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This is a list of the fundamental frequencies in hertz (cycles per second) of the keys of a modern 88-key standard or 108-key extended piano in twelve-tone equal temperament, with the 49th key, the fifth A (called A 4), tuned to 440 Hz (referred to as A440). [1] [2] Every octave is made of twelve steps called semitones.
An 88-key piano, with the octaves numbered and middle C (cyan) and A 4 (yellow) highlighted. A440 is widely used as concert pitch in the United Kingdom [8] and the United States. [9] In continental Europe the frequency of A 4 commonly varies between 440 Hz and 444 Hz. [8]
Not only is 440 Hz the standard central pitch for MIDI, it is also widely used as the "concert A " standard pitch (A 4 e.g. USA, UK), and since that is represented in MIDI signals by the integer 69 (nine semitones above middle C (C 4, c′), which is 60 decimal or 0x3C hexadecimal), this gives a real number which expresses pitch in a manner ...
Concert pitch is the pitch reference to which a group of musical instruments are tuned for a performance. Concert pitch may vary from ensemble to ensemble, and has varied widely over time. The ISO defines international standard pitch as A440, setting 440 Hz as the frequency of the A above middle C. Frequencies of other notes are defined ...
Pitch depends to a lesser degree on the sound pressure level (loudness, volume) of the tone, especially at frequencies below 1,000 Hz and above 2,000 Hz. The pitch of lower tones gets lower as sound pressure increases. For instance, a tone of 200 Hz that is very loud seems one semitone lower in pitch than if it is just barely audible.
Circle of fifths showing major and minor keys. In music theory, the circle of fifths (sometimes also cycle of fifths) is a way of organizing pitches as a sequence of perfect fifths.
For instance, 660 Hz / 440 Hz (a ratio of 3:2) constitutes a fifth, and 880 Hz / 440 Hz (2:1) an octave. Such intervals (termed "just") have a stability, or purity to their sound, when played simultaneously (assuming they are played using timbres with harmonic partials) because pure intervals do not waver or beat regularly.
Comparison between tunings: Pythagorean, equal-tempered, quarter-comma meantone, and others.For each, the common origin is arbitrarily chosen as C. The degrees are arranged in the order or the cycle of fifths; as in each of these tunings except just intonation all fifths are of the same size, the tunings appear as straight lines, the slope indicating the relative tempering with respect to ...