Inverse | unison |
---|---|

Name | |

Other names | - |

Abbreviation | P8 |

Size | |

Semitones | 12 |

Interval class | 0 |

Just interval | 2:1^{ [1] } |

Cents | |

Equal temperament | 1200^{ [1] } |

Just intonation | 1200^{ [1] } |

In music, an **octave** (Latin : *octavus*: eighth) or **perfect octave** (sometimes called the **diapason**)^{ [2] } is the interval between one musical pitch and another with double its frequency. The octave relationship is a natural phenomenon that has been referred to as the "basic miracle of music," the use of which is "common in most musical systems."^{ [3] } The interval between the first and second harmonics of the harmonic series is an octave.

- Explanation and definition
- Music theory
- Notation
- Octave of a pitch
- Ottava alta and bassa
- Equivalence
- See also
- References
- External links

In Western music notation, notes separated by an octave (or multiple octaves) have the same letter name and are of the same pitch class.

To emphasize that it is one of the perfect intervals (including unison, perfect fourth, and perfect fifth), the octave is designated P8. Other interval qualities are also possible, though rare. The octave above or below an indicated note is sometimes abbreviated *8 ^{a}* or

For example, if one note has a frequency of 440 Hz, the note one octave above is at 880 Hz, and the note one octave below is at 220 Hz. The ratio of frequencies of two notes an octave apart is therefore 2:1. Further octaves of a note occur at times the frequency of that note (where *n* is an integer), such as 2, 4, 8, 16, etc. and the reciprocal of that series. For example, 55 Hz and 440 Hz are one and two octaves away from 110 Hz because they are +1⁄2 (or ) and 4 (or ) times the frequency, respectively.

The number of octaves between two frequencies is given by the formula:

Most musical scales are written so that they begin and end on notes that are an octave apart. For example, the C major scale is typically written C D E F G A B C (shown below), the initial and final C's being an octave apart. Because of octave equivalence, notes in a chord that are one or more octaves apart are said to be * doubled * (even if there are *more* than two notes in different octaves) in the chord. The word is also used to describe melodies played in parallel in more than multiple octaves.

While octaves commonly refer to the perfect octave (P8), the interval of an octave in music theory encompasses chromatic alterations within the pitch class, meaning that G♮ to G♯ (13 semitones higher) is an Augmented octave (A8), and G♮ to G♭ (11 semitones higher) is a diminished octave (d8). The use of such intervals is rare, as there is frequently a preferable enharmonically-equivalent notation available (minor ninth and major seventh respectively), but these categories of octaves must be acknowledged in any full understanding of the role and meaning of octaves more generally in music.

Octaves are identified with various naming systems. Among the most common are the scientific, Helmholtz, organ pipe, MIDI^{[ citation needed ]}, and MIDI note systems. In scientific pitch notation, a specific octave is indicated by a numerical subscript number after note name. In this notation, middle C is C_{4}, because of the note's position as the fourth C key on a standard 88-key piano keyboard, while the C an octave higher is C_{5}.

**Scientific**C _{−1}C _{0}C _{1}C _{2}C _{3}C _{4}C _{5}C _{6}C _{7}C _{8}C _{9}**Helmholtz**C,,, C,, C, C c c' c'' c''' c'''' c''''' c'''''' **Organ**64 Foot 32 Foot 16 Foot 8 Foot 4 Foot 2 Foot 1 Foot 3 Line 4 Line 5 Line 6 Line **Name**Dbl Contra Sub Contra Contra Great Small 1 Line 2 Line 3 Line 4 Line 5 Line 6 Line **MIDI**−5 −4 −3 −2 −1 0 1 2 3 4 5 **MIDI Note**0 12 24 36 48 60 72 84 96 108 120

The notation *8 ^{a}* or

The abbreviations *col 8*, *coll' 8*, and *c. 8 ^{va}* stand for

After the unison, the octave is the simplest interval in music. The human ear tends to hear both notes as being essentially "the same", due to closely related harmonics. Notes separated by an octave "ring" together, adding a pleasing sound to music. The interval is so natural to humans that when men and women are asked to sing in unison, they typically sing in octave.^{ [5] }

For this reason, notes an octave apart are given the same note name in the Western system of music notation—the name of a note an octave above A is also A. This is called *octave equivalence*, the assumption that pitches one or more octaves apart are musically equivalent in many ways, leading to the convention "that scales are uniquely defined by specifying the intervals within an octave".^{ [6] } The conceptualization of pitch as having two dimensions, pitch height (absolute frequency) and pitch class (relative position within the octave), inherently include octave circularity.^{ [6] } Thus all C♯s, or all 1s (if C = 0), in any octave are part of the same pitch class.

Octave equivalence is a part of most advanced musical cultures, but is far from universal in "primitive" and early music.^{ [7] }^{[ failed verification ]}^{ [8] }^{[ clarification needed ]} The languages in which the oldest extant written documents on tuning are written, Sumerian and Akkadian, have no known word for "octave". However, it is believed that a set of cuneiform tablets that collectively describe the tuning of a nine-stringed instrument, believed to be a Babylonian lyre, describe tunings for seven of the strings, with indications to tune the remaining two strings an octave from two of the seven tuned strings.^{ [9] } Leon Crickmore recently proposed that "The octave may not have been thought of as a unit in its own right, but rather by analogy like the first day of a new seven-day week".^{ [10] }

Monkeys experience octave equivalence, and its biological basis apparently is an octave mapping of neurons in the auditory thalamus of the mammalian brain.^{ [11] } Studies have also shown the perception of octave equivalence in rats ( Blackwell & Schlosberg 1943 ), human infants ( Demany & Armand 1984 ),^{ [12] } and musicians ( Allen 1967 ) but not starlings ( Cynx 1993 ), 4–9 year old children ( Sergeant 1983 ), or nonmusicians ( Allen 1967 ).^{ [6] }

An **equal temperament** is a musical temperament or tuning system, which approximates just intervals by dividing an octave into equal steps. This means the ratio of the frequencies of any adjacent pair of notes is the same, which gives an equal perceived step size as pitch is perceived roughly as the logarithm of frequency.

In music, **just intonation** or **pure intonation** is the attempt to tune all musical intervals as whole number ratios of frequencies. An interval tuned in this way is said to be **pure**, and may be called a **just interval**; when it is sounded, no beating is heard. Just intervals consist of members of a single harmonic series of an implied fundamental. For example, in the diagram, the notes G3 and C4 may be tuned as members of the harmonic series of the lowest C, in which case their frequencies will be 3 and 4 times, respectively, the fundamental frequency and their interval ratio equal to 4:3; they may also be tuned differently.

In music, a **note** is a symbol denoting a musical sound. In English usage a note is also the sound itself.

**Pythagorean tuning** is a system of musical tuning in which the frequency ratios of all intervals are based on the ratio 3:2. This ratio, also known as the "pure" perfect fifth, is chosen because it is one of the most consonant and easiest to tune by ear and because of importance attributed to the integer 3. As Novalis put it, "The musical proportions seem to me to be particularly correct natural proportions." Alternatively, it can be described as the tuning of the syntonic temperament in which the generator is the ratio 3:2, which is ≈702 cents wide.

In music theory, an **interval** is a difference in pitch between two sounds. An interval may be described as **horizontal**, **linear**, or **melodic** if it refers to successively sounding tones, such as two adjacent pitches in a melody, and **vertical** or **harmonic** if it pertains to simultaneously sounding tones, such as in a chord.

**Pitch** is a perceptual property of sounds that allows their ordering on a frequency-related scale, or more commonly, pitch is the quality that makes it possible to judge sounds as "higher" and "lower" in the sense associated with musical melodies. Pitch can be determined only in sounds that have a frequency that is clear and stable enough to distinguish from noise. Pitch is a major auditory attribute of musical tones, along with duration, loudness, and timbre.

In modern musical notation and tuning, an **enharmonic equivalent** is a note, interval, or key signature that is equivalent to some other note, interval, or key signature but "spelled", or named differently. Thus, the **enharmonic spelling** of a written note, interval, or chord is an alternative way to write that note, interval, or chord. The term is derived from Latin *enharmonicus*, from Late Latin *enarmonius*, from Ancient Greek *ἐναρμόνιος* (enarmónios), from *ἐν* (en)+*ἁρμονία* (harmonía).

A **fourth** is a musical interval encompassing four staff positions in the music notation of Western culture, and a **perfect fourth** is the fourth spanning five semitones. For example, the ascending interval from C to the next F is a perfect fourth, because the note F is the fifth semitone above C, and there are four staff positions between C and F. Diminished and augmented fourths span the same number of staff positions, but consist of a different number of semitones.

In music, a **pitch class** (**p.c.** or **pc**) is a set of all pitches that are a whole number of octaves apart, e.g., the pitch class C consists of the Cs in all octaves. "The pitch class C stands for all possible Cs, in whatever octave position." Important to musical set theory, a pitch class is "all pitches related to each other by octave, enharmonic equivalence, or both." Thus, using scientific pitch notation, the pitch class "C" is the set

A **semitone**, also called a **half step** or a **half tone**, is the smallest musical interval commonly used in Western tonal music, and it is considered the most dissonant when sounded harmonically. It is defined as the interval between two adjacent notes in a 12-tone scale. For example, C is adjacent to C♯; the interval between them is a semitone.

In music theory, **pitch spaces** model relationships between pitches. These models typically use distance to model the degree of relatedness, with closely related pitches placed near one another, and less closely related pitches placed farther apart. Depending on the complexity of the relationships under consideration, the models may be multidimensional. Models of pitch space are often graphs, groups, lattices, or geometrical figures such as helixes. Pitch spaces distinguish octave-related pitches. When octave-related pitches are not distinguished, we have instead pitch class spaces, which represent relationships between pitch classes. Chordal spaces model relationships between chords.

**Scientific pitch notation** is a method of specifying musical pitch by combining a musical note name and a number identifying the pitch's octave.

The **twelfth root of two** or is an algebraic irrational number. It is most important in Western music theory, where it represents the frequency ratio of a semitone in twelve-tone equal temperament. This number was proposed for the first time in relationship to musical tuning in the sixteenth and seventeenth centuries. It allows measurement and comparison of different intervals as consisting of different numbers of a single interval, the equal tempered semitone. A semitone itself is divided into 100 cents.

In music theory, a **comma** is a very small interval, the difference resulting from tuning one note two different ways. The word *comma* used without qualification refers to the syntonic comma, which can be defined, for instance, as the difference between an F♯ tuned using the D-based Pythagorean tuning system, and another F♯ tuned using the D-based quarter-comma meantone tuning system. Intervals separated by the ratio 81:80 are considered the same note because the 12-note Western chromatic scale does not distinguish Pythagorean intervals from 5-limit intervals in its notation. Other intervals are considered commas because of the enharmonic equivalences of a tuning system. For example, in 53TET, B♭ and A♯ are both approximated by the same interval although they are a septimal kleisma apart.

In acoustics, a **beat** is an interference pattern between two sounds of slightly different frequencies, *perceived* as a periodic variation in volume whose rate is the difference of the two frequencies.

In music, a **fifteenth** or **double octave**, abbreviated * 15^{ma}*, is the interval between one musical note and another with one-quarter the wavelength or quadruple the frequency. It has also been referred to as the bisdiapason. The fourth harmonic, it is two octaves. It is referred to as a fifteenth because, in the diatonic scale, there are 15 notes between them if one counts both ends. Two octaves do not make a sixteenth, but a fifteenth. In other contexts, the term

**Music theory** has no axiomatic foundation in modern mathematics, although some interesting work has recently been done in this direction, yet the basis of musical sound can be described mathematically and exhibits "a remarkable array of number properties". Elements of music such as its form, rhythm and metre, the pitches of its notes and the tempo of its pulse can be related to the measurement of time and frequency, offering ready analogies in geometry.

In music, an **interval ratio** is a ratio of the frequencies of the pitches in a musical interval. For example, a just perfect fifth is 3:2, 1.5, and may be approximated by an equal tempered perfect fifth which is 2^{7/12}. If the A above middle C is 440 Hz, the perfect fifth above it would be E, at (440*1.5=) 660 Hz, while the equal tempered E5 is 659.255 Hz.

**Five-limit tuning**, **5-limit tuning**, or **5-prime-limit tuning** (not to be confused with 5-odd-limit tuning), is any system for tuning a musical instrument that obtains the frequency of each note by multiplying the frequency of a given reference note (the base note) by products of integer powers of 2, 3, or 5 (prime numbers limited to 5 or lower), such as 2^{−3}·3^{1}·5^{1} = 15/8.

The **833 cents scale** is a musical tuning and scale proposed by Heinz Bohlen based on combination tones, an interval of 833.09 cents, and, coincidentally, the Fibonacci sequence. The golden ratio is , which as a musical interval is 833.09 cents. In the 833 cents scale this interval is taken as an alternative to the octave as the interval of repetition, however the golden ratio is not regarded as an equivalent interval. Other music theorists such as Walter O'Connell, in his 1993 "The Tonality of the Golden Section", and Loren Temes appear to have also created this scale prior to Bohlen's discovery of it.

- 1 2 3 Duffin, Ross W. (2008).
*How equal temperament ruined harmony : (and why you should care)*(First published as a Norton paperback. ed.). New York: W. W. Norton. p. 163. ISBN 978-0-393-33420-3. Archived from the original on 5 December 2017. Retrieved 28 June 2017. - ↑ William Smith & Samuel Cheetham (1875).
*A Dictionary of Christian Antiquities*. London: John Murray. ISBN 9780790582290. Archived from the original on 2016-04-30. - ↑ Cooper, Paul (1973).
*Perspectives in Music Theory: An Historical-Analytical Approach*, p. 16. ISBN 0-396-06752-2. - ↑ Prout, Ebenezer & Fallows, David (2001). "All'ottava". In Root, Deane L. (ed.).
*The New Grove Dictionary of Music and Musicians*. Oxford University Press. - ↑ "Music".
*Vox Explained*. Event occurs at 12:50. Retrieved 2018-11-01.When you ask men and women to sing in unison, what typically happens is they actually sing an octave apart.

- 1 2 3 Burns, Edward M. (1999). "Intervals, Scales, and Tuning",
*The Psychology of Music*second edition, p. 252. Deutsch, Diana, ed. San Diego: Academic Press. ISBN 0-12-213564-4. - ↑ e.g., Nettl, 1956; Sachs, C. and Kunst, J. (1962). In
*The wellsprings of music*, ed. Kunst, J. The Hague: Marinus Nijhoff. - ↑ e.g., Nettl, 1956; Sachs, C. and Kunst, J. (1962). Cited in Burns, Edward M. (1999), p. 217.
- ↑ Clint Goss (2012). "Flutes of Gilgamesh and Ancient Mesopotamia".
*Flutopedia*. Archived from the original on 2012-06-28. Retrieved 2012-01-08. - ↑ Leon Crickmore (2008). "New Light on the Babylonian Tonal System".
*ICONEA 2008: Proceedings of the International Conference of Near Eastern Archaeomusicology, Held at the British Museum, December 4–6, 2008*.**24**: 11–22. - ↑ "The mechanism of octave circularity in the auditory brain Archived 2010-04-01 at the Wayback Machine ",
*Neuroscience of Music*. - ↑ Demany L, Armand F. The perceptual reality of tone chroma in early infancy. J Acoust Soc Am 1984; 76:57–66.

- Allen, David. 1967. "Octave Discriminability of Musical and Non-Musical Subjects".
*Psychonomic Science*7:421–22. - Blackwell, H. R., & H. Schlosberg. 1943. "Octave Generalization, Pitch Discrimination, and Loudness Thresholds in the White Rat".
*Journal of Experimental Psychology*33:407–19. - Cynx, Jeffrey. 1996. "Neuroethological Studies on How Birds Discriminate Song". In
*Neuroethology of Cognitive and Perceptual Processes*, edited by C. F. Moss and S. J. Shuttleworth, 63. Boulder: Westview Press. - Demany, Laurent, and Françoise Armand. 1984. "The Perceptual Reality of Tone Chroma in Early Infancy".
*Journal of the Acoustical Society of America*76:57–66. - Sergeant, Desmond. 1983. "The Octave: Percept or Concept?"
*Psychology of Music*11, no. 1:3–18.

This page is based on this Wikipedia article

Text is available under the CC BY-SA 4.0 license; additional terms may apply.

Images, videos and audio are available under their respective licenses.

Text is available under the CC BY-SA 4.0 license; additional terms may apply.

Images, videos and audio are available under their respective licenses.