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C (musical note)
C (musical note)
C (musical note)
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{ \new Staff \with { \remove "Time_signature_engraver" \magnifyStaff #3/2 } { \time 2/1 c'1^"c′" \clef bass c^"c" } }

C or Do is the first note of the C major scale, the third note of the A minor scale (the relative minor of C major), and the fourth note (G, A, B, C) of the Guidonian hand, commonly pitched around 261.63 Hz. The actual frequency has depended on historical pitch standards, and for transposing instruments a distinction is made between written and sounding or concert pitch. It has enharmonic equivalents of B♯ and Ddouble flat.

In English the term Do is used interchangeably with C only in the context of fixed Do solfège; in the movable Do system Do refers to the tonic of the prevailing key.

Frequency

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Historically, concert pitch has varied. For an instrument in equal temperament tuned to the A440 pitch standard widely adopted in 1939, middle C has a frequency around 261.63 Hz[1] (for other notes see piano key frequencies). Scientific pitch was originally proposed in 1713 by French physicist Joseph Sauveur and based on the numerically convenient frequency of 256 Hz for middle C, all C's being powers of two. After the A440 pitch standard was adopted by musicians, the Acoustical Society of America published new frequency tables for scientific use. A movement to restore the older A435 standard has used the banners "Verdi tuning", "philosophical pitch" or the easily confused scientific pitch.

Octave nomenclature

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Middle C

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"Middle C" redirects here. For the novel, see Middle C (novel).
\new GrandStaff << \time 5/4 \new Staff \with { \remove "Time_signature_engraver" \magnifyStaff 1.5 } { s4 c'1 } \new Staff \with { \remove "Time_signature_engraver" \magnifyStaff 1.5 \clef bass } { s4 s1 } >>
Middle C centrally set on a grand staff

Middle C (the fourth C key from left on a standard 88-key piano keyboard) is designated C4 in scientific pitch notation, c′ in Helmholtz pitch notation, and note number 60 in the MIDI standard.[2]

While the expression middle C is generally clear across instruments and clefs, some musicians naturally use the term to refer to the C note in the middle of their specific instrument's range. C4 (approximately 261.626 Hz[3]) may be called Low C by someone playing a Western concert flute, which has a higher and narrower playing range than the piano, while C5 (523.251 Hz) would be middle C. This practice has led some to encourage standardizing on C4 as the definitive middle C in instructional materials across all instruments.[4]

On the grand staff, middle C is notated with a ledger line above the top line of the bass staff or below the bottom line of the treble staff. Alternatively, it is written on the centre line of a staff using the alto clef, or on the fourth line from the bottom, or the second line from the top, of staves using the tenor clef.

Other octaves

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In vocal music, the term High C (sometimes called Top C[5]) can refer to either the soprano's C6 (1046.502 Hz; c′′′ in Helmholtz notation) or the tenor's C5; soprano written as the C two ledger lines above the treble clef, with the tenor voice the space above concert A, sung an octave lower. Sometimes written with “8v” below the treble, to represent the octave (8 tones in a major scale).

Tenor C is an organ builder's term for small C or C3 (130.813 Hz), the note one octave below middle C. In older stoplists it usually means that a rank was not yet full compass, omitting the bottom octave, until that octave was added later on.

Designation by octave

[edit]
Scientific designation Helmholtz designation Octave name Frequency (using A 440 equal temperament) MIDI note number Other names Audio
C−1 C͵͵͵ or ͵͵͵C or CCCC Octocontra 8.176 Hz 0 Quadruple Low C (64 ft. organ pipes)
C0 C͵͵ or ͵͵C or CCC Subcontra 16.352 Hz 12 Triple Low C (32 ft. organ pipes), Octobass C
C1 C͵ or ͵C or CC Contra 32.703 Hz 24 Double Low C (16 ft. organ pipes), Double Bass w/ either Low C Extension, 5 Strings, or in 5ths Tuning
C2 C Great 65.406 Hz 36 Low C, cello C, 8′ C (see organ pipe length)
C3 c Small 130.813 Hz 48 4′ C or Tenor C (organ), viola C, Tenor Middle C (Tenor Voice)
C4 c′ One-lined 261.626 Hz 60 Middle C for Sopranos, 2 ft. organ pipes
C5 c′′ Two-lined 523.251 Hz 72 Treble C, Tenor High C (written an octave higher for tenor voices),[6] 1 ft. organ pipes
C6 c′′′ Three-lined 1046.502 Hz 84 High C (soprano)
C7 c′′′′ Four-lined 2093.005 Hz 96 Double high C[citation needed]
C8 c′′′′′ Five-lined 4186.009 Hz 108 Eighth octave C, triple high C
C9 c′′′′′′ Six-lined 8372.018 Hz 120 Quadruple high C
C10 c′′′′′′′ Seven-lined 16744.036 Hz N/A Quintuple high C

Graphic presentation

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Middle C in four clefs
Position of middle C on a standard 88-key keyboard

Scales

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Common scales beginning on C

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Diatonic scales

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  • C Ionian: C D E F G A B C′
  • C Dorian: C D E♭ F G A B♭ C′
  • C Phrygian: C D♭ E♭ F G A♭ B♭ C′
  • C Lydian: C D E F♯ G A B C′
  • C Mixolydian: C D E F G A B♭ C′
  • C Aeolian: C D E♭ F G A♭ B♭ C′
  • C Locrian: C D♭ E♭ F G♭ A♭ B♭ C′

Jazz melodic minor

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See also

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

C (musical note)

View on Grokipedia
from Grokipedia
C (also known as Do in ) is a fundamental in the Western music tradition, serving as the tonic (first degree) of the scale and representing the commonly labeled as 0 in music theory set analysis. It forms part of the comprising the seven natural notes A, B, C, D, E, F, and G, with C positioned as the starting point for the major key of , which consists of the ascending sequence C–D–E–F–G–A–B–C without sharps or flats. In , specific instances of the note are denoted by octave numbers, such as C4 for middle C, the central reference pitch on a standard keyboard located approximately in the middle of the instrument's 88 keys. Under the international standard pitch defined by ISO 16, where the note A4 (the A above middle C) is tuned to exactly Hz, middle C (C4) has a of approximately 261.63 Hz in tuning, calculated as 440×2−9/12440 \times 2^{-9/12} Hz to reflect its position nine semitones below A4. This frequency standard, adopted globally in the mid-20th century, ensures consistency across instruments and ensembles, though historical tuning practices varied, with earlier systems like setting middle C at precisely 256 Hz (a power of 2) for mathematical simplicity in series. Pitches of C span multiple s, doubling in frequency each octave higher (e.g., C5 at ~523.25 Hz) and halving lower (e.g., C3 at ~130.81 Hz), allowing the note to appear throughout the audible range in musical compositions. As a white key on the piano and the root of the most basic major key, C holds a prominent role in music education, , and composition, often used as a reference point for beginners due to its lack of in the and its neutral, foundational quality in . In orchestral and choral settings, C frequently appears in passages or as the starting note in vocal warm-ups, while in and , it serves as a pivot for modal interchange and chord progressions. The note's versatility extends to its representation in electronic music synthesis and , where it anchors frequency-based waveform generation.

Pitch Fundamentals

Standard Frequency

In standard concert pitch, defined by the International Organization for Standardization (ISO) as A4 at 440 Hz, the note C4—commonly known as middle C—has a frequency of approximately 261.63 Hz. This value represents the fundamental pitch in the equal-tempered scale used in Western music. Frequency, denoted in hertz (Hz), is the SI unit measuring the number of cycles per second of a periodic phenomenon, such as the oscillations of a sound wave. In acoustics, it quantifies how many complete pressure variations occur per second as the sound propagates through a medium like air, determining the perceived pitch: higher frequencies correspond to higher pitches. The exact frequency of C4 is derived from the equal-temperament formula f=440×2(n−69)/12f = 440 \times 2^{(n-69)/12}, where 440 Hz is the reference for A4 (MIDI note 69) and n=60n = 60 for C4, resulting in f≈261.625565f \approx 261.625565 Hz. From a physical perspective, the frequency of C4 relates inversely to its wavelength via λ=vf\lambda = \frac{v}{f}, where vv is the speed of sound in air, approximately 343 m/s at 20°C; thus, the wavelength for C4 is about 1.31 meters. Frequencies double for each ascending octave above C4 and halve for each descending octave, maintaining consistent interval ratios across the scale.

Tuning Variations

The modern standard for tuning, first established by the International Organization for Standardization (ISO) in 1955 and reaffirmed in 1975, defines the pitch of A4 as 440 Hz, resulting in C4 having a frequency of approximately 261.63 Hz in twelve-tone equal temperament. Historical tuning practices deviated significantly from this standard, often resulting in lower overall pitches. In Baroque-era performances, a common reference pitch is A4 at 415 Hz, which yields a C4 frequency of about 247 Hz, producing a warmer tone suited to period instruments like gut-strung violins and wooden flutes. Similarly, the Verdi tuning, advocated by composer in the late for its vocal advantages, sets A4 at 432 Hz, corresponding to a C4 of roughly 257 Hz. Just intonation systems, used in various historical contexts, further vary C4's by basing intervals on simple whole-number ratios rather than , such as a pure (2:1) or fifth (3:2), which can shift C4 relative to A4 by small but audible amounts depending on the key. Pythagorean tuning, an ancient system derived from stacking perfect fifths (3:2 ratio), often calibrates C to 264 Hz when A4 is set at 444 Hz to align with whole-number harmonics, emphasizing consonant intervals like the octave and fifth while introducing a characteristic "comma" discrepancy in other notes. In electronic music production and certain non-Western traditions, alternative tunings persist, including the 432 Hz movement, which promotes A4 at 432 Hz (resulting in C4 ≈ 257 Hz in equal temperament), and the scientific pitch standard with C4 at exactly 256 Hz (corresponding to A4 ≈ 430.5 Hz); these are distinct concepts sometimes conflated for purported harmonic purity, though they lack empirical support for superior acoustic benefits. These tuning variations impact performers, particularly in orchestras, where higher pitches like A4=442 Hz can strain vocalists' ranges, prompting transposition of parts downward by a or more to accommodate singers while maintaining ensemble cohesion.

Octave Nomenclature

Middle C

Middle C, designated as C4 in , serves as the central reference pitch in Western music notation. It is positioned on the first ledger line below the treble clef staff and on the first ledger line above the bass clef staff in the grand staff, marking the approximate boundary between higher and lower registers. This placement underscores its role as a pivotal note that bridges the two primary clefs used for keyboard and . In standard (A4 = 440 Hz), middle C has a of approximately 261.63 Hz. The historical significance of middle C emerged alongside the evolution of keyboard instruments in the , when early pianos expanded their range to encompass a broader spectrum of pitches. Prior to this, systems from the medieval period already emphasized a central C in the and early staff notations, but the term "middle C" gained prominence in the as pianos standardized to seven octaves, positioning this note as a natural midpoint in performance and composition practices. This development reflected the growing centrality of in Western , where middle C facilitated balanced hand positioning and tonal symmetry. Acoustically, middle C is fundamental to the design of the modern piano keyboard, which typically features spanning from A0 to C8. On this layout, middle C corresponds to the 40th key, roughly centering the instrument and dividing the lower bass register (left hand) from the upper treble register (right hand). This configuration optimizes the piano's and ergonomic playability, making middle C a structural anchor for tuning and performance. In music , middle C holds essential importance as the introductory note for beginners learning and basic theory. It provides a stable starting point for hand placement on the keyboard and introduces core concepts like ledger lines and relationships without the complexity of accidentals. Many foundational exercises and songs, such as simple scales or nursery rhymes, begin here to build confidence and spatial awareness on the staff.

Higher and Lower Octaves

In , notes an octave apart, such as successive Cs, exhibit octave equivalence where the of each higher C doubles that of the preceding one, while each lower C halves it; for instance, the C one octave above middle C (C5) has a of 523.25 Hz, and the C one octave below (C3) is 130.81 Hz, assuming tuning with A4 at 440 Hz. This relationship arises from the logarithmic nature of pitch , allowing higher and lower Cs to be perceived as variants of the same note despite their differing pitches. On the standard 88-key , the full range of C notes spans from C1 at approximately 32.70 Hz to C8 at about 4186 Hz, encompassing seven octaves and pushing the upper limits of human hearing. In contrast, the typical human for singing Cs is more limited, generally from C3 (around 130.81 Hz) to C5 (523.25 Hz) for adult males and extending slightly higher for females, though exceptional singers can reach very low notes well below C3 or high notes like C6 or above depending on technique and . Auditorily, higher-octave Cs, such as C7 or C8, are perceived with a brighter, more piercing timbre due to their elevated fundamental frequencies and richer harmonic content in the upper spectrum, while lower-octave Cs like C1 produce a deeper, resonant tone that emphasizes lower harmonics and may blend into rumble. These perceptual differences align with the human hearing range, which spans roughly 20 Hz to 20 kHz, though sensitivity peaks between 2 kHz and 5 kHz, making very low Cs (below 20 Hz) inaudible as discrete pitches and very high ones (above 4 kHz) more directional and less tonal. In staff notation, higher Cs beyond middle C are typically written in the treble clef to accommodate their elevated positions on the staff, often using ledger lines above the stave for pitches like C6 or higher, whereas lower Cs are notated in the bass clef, with ledger lines below for extremes like C1, ensuring clarity across the instrument's or voice's register.

Alternative Naming Systems

In the Helmholtz pitch notation system, developed by the 19th-century physicist Hermann von Helmholtz, octaves of the note C are designated using a combination of uppercase and lowercase letters along with apostrophes for higher registers and commas for lower ones, with each octave beginning on C. Middle C is notated as c (lowercase c), the C one octave above as c' (with a single apostrophe), and the C two octaves above as c''; conversely, the C one octave below middle C is C (uppercase C), and further descents use commas such as ,C for the contra octave. This approach emphasizes the diatonic scale starting from C and was influential in European music theory for specifying pitch height without numeric values. The French fixed-do system, prevalent in conservatory training, assigns "do" to the note C in all contexts, with octave levels indicated numerically to distinguish registers. For instance, a low C below middle C may be written as do¹ or do1, middle C as do² or do2, and the C above as do³ or do3, allowing precise identification within the while tying syllables to absolute pitches. This method supports sight-singing and by maintaining consistent pitch-syllable associations across keys. Traditional German notation retains C for the note itself—distinct from its use of H for B natural and B for B-flat—with octave differentiation achieved through apostrophes or strokes, akin to the Helmholtz tradition. Middle C is commonly rendered as eingestrichenes c (c with a single stroke or apostrophe, equivalent to c'), the higher octave as c'' (double apostrophe), and lower ones with descending case or additional symbols like C for the great octave. This system persists in some Central European pedagogical contexts, prioritizing visual cues over numerical designation. In the , transatlantic discrepancies arose in naming for middle C, with some American publications employing a numeric system where middle C was designated C3 (aligning the octave count from lower registers), while European practices more commonly followed letter-based conventions like Helmholtz's c without explicit numbers, leading to inconsistencies in scores and instrument specifications. These historical variations contrasted with the emerging (e.g., C4 for middle C), which standardized numeric octaves starting from C.

Designation Methods

Scientific Pitch Notation

Scientific Pitch Notation (SPN) is a standardized system for identifying specific musical pitches by pairing a note name, such as C, with an integer octave number, enabling precise designation across the full range of audible frequencies. The system was first proposed in 1939 by the Acoustical Society of America in the paper "Terminology for Logarithmic Frequency Units" by R. W. Young, as part of efforts to establish consistent logarithmic scales for acoustic measurements. It gained widespread adoption in the mid-20th century, particularly after the International Organization for Standardization adopted the A440 Hz tuning reference as Recommendation R 16 in 1955, which was later formalized as ISO 16 in 1975, aligning SPN with modern concert pitch standards. In SPN, octave numbering begins at 0 for the sub-contra octave, where C0 corresponds to a of approximately 16.35 Hz; each subsequent octave increments the number by 1 as the doubles, spanning from C to the B above it. Middle C, the central reference pitch on a standard 88-key (located roughly in the middle of the keyboard), is denoted C4 at about 261.63 Hz. For pitches below the sub-contra range, negative superscripts or subscripts are used, such as C−1 at 8.18 Hz. On the , the lowest C falls at C1 (32.70 Hz), while the highest note, another C, is C8 at approximately 4186 Hz. This notation offers key advantages in clarity and universality, allowing unambiguous pitch identification independent of instrument, , or regional conventions, which is essential for scientific analysis, composition software, and cross-disciplinary collaboration. It integrates directly with digital standards like , where C4 maps to note number 60, supporting consistent implementation in electronic music production and synthesis.

MIDI and Electronic Designations

In the MIDI (Musical Instrument Digital Interface) standard, established in 1983 by a consortium of music technology manufacturers including Sequential Circuits, , and Yamaha, musical pitches are designated using integer note numbers ranging from 0 to 127, providing a compact digital representation for electronic instruments and software. This numerical system maps to pitches starting from C−1 at note 0 up to G9 at note 127, ensuring consistent communication across synthesizers, sequencers, and computers without reliance on variable octave naming conventions. The choice of this range was influenced by the typical keyboard spans of synthesizers at the time, with note numbers calculated as multiples of 12 for C pitches (e.g., all Cs are at 0, 12, 24, etc.), promoting interoperability in early digital music production. Central to this system is the designation of middle C as note number 60, a fixed value chosen for its central position within the 128-note span and to align with common synthesizer tuning practices, where it corresponds to approximately 261.63 Hz in A440 tuning. This assignment standardizes pitch mapping regardless of how the note is labeled in different notations; for instance, while scientific pitch notation identifies middle C as C4, MIDI's numerical approach avoids such ambiguities by prioritizing the universal note number 60. In MIDI messages, a note-on event for a C pitch includes this number along with a velocity value (0-127) indicating intensity, and is routed via one of 16 channels, but the core pitch designation remains the note number for triggering specific sounds in synthesizers or digital audio workstations (DAWs). In software applications, MIDI note designations for C pitches often incorporate octave offsets to match user interfaces or historical conventions, leading to variations from scientific notation. For example, in Ableton Live, a widely used DAW, middle C (MIDI 60) is labeled as C3 to center the piano roll display around the typical range of electronic instruments, differing from the C4 label in scientific systems and requiring users to adjust when importing clips from other programs. This C3 convention in Ableton aligns with the Helmholtz system, facilitating intuitive editing in electronic music production while preserving the underlying MIDI note 60 for compatibility. Overall, these electronic designations enable precise control in digital environments, from hardware sequencers to virtual instruments, by decoupling pitch identity from acoustic or theoretical labeling.

Graphic Representation

Staff Notation

In Western staff notation, the position of the note C varies depending on the clef used, which determines the pitch range represented by the five-line staff. In the treble clef (G clef), middle C (C4) is notated on a ledger line below the bottom line of the staff, which itself represents E4. In the bass clef (F clef), the note C3 occupies the second space from the bottom, between the second and third lines (with the bottom line being G2). The alto clef, a C clef centered on the third line, places middle C (C4) directly on that middle line of the staff. Similarly, the tenor clef, another C clef variant, positions middle C (C4) on the fourth line from the bottom (second line from the top). The natural note C appears without any modifying symbol, relying on the or context for its pitch. To notate sharpened or flattened variants, are prefixed to the note head: the sharp symbol (♯) raises C to C♯ by a half step, while the flat symbol (♭) lowers it to D♭, also by a half step; a symbol (♮) can cancel prior to restore the original C. Durational aspects of are indicated by specific note head shapes combined with stems and flags. A C is an open oval (semibreve), lasting a full measure in common time; a adds a vertical stem to the open oval (minim); a fills the oval head with a stem (crotchet); and shorter values like the include a on the stem or beam when grouped. For pitches extending beyond the staff, ledger lines—short horizontal dashes—extend the notation. In treble clef, C5 appears in the space above the top line (F5), requiring one ledger line for the note above if needed, while lower octaves like C2 in bass clef demand multiple ledger lines below the bottom line (G2) to position the note head accurately.

Instrument Visualizations

On the piano keyboard, the note C is consistently represented as a white key, positioned immediately to the left of the two in each group of three , and this pattern repeats across every octave throughout the instrument's 88-key layout. Middle C, specifically designated as C4 in , serves as a central reference point, located approximately in the middle of the keyboard—typically the fourth C from the left on a standard —and it visually and functionally separates the bass clef register (played primarily with the left hand) from the treble clef register (played with the right hand). This positioning aligns with its placement on the ledger line between the two clefs in staff notation, aiding performers in orienting their hands. For the guitar, the fretboard layout places various octaves of C at specific frets depending on the string, with standard tuning (EADGBE from low to high) providing multiple accessible positions for middle C (C4). One common location is the fifth fret on the third string (G string), where pressing down at that point produces the note, or the first fret on the second string (B string), offering an alternative for easier reach in higher passages. In tablature notation, which visually diagrams these positions with numbers indicating frets on each string line, middle C might appear as "3-5" (third string, fifth fret) or "2-1" (second string, first fret), emphasizing the instrument's linear, fretted design that allows for precise intonation across the neck. Lower octaves, such as C3, are found at the eighth fret on the sixth string (low E), illustrating how the guitar's six-string configuration spans a wide range with C recurring at fret intervals corresponding to semitones. On the violin, fingerings for C in first position vary by string to cover different octaves, utilizing the four fingers (index through pinky) placed relative to the nut and bridge. For middle C (C4), it is played with the third finger (ring finger) on the fourth string (G string), where the open G3 is the starting point, followed by index on A3, middle on B3, and ring on C4, creating a natural hand shape without shifts. Higher Cs, such as C5, are played with the second finger on the first string (A string) in first position, with the index finger touching on B4, highlighting the violin's reliance on left-hand placement and string choice for accurate pitch in its fingerboard diagram, which lacks frets for continuous adjustment. Wind instruments like the and feature key mechanisms that visualize C through specific or key depressions on their body s. On the with a standard C footjoint, the lowest C (C4, or middle C) is produced by pressing the low C key located on the footjoint—the detachable lower section—often in combination with the B key to seal properly, extending the instrument's range downward and distinguishing it from higher Cs accessed via keys on the body joint. For the B-flat , a , a written C (notated, for example, in the third space of the treble ) is produced by pressing no s for a common open note, but due to the instrument's construction, it sounds a B-flat, requiring performers to adjust mentally when reading from the linear where open position corresponds to this transposed pitch.

Musical Roles

Diatonic Scales

The scale is a that begins and ends on C, encompassing the scale degrees 1 through 7 before returning to the (degree 8), which is the higher C. It consists of the pitches C, D, E, F, G, A, B, and C. This scale follows the specific interval pattern of whole step, whole step, half step, whole step, whole step, whole step, half step (W-W-H-W-W-W-H). The for contains no sharps or flats. On the piano keyboard, the scale is played using only the white keys, starting from the tonic C. The C minor scale, in its natural form, is the diatonic relative minor of C major and shares the same tonic, often middle C. It comprises the notes C, D, E♭, F, G, A♭, B♭, and C, following the interval pattern of whole step, half step, whole step, whole step, half step, whole step, whole step (W-H-W-W-H-W-W). The key signature for C minor includes three flats: B♭, E♭, and A♭. In addition to the natural minor, two variant forms of the C minor scale are commonly used: the harmonic minor and the melodic minor. The harmonic minor scale raises the seventh degree by a half step, resulting in the notes C, D, E♭, F, G, A♭, B, and C, which creates a major-like leading tone for harmonic purposes. The melodic minor scale, when ascending, raises both the sixth and seventh degrees, yielding C, D, E♭, F, G, A, B, and C; the descending form reverts to the natural minor scale (C, B♭, A♭, G, F, E♭, D, C).

Other Scales and Modes

The chromatic scale starting on C encompasses all twelve semitones within an octave, ascending as C, C♯/D♭, D, D♯/E♭, E, F, F♯/G♭, G, G♯/A♭, A, A♯/B♭, B, and returning to C, or descending in reverse order. This scale serves as a foundational non-diatonic structure in Western music theory, enabling modulation and chromatic alteration beyond the seven-note diatonic framework. Building on the diatonic scale as a modal foundation, the seven modes derived from it each feature distinct interval patterns when starting on C. The follows the pattern: C-D-E-F-G-A-B-C. The alters it to C-D-E♭-F-G-A-B♭-C, characterized by a third and major sixth. The uses C-D♭-E♭-F-G-A♭-B♭-C, emphasizing a half-step between the and second degree for an exotic flavor. The raises the fourth: C-D-E-F♯-G-A-B-C. The flattens the seventh: C-D-E-F-G-A-B♭-C. The , the natural minor, is C-D-E♭-F-G-A♭-B♭-C. The , the most dissonant, features a diminished fifth: C-D♭-E♭-F-G♭-A♭-B♭-C. In jazz contexts, modes like C Mixolydian (C-D-E-F-G-A-B♭-C) function as the dominant scale, providing tension resolution over dominant seventh chords through its flattened seventh. C Lydian (C-D-E-F♯-G-A-B-C), with its raised fourth, imparts a bright, suspended quality often used in improvisations over chords. The , comprising five notes (C-D-E-G-A), offers a concise, versatile framework for melodic lines in jazz and blues, avoiding semitones for smoother phrasing. Non-Western adaptations include Indian ragas where Sa corresponds to the tonic C, as in Bilaval thaat, which parallels the Western C major scale but incorporates microtonal variations and prescriptive rules for ascent and descent not found in equal-tempered systems. Western musicians adapt such ragas by mapping them to fixed-pitch instruments starting on C, preserving the modal essence while simplifying intonations.

Harmonic Functions

In tonal music, the note C serves as the tonic, establishing stability and resolution when forming the root of the major triad C-E-G, which defines the key of C major and acts as the primary point of harmonic rest. This triad embodies the tonic function, providing a sense of closure and home base within harmonic progressions, as it aligns with the root, third, and fifth degrees of the C major scale. Composers frequently employ this chord to anchor phrases, drawing the ear back to resolution after tension built by other harmonies. The triad can be inverted to facilitate smoother , with first inversion C/E (E-G-C) placing the third in the bass for a lighter, transitional quality, and second inversion C/G (G-C-E) using the fifth as the bass note to connect disparate chords without abrupt shifts. These inversions maintain the chord's tonic identity while enhancing melodic flow, particularly in sequences where the bass line ascends or descends stepwise, avoiding parallel octaves or fifths in contrapuntal writing. Common harmonic progressions in C major highlight C's role as the tonic, such as the I-IV-V-I (C-F-G-C), which cycles through , dominant, and back to tonic for a balanced, affirmative structure ubiquitous in classical and popular genres. Cadences often culminate on C, with the perfect authentic (V-I, or G to C) delivering strong resolution through the leading tone's pull to the tonic, reinforcing the key's center. In polyphonic contexts, C functions effectively as a sustained , forming pedal points that underpin shifting harmonies above, as seen in organ works or fugues where it sustains tension before resolving. For instance, in Bach's fugues in C major, the tonic C in the bass provides a stable foundation for interwoven voices, allowing contrapuntal lines to develop without disrupting the overall tonal coherence.

References

  1. https://pressbooks.nebraska.edu/openmusictheory/chapter/aspn/
  2. https://www.iconcollective.edu/basic-music-theory
  3. https://milnepublishing.geneseo.edu/fundamentals-function-form/chapter/5-pitch/
  4. https://ccrma.stanford.edu/~mromaine/220a/fp/frequency-comparison-list.html
  5. https://oeis.org/A329207
  6. https://roelsworld.eu/tuning-frequency/standardization/
  7. https://roelsworld.eu/tuning-frequency/scientific-pitch/
  8. https://peabody.sapp.org/class/st2/lab/notehz/
  9. https://www1.swarthmore.edu/NatSci/ceverba1/Class/e5_2006/MusicalScales.html
  10. https://www.humdrum.org/guide/ch04/
  11. https://librosa.org/doc/main/generated/librosa.filters.semitone_filterbank.html
  12. https://www.iso.org/standard/3601.html
  13. https://www.ece.iastate.edu/~alexs/classes/2016_Spring_575/HW/HW5/files/piano-key-freq-wikipedia.pdf
  14. https://www.nist.gov/pml/special-publication-811/nist-guide-si-chapter-4-two-classes-si-units-and-si-prefixes
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