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https://en.wikipedia.org/wiki/Accidental_(music)
Accidental (music)
From Wikipedia, the free encyclopedia
Contents
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5 See also
6 Notes
Accidentals apply to subsequent notes on the same staff position for the remainder of the measure
in which they occur, unless explicitly changed by another accidental, as shown at right. Once a
barline is passed, the effect of the accidental ends, except when a note affected by an accidental is
tied to the same note across a barline. Subsequent notes at the same staff position in the second or
later bars are not affected by the accidental carried through with the tied note.
Though this convention is still in use particularly in tonal music, it may be cumbersome in music
that features frequent accidentals, as is often the case in non-tonal music. As a result, an alternative
system of note-for-note accidentals has been adopted, with the aim of reducing the number of
accidentals required to notate a bar. The system is as follows:[3]
1. An accidental carries through the bar affecting both the note it immediately precedes and any
following notes on the same line or space in the measurei[4]
2. Accidentals are not repeated on tied notes unless the tie goes from line to line or page to page.
3. Accidentals are not repeated for repeated notes unless one or more different pitches (or rests)
intervene.
4. If a sharp or flat pitch is followed directly by its natural form, a natural is used.
5. Cautionary accidentals or naturals (in parentheses) may be used to clarify ambiguities, but
should be kept to a minimum.
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Because seven of the twelve notes of the chromatic equal-tempered scale are naturals (the white
notes, A; B; C; D; E; F; and G on a piano keyboard) this system can significantly reduce the
number of naturals required in a notated passage.
Occasionally an accidental may change the note by more than a semitone: for example, if a G is
followed in the same measure by a G, the flat sign on the latter note means it is two semitones
lower than if no accidental were present. Thus, the effect of the accidental must be understood in
relation to the "natural" meaning of the note's staff position. For the sake of clarity, some
composers put a natural in front of the accidental. Thus, if in this example the composer wanted the
note a semitone lower than G-natural, he might put first a sign to cancel the previous G, then the
. However, in most contexts, an F could be used instead.
Double accidentals raise or lower the pitch of a note by two semitones,[5] an
innovation developed as early as 1615. This applies to the written note,
ignoring key signature. An F with a double sharp applied raises it a whole step
Double sharp,
so it is enharmonically equivalent to a G. Usage varies on how to notate the
double flat
situation in which a note with a double sharp is followed in the same measure
by a note with a single sharp: some publications simply use the single
accidental for the latter note, whereas others use a combination of a natural and a sharp, with the
natural being understood to apply to only the second sharp.
The double accidental with respect to a specific key signature raises or lowers the notes containing
a sharp or flat by a semitone. For example, when in the key of C minor or E major, F, C, G, and D
contain a sharp. Adding a double accidental (double sharp) to F in this case only raises F by one
further semitone, creating G natural. Conversely, adding a double sharp to any other note not
sharped or flatted in the key signature raises the note by two semitones with respect to the
chromatic scale. For example, in the aforementioned key signature, any note that is not F, C, G, and
D is raised by two semitones instead of one, so an A double sharp raises the note A natural to the
enharmonic equivalent of B natural.
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Courtesy accidentals
In modern scores, a barline cancels an accidental (except for a tied note)but publishers often use
a courtesy accidental (also called a cautionary accidental or reminder accidental) to remind the
musician of the correct pitch if the same note occurs in the following measure. This practice varies,
though a few situations require a courtesy accidental, such as
When the first note of a measure had an accidental in the previous measure
After a tie carries an accidental across a barline, and the same note appears in the next
measure
Other uses are inconsistent. Courtesy accidentals are sometimes enclosed in parentheses to
emphasize their role as reminders.
Publishers of free jazz music and some atonal music sometimes eschew all courtesy accidentals.[6]
Microtonal notation
Composers of microtonal music have developed a
number of notations for indicating the various
pitches outside of standard notation. One such
system for notating quarter tones, used by the
Czech Alois Hba and other composers, is shown
on the right.
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Turkish scales that use intervals smaller than a tempered semitone. There are several such systems,
which vary as to how they divide the octave they presuppose or the graphical shape of the
accidentals. The most widely used system (created by Rauf Yekta Bey) uses a system of 4 sharps
(roughly +25 cents, +75 cents, +125 cents and +175 cents) and 4 flats (roughly 25 cents, 75
cents, 125 cents and 175 cents), none of which correspond to the tempered sharp and flat. They
presuppose a Pythagorean division of the octave taking the Pythagorean comma (about an 8th of
the tempered tone, actually closer to 24 cents, defined as the difference between 7 octaves and 12
just-intonation fifths) as the basic interval. The Turkish systems have also been adopted by some
Arab musicians.
Ben Johnston created a system of notation for pieces in just intonation where the unmarked C, F,
and G major chords are just major chords (4:5:6) and accidentals are used to create just tuning in
other keys. Between 2000 and 2003, Wolfgang von Schweinitz and Marc Sabat developed the
Extended Helmholtz-Ellis JI Pitch Notation, a modern adaptation and extension of the notation
principles first used by Hermann von Helmholtz, Arthur von Oettingen and Alexander John Ellis
which is rapidly becoming adopted by musicians working in extended just intonation.
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As polyphony became more complex, notes other than B required alteration to avoid undesirable
harmonic or melodic intervals (especially the augmented fourth, or tritone, that music theory
writers referred to as diabolus in musica, i.e., "the devil in music"). The first sharp in use was F,
then came the second flat E, then C, G, etc.; by the 16th century B, E, A, D, G and F, C,
G, D and A were all in use to a greater or lesser extent.
However, those accidentals were often not notated in vocal part-books (but the correct pitches were
always notated in tablature). The notational practice of not marking implied accidentalsleaving
them to the performer to supply insteadwas called musica ficta (i.e., "feigned music").
Strictly speaking the medieval signs and indicated that the melody is progressing inside a
(fictive) hexachord of which the signed note is the mi or the fa respectively. That means they refer
to a group of notes around the marked note, rather than indicating that the note itself is necessarily
an accidental. For example, when a semitone relationship is indicated between F and G, either by
placing a mi-sign () on F or a fa-sign () on G, only the context can determine whether this means,
in modern terms, F-G or F-G, or even FG . The use of either the mi-sign on F or the fa-sign on
G means only that "some kind of F goes to some kind of G, proceeding by a semitone".[8]
The convention of an accidental remaining in force through a measure developed only gradually
over the 18th century. Before then, accidentals only applied to immediately repeated notes or short
groups when the composer felt it was obvious that the accidental should continue.[9] The older
practice continued in use well into the 18th century by many composers, notably Johann Sebastian
Bach.[10] The newer convention did not achieve general currency until early in the 19th century.[11]
See also
Just intonation#Staff notation
Maneri-Sims notation
Notes
1. Alves, William, Music of the Peoples of the World, second edition (Boston: Schirmer Cengage Learning,
2010), p.86. ISBN 978-0-495-50384-2.
2. Palmieri, Robert, and Margaret W. Palmieri. "Ebonies", Piano: An Encyclopedia
(https://books.google.com/books?id=g2ZJNN98LFAC), p.118. New York: Routledge, 2003. ISBN
0-415-93796-5.
"The ebonies are the black keys of a piano, called variously sharps or accidentals, "
"The ivories are the white keys of the piano (also called naturals), ..."
3. Stone, Kurt. Music Notation in the Twentieth Century: A Practical Guidebook,. New York: W. W.
Norton & Co., 1980.
4. Manoff, T: "The Music Kit Workbook", fourth edition (New York: W. W. Norton & Company, 2001): p.
47; Anthony Pryer, "Accidental", The Oxford Companion to Music, edited by Alison Latham (Oxford
and New York: Oxford University Press, 2002). ISBN 9780198662129; Gardner Read, Music Notation:
A Manual of Modern Practice (Boston: Allyn & Bacon, 1969): 126.
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5. Bruce Benward & Marilyn Nadine Saker, Music in Theory and Practice, seventh edition (Boston:
McGraw-Hill, 2003): vol 1, p. 6.
"Double Sharp ( )raises the pitch two half steps. Double Flat ( )lowers the pitch two half steps."
6. Marshall, Wolf (2008). Stuff! Good Guitar Players Should Know: An A-Z Guide to Getting Better, p.59.
ISBN 9781423430087.
7. Niecks, Frederick. The Flat, Sharp, and Natural. A Historical Sketch. Proceedings of the Musical
Association, 16th Sess., (1889 - 1890), pp. 79-100.(JSTOR) (http://www.jstor.org/pss/765359)
8. Margaret Bent, "Diatonic Ficta", Early Music History 4 (1984): pp. 148. Citation on pp. 1415.
9. "Accidentals". Harvard Dictionary of Music (2nd ed.). Harvard University Press. 1972.
10. Anthony Pryer, "Accidental", The Oxford Companion to Music, edited by Alison Latham (Oxford
University Press, 2002).
11. Don Michael Randel, "Accidental", The Harvard Dictionary of Music, fourth edition (Harvard
University Press, 2003). ISBN 978-0-674-01163-2; Ian D. Bent, David W. Hughes, Robert C. Provine,
Richard Rastall, Anne Kilmer, David Hiley, Janka Szendrei, Thomas B. Payne, Margaret Bent, and
Geoffrey Chew, "Notation", The New Grove Dictionary of Music and Musicians, second edition, edited
by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001): III, 4 (vi).
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