E is the third note and the fifth semitone of the C major scale, and mi in fixed-do solfège. It has enharmonic equivalents of F♭ [(F-flat) which is by definition a diatonic semitone above E♭] and D (D-double sharp), amongst others.
When calculated in equal temperament with a reference of A above middle C as 440 Hz, the frequency of Middle E (E4) is approximately 329.628 Hz. See pitch (music) for a discussion of historical variations in frequency.
|Scientific designation||Helmholtz designation||Octave name||Frequency (Hz)|
|E−1||E͵͵͵ or ͵͵͵E or EEEE||Subsubcontra||10.301|
|E0||E͵͵ or ͵͵E or EEE||Subcontra||20.602|
|E1||E͵ or ͵E or EE||Contra||41.203|
F♭ is a common enharmonic equivalent of E, but is not regarded as the same note. F♭ is commonly found after E♭ in the same measure in pieces where E♭ is in the key signature, in order to represent a diatonic, rather than a chromatic semitone; writing an E♭ with a following E♮ is regarded as a chromatic alteration of one scale degree.
In music theory, the minor scale is three scale patterns – the natural minor scale, the harmonic minor scale, and the melodic minor scale – rather than just two as with the major scale, which also has a harmonic form but lacks a melodic form.
C or Do is the first note and semitone of the C major scale, the third note of the A minor scale, and the fourth note 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 D.
A jazz scale is any musical scale used in jazz. Many "jazz scales" are common scales drawn from Western European classical music, including the diatonic, whole-tone, octatonic, and the modes of the ascending melodic minor. All of these scales were commonly used by late nineteenth and early twentieth-century composers such as Rimsky-Korsakov, Debussy, Ravel and Stravinsky, often in ways that directly anticipate jazz practice. Some jazz scales, such as the bebop scales, add additional chromatic passing tones to the familiar diatonic scales.
B, also known as Si, Ti, or, in some European countries, H, is the seventh note and the twelfth semitone of the fixed-Do solfège. Its enharmonic equivalents are C♭ (C-flat) and A.
A heptatonic scale is a musical scale that has seven pitches, or tones, per octave. Examples include the major scale or minor scale; e.g., in C major: C D E F G A B C—and in the relative minor, A minor, natural minor: A B C D E F G A; the melodic minor scale, A B C D E F♯G♯A ascending, A G F E D C B A descending; the harmonic minor scale, A B C D E F G♯A; and a scale variously known as the Byzantine, and Hungarian, scale, C D E♭ F♯ G A♭ B C. Indian classical theory postulates seventy-two seven-tone scale types, collectively called thaat, whereas others postulate twelve or ten seven-tone scale types.
A or La is the sixth note and the tenth semitone of the fixed-do solfège.
In music, the major Locrian scale, also called the Locrian major scale, is the scale obtained by sharpening the second and third notes of the diatonic Locrian mode. With a tonic of C, it consists of the notes C D E F G♭ A♭ B♭. It can be described as a whole tone scale extending from G♭ to E, with F introduced within the diminished third interval from E to G♭. The scale therefore shares with the Locrian mode the property of having a diminished fifth above the tonic.
D is a musical note a whole tone above C, and is known as Re within the fixed-Do solfege system. Its enharmonic equivalents are C and E.
F is a musical note, the fourth above C or fifth below C. It is the fourth note and the sixth semitone of the solfège. It is also known as fa in fixed-do solfège. It has enharmonic equivalents of E♯ (E-sharp) and G, amongst others.
Sol, so, or G is the fifth note of the fixed-do solfège starting on C. It is the fifth note and the eighth semitone of the solfège. As such it is the dominant, a perfect fifth above C or perfect fourth below C.
F♯ is the seventh semitone of the solfège.
G♯ (G-sharp) or sol dièse is the ninth semitone of the solfège. In the German pitch nomenclature, it is known as gis.
A♯ is the eleventh semitone of the solfege. In some countries it is informally called B.
D♯ (D-sharp) or re dièse is the fourth semitone of the solfège. It lies a chromatic semitone above D and a diatonic semitone below E, thus being enharmonic to mi bémol or E♭. However, in some temperaments, it is not the same as E♭. E♭ is a perfect fourth above B♭, whereas D♯ is a major third above B.
C♯ (C-sharp) is a musical note lying a chromatic semitone above C and a diatonic semitone below D; it is the second semitone of the solfège. C-sharp is thus enharmonic to D♭. It is the second semitone in the French solfège and is known there as do dièse. In some European notations, it is known as Cis. In equal temperament it is also enharmonic with B.
B♭ (B-flat) is the eleventh step of the Western chromatic scale . It lies a diatonic semitone above A and a chromatic semitone below B, thus being enharmonic to A♯, even though in some musical tunings, B♭ will have a different sounding pitch than A♯. B-flat is also enharmonic to C.
A♭ is the ninth semitone of the solfège.
D♭ (D-flat) is a musical note lying a diatonic semitone above C and a chromatic semitone below D. It is thus enharmonic to C♯. In the French solfège it is known as re bémol.
E♭ (E-flat) or mi bémol is the fourth semitone of the solfège.
G♭ is the seventh semitone of the solfège.