga (G2)	Antara Ga (G3)	Shuddha Ma (M1)	Prati Ma (M2)	Pa	Shuddha Dha (D1)	Chatushruti Dha (D2)	Kaisika Ni (N2)	Kakali Ni (N3)
Shuddha Ga (G1)	Shatshruti Ri (R3)	Shuddha Ni (N1)	Shatshruti Dha (D3)
Indian (Bengali)[9]	Sa (সা)	Komôl Re (ঋ)	Re (রে)	Komôl Ga (জ্ঞ)	Ga (গ)	Ma (ম)	Kôṛi Ma (হ্ম)	Pa (প)	Komôl Dha (দ)	Dha (ধ)	Komôl Ni (ণ)	Ni (নি)

Note designation in accordance with octave name[edit]

The table below shows each octave and the frequencies for every note of pitch class A. The traditional (Helmholtz) system centers on the great octave (with capital letters) and small octave (with lower case letters). Lower octaves are named «contra» (with primes before), higher ones «lined» (with primes after). Another system (scientific) suffixes a number (starting with 0, or sometimes −1). In this system A₄ is nowadays standardised at 440 Hz, lying in the octave containing notes from C₄ (middle C) to B₄. The lowest note on most pianos is A₀, the highest C₈. The MIDI system for electronic musical instruments and computers uses a straight count starting with note 0 for C₋₁ at 8.1758 Hz up to note 127 for G₉ at 12,544 Hz.

Names of octaves

Octave naming systems	Frequency of A (Hz)
Traditional	Helmholtz	Scientific	MIDI
subsubcontra	C͵͵͵ – B͵͵͵	C−1 – B−1	00 – 11	13.75
sub-contra	C͵͵ – B͵͵	C0 – B0	12 – 23	27.50
contra	C͵ – B͵	C1 – B1	24 – 35	55.00
great	C – B	C2 – B2	36 – 47	110.00
small	c – b	C3 – B3	48 – 59	220.00
one-lined	c′ – b′	C4 – B4	60 – 71	440.00
two-lined	c′′ – b′′	C5 – B5	72 – 83	880.00
three-lined	c′′′ – b′′′	C6 – B6	84 – 95	1760.00
four-lined	c′′′′ – b′′′′	C7 – B7	096 – 107	3520.00
five-lined	c′′′′′ – b′′′′′	C8 – B8	108 – 119	7040.00
six-lined	c′′′′′′ – b′′′′′′	C9 – B9	120 – 127 C to G	14080.00

Written notes[edit]

A written note can also have a note value, a code that determines the note’s relative duration. In order of halving duration, they are: double note (breve); whole note (semibreve); half note (minim); quarter note (crotchet); eighth note (quaver); sixteenth note (semiquaver); thirty-second note (demisemiquaver), sixty-fourth note (hemidemisemiquaver), and hundred twenty-eighth note.

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.

Note frequency (in hertz)[edit]

Music can be composed of notes at any arbitrary physical frequency. Since the physical causes of music are vibrations, they are often measured in hertz (Hz), with 1 Hz meaning one vibration per second. For historical and other reasons, especially in Western music, only twelve notes of fixed frequencies are used. These fixed frequencies are mathematically related to each other, and are defined around the central note, A₄. The current «standard pitch» or modern «concert pitch» for this note is 440 Hz, although this varies in actual practice (see History of pitch standards).

The note-naming convention specifies a letter, any accidentals, and an octave number. Each note is an integer number of half-steps away from concert A (A₄). Let this distance be denoted n. If the note is above A₄, then n is positive; if it is below A₄, then n is negative. The frequency of the note (f) (assuming equal temperament) is then:

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 note is above A₄, so n = 3. The note’s frequency is:

To find the frequency of a note 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 note is below A₄, so n = −4. The note’s frequency is:

Finally, it can be seen from this formula that octaves automatically yield powers of two times the original frequency, since n is a multiple of 12 (12k, where k is the number of octaves up or down), and so the formula reduces to:

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. This means that a cent is precisely equal to ¹²⁰⁰√2, which is approximately 1.000578.

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

where p is the MIDI note number (and 69 is the number of semitones between C₋₁ (note 0) and A₄). And in the opposite direction, to obtain the frequency from a MIDI note p, the formula is defined as:

For notes in an A440 equal temperament, this formula delivers the standard MIDI note number (p). Any other frequencies fill the space between the whole numbers evenly. This lets MIDI instruments be tuned accurately in any microtuning scale, including non-western traditional tunings.

Note names and their history[edit]

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),

A B C D E F G H I K L M N O,

to signify the notes of the two-octave range that was in use at the time^[10] and in modern scientific pitch notation are represented as

A₂ B₂ C₃ D₃ E₃ F₃ G₃ A₃ B₃ C₄ D₄ E₄ F₄ G₄.

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., the seven octaves starting from A, B, C, D, E, F, and G).

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 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). (It is from this that the French word for scale, gamme derives, and the English word gamut, from «Gamma-Ut», the lowest note in Medieval music notation.)

The remaining five notes of 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, round «b», and B♮ (B-natural) a Gothic script (known as Blackletter) or «hard-edged» 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, 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 hard, or just because the Gothic b resembled an H). Therefore, in 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^b for B-flat (with a modern-script lower-case b instead of a flat sign). Since a Bes or B♭ in Northern Europe (i.e., a B elsewhere) 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 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 solfège system. For ease of singing, the name ut was largely replaced by do (most likely from the beginning of Dominus, Lord), though ut is still used in some places. It was the Italian musicologist and humanist Giovanni Battista Doni (1595–1647) who successfully proposed to rename the note «Ut» to «Do». For the seventh degree, the name si (from Sancte Iohannes, St. John, to whom the hymn is dedicated), though in some regions the seventh is named ti.

The two notation systems most commonly used today are the Helmholtz pitch notation system and the scientific pitch notation system. As shown in the table above, they both include several octaves, each starting from C rather than A. The reason is that the most commonly used scale in Western music is the major scale, and the sequence C–D–E–F–G–A–B–C (the C major scale) is the simplest example of a major scale. Indeed, it is the only major scale that can be obtained using natural notes (the white keys on the piano keyboard) and is typically the first musical scale taught in music schools.

In a newly developed system, primarily in use in the United States, notes of scales become independent of music notation. In this system the natural symbols C–D–E–F–G–A–B refer to the absolute notes, while the names do–re–mi–fa–so–la–ti are relativized and show only the relationship between pitches, where do is the name of the base pitch of the scale (the tonic), re is the name of the second degree, etc. The idea of this so-called «movable do,» first suggested by John Curwen in the 19th century, was fully developed and involved into a whole educational system by Zoltán Kodály in the middle of the 20th century, which system is known as the Kodály method or Kodály concept.

See also[edit]

• Ghost note
• Grace note
• Letter notation
• Musical tone
• Pensato
• Shape note
• Universal key

References[edit]

Bibliography[edit]

• Nattiez, Jean-Jacques (1990) [1987]. Music and Discourse: Toward a Semiology of Music [Musicologie générale et sémiologie]. Translated by Carolyn Abbate. ISBN 0-691-02714-5.

External links[edit]

• Converter: Frequencies to note name, ± cents
• Note names, keyboard positions, frequencies and MIDI numbers
• Music notation systems − Frequencies of equal temperament tuning – The English and American system versus the German system
• Frequencies of musical notes
• Learn How to Read Sheet Music
• Free music paper for printing and downloading