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Pitch (music) - Wikipedia
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data-event-name="pinnable-header.vector-toc.pin">move to sidebar</button> <button class="vector-pinnable-header-toggle-button vector-pinnable-header-unpin-button" data-event-name="pinnable-header.vector-toc.unpin">hide</button> </div> <ul class="vector-toc-contents" id="mw-panel-toc-list"> <li id="toc-mw-content-text" class="vector-toc-list-item vector-toc-level-1"> <a href="#" class="vector-toc-link"> <div class="vector-toc-text">(Top)</div> </a> </li> <li id="toc-Perception" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Perception"> <div class="vector-toc-text"> <span class="vector-toc-numb">1</span> <span>Perception</span> </div> </a> <button aria-controls="toc-Perception-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Perception subsection</span> </button> <ul id="toc-Perception-sublist" class="vector-toc-list"> <li id="toc-Pitch_and_frequency" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Pitch_and_frequency"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.1</span> <span>Pitch and frequency</span> </div> </a> <ul id="toc-Pitch_and_frequency-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Theories_of_pitch_perception" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Theories_of_pitch_perception"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.2</span> <span>Theories of pitch perception</span> </div> </a> <ul id="toc-Theories_of_pitch_perception-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Just-noticeable_difference" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Just-noticeable_difference"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.3</span> <span>Just-noticeable difference</span> </div> </a> <ul id="toc-Just-noticeable_difference-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Aural_illusions" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Aural_illusions"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.4</span> <span>Aural illusions</span> </div> </a> <ul id="toc-Aural_illusions-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Definite_and_indefinite_pitch" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Definite_and_indefinite_pitch"> <div class="vector-toc-text"> <span class="vector-toc-numb">2</span> <span>Definite and indefinite pitch</span> </div> </a> <ul id="toc-Definite_and_indefinite_pitch-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Pitch_standards_and_standard_pitch" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Pitch_standards_and_standard_pitch"> <div class="vector-toc-text"> <span class="vector-toc-numb">3</span> <span>Pitch standards and standard pitch</span> </div> </a> <ul id="toc-Pitch_standards_and_standard_pitch-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Labeling_pitches" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Labeling_pitches"> <div class="vector-toc-text"> <span class="vector-toc-numb">4</span> <span>Labeling pitches</span> </div> </a> <ul id="toc-Labeling_pitches-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Scales" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Scales"> <div class="vector-toc-text"> <span class="vector-toc-numb">5</span> <span>Scales</span> </div> </a> <ul id="toc-Scales-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Other_musical_meanings_of_pitch" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Other_musical_meanings_of_pitch"> <div class="vector-toc-text"> <span class="vector-toc-numb">6</span> <span>Other musical meanings of pitch</span> </div> </a> <ul id="toc-Other_musical_meanings_of_pitch-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-See_also" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#See_also"> <div class="vector-toc-text"> <span class="vector-toc-numb">7</span> <span>See also</span> </div> </a> <ul id="toc-See_also-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> <span class="vector-toc-numb">8</span> <span>References</span> </div> </a> <ul id="toc-References-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Further_reading" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Further_reading"> <div class="vector-toc-text"> <span class="vector-toc-numb">9</span> <span>Further reading</span> </div> </a> <ul id="toc-Further_reading-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> <span class="vector-toc-numb">10</span> <span>External links</span> </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc vector-button-flush-left" > <input type="checkbox" id="vector-page-titlebar-toc-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-page-titlebar-toc" class="vector-dropdown-checkbox " aria-label="Toggle the table of contents" > <label id="vector-page-titlebar-toc-label" for="vector-page-titlebar-toc-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only " aria-hidden="true" ><span class="vector-icon mw-ui-icon-listBullet mw-ui-icon-wikimedia-listBullet"></span> <span class="vector-dropdown-label-text">Toggle the table of contents</span> </label> <div class="vector-dropdown-content"> <div id="vector-page-titlebar-toc-unpinned-container" class="vector-unpinned-container"> </div> </div> </div> </nav> <h1 id="firstHeading" class="firstHeading mw-first-heading"><span class="mw-page-title-main">Pitch (music)</span></h1> <div id="p-lang-btn" class="vector-dropdown mw-portlet mw-portlet-lang" > <input type="checkbox" id="p-lang-btn-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-p-lang-btn" class="vector-dropdown-checkbox mw-interlanguage-selector" aria-label="Go to an article in another language. Available in 44 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-44" aria-hidden="true" ><span class="vector-icon mw-ui-icon-language-progressive mw-ui-icon-wikimedia-language-progressive"></span> <span class="vector-dropdown-label-text">44 languages</span> </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-af mw-list-item"><a href="https://af.wikipedia.org/wiki/Toonhoogte" title="Toonhoogte – Afrikaans" lang="af" hreflang="af" data-title="Toonhoogte" data-language-autonym="Afrikaans" data-language-local-name="Afrikaans" class="interlanguage-link-target"><span>Afrikaans</span></a></li><li class="interlanguage-link interwiki-ar mw-list-item"><a href="https://ar.wikipedia.org/wiki/%D8%AD%D8%AF%D8%A9_(%D9%85%D9%88%D8%B3%D9%8A%D9%82%D9%89)" title="حدة (موسيقى) – Arabic" lang="ar" hreflang="ar" data-title="حدة (موسيقى)" data-language-autonym="العربية" data-language-local-name="Arabic" class="interlanguage-link-target"><span>العربية</span></a></li><li class="interlanguage-link interwiki-az mw-list-item"><a href="https://az.wikipedia.org/wiki/S%C9%99sin_y%C3%BCks%C9%99kliyi" title="Səsin yüksəkliyi – Azerbaijani" lang="az" hreflang="az" data-title="Səsin yüksəkliyi" data-language-autonym="Azərbaycanca" data-language-local-name="Azerbaijani" class="interlanguage-link-target"><span>Azərbaycanca</span></a></li><li class="interlanguage-link interwiki-bn mw-list-item"><a href="https://bn.wikipedia.org/wiki/%E0%A6%B8%E0%A7%8D%E0%A6%AC%E0%A6%B0%E0%A6%A4%E0%A7%80%E0%A6%95%E0%A7%8D%E0%A6%B7%E0%A7%8D%E0%A6%A3%E0%A6%A4%E0%A6%BE" title="স্বরতীক্ষ্ণতা – Bangla" lang="bn" hreflang="bn" data-title="স্বরতীক্ষ্ণতা" data-language-autonym="বাংলা" data-language-local-name="Bangla" class="interlanguage-link-target"><span>বাংলা</span></a></li><li class="interlanguage-link interwiki-zh-min-nan mw-list-item"><a href="https://zh-min-nan.wikipedia.org/wiki/Im-ko%C3%A2n" title="Im-koân – Minnan" lang="nan" hreflang="nan" data-title="Im-koân" data-language-autonym="閩南語 / Bân-lâm-gú" data-language-local-name="Minnan" class="interlanguage-link-target"><span>閩南語 / Bân-lâm-gú</span></a></li><li class="interlanguage-link interwiki-bs mw-list-item"><a href="https://bs.wikipedia.org/wiki/Ton_(muzika)" title="Ton (muzika) – Bosnian" lang="bs" hreflang="bs" data-title="Ton (muzika)" data-language-autonym="Bosanski" data-language-local-name="Bosnian" class="interlanguage-link-target"><span>Bosanski</span></a></li><li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/Altura_(so)" title="Altura (so) – Catalan" lang="ca" hreflang="ca" data-title="Altura (so)" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target"><span>Català</span></a></li><li class="interlanguage-link interwiki-cs mw-list-item"><a href="https://cs.wikipedia.org/wiki/V%C3%BD%C5%A1ka_t%C3%B3nu" title="Výška tónu – Czech" lang="cs" hreflang="cs" data-title="Výška tónu" data-language-autonym="Čeština" data-language-local-name="Czech" class="interlanguage-link-target"><span>Čeština</span></a></li><li class="interlanguage-link interwiki-cy mw-list-item"><a href="https://cy.wikipedia.org/wiki/Traw" title="Traw – Welsh" lang="cy" hreflang="cy" data-title="Traw" data-language-autonym="Cymraeg" data-language-local-name="Welsh" class="interlanguage-link-target"><span>Cymraeg</span></a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Tonh%C3%B6he" title="Tonhöhe – German" lang="de" hreflang="de" data-title="Tonhöhe" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target"><span>Deutsch</span></a></li><li class="interlanguage-link interwiki-et mw-list-item"><a href="https://et.wikipedia.org/wiki/Helik%C3%B5rgus" title="Helikõrgus – Estonian" lang="et" hreflang="et" data-title="Helikõrgus" data-language-autonym="Eesti" data-language-local-name="Estonian" class="interlanguage-link-target"><span>Eesti</span></a></li><li class="interlanguage-link interwiki-el mw-list-item"><a href="https://el.wikipedia.org/wiki/%CE%A4%CE%BF%CE%BD%CE%B9%CE%BA%CF%8C_%CF%8D%CF%88%CE%BF%CF%82" title="Τονικό ύψος – Greek" lang="el" hreflang="el" data-title="Τονικό ύψος" data-language-autonym="Ελληνικά" data-language-local-name="Greek" class="interlanguage-link-target"><span>Ελληνικά</span></a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Altura_(m%C3%BAsica)" title="Altura (música) – Spanish" lang="es" hreflang="es" data-title="Altura (música)" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target"><span>Español</span></a></li><li class="interlanguage-link interwiki-eo mw-list-item"><a href="https://eo.wikipedia.org/wiki/Tonalto" title="Tonalto – Esperanto" lang="eo" hreflang="eo" data-title="Tonalto" data-language-autonym="Esperanto" data-language-local-name="Esperanto" class="interlanguage-link-target"><span>Esperanto</span></a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%D8%B2%DB%8C%D8%B1%D9%88%D8%A8%D9%85%DB%8C" title="زیروبمی – Persian" lang="fa" hreflang="fa" data-title="زیروبمی" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target"><span>فارسی</span></a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Hauteur_(musique)" title="Hauteur (musique) – French" lang="fr" hreflang="fr" data-title="Hauteur (musique)" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target"><span>Français</span></a></li><li class="interlanguage-link interwiki-ga mw-list-item"><a href="https://ga.wikipedia.org/wiki/Airde_(minic%C3%ADocht)" title="Airde (minicíocht) – Irish" lang="ga" hreflang="ga" data-title="Airde (minicíocht)" data-language-autonym="Gaeilge" data-language-local-name="Irish" class="interlanguage-link-target"><span>Gaeilge</span></a></li><li class="interlanguage-link interwiki-gl mw-list-item"><a href="https://gl.wikipedia.org/wiki/Altura_(m%C3%BAsica)" title="Altura (música) – Galician" lang="gl" hreflang="gl" data-title="Altura (música)" data-language-autonym="Galego" data-language-local-name="Galician" class="interlanguage-link-target"><span>Galego</span></a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%EC%9D%8C%EB%86%92%EC%9D%B4" title="음높이 – Korean" lang="ko" hreflang="ko" data-title="음높이" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target"><span>한국어</span></a></li><li class="interlanguage-link interwiki-hi mw-list-item"><a href="https://hi.wikipedia.org/wiki/%E0%A4%A4%E0%A4%BE%E0%A4%B0%E0%A4%A4%E0%A5%8D%E0%A4%B5" title="तारत्व – Hindi" lang="hi" hreflang="hi" data-title="तारत्व" data-language-autonym="हिन्दी" data-language-local-name="Hindi" class="interlanguage-link-target"><span>हिन्दी</span></a></li><li class="interlanguage-link interwiki-id mw-list-item"><a href="https://id.wikipedia.org/wiki/Tala" title="Tala – Indonesian" lang="id" hreflang="id" data-title="Tala" data-language-autonym="Bahasa Indonesia" data-language-local-name="Indonesian" class="interlanguage-link-target"><span>Bahasa Indonesia</span></a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Altezza_(acustica)" title="Altezza (acustica) – Italian" lang="it" hreflang="it" data-title="Altezza (acustica)" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target"><span>Italiano</span></a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%92%D7%95%D7%91%D7%94_(%D7%9E%D7%95%D7%96%D7%99%D7%A7%D7%94)" title="גובה (מוזיקה) – Hebrew" lang="he" hreflang="he" data-title="גובה (מוזיקה)" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target"><span>עברית</span></a></li><li class="interlanguage-link interwiki-hu mw-list-item"><a href="https://hu.wikipedia.org/wiki/Hangmagass%C3%A1g" title="Hangmagasság – Hungarian" lang="hu" hreflang="hu" data-title="Hangmagasság" data-language-autonym="Magyar" data-language-local-name="Hungarian" class="interlanguage-link-target"><span>Magyar</span></a></li><li class="interlanguage-link interwiki-mg mw-list-item"><a href="https://mg.wikipedia.org/wiki/Haavom-peo" title="Haavom-peo – Malagasy" lang="mg" hreflang="mg" data-title="Haavom-peo" data-language-autonym="Malagasy" data-language-local-name="Malagasy" class="interlanguage-link-target"><span>Malagasy</span></a></li><li class="interlanguage-link interwiki-ms mw-list-item"><a href="https://ms.wikipedia.org/wiki/Pic_(muzik)" title="Pic (muzik) – Malay" lang="ms" hreflang="ms" data-title="Pic (muzik)" data-language-autonym="Bahasa Melayu" data-language-local-name="Malay" class="interlanguage-link-target"><span>Bahasa Melayu</span></a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Toonhoogte" title="Toonhoogte – Dutch" lang="nl" hreflang="nl" data-title="Toonhoogte" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target"><span>Nederlands</span></a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E9%9F%B3%E9%AB%98" title="音高 – Japanese" lang="ja" hreflang="ja" data-title="音高" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target"><span>日本語</span></a></li><li class="interlanguage-link interwiki-nn mw-list-item"><a href="https://nn.wikipedia.org/wiki/Tone_i_akustikk" title="Tone i akustikk – Norwegian Nynorsk" lang="nn" hreflang="nn" data-title="Tone i akustikk" data-language-autonym="Norsk nynorsk" data-language-local-name="Norwegian Nynorsk" class="interlanguage-link-target"><span>Norsk nynorsk</span></a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Wysoko%C5%9B%C4%87_d%C5%BAwi%C4%99ku" title="Wysokość dźwięku – Polish" lang="pl" hreflang="pl" data-title="Wysokość dźwięku" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target"><span>Polski</span></a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Altura_(m%C3%BAsica)" title="Altura (música) – Portuguese" lang="pt" hreflang="pt" data-title="Altura (música)" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target"><span>Português</span></a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%92%D1%8B%D1%81%D0%BE%D1%82%D0%B0_%D0%B7%D0%B2%D1%83%D0%BA%D0%B0" title="Высота звука – Russian" lang="ru" hreflang="ru" data-title="Высота звука" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target"><span>Русский</span></a></li><li class="interlanguage-link interwiki-simple mw-list-item"><a href="https://simple.wikipedia.org/wiki/Pitch_(music)" title="Pitch (music) – Simple English" lang="en-simple" hreflang="en-simple" data-title="Pitch (music)" data-language-autonym="Simple English" data-language-local-name="Simple English" class="interlanguage-link-target"><span>Simple English</span></a></li><li class="interlanguage-link interwiki-sk mw-list-item"><a href="https://sk.wikipedia.org/wiki/V%C3%BD%C5%A1ka_t%C3%B3nu" title="Výška tónu – Slovak" lang="sk" hreflang="sk" data-title="Výška tónu" data-language-autonym="Slovenčina" data-language-local-name="Slovak" class="interlanguage-link-target"><span>Slovenčina</span></a></li><li class="interlanguage-link interwiki-ckb mw-list-item"><a href="https://ckb.wikipedia.org/wiki/%D9%BE%DB%95%D8%B1%D8%AF%DB%95_(%D9%85%DB%86%D8%B3%DB%8C%D9%82%D8%A7)" title="پەردە (مۆسیقا) – Central Kurdish" lang="ckb" hreflang="ckb" data-title="پەردە (مۆسیقا)" data-language-autonym="کوردی" data-language-local-name="Central Kurdish" class="interlanguage-link-target"><span>کوردی</span></a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/%C3%84%C3%A4nenkorkeus" title="Äänenkorkeus – Finnish" lang="fi" hreflang="fi" data-title="Äänenkorkeus" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target"><span>Suomi</span></a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Tonh%C3%B6jd" title="Tonhöjd – Swedish" lang="sv" hreflang="sv" data-title="Tonhöjd" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target"><span>Svenska</span></a></li><li class="interlanguage-link interwiki-th mw-list-item"><a href="https://th.wikipedia.org/wiki/%E0%B8%A3%E0%B8%B0%E0%B8%94%E0%B8%B1%E0%B8%9A%E0%B9%80%E0%B8%AA%E0%B8%B5%E0%B8%A2%E0%B8%87_(%E0%B8%94%E0%B8%99%E0%B8%95%E0%B8%A3%E0%B8%B5)" title="ระดับเสียง (ดนตรี) – Thai" lang="th" hreflang="th" data-title="ระดับเสียง (ดนตรี)" data-language-autonym="ไทย" data-language-local-name="Thai" class="interlanguage-link-target"><span>ไทย</span></a></li><li class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/Perde_(m%C3%BCzik)" title="Perde (müzik) – Turkish" lang="tr" hreflang="tr" data-title="Perde (müzik)" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target"><span>Türkçe</span></a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/%D0%92%D0%B8%D1%81%D0%BE%D1%82%D0%B0_%D0%B7%D0%B2%D1%83%D0%BA%D1%83" title="Висота звуку – Ukrainian" lang="uk" hreflang="uk" data-title="Висота звуку" data-language-autonym="Українська" data-language-local-name="Ukrainian" class="interlanguage-link-target"><span>Українська</span></a></li><li class="interlanguage-link interwiki-ur mw-list-item"><a href="https://ur.wikipedia.org/wiki/%D8%A2%DA%BE%D9%86%DA%AF" title="آھنگ – Urdu" lang="ur" hreflang="ur" data-title="آھنگ" data-language-autonym="اردو" data-language-local-name="Urdu" class="interlanguage-link-target"><span>اردو</span></a></li><li class="interlanguage-link interwiki-vi mw-list-item"><a href="https://vi.wikipedia.org/wiki/Cao_%C4%91%E1%BB%99_(%C3%A2m_nh%E1%BA%A1c)" title="Cao độ (âm nhạc) – Vietnamese" lang="vi" hreflang="vi" data-title="Cao độ (âm nhạc)" data-language-autonym="Tiếng Việt" data-language-local-name="Vietnamese" class="interlanguage-link-target"><span>Tiếng Việt</span></a></li><li class="interlanguage-link interwiki-zh-yue mw-list-item"><a href="https://zh-yue.wikipedia.org/wiki/%E9%9F%B3%E9%AB%98" title="音高 – Cantonese" lang="yue" hreflang="yue" data-title="音高" data-language-autonym="粵語" data-language-local-name="Cantonese" class="interlanguage-link-target"><span>粵語</span></a></li><li class="interlanguage-link interwiki-zh mw-list-item"><a href="https://zh.wikipedia.org/wiki/%E9%9F%B3%E9%AB%98" title="音高 – Chinese" lang="zh" hreflang="zh" data-title="音高" data-language-autonym="中文" data-language-local-name="Chinese" class="interlanguage-link-target"><span>中文</span></a></li> </ul> <div class="after-portlet after-portlet-lang"><span class="wb-langlinks-edit wb-langlinks-link"><a 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dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Perceptual property in music ordering sounds from low to high</div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">This article is about pitch in music. For other uses, see <a href="/wiki/Pitch_(disambiguation)" class="mw-redirect mw-disambig" title="Pitch (disambiguation)">Pitch (disambiguation)</a>.</div> <figure class="mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Bach_-_Taylor_1873.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c5/Bach_-_Taylor_1873.png/250px-Bach_-_Taylor_1873.png" decoding="async" width="250" height="186" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/c5/Bach_-_Taylor_1873.png/375px-Bach_-_Taylor_1873.png 1.5x, //upload.wikimedia.org/wikipedia/commons/c/c5/Bach_-_Taylor_1873.png 2x" data-file-width="383" data-file-height="285" /></a><figcaption>In musical notation, the different vertical positions of notes indicate different <b>pitches</b>. <br /> Play top: <span class="mw-default-size" typeof="mw:File"><span><audio id="mwe_player_0" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-mwtitle="Bach_-_Taylor_1873_top.mid" data-mwprovider="wikimediacommons"><source src="//upload.wikimedia.org/wikipedia/commons/d/d9/Bach_-_Taylor_1873_top.mid" type="audio/midi" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/d/d9/Bach_-_Taylor_1873_top.mid/Bach_-_Taylor_1873_top.mid.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/d/d9/Bach_-_Taylor_1873_top.mid/Bach_-_Taylor_1873_top.mid.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /></audio></span></span><br />Play bottom: <span class="mw-default-size" typeof="mw:File"><span><audio id="mwe_player_1" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-mwtitle="Bach_-_Taylor_1873_bottom.mid" data-mwprovider="wikimediacommons"><source src="//upload.wikimedia.org/wikipedia/commons/c/c7/Bach_-_Taylor_1873_bottom.mid" type="audio/midi" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/c/c7/Bach_-_Taylor_1873_bottom.mid/Bach_-_Taylor_1873_bottom.mid.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/c/c7/Bach_-_Taylor_1873_bottom.mid/Bach_-_Taylor_1873_bottom.mid.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /></audio></span></span></figcaption></figure> <p><b>Pitch</b> is a <a href="/wiki/Perception" title="Perception">perceptual</a> property that allows <a href="/wiki/Sound" title="Sound">sounds</a> to be ordered on a <a href="/wiki/Frequency" title="Frequency">frequency</a>-related <a href="/wiki/Scale_(music)" title="Scale (music)">scale</a>,<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> or more commonly, pitch is the quality that makes it possible to judge sounds as "higher" and "lower" in the sense associated with musical <a href="/wiki/Melody" title="Melody">melodies</a>.<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> Pitch is a major <a href="/wiki/Auditory_system" title="Auditory system">auditory</a> attribute of <a href="/wiki/Musical_tone" title="Musical tone">musical tones</a>, along with <a href="/wiki/Duration_(music)" title="Duration (music)">duration</a>, <a href="/wiki/Loudness" title="Loudness">loudness</a>, and <a href="/wiki/Timbre" title="Timbre">timbre</a>.<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> </p><p>Pitch may be quantified as a <a href="/wiki/Frequency" title="Frequency">frequency</a>, but pitch is not a purely objective physical property; it is a subjective <a href="/wiki/Psychoacoustics" title="Psychoacoustics">psychoacoustical</a> attribute of sound. Historically, the study of pitch and pitch perception has been a central problem in psychoacoustics, and has been instrumental in forming and testing theories of sound representation, processing, and perception in the auditory system.<sup id="cite_ref-hartmann_4-0" class="reference"><a href="#cite_note-hartmann-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Perception">Perception</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Pitch_(music)&action=edit&section=1" title="Edit section: Perception"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Pitch_and_frequency">Pitch and frequency</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Pitch_(music)&action=edit&section=2" title="Edit section: Pitch and frequency"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Pitch is an auditory sensation in which a listener assigns <a href="/wiki/Musical_tone" title="Musical tone">musical tones</a> to relative positions on a <a href="/wiki/Musical_scale" class="mw-redirect" title="Musical scale">musical scale</a> based primarily on their perception of the <a href="/wiki/Frequency" title="Frequency">frequency</a> of vibration (<a href="/wiki/Audio_frequency" title="Audio frequency">audio frequency</a>).<sup id="cite_ref-plack_5-0" class="reference"><a href="#cite_note-plack-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> Pitch is closely related to frequency, but the two are not equivalent. Frequency is an objective, scientific attribute which can be measured. Pitch is the subjective perception of a sound wave by the individual person, which cannot be directly measured. However, this does not necessarily mean that people will not agree on which notes are higher and lower. </p><p>The <a href="/wiki/Oscillations" class="mw-redirect" title="Oscillations">oscillations</a> of sound waves can often be characterized in terms of <i>frequency</i>. <i>Pitches</i> are usually associated with, and thus quantified as, <i>frequencies</i> (in cycles per second, or hertz), by comparing the sounds being assessed against sounds with <a href="/wiki/Pure_tone" title="Pure tone">pure tones</a> (ones with <a href="/wiki/Period_(physics)" class="mw-redirect" title="Period (physics)">periodic</a>, <a href="/wiki/Sinusoidal" class="mw-redirect" title="Sinusoidal">sinusoidal</a> waveforms). Complex and aperiodic sound waves can often be assigned a <i>pitch</i> by this method.<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-goldstein_7-0" class="reference"><a href="#cite_note-goldstein-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-lyon_8-0" class="reference"><a href="#cite_note-lyon-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> </p><p>According to the <a href="/wiki/American_National_Standards_Institute" title="American National Standards Institute">American National Standards Institute</a>, pitch is the auditory attribute of sound allowing those sounds to be ordered on a scale from low to high. Since pitch is such a close <a href="/wiki/Proxy_(statistics)" title="Proxy (statistics)">proxy</a> for frequency, it is almost entirely determined by how quickly the sound wave is making the air vibrate and has almost nothing to do with the intensity, or <a href="/wiki/Amplitude" title="Amplitude">amplitude</a>, of the wave. That is, "high" pitch means very rapid oscillation, and "low" pitch corresponds to slower oscillation. Despite that, the <a href="/wiki/Idiom" title="Idiom">idiom</a> relating vertical height to sound pitch is shared by most languages.<sup id="cite_ref-pratt1930_9-0" class="reference"><a href="#cite_note-pratt1930-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> At least in English, it is just one of many deep conceptual metaphors that involve up/down. The exact etymological history of the musical sense of high and low pitch is still unclear. There is evidence that humans do actually perceive that the source of a sound is slightly higher or lower in vertical space when the sound frequency is increased or reduced.<sup id="cite_ref-pratt1930_9-1" class="reference"><a href="#cite_note-pratt1930-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> </p><p>In most cases, the pitch of complex sounds such as <a href="/wiki/Speech_communication" class="mw-redirect" title="Speech communication">speech</a> and <a href="/wiki/Musical_note" title="Musical note">musical notes</a> corresponds very nearly to the repetition rate of periodic or nearly-periodic sounds, or to the <a href="/wiki/Multiplicative_inverse" title="Multiplicative inverse">reciprocal</a> of the time interval between repeating similar events in the sound waveform.<sup id="cite_ref-goldstein_7-1" class="reference"><a href="#cite_note-goldstein-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-lyon_8-1" class="reference"><a href="#cite_note-lyon-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> </p><p>The pitch of complex tones can be ambiguous, meaning that two or more different pitches can be perceived, depending upon the observer.<sup id="cite_ref-hartmann_4-1" class="reference"><a href="#cite_note-hartmann-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> When the actual <a href="/wiki/Fundamental_frequency" title="Fundamental frequency">fundamental frequency</a> can be precisely determined through physical measurement, it may differ from the perceived pitch because of <a href="/wiki/Overtones" class="mw-redirect" title="Overtones">overtones</a>, also known as upper partials, <a href="/wiki/Harmonic" title="Harmonic">harmonic</a> or otherwise. A complex tone composed of two sine waves of 1000 and 1200 Hz may sometimes be heard as up to three pitches: two spectral pitches at 1000 and 1200 Hz, derived from the physical frequencies of the pure tones, and the <a href="/wiki/Combination_tone" title="Combination tone">combination tone</a> at 200 Hz, corresponding to the repetition rate of the waveform. In a situation like this, the percept at 200 Hz is commonly referred to as the <a href="/wiki/Missing_fundamental" title="Missing fundamental">missing fundamental</a>, which is often the <a href="/wiki/Greatest_common_divisor" title="Greatest common divisor">greatest common divisor</a> of the frequencies present.<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> </p><p>Pitch depends to a lesser degree on the <a href="/wiki/Sound_pressure" title="Sound pressure">sound pressure</a> 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. Above 2,000 Hz, the pitch gets higher as the sound gets louder.<sup id="cite_ref-Olson_11-0" class="reference"><a href="#cite_note-Olson-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> These results were obtained in the pioneering works by S. Stevens<sup id="cite_ref-stevens1935_12-0" class="reference"><a href="#cite_note-stevens1935-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> and W. Snow.<sup id="cite_ref-snow_13-0" class="reference"><a href="#cite_note-snow-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> Later investigations, e.g. by A. Cohen, have shown that in most cases the apparent pitch shifts were not significantly different from pitch‐matching errors. When averaged, the remaining shifts followed the directions of Stevens's curves but were small (2% or less by frequency, i.e. not more than a semitone).<sup id="cite_ref-cohen_14-0" class="reference"><a href="#cite_note-cohen-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> </p> <ul class="gallery mw-gallery-traditional"> <li class="gallerybox" style="width: 155px"> <div class="thumb" style="width: 150px; height: 150px;"><span typeof="mw:File"><a href="/wiki/File:C3_131_Hz_oscillogram.png" class="mw-file-description" title="Lower pitches have lower frequency. C3, an octave below middle C. The frequency is half that of middle C (131 Hz). (Scale: 1 square is equal to 1 millisecond)"><img alt="Lower pitches have lower frequency. C3, an octave below middle C. The frequency is half that of middle C (131 Hz). (Scale: 1 square is equal to 1 millisecond)" src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b5/C3_131_Hz_oscillogram.png/120px-C3_131_Hz_oscillogram.png" decoding="async" width="120" height="63" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/b5/C3_131_Hz_oscillogram.png/180px-C3_131_Hz_oscillogram.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/b5/C3_131_Hz_oscillogram.png/240px-C3_131_Hz_oscillogram.png 2x" data-file-width="1090" data-file-height="569" /></a></span></div> <div class="gallerytext">Lower pitches have lower frequency. C3, an octave below middle C. The frequency is half that of <a href="/wiki/C_(musical_note)" title="C (musical note)">middle C</a> (131 Hz). (Scale: 1 square is equal to 1 <a href="/wiki/Millisecond" title="Millisecond">millisecond</a>)</div> </li> <li class="gallerybox" style="width: 155px"> <div class="thumb" style="width: 150px; height: 150px;"><span typeof="mw:File"><a href="/wiki/File:Middle_C,_or_262_hertz,_on_a_virtual_oscilloscope.png" class="mw-file-description" title="Oscillogram of middle C (262 Hz) (pure tone)"><img alt="Oscillogram of middle C (262 Hz) (pure tone)" src="//upload.wikimedia.org/wikipedia/commons/thumb/a/a1/Middle_C%2C_or_262_hertz%2C_on_a_virtual_oscilloscope.png/120px-Middle_C%2C_or_262_hertz%2C_on_a_virtual_oscilloscope.png" decoding="async" width="120" height="63" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/a1/Middle_C%2C_or_262_hertz%2C_on_a_virtual_oscilloscope.png/180px-Middle_C%2C_or_262_hertz%2C_on_a_virtual_oscilloscope.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/a1/Middle_C%2C_or_262_hertz%2C_on_a_virtual_oscilloscope.png/240px-Middle_C%2C_or_262_hertz%2C_on_a_virtual_oscilloscope.png 2x" data-file-width="1100" data-file-height="574" /></a></span></div> <div class="gallerytext"><a href="/wiki/Oscilloscope" title="Oscilloscope">Oscillogram</a> of middle C (262 Hz) (<a href="/wiki/Pure_tone" title="Pure tone">pure tone</a>)</div> </li> <li class="gallerybox" style="width: 155px"> <div class="thumb" style="width: 150px; height: 150px;"><span typeof="mw:File"><a href="/wiki/File:C5_523_Hz_oscillogram.png" class="mw-file-description" title="Higher pitches have higher frequency. Oscillogram of C5, an octave above middle C. The frequency is twice that of middle C (523 Hz)."><img alt="Higher pitches have higher frequency. Oscillogram of C5, an octave above middle C. The frequency is twice that of middle C (523 Hz)." src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d0/C5_523_Hz_oscillogram.png/120px-C5_523_Hz_oscillogram.png" decoding="async" width="120" height="63" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d0/C5_523_Hz_oscillogram.png/180px-C5_523_Hz_oscillogram.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d0/C5_523_Hz_oscillogram.png/240px-C5_523_Hz_oscillogram.png 2x" data-file-width="1094" data-file-height="572" /></a></span></div> <div class="gallerytext">Higher pitches have higher frequency. Oscillogram of C5, an <a href="/wiki/Octave" title="Octave">octave</a> above middle C. The frequency is twice that of middle C (523 Hz).</div> </li> </ul> <div class="mw-heading mw-heading3"><h3 id="Theories_of_pitch_perception">Theories of pitch perception</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Pitch_(music)&action=edit&section=3" title="Edit section: Theories of pitch perception"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><a href="/wiki/Scientific_theory" title="Scientific theory">Theories</a> of pitch perception try to explain how the physical sound and specific physiology of the auditory system work together to yield the experience of pitch. In general, pitch perception theories can be divided into <a href="/wiki/Place_theory_(hearing)" class="mw-redirect" title="Place theory (hearing)">place coding</a> and <a href="/wiki/Temporal_theory_(hearing)" title="Temporal theory (hearing)">temporal coding</a>. Place theory holds that the perception of pitch is determined by the place of maximum excitation on the <a href="/wiki/Basilar_membrane" title="Basilar membrane">basilar membrane</a>. </p><p>A place code, taking advantage of the <a href="/wiki/Tonotopy" title="Tonotopy">tonotopy</a> in the auditory system, must be in effect for the perception of high frequencies, since neurons have an upper limit on how fast they can <a href="/wiki/Volley_theory#Phase-locking" title="Volley theory">phase-lock</a> their <a href="/wiki/Action_potential" title="Action potential">action potentials</a>.<sup id="cite_ref-plack_5-1" class="reference"><a href="#cite_note-plack-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> However, a purely place-based theory cannot account for the accuracy of pitch perception in the low and middle frequency ranges. Moreover, there is some evidence that some non-human primates lack auditory cortex responses to pitch despite having clear tonotopic maps in auditory cortex, showing that tonotopic place codes are not sufficient for pitch responses.<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> </p><p>Temporal theories offer an alternative that appeals to the temporal structure of action potentials, mostly the <a href="/wiki/Volley_theory#Phase-locking" title="Volley theory">phase-lock</a> of action potentials to frequencies in a stimulus. The precise way this temporal structure helps code for pitch at higher levels is still debated, but the processing seems to be based on an <a href="/wiki/Autocorrelation" title="Autocorrelation">autocorrelation</a> of action potentials in the auditory nerve.<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> However, it has long been noted that a neural mechanism that may accomplish a delay—a necessary operation of a true autocorrelation—has not been found.<sup id="cite_ref-plack_5-2" class="reference"><a href="#cite_note-plack-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> At least one model shows that a temporal delay is unnecessary to produce an autocorrelation model of pitch perception, appealing to <a href="/wiki/Phase_shift#Phase_shift" class="mw-redirect" title="Phase shift">phase shifts</a> between cochlear filters;<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> however, earlier work has shown that certain sounds with a prominent peak in their autocorrelation function do not elicit a corresponding pitch percept,<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-pressnitzer2012_19-0" class="reference"><a href="#cite_note-pressnitzer2012-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> and that certain sounds without a peak in their autocorrelation function nevertheless elicit a pitch.<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> To be a more complete model, autocorrelation must therefore apply to signals that represent the output of the <a href="/wiki/Cochlea" title="Cochlea">cochlea</a>, as via auditory-nerve interspike-interval histograms.<sup id="cite_ref-pressnitzer2012_19-1" class="reference"><a href="#cite_note-pressnitzer2012-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> Some theories of pitch perception hold that pitch has inherent <a href="/wiki/Octave" title="Octave">octave</a> ambiguities, and therefore is best decomposed into a pitch <i>chroma</i>, a periodic value around the octave, like the note names in Western music—and a pitch <i>height</i>, which may be ambiguous, that indicates the octave the pitch is in.<sup id="cite_ref-hartmann_4-2" class="reference"><a href="#cite_note-hartmann-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Just-noticeable_difference">Just-noticeable difference</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Pitch_(music)&action=edit&section=4" title="Edit section: Just-noticeable difference"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The <i><a href="/wiki/Just-noticeable_difference" title="Just-noticeable difference">just-noticeable difference (jnd)</a></i> (the <a href="/wiki/Sensory_threshold" title="Sensory threshold">threshold</a> at which a change is perceived) depends on the tone's frequency content. Below 500 Hz, the jnd is about 3 Hz for sine waves, and 1 Hz for complex tones; above 1000 Hz, the jnd for sine waves is about 0.6% (about 10 <a href="/wiki/Cent_(music)" title="Cent (music)">cents</a>).<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> The <b>jnd</b> is typically tested by playing two tones in quick succession with the listener asked if there was a difference in their pitches.<sup id="cite_ref-Olson_11-1" class="reference"><a href="#cite_note-Olson-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> The <b>jnd</b> becomes smaller if the two tones are played <a href="/wiki/Simultaneity_(music)" title="Simultaneity (music)">simultaneously</a> as the listener is then able to discern <a href="/wiki/Beat_(acoustics)" title="Beat (acoustics)">beat frequencies</a>. The total number of perceptible pitch steps in the human hearing range is about 1,400; the total number of notes in the equal-tempered scale, from 16 to 16,000 Hz, is 120.<sup id="cite_ref-Olson_11-2" class="reference"><a href="#cite_note-Olson-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Aural_illusions">Aural illusions</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Pitch_(music)&action=edit&section=5" title="Edit section: Aural illusions"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The relative perception of pitch can be fooled, resulting in <i><a href="/wiki/Aural_illusion" class="mw-redirect" title="Aural illusion">aural illusions</a></i>. There are several of these, such as the <a href="/wiki/Tritone_paradox" title="Tritone paradox">tritone paradox</a>, but most notably the <a href="/wiki/Shepard_scale" class="mw-redirect" title="Shepard scale">Shepard scale</a>, where a continuous or discrete sequence of specially formed tones can be made to sound as if the sequence continues ascending or descending forever. </p> <div class="mw-heading mw-heading2"><h2 id="Definite_and_indefinite_pitch">Definite and indefinite pitch</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Pitch_(music)&action=edit&section=6" title="Edit section: Definite and indefinite pitch"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Not all musical instruments make notes with a clear pitch. The <a href="/wiki/Unpitched_percussion_instrument" title="Unpitched percussion instrument">unpitched percussion instruments</a> (a class of <a href="/wiki/Percussion_instrument" title="Percussion instrument">percussion instruments</a>) do not produce particular pitches. A sound or note of <b>definite pitch</b> is one where a listener can possibly (or relatively easily) discern the pitch. Sounds with definite pitch have <a href="/wiki/Harmonic" title="Harmonic">harmonic</a> <a href="/wiki/Frequency_spectrum" class="mw-redirect" title="Frequency spectrum">frequency spectra</a> or close to harmonic spectra.<sup id="cite_ref-Olson_11-3" class="reference"><a href="#cite_note-Olson-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> </p><p>A sound generated on any instrument produces many modes of vibration that occur simultaneously. A listener hears numerous frequencies at once. The vibration with the lowest frequency is called the <i><a href="/wiki/Fundamental_frequency" title="Fundamental frequency">fundamental frequency</a></i>; the other frequencies are <i><a href="/wiki/Overtones" class="mw-redirect" title="Overtones">overtones</a></i>.<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> <i><a href="/wiki/Harmonics" class="mw-redirect" title="Harmonics">Harmonics</a></i> are an important class of overtones with frequencies that are integer multiples of the fundamental. Whether or not the higher frequencies are integer multiples, they are collectively called the <a href="/wiki/Harmonic_series_(music)#Partial" title="Harmonic series (music)">partials</a>, referring to the different parts that make up the total spectrum. </p><p>A sound or note of <b>indefinite pitch</b> is one that a listener finds impossible or relatively difficult to identify as to pitch. Sounds with indefinite pitch do not have harmonic spectra or have altered harmonic spectra—a characteristic known as <a href="/wiki/Inharmonicity" title="Inharmonicity">inharmonicity</a>. </p><p>It is still possible for two sounds of indefinite pitch to clearly be higher or lower than one another. For instance, a <a href="/wiki/Snare_drum" title="Snare drum">snare drum</a> sounds higher pitched than a <a href="/wiki/Bass_drum" title="Bass drum">bass drum</a> though both have indefinite pitch, because its sound contains higher frequencies. In other words, it is possible and often easy to roughly discern the relative pitches of two sounds of indefinite pitch, but sounds of indefinite pitch do not neatly correspond to any specific pitch. </p> <div class="mw-heading mw-heading2"><h2 id="Pitch_standards_and_standard_pitch">Pitch standards and standard pitch</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Pitch_(music)&action=edit&section=7" title="Edit section: Pitch standards and standard pitch"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Concert_pitch" title="Concert pitch">Concert pitch</a></div> <p>A pitch standard (also <a href="/wiki/Concert_pitch" title="Concert pitch">concert pitch</a>) is the conventional pitch reference that <a href="/wiki/Musical_instrument" title="Musical instrument">musical instruments</a> in a group are tuned to for a performance. Concert pitch may vary from ensemble to ensemble, and has varied widely over musical history. </p> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output .side-box{margin:4px 0;box-sizing:border-box;border:1px solid #aaa;font-size:88%;line-height:1.25em;background-color:var(--background-color-interactive-subtle,#f8f9fa);display:flow-root}.mw-parser-output .side-box-abovebelow,.mw-parser-output .side-box-text{padding:0.25em 0.9em}.mw-parser-output .side-box-image{padding:2px 0 2px 0.9em;text-align:center}.mw-parser-output .side-box-imageright{padding:2px 0.9em 2px 0;text-align:center}@media(min-width:500px){.mw-parser-output .side-box-flex{display:flex;align-items:center}.mw-parser-output .side-box-text{flex:1;min-width:0}}@media(min-width:720px){.mw-parser-output .side-box{width:238px}.mw-parser-output .side-box-right{clear:right;float:right;margin-left:1em}.mw-parser-output .side-box-left{margin-right:1em}}</style><style data-mw-deduplicate="TemplateStyles:r1096940132">.mw-parser-output .listen .side-box-text{line-height:1.1em}.mw-parser-output .listen-plain{border:none;background:transparent}.mw-parser-output .listen-embedded{width:100%;margin:0;border-width:1px 0 0 0;background:transparent}.mw-parser-output .listen-header{padding:2px}.mw-parser-output .listen-embedded .listen-header{padding:2px 0}.mw-parser-output .listen-file-header{padding:4px 0}.mw-parser-output .listen .description{padding-top:2px}.mw-parser-output .listen .mw-tmh-player{max-width:100%}@media(max-width:719px){.mw-parser-output .listen{clear:both}}@media(min-width:720px){.mw-parser-output .listen:not(.listen-noimage){width:320px}.mw-parser-output .listen-left{overflow:visible;float:left}.mw-parser-output .listen-center{float:none;margin-left:auto;margin-right:auto}}</style><div class="side-box side-box-right listen noprint"><style data-mw-deduplicate="TemplateStyles:r1126788409">.mw-parser-output .plainlist ol,.mw-parser-output .plainlist ul{line-height:inherit;list-style:none;margin:0;padding:0}.mw-parser-output .plainlist ol li,.mw-parser-output .plainlist ul li{margin-bottom:0}</style> <div class="side-box-flex"> <div class="side-box-image"><figure class="mw-halign-center" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/8/87/Gnome-mime-sound-openclipart.svg/50px-Gnome-mime-sound-openclipart.svg.png" decoding="async" width="50" height="50" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/87/Gnome-mime-sound-openclipart.svg/75px-Gnome-mime-sound-openclipart.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/87/Gnome-mime-sound-openclipart.svg/100px-Gnome-mime-sound-openclipart.svg.png 2x" data-file-width="160" data-file-height="160" /></span><figcaption></figcaption></figure></div> <div class="side-box-text plainlist"><div class="haudio"> <div class="listen-file-header"><a href="/wiki/File:Sine_wave_440.ogg" title="File:Sine wave 440.ogg">440 Hz</a></div> <div><span typeof="mw:File"><span><audio id="mwe_player_2" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="232" style="width:232px;" data-durationhint="5" data-mwtitle="Sine_wave_440.ogg" data-mwprovider="wikimediacommons"><source src="//upload.wikimedia.org/wikipedia/commons/5/50/Sine_wave_440.ogg" type="audio/ogg; codecs="vorbis"" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/5/50/Sine_wave_440.ogg/Sine_wave_440.ogg.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /></audio></span></span></div> <div class="description"></div></div></div></div> <div class="side-box-abovebelow"><hr /><i class="selfreference">Problems playing this file? See <a href="/wiki/Help:Media" title="Help:Media">media help</a>.</i></div> </div> <p>Standard pitch is a more widely accepted convention. The <b>A</b> above <a href="/wiki/Middle_C" class="mw-redirect" title="Middle C">middle C</a> is usually set at 440 Hz (often written as "A = <a href="/wiki/A440_(pitch_standard)" title="A440 (pitch standard)">440 Hz</a>" or sometimes "A440"), although other frequencies, such as 442 Hz, are also often used as variants. Another standard pitch, the so-called <i>Baroque pitch</i>, has been set in the 20th century as A = 415 Hz—approximately an equal-tempered semitone lower than A440 to facilitate transposition. The <i>Classical pitch</i> can be set to either 427 Hz (about halfway between A415 and A440) or 430 Hz (also between A415 and A440 but slightly sharper than the quarter tone). And ensembles specializing in <a href="/wiki/Historically_informed_performance" title="Historically informed performance">authentic performance</a> set the A above middle C to 432 Hz or 435 Hz when performing repertoire from the <a href="/wiki/Romantic_music" title="Romantic music">Romantic</a> era. </p><p><a href="/wiki/Transposing_instruments" class="mw-redirect" title="Transposing instruments">Transposing instruments</a> have their origin in the variety of pitch standards. In modern times, they conventionally have their <a href="/wiki/Part_(music)" title="Part (music)">parts</a> transposed into different <a href="/wiki/Key_signatures" class="mw-redirect" title="Key signatures">keys</a> from voices and other instruments (and even from each other). As a result, musicians need a way to refer to a particular pitch in an unambiguous manner when talking to each other. </p><p>For example, the most common type of <a href="/wiki/Clarinet" title="Clarinet">clarinet</a> or <a href="/wiki/Trumpet" title="Trumpet">trumpet</a>, when playing a note written in their <a href="/wiki/Part_(music)" title="Part (music)">part</a> as C, sounds a pitch that is called B<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span> on a non-transposing instrument like a violin (which indicates that at one time these wind instruments played at a standard pitch a tone lower than violin pitch). To refer to that pitch unambiguously, a musician calls it <i>concert B<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span></i>, meaning, "the pitch that someone playing a non-transposing instrument like a violin calls B<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span>." </p> <div class="mw-heading mw-heading2"><h2 id="Labeling_pitches">Labeling pitches</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Pitch_(music)&action=edit&section=8" title="Edit section: Labeling pitches"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Musical_note#Distinguishing_pitches_of_a_scale" title="Musical note">Musical note § Distinguishing pitches of a scale</a></div> <style data-mw-deduplicate="TemplateStyles:r1251242444">.mw-parser-output .ambox{border:1px solid #a2a9b1;border-left:10px solid #36c;background-color:#fbfbfb;box-sizing:border-box}.mw-parser-output .ambox+link+.ambox,.mw-parser-output .ambox+link+style+.ambox,.mw-parser-output .ambox+link+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+style+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+link+.ambox{margin-top:-1px}html body.mediawiki .mw-parser-output .ambox.mbox-small-left{margin:4px 1em 4px 0;overflow:hidden;width:238px;border-collapse:collapse;font-size:88%;line-height:1.25em}.mw-parser-output .ambox-speedy{border-left:10px solid #b32424;background-color:#fee7e6}.mw-parser-output .ambox-delete{border-left:10px solid #b32424}.mw-parser-output .ambox-content{border-left:10px solid #f28500}.mw-parser-output .ambox-style{border-left:10px solid #fc3}.mw-parser-output .ambox-move{border-left:10px solid #9932cc}.mw-parser-output .ambox-protection{border-left:10px solid #a2a9b1}.mw-parser-output .ambox .mbox-text{border:none;padding:0.25em 0.5em;width:100%}.mw-parser-output .ambox .mbox-image{border:none;padding:2px 0 2px 0.5em;text-align:center}.mw-parser-output .ambox .mbox-imageright{border:none;padding:2px 0.5em 2px 0;text-align:center}.mw-parser-output .ambox .mbox-empty-cell{border:none;padding:0;width:1px}.mw-parser-output .ambox .mbox-image-div{width:52px}@media(min-width:720px){.mw-parser-output .ambox{margin:0 10%}}@media print{body.ns-0 .mw-parser-output .ambox{display:none!important}}</style><table class="box-Unreferenced_section plainlinks metadata ambox ambox-content ambox-Unreferenced" role="presentation"><tbody><tr><td class="mbox-image"><div class="mbox-image-div"><span typeof="mw:File"><a href="/wiki/File:Question_book-new.svg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/50px-Question_book-new.svg.png" decoding="async" width="50" height="39" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/75px-Question_book-new.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/100px-Question_book-new.svg.png 2x" data-file-width="512" data-file-height="399" /></a></span></div></td><td class="mbox-text"><div class="mbox-text-span">This section <b>does not <a href="/wiki/Wikipedia:Citing_sources" title="Wikipedia:Citing sources">cite</a> any <a href="/wiki/Wikipedia:Verifiability" title="Wikipedia:Verifiability">sources</a></b>.<span class="hide-when-compact"> Please help <a href="/wiki/Special:EditPage/Pitch_(music)" title="Special:EditPage/Pitch (music)">improve this section</a> by <a href="/wiki/Help:Referencing_for_beginners" title="Help:Referencing for beginners">adding citations to reliable sources</a>. Unsourced material may be challenged and <a href="/wiki/Wikipedia:Verifiability#Burden_of_evidence" title="Wikipedia:Verifiability">removed</a>.</span> <span class="date-container"><i>(<span class="date">February 2011</span>)</i></span><span class="hide-when-compact"><i> (<small><a href="/wiki/Help:Maintenance_template_removal" title="Help:Maintenance template removal">Learn how and when to remove this message</a></small>)</i></span></div></td></tr></tbody></table> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">For a comprehensive list of frequencies of musical notes, see <a href="/wiki/Scientific_pitch_notation" title="Scientific pitch notation">Scientific pitch notation</a> and <a href="/wiki/Frequencies_of_notes" class="mw-redirect" title="Frequencies of notes">Frequencies of notes</a>.</div> <figure class="mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Music_frequency_diatonic_scale-3.svg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/8/8e/Music_frequency_diatonic_scale-3.svg/350px-Music_frequency_diatonic_scale-3.svg.png" decoding="async" width="350" height="263" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/8e/Music_frequency_diatonic_scale-3.svg/525px-Music_frequency_diatonic_scale-3.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/8e/Music_frequency_diatonic_scale-3.svg/700px-Music_frequency_diatonic_scale-3.svg.png 2x" data-file-width="1600" data-file-height="1200" /></a><figcaption>Note frequencies, four-octave C major diatonic scale, starting with <a href="/wiki/C_(musical_note)" title="C (musical note)">C<sub>1</sub></a>.</figcaption></figure> <p>Pitches are labeled using: </p> <ul><li>Letters, as in <a href="/wiki/Helmholtz_pitch_notation" title="Helmholtz pitch notation">Helmholtz pitch notation</a><sup id="cite_ref-24" class="reference"><a href="#cite_note-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-25" class="reference"><a href="#cite_note-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup></li> <li>A combination of letters and numbers—as in <a href="/wiki/Scientific_pitch_notation" title="Scientific pitch notation">scientific pitch notation</a>, where notes are labelled upwards from C<sub>0</sub>, the 16 Hz C</li> <li>Numbers that represent the frequency in <a href="/wiki/Hertz" title="Hertz">hertz</a> (Hz), the number of cycles per second</li></ul> <p>For example, one might refer to the A above middle C as <i>a′</i>, <i>A<sub>4</sub></i>, or <i>440 Hz</i>. In standard Western <a href="/wiki/Equal_temperament" title="Equal temperament">equal temperament</a>, the notion of pitch is insensitive to "spelling": the description "G<sub>4</sub> double sharp" refers to the same pitch as <i>A<sub>4</sub></i>; in other temperaments, these may be distinct pitches. Human perception of musical intervals is approximately logarithmic with respect to <a href="/wiki/Fundamental_frequency" title="Fundamental frequency">fundamental frequency</a>: the perceived interval between the pitches "A220" and "A440" is the same as the perceived interval between the pitches <i>A440</i> and <i>A880</i>. Motivated by this logarithmic perception, music theorists sometimes represent pitches using a numerical scale based on the logarithm of fundamental frequency. For example, one can adopt the widely used <a href="/wiki/MIDI" title="MIDI">MIDI</a> standard to map fundamental frequency, <i>f</i>, to a real number, <i>p</i>, as follows. </p> <dl><dd><span class="mwe-math-element"><span class="mwe-math-mathml-inline mwe-math-mathml-a11y" style="display: none;"><math xmlns="http://www.w3.org/1998/Math/MathML" alttext="{\displaystyle p=69+12\times \log _{2}{\left({\frac {f}{440{\mbox{ Hz}}}}\right)}}"> <semantics> <mrow class="MJX-TeXAtom-ORD"> <mstyle displaystyle="true" scriptlevel="0"> <mi>p</mi> <mo>=</mo> <mn>69</mn> <mo>+</mo> <mn>12</mn> <mo>×<!-- × --></mo> <msub> <mi>log</mi> <mrow class="MJX-TeXAtom-ORD"> <mn>2</mn> </mrow> </msub> <mo>⁡<!-- --></mo> <mrow class="MJX-TeXAtom-ORD"> <mrow> <mo>(</mo> <mrow class="MJX-TeXAtom-ORD"> <mfrac> <mi>f</mi> <mrow> <mn>440</mn> <mrow class="MJX-TeXAtom-ORD"> <mstyle displaystyle="false" scriptlevel="0"> <mtext> Hz</mtext> </mstyle> </mrow> </mrow> </mfrac> </mrow> <mo>)</mo> </mrow> </mrow> </mstyle> </mrow> <annotation encoding="application/x-tex">{\displaystyle p=69+12\times \log _{2}{\left({\frac {f}{440{\mbox{ Hz}}}}\right)}}</annotation> </semantics> </math></span><img src="https://wikimedia.org/api/rest_v1/media/math/render/svg/2b40f0d03912a6c9c05a6c0c4e836fa59b45abd6" class="mwe-math-fallback-image-inline mw-invert skin-invert" aria-hidden="true" style="vertical-align: -2.505ex; margin-left: -0.089ex; width:30.202ex; height:6.176ex;" alt="{\displaystyle p=69+12\times \log _{2}{\left({\frac {f}{440{\mbox{ Hz}}}}\right)}}"></span></dd></dl> <p>This creates a linear <a href="/wiki/Pitch_space" title="Pitch space">pitch space</a> in which octaves have size 12, semitones (the distance between adjacent keys on the piano keyboard) have size 1, and A440 is assigned the number 69. (See <a href="/wiki/Frequencies_of_notes" class="mw-redirect" title="Frequencies of notes">Frequencies of notes</a>.) Distance in this space corresponds to musical intervals as understood by musicians. An equal-tempered semitone is subdivided into 100 <a href="/wiki/Cent_(music)" title="Cent (music)">cents</a>. The system is flexible enough to include "microtones" not found on standard piano keyboards. For example, the pitch halfway between C (60) and C<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-sharp">♯</span></span> (61) can be labeled 60.5. </p><p>The following table shows frequencies in Hertz for notes in various octaves, named according to the <a href="/wiki/Helmholtz_pitch_notation#Staff_representation" title="Helmholtz pitch notation">"German method" of octave nomenclature</a>: </p> <table class="wikitable" style="text-align: right"> <tbody><tr> <th>Note </th> <th>Sub-contra </th> <th>Contra </th> <th>Great </th> <th>Small </th> <th>One-lined </th> <th>Two-lined </th> <th>Three-lined </th> <th>Four-lined </th> <th>Five-lined </th></tr> <tr> <th>B<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-sharp">♯</span></span>/C </th> <td>16.35</td> <td>32.70</td> <td>65.41</td> <td>130.81</td> <td>261.63</td> <td>523.25</td> <td>1046.50</td> <td>2093.00</td> <td>4186.01 </td></tr> <tr> <th>C<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-sharp">♯</span></span>/D<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span> </th> <td>17.32</td> <td>34.65</td> <td>69.30</td> <td>138.59</td> <td>277.18</td> <td>554.37</td> <td>1108.73</td> <td>2217.46</td> <td>4434.92 </td></tr> <tr> <th>D </th> <td>18.35</td> <td>36.71</td> <td>73.42</td> <td>146.83</td> <td>293.66</td> <td>587.33</td> <td>1174.66</td> <td>2349.32</td> <td>4698.64 </td></tr> <tr> <th>D<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-sharp">♯</span></span>/E<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span> </th> <td>19.45</td> <td>38.89</td> <td>77.78</td> <td>155.56</td> <td>311.13</td> <td>622.25</td> <td>1244.51</td> <td>2489.02</td> <td>4978.03 </td></tr> <tr> <th>E/F<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span> </th> <td>20.60</td> <td>41.20</td> <td>82.41</td> <td>164.81</td> <td>329.63</td> <td>659.26</td> <td>1318.51</td> <td>2637.02</td> <td>5274.04 </td></tr> <tr> <th>E<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-sharp">♯</span></span>/F </th> <td>21.83</td> <td>43.65</td> <td>87.31</td> <td>174.61</td> <td>349.23</td> <td>698.46</td> <td>1396.91</td> <td>2793.83</td> <td>5587.65 </td></tr> <tr> <th>F<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-sharp">♯</span></span>/G<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span> </th> <td>23.12</td> <td>46.25</td> <td>92.50</td> <td>185.00</td> <td>369.99</td> <td>739.99</td> <td>1479.98</td> <td>2959.96</td> <td>5919.91 </td></tr> <tr> <th>G </th> <td>24.50</td> <td>49.00</td> <td>98.00</td> <td>196.00</td> <td>392.00</td> <td>783.99</td> <td>1567.99</td> <td>3135.96</td> <td>6271.93 </td></tr> <tr> <th>G<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-sharp">♯</span></span>/A<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span> </th> <td>25.96</td> <td>51.91</td> <td>103.83</td> <td>207.65</td> <td>415.30</td> <td>830.61</td> <td>1661.22</td> <td>3322.44</td> <td>6644.88 </td></tr> <tr> <th>A </th> <td>27.50</td> <td>55.00</td> <td>110.00</td> <td>220.00</td> <td>440.00</td> <td>880.00</td> <td>1760.00</td> <td>3520.00</td> <td>7040.00 </td></tr> <tr> <th>A<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-sharp">♯</span></span>/B<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span> </th> <td>29.14</td> <td>58.27</td> <td>116.54</td> <td>233.08</td> <td>466.16</td> <td>932.33</td> <td>1864.66</td> <td>3729.31</td> <td>7458.62 </td></tr> <tr> <th>B/C<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span> </th> <td>30.87</td> <td>61.74</td> <td>123.47</td> <td>246.94</td> <td>493.88</td> <td>987.77</td> <td>1975.53</td> <td>3951.07</td> <td>7902.13 </td></tr></tbody></table> <div class="mw-heading mw-heading2"><h2 id="Scales">Scales</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Pitch_(music)&action=edit&section=9" title="Edit section: Scales"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The relative pitches of individual notes in a <a href="/wiki/Scale_(music)" title="Scale (music)">scale</a> may be determined by one of a number of <a href="/wiki/Musical_tuning#Tuning_systems" title="Musical tuning">tuning systems</a>. In the west, the twelve-note <a href="/wiki/Chromatic_scale" title="Chromatic scale">chromatic scale</a> is the most common method of organization, with <a href="/wiki/Equal_temperament" title="Equal temperament">equal temperament</a> now the most widely used method of tuning that scale. In it, the pitch ratio between any two successive notes of the scale is exactly the twelfth root of two (or about 1.05946). In <a href="/wiki/Well_temperament" title="Well temperament">well-tempered</a> systems (as used in the time of <a href="/wiki/Johann_Sebastian_Bach" title="Johann Sebastian Bach">Johann Sebastian Bach</a>, for example), different methods of <a href="/wiki/Musical_tuning" title="Musical tuning">musical tuning</a> were used. </p><p>In almost all of these systems <a href="/wiki/Interval_(music)" title="Interval (music)">interval</a> of the <a href="/wiki/Octave" title="Octave">octave</a> doubles the frequency of a note; for example, an octave above <a href="/wiki/A440_(pitch_standard)" title="A440 (pitch standard)">A440</a> is 880 Hz. If however the first <a href="/wiki/Overtone" title="Overtone">overtone</a> is sharp due to <a href="/wiki/Inharmonicity" title="Inharmonicity">inharmonicity</a>, as in the extremes of the piano, <a href="/wiki/Piano_tuning" title="Piano tuning">tuners</a> resort to <a href="/wiki/Stretched_tuning" title="Stretched tuning">octave stretching</a>. </p> <div class="mw-heading mw-heading2"><h2 id="Other_musical_meanings_of_pitch">Other musical meanings of pitch</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Pitch_(music)&action=edit&section=10" title="Edit section: Other musical meanings of pitch"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In <a href="/wiki/Atonal" class="mw-redirect" title="Atonal">atonal</a>, <a href="/wiki/Twelve_tone_technique" class="mw-redirect" title="Twelve tone technique">twelve tone</a>, or <a href="/wiki/Set_theory_(music)" title="Set theory (music)">musical set theory</a>, a "pitch" is a specific frequency while a <a href="/wiki/Pitch_class" title="Pitch class">pitch class</a> is all the octaves of a frequency. In many analytic discussions of atonal and post-tonal music, pitches are named with <a href="/wiki/Integer" title="Integer">integers</a> because of octave and enharmonic equivalency (for example, in a serial system, C<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-sharp">♯</span></span> and D<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span> are considered the same pitch, while C<sub>4</sub> and C<sub>5</sub> are functionally the same, one octave apart). </p><p>Discrete pitches, rather than continuously variable pitches, are virtually universal, with exceptions including "<a href="/wiki/Shout-and-fall" class="mw-redirect" title="Shout-and-fall">tumbling strains</a>"<sup id="cite_ref-26" class="reference"><a href="#cite_note-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> and "indeterminate-pitch chants".<sup id="cite_ref-27" class="reference"><a href="#cite_note-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> Gliding pitches are used in most cultures, but are related to the discrete pitches they reference or embellish.<sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Pitch_(music)&action=edit&section=11" title="Edit section: See also"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/3rd_bridge" title="3rd bridge">3rd bridge</a> (harmonic resonance based on equal string divisions)</li> <li><a href="/wiki/Absolute_pitch" title="Absolute pitch">Absolute pitch</a></li> <li><a href="/wiki/Diplacusis" title="Diplacusis">Diplacusis</a></li> <li><a href="/wiki/Eight_foot_pitch" class="mw-redirect" title="Eight foot pitch">Eight foot pitch</a></li> <li><a href="/wiki/Harmonic_pitch_class_profiles" title="Harmonic pitch class profiles">Harmonic pitch class profiles</a></li> <li><a href="/wiki/Just_intonation" title="Just intonation">Just intonation</a></li> <li><a href="/wiki/Meantone_temperament" title="Meantone temperament">Meantone temperament</a></li> <li><a href="/wiki/Music_and_mathematics" title="Music and mathematics">Music and mathematics</a></li> <li><a href="/wiki/Piano_key_frequencies" title="Piano key frequencies">Piano key frequencies</a></li> <li><a href="/wiki/Pitch_circularity" title="Pitch circularity">Pitch circularity</a></li> <li><a href="/wiki/Pitch_class" title="Pitch class">Pitch class</a></li> <li><a href="/wiki/Pitch_detection_algorithm" title="Pitch detection algorithm">Pitch detection algorithm</a></li> <li><a href="/wiki/Pitch_of_brass_instruments" title="Pitch of brass instruments">Pitch of brass instruments</a></li> <li><a href="/wiki/Pitch_shifter_(audio_processor)" class="mw-redirect" title="Pitch shifter (audio processor)">Pitch shifter</a></li> <li><a href="/wiki/Pitch_pipe" title="Pitch pipe">Pitch pipe</a></li> <li><a href="/wiki/Relative_pitch" title="Relative pitch">Relative pitch</a></li> <li><a href="/wiki/Scale_of_vowels" title="Scale of vowels">Scale of vowels</a></li> <li><a href="/wiki/Template:Vocal_and_instrumental_pitch_ranges" title="Template:Vocal and instrumental pitch ranges">Vocal and instrumental pitch ranges</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Pitch_(music)&action=edit&section=12" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width" style="column-width: 30em;"> <ol class="references"> <li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text">Anssi Klapuri, "<a rel="nofollow" class="external text" href="https://books.google.com/books?id=AF30yR41GIAC&pg=PA8">Introduction to Music Transcription</a>", in <i>Signal Processing Methods for Music Transcription</i>, edited by Anssi Klapuri and Manuel Davy, 1–20 (New York: Springer, 2006): p. 8. <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-387-30667-4" title="Special:BookSources/978-0-387-30667-4">978-0-387-30667-4</a>.</span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPlackAndrew_J._OxenhamRichard_R._Fay2005" class="citation book cs1">Plack, Christopher J.; Andrew J. Oxenham; Richard R. Fay, eds. (2005). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=n6VdlK3AQykC&pg=PA2"><i>Pitch: Neural Coding and Perception</i></a>. New York: Springer. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-387-23472-4" title="Special:BookSources/978-0-387-23472-4"><bdi>978-0-387-23472-4</bdi></a>. <q>For the purposes of this book we decided to take a conservative approach, and to focus on the relationship between pitch and musical melodies. Following the earlier ASA definition, we define pitch as 'that attribute of sensation whose variation is associated with musical melodies.' Although some might find this too restrictive, an advantage of this definition is that it provides a clear procedure for testing whether or not a stimulus evokes a pitch, and a clear limitation on the range of stimuli that we need to consider in our discussions.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Pitch%3A+Neural+Coding+and+Perception&rft.place=New+York&rft.pub=Springer&rft.date=2005&rft.isbn=978-0-387-23472-4&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3Dn6VdlK3AQykC%26pg%3DPA2&rfr_id=info%3Asid%2Fen.wikipedia.org%3APitch+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRoy_D._PattersonEtienne_GaudrainThomas_C._Walters2010" class="citation book cs1">Roy D. Patterson; Etienne Gaudrain & Thomas C. Walters (2010). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=ZYXd3CF1_vkC&pg=PA38">"The Perception of Family and Register in Musical Tones"</a>. In Mari Riess Jones; Richard R. Fay & Arthur N. Popper (eds.). <i>Music Perception</i>. Springer. pp. 37–38. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4419-6113-6" title="Special:BookSources/978-1-4419-6113-6"><bdi>978-1-4419-6113-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=The+Perception+of+Family+and+Register+in+Musical+Tones&rft.btitle=Music+Perception&rft.pages=37-38&rft.pub=Springer&rft.date=2010&rft.isbn=978-1-4419-6113-6&rft.au=Roy+D.+Patterson&rft.au=Etienne+Gaudrain&rft.au=Thomas+C.+Walters&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DZYXd3CF1_vkC%26pg%3DPA38&rfr_id=info%3Asid%2Fen.wikipedia.org%3APitch+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-hartmann-4"><span class="mw-cite-backlink">^ <a href="#cite_ref-hartmann_4-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-hartmann_4-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-hartmann_4-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHartmann1997" class="citation book cs1">Hartmann, William Morris (1997). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=3N72rIoTHiEC&q=William+M.+Hartmann"><i>Signals, Sound, and Sensation</i></a>. Springer. pp. 145, 284, 287. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-56396-283-7" title="Special:BookSources/978-1-56396-283-7"><bdi>978-1-56396-283-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Signals%2C+Sound%2C+and+Sensation&rft.pages=145%2C+284%2C+287&rft.pub=Springer&rft.date=1997&rft.isbn=978-1-56396-283-7&rft.aulast=Hartmann&rft.aufirst=William+Morris&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D3N72rIoTHiEC%26q%3DWilliam%2BM.%2BHartmann&rfr_id=info%3Asid%2Fen.wikipedia.org%3APitch+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-plack-5"><span class="mw-cite-backlink">^ <a href="#cite_ref-plack_5-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-plack_5-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-plack_5-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPlackAndrew_J._OxenhamRichard_R._Fay2005" class="citation book cs1">Plack, Christopher J.; Andrew J. Oxenham; Richard R. Fay, eds. (2005). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=n6VdlK3AQykC&pg=PA2"><i>Pitch: Neural Coding and Perception</i></a>. Springer. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-387-23472-4" title="Special:BookSources/978-0-387-23472-4"><bdi>978-0-387-23472-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Pitch%3A+Neural+Coding+and+Perception&rft.pub=Springer&rft.date=2005&rft.isbn=978-0-387-23472-4&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3Dn6VdlK3AQykC%26pg%3DPA2&rfr_id=info%3Asid%2Fen.wikipedia.org%3APitch+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRobert_A._DobieSusan_B._Van_Hemel2005" class="citation book cs1">Robert A. Dobie & Susan B. Van Hemel (2005). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=l-ndNsXrB1IC&pg=PA51"><i>Hearing Loss: Determining Eligibility for Social Security Benefits</i></a>. National Academies Press. pp. 50–51. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-309-09296-8" title="Special:BookSources/978-0-309-09296-8"><bdi>978-0-309-09296-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hearing+Loss%3A+Determining+Eligibility+for+Social+Security+Benefits&rft.pages=50-51&rft.pub=National+Academies+Press&rft.date=2005&rft.isbn=978-0-309-09296-8&rft.au=Robert+A.+Dobie&rft.au=Susan+B.+Van+Hemel&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3Dl-ndNsXrB1IC%26pg%3DPA51&rfr_id=info%3Asid%2Fen.wikipedia.org%3APitch+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-goldstein-7"><span class="mw-cite-backlink">^ <a href="#cite_ref-goldstein_7-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-goldstein_7-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFE._Bruce_Goldstein2001" class="citation book cs1">E. Bruce Goldstein (2001). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=I5k0jC0MbXcC&pg=PA381"><i>Blackwell Handbook of Perception</i></a> (4th ed.). Wiley-Blackwell. p. 381. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-631-20683-5" title="Special:BookSources/978-0-631-20683-5"><bdi>978-0-631-20683-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Blackwell+Handbook+of+Perception&rft.pages=381&rft.edition=4th&rft.pub=Wiley-Blackwell&rft.date=2001&rft.isbn=978-0-631-20683-5&rft.au=E.+Bruce+Goldstein&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DI5k0jC0MbXcC%26pg%3DPA381&rfr_id=info%3Asid%2Fen.wikipedia.org%3APitch+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-lyon-8"><span class="mw-cite-backlink">^ <a href="#cite_ref-lyon_8-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-lyon_8-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRichard_LyonShihab_Shamma1996" class="citation book cs1">Richard Lyon & Shihab Shamma (1996). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=6_iy8tixc_oC&pg=PA221">"Auditory Representation of Timbre and Pitch"</a>. In Harold L. Hawkins & Teresa A. McMullen (eds.). <i>Auditory Computation</i>. Springer. pp. 221–23. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-387-97843-7" title="Special:BookSources/978-0-387-97843-7"><bdi>978-0-387-97843-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Auditory+Representation+of+Timbre+and+Pitch&rft.btitle=Auditory+Computation&rft.pages=221-23&rft.pub=Springer&rft.date=1996&rft.isbn=978-0-387-97843-7&rft.au=Richard+Lyon&rft.au=Shihab+Shamma&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D6_iy8tixc_oC%26pg%3DPA221&rfr_id=info%3Asid%2Fen.wikipedia.org%3APitch+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-pratt1930-9"><span class="mw-cite-backlink">^ <a href="#cite_ref-pratt1930_9-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-pratt1930_9-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Carroll C. Pratt, "<a rel="nofollow" class="external text" href="http://www.aruffo.com/eartraining/research/articles/pratt30.htm">The Spatial Character of High and Low Tones</a>", <i>Journal of Experimental Psychology</i> 13 (1930): 278–85.</span> </li> <li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSchwartzDale_Purves2004" class="citation journal cs1">Schwartz, David A.; Dale Purves (May 2004). "Pitch Is Determined by Naturally Occurring Periodic Sounds". <i>Hearing Research</i>. <b>194</b> (1–2): 31–46. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1016%2Fj.heares.2004.01.019">10.1016/j.heares.2004.01.019</a>. <a href="/wiki/PMID_(identifier)" class="mw-redirect" title="PMID (identifier)">PMID</a> <a rel="nofollow" class="external text" href="https://pubmed.ncbi.nlm.nih.gov/15276674">15276674</a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:40608136">40608136</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Hearing+Research&rft.atitle=Pitch+Is+Determined+by+Naturally+Occurring+Periodic+Sounds&rft.volume=194&rft.issue=1%E2%80%932&rft.pages=31-46&rft.date=2004-05&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A40608136%23id-name%3DS2CID&rft_id=info%3Apmid%2F15276674&rft_id=info%3Adoi%2F10.1016%2Fj.heares.2004.01.019&rft.aulast=Schwartz&rft.aufirst=David+A.&rft.au=Dale+Purves&rfr_id=info%3Asid%2Fen.wikipedia.org%3APitch+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-Olson-11"><span class="mw-cite-backlink">^ <a href="#cite_ref-Olson_11-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Olson_11-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Olson_11-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Olson_11-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFOlson1967" class="citation book cs1"><a href="/wiki/Harry_F._Olson" title="Harry F. Olson">Olson, Harry F.</a> (1967). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=RUDTFBbb7jAC"><i>Music, Physics and Engineering</i></a>. Dover Publications. pp. 171, 248–251. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-486-21769-7" title="Special:BookSources/978-0-486-21769-7"><bdi>978-0-486-21769-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Music%2C+Physics+and+Engineering&rft.pages=171%2C+248-251&rft.pub=Dover+Publications&rft.date=1967&rft.isbn=978-0-486-21769-7&rft.aulast=Olson&rft.aufirst=Harry+F.&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DRUDTFBbb7jAC&rfr_id=info%3Asid%2Fen.wikipedia.org%3APitch+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-stevens1935-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-stevens1935_12-0">^</a></b></span> <span class="reference-text">Stevens S. S. The relation of pitch to intensity//J. Acoust. Soc. Amer. 1935. Vol. 6. p. 150–154.</span> </li> <li id="cite_note-snow-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-snow_13-0">^</a></b></span> <span class="reference-text">Snow W. B. (1936) Change of Pitch with Loudness at Low Frequencies. J. Acoust. Soc. Am/ 8:14–19.</span> </li> <li id="cite_note-cohen-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-cohen_14-0">^</a></b></span> <span class="reference-text">Cohen, A. (1961). Further investigation of the effects of intensity upon the pitch of pure tones. Journal of the Acoustical Society of America, 33, 1363–1376. <a rel="nofollow" class="external free" href="https://dx.doi.org/10.1121/1.1908441">https://dx.doi.org/10.1121/1.1908441</a></span> </li> <li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFNorman-HaignereKanwisher,_N.G.McDermott,_J.Conway,_B.R.2019" class="citation journal cs1">Norman-Haignere, S.V.; Kanwisher, N.G.; McDermott, J.; Conway, B.R. (10 June 2019). <a rel="nofollow" class="external text" href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6592717">"Divergence in the functional organization of human and macaque auditory cortex revealed by fMRI responses to harmonic tones"</a>. <i>Nature Neuroscience</i>. <b>22</b> (7): 1057–1060. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1038%2Fs41593-019-0410-7">10.1038/s41593-019-0410-7</a>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/1097-6256">1097-6256</a>. <a href="/wiki/PMC_(identifier)" class="mw-redirect" title="PMC (identifier)">PMC</a> <span class="id-lock-free" title="Freely accessible"><a rel="nofollow" class="external text" href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6592717">6592717</a></span>. <a href="/wiki/PMID_(identifier)" class="mw-redirect" title="PMID (identifier)">PMID</a> <a rel="nofollow" class="external text" href="https://pubmed.ncbi.nlm.nih.gov/31182868">31182868</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Nature+Neuroscience&rft.atitle=Divergence+in+the+functional+organization+of+human+and+macaque+auditory+cortex+revealed+by+fMRI+responses+to+harmonic+tones&rft.volume=22&rft.issue=7&rft.pages=1057-1060&rft.date=2019-06-10&rft_id=https%3A%2F%2Fwww.ncbi.nlm.nih.gov%2Fpmc%2Farticles%2FPMC6592717%23id-name%3DPMC&rft.issn=1097-6256&rft_id=info%3Apmid%2F31182868&rft_id=info%3Adoi%2F10.1038%2Fs41593-019-0410-7&rft.aulast=Norman-Haignere&rft.aufirst=S.V.&rft.au=Kanwisher%2C+N.G.&rft.au=McDermott%2C+J.&rft.au=Conway%2C+B.R.&rft_id=https%3A%2F%2Fwww.ncbi.nlm.nih.gov%2Fpmc%2Farticles%2FPMC6592717&rfr_id=info%3Asid%2Fen.wikipedia.org%3APitch+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCarianiDelgutte,_B.1996" class="citation journal cs1">Cariani, P.A.; Delgutte, B. (September 1996). <a rel="nofollow" class="external text" href="http://www.brainmusic.org/MBB91%20Webpage/Pitch_II_Cariani.pdf">"Neural Correlates of the Pitch of Complex Tones. I. Pitch and Pitch Salience"</a> <span class="cs1-format">(PDF)</span>. <i>Journal of Neurophysiology</i>. <b>76</b> (3): 1698–1716. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1152%2Fjn.1996.76.3.1698">10.1152/jn.1996.76.3.1698</a>. <a href="/wiki/PMID_(identifier)" class="mw-redirect" title="PMID (identifier)">PMID</a> <a rel="nofollow" class="external text" href="https://pubmed.ncbi.nlm.nih.gov/8890286">8890286</a><span class="reference-accessdate">. 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(June 2006). <a rel="nofollow" class="external text" href="http://audition.ens.fr/dp/pdfs/cheveigne-2006-synthetic_delay.pdf">"The Case of the Missing Delay Lines: Synthetic Delays Obtained by Cross-channel Phase Interaction"</a> <span class="cs1-format">(PDF)</span>. <i>Journal of the Acoustical Society of America</i>. <b>119</b> (6): 3908–3918. <a href="/wiki/Bibcode_(identifier)" class="mw-redirect" title="Bibcode (identifier)">Bibcode</a>:<a rel="nofollow" class="external text" href="https://ui.adsabs.harvard.edu/abs/2006ASAJ..119.3908D">2006ASAJ..119.3908D</a>. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1121%2F1.2195291">10.1121/1.2195291</a>. <a href="/wiki/PMID_(identifier)" class="mw-redirect" title="PMID (identifier)">PMID</a> <a rel="nofollow" class="external text" href="https://pubmed.ncbi.nlm.nih.gov/16838534">16838534</a><span class="reference-accessdate">. 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(October 1998). "Psychophysical Evidence Against the Autocorrelation Theory of Auditory Temporal Processing". <i>Journal of the Acoustical Society of America</i>. <b>104</b> (4): 2298–2306. <a href="/wiki/Bibcode_(identifier)" class="mw-redirect" title="Bibcode (identifier)">Bibcode</a>:<a rel="nofollow" class="external text" href="https://ui.adsabs.harvard.edu/abs/1998ASAJ..104.2298K">1998ASAJ..104.2298K</a>. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1121%2F1.423742">10.1121/1.423742</a>. <a href="/wiki/PMID_(identifier)" class="mw-redirect" title="PMID (identifier)">PMID</a> <a rel="nofollow" class="external text" href="https://pubmed.ncbi.nlm.nih.gov/10491694">10491694</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Journal+of+the+Acoustical+Society+of+America&rft.atitle=Psychophysical+Evidence+Against+the+Autocorrelation+Theory+of+Auditory+Temporal+Processing&rft.volume=104&rft.issue=4&rft.pages=2298-2306&rft.date=1998-10&rft_id=info%3Apmid%2F10491694&rft_id=info%3Adoi%2F10.1121%2F1.423742&rft_id=info%3Abibcode%2F1998ASAJ..104.2298K&rft.aulast=Kaernbach&rft.aufirst=C.&rft.au=Demany%2C+L.&rfr_id=info%3Asid%2Fen.wikipedia.org%3APitch+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-pressnitzer2012-19"><span class="mw-cite-backlink">^ <a href="#cite_ref-pressnitzer2012_19-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-pressnitzer2012_19-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPressnitzerCheveigné,_A._deWinter,_I.M.2002" class="citation journal cs1">Pressnitzer, D.; Cheveigné, A. de; Winter, I.M. (January 2002). <a rel="nofollow" class="external text" href="https://doi.org/10.1121%2F1.1416671">"Perceptual Pitch Shift for Sounds with Similar Waveform Autocorrelation"</a>. <i>Acoustics Research Letters Online</i>. <b>3</b> (1): 1–6. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<span class="id-lock-free" title="Freely accessible"><a rel="nofollow" class="external text" href="https://doi.org/10.1121%2F1.1416671">10.1121/1.1416671</a></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Acoustics+Research+Letters+Online&rft.atitle=Perceptual+Pitch+Shift+for+Sounds+with+Similar+Waveform+Autocorrelation&rft.volume=3&rft.issue=1&rft.pages=1-6&rft.date=2002-01&rft_id=info%3Adoi%2F10.1121%2F1.1416671&rft.aulast=Pressnitzer&rft.aufirst=D.&rft.au=Cheveign%C3%A9%2C+A.+de&rft.au=Winter%2C+I.M.&rft_id=https%3A%2F%2Fdoi.org%2F10.1121%252F1.1416671&rfr_id=info%3Asid%2Fen.wikipedia.org%3APitch+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBurnsViemeister,_N._F.1976" class="citation journal cs1">Burns, E.M.; Viemeister, N. F. (October 1976). "Nonspectral Pitch". <i>Journal of the Acoustical Society of America</i>. <b>60</b> (4): 863–69. <a href="/wiki/Bibcode_(identifier)" class="mw-redirect" title="Bibcode (identifier)">Bibcode</a>:<a rel="nofollow" class="external text" href="https://ui.adsabs.harvard.edu/abs/1976ASAJ...60..863B">1976ASAJ...60..863B</a>. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1121%2F1.381166">10.1121/1.381166</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Journal+of+the+Acoustical+Society+of+America&rft.atitle=Nonspectral+Pitch&rft.volume=60&rft.issue=4&rft.pages=863-69&rft.date=1976-10&rft_id=info%3Adoi%2F10.1121%2F1.381166&rft_id=info%3Abibcode%2F1976ASAJ...60..863B&rft.aulast=Burns&rft.aufirst=E.M.&rft.au=Viemeister%2C+N.+F.&rfr_id=info%3Asid%2Fen.wikipedia.org%3APitch+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-21">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFitzgeraldWright,_B.2005" class="citation journal cs1">Fitzgerald, M. B.; Wright, B. (December 2005). "A Perceptual Learning Investigation of the Pitch Elicited by Amplitude-Modulated Noise". <i>Journal of the Acoustical Society of America</i>. <b>118</b> (6): 3794–3803. <a href="/wiki/Bibcode_(identifier)" class="mw-redirect" title="Bibcode (identifier)">Bibcode</a>:<a rel="nofollow" class="external text" href="https://ui.adsabs.harvard.edu/abs/2005ASAJ..118.3794F">2005ASAJ..118.3794F</a>. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1121%2F1.2074687">10.1121/1.2074687</a>. <a href="/wiki/PMID_(identifier)" class="mw-redirect" title="PMID (identifier)">PMID</a> <a rel="nofollow" class="external text" href="https://pubmed.ncbi.nlm.nih.gov/16419824">16419824</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Journal+of+the+Acoustical+Society+of+America&rft.atitle=A+Perceptual+Learning+Investigation+of+the+Pitch+Elicited+by+Amplitude-Modulated+Noise&rft.volume=118&rft.issue=6&rft.pages=3794-3803&rft.date=2005-12&rft_id=info%3Apmid%2F16419824&rft_id=info%3Adoi%2F10.1121%2F1.2074687&rft_id=info%3Abibcode%2F2005ASAJ..118.3794F&rft.aulast=Fitzgerald&rft.aufirst=M.+B.&rft.au=Wright%2C+B.&rfr_id=info%3Asid%2Fen.wikipedia.org%3APitch+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-22"><span class="mw-cite-backlink"><b><a href="#cite_ref-22">^</a></b></span> <span class="reference-text"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBirger_KollmeierThomas_BrandB._Meyer2008" class="citation book cs1">Birger Kollmeier; Thomas Brand & B. Meyer (2008). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=Slg10ekZBkAC&pg=PA65">"Perception of Speech and Sound"</a>. In Jacob Benesty; M. Mohan Sondhi & Yiteng Huang (eds.). <i>Springer Handbook of Speech Processing</i>. Springer. p. 65. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3-540-49125-5" title="Special:BookSources/978-3-540-49125-5"><bdi>978-3-540-49125-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Perception+of+Speech+and+Sound&rft.btitle=Springer+Handbook+of+Speech+Processing&rft.pages=65&rft.pub=Springer&rft.date=2008&rft.isbn=978-3-540-49125-5&rft.au=Birger+Kollmeier&rft.au=Thomas+Brand&rft.au=B.+Meyer&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DSlg10ekZBkAC%26pg%3DPA65&rfr_id=info%3Asid%2Fen.wikipedia.org%3APitch+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLevitin2007" class="citation book cs1">Levitin, Daniel (2007). <i>This Is Your Brain on Music</i>. New York: Penguin Group. p. 40. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-452-28852-2" title="Special:BookSources/978-0-452-28852-2"><bdi>978-0-452-28852-2</bdi></a>. <q>The one with the slowest vibration rate—the one lowest in pitch—is referred to as the fundamental frequency, and the others are collectively called overtones.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=This+Is+Your+Brain+on+Music&rft.place=New+York&rft.pages=40&rft.pub=Penguin+Group&rft.date=2007&rft.isbn=978-0-452-28852-2&rft.aulast=Levitin&rft.aufirst=Daniel&rfr_id=info%3Asid%2Fen.wikipedia.org%3APitch+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-24"><span class="mw-cite-backlink"><b><a href="#cite_ref-24">^</a></b></span> <span class="reference-text">The Concise Grove Dictionary of Music: <a rel="nofollow" class="external text" href="http://www.answers.com/topic/hermann-von-helmholtz">Hermann von Helmholtz</a>, Oxford University Press (1994), <i>Answers.com</i>. Retrieved 3 August 2007.</span> </li> <li id="cite_note-25"><span class="mw-cite-backlink"><b><a href="#cite_ref-25">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHelmholtz1885" class="citation book cs1">Helmholtz, Hermann (1885). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=2CiqYQXZjIYC&pg=PA15"><i>On the Sensations of Tone (English Translation)</i></a>. Cosimo. p. 15. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781602066397" title="Special:BookSources/9781602066397"><bdi>9781602066397</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=On+the+Sensations+of+Tone+%28English+Translation%29&rft.pages=15&rft.pub=Cosimo&rft.date=1885&rft.isbn=9781602066397&rft.aulast=Helmholtz&rft.aufirst=Hermann&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D2CiqYQXZjIYC%26pg%3DPA15&rfr_id=info%3Asid%2Fen.wikipedia.org%3APitch+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-26"><span class="mw-cite-backlink"><b><a href="#cite_ref-26">^</a></b></span> <span class="reference-text">Sachs, C. and Kunst, J. (1962). In <i>The Wellsprings of Music</i>, edited by J. Kunst. The Hague: Marinus Nijhoff. Cited in Burns (1999).</span> </li> <li id="cite_note-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-27">^</a></b></span> <span class="reference-text">Malm, W.P. (1967). <i>Music Cultures of the Pacific, the Near East, and Asia</i>. Englewood Cliffs, NJ: Prentice-Hall. Cited in Burns (1999).</span> </li> <li id="cite_note-28"><span class="mw-cite-backlink"><b><a href="#cite_ref-28">^</a></b></span> <span class="reference-text">Burns, Edward M. (1999). "Intervals, Scales, and Tuning", <i>The Psychology of Music</i>, second edition. Deutsch, Diana, ed. San Diego: Academic Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-12-213564-4" title="Special:BookSources/0-12-213564-4">0-12-213564-4</a>.</span> </li> </ol></div> <div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Pitch_(music)&action=edit&section=13" title="Edit section: Further reading"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li>Moore, B.C. & Glasberg, B.R. (1986) "Thresholds for Hearing Mistuned Partials as Separate Tones in Harmonic Complexes". <i>Journal of the Acoustical Society of America</i>, 80, 479–83.</li> <li>Parncutt, R. (1989). <i>Harmony: A Psychoacoustical Approach</i>. Berlin: Springer-Verlag, 1989.</li> <li>Schneider, P.; Sluming, V.; Roberts, N.; Scherg, M.; Goebel, R.; Specht, H.-J.; Dosch, H.G.; Bleeck, S.; Stippich, C.; Rupp, A. (2005). "Structural and Functional Asymmetry of Lateral Heschl's Gyrus Reflects Pitch Perception Preference". <i>Nat. Neurosci.</i><sup class="noprint Inline-Template" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citing_sources#What_information_to_include" title="Wikipedia:Citing sources"><span title="A complete citation is needed. (September 2015)">full citation needed</span></a></i>]</sup> 8, 1241–47.</li> <li>Terhardt, E., Stoll, G. and Seewann, M. (1982). "Algorithm for Extraction of Pitch and Pitch Salience from Complex Tonal Signals". <i>Journal of the Acoustical Society of America</i>, 71, 679–88.</li></ul> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Pitch_(music)&action=edit&section=14" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1235681985"><style data-mw-deduplicate="TemplateStyles:r1237033735">@media print{body.ns-0 .mw-parser-output .sistersitebox{display:none!important}}@media screen{html.skin-theme-clientpref-night .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .sistersitebox 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skips</a></li> <li><a href="/wiki/Timbre" title="Timbre">Timbre</a></li> <li><a href="/wiki/Melody_type" title="Melody type">Type</a> (figure)</li> <li><a href="/wiki/Ululation" title="Ululation">Ululation</a></li> <li><a href="/wiki/Part_(music)" title="Part (music)">Voice</a></li> <li><a href="/wiki/Voice_leading" title="Voice leading">Voice leading</a></li></ul> </div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"></div><div role="navigation" class="navbox" aria-labelledby="Musical_notation" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link 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style="padding:0 0.25em"> <ul><li><a href="/wiki/Octave#Ottava_alta_and_bassa" title="Octave">8<sup>va</sup></a></li> <li><a href="/wiki/Octave#Ottava_alta_and_bassa" title="Octave">15<sup>ma</sup></a></li> <li><a href="/wiki/Abbreviation_(music)" title="Abbreviation (music)">Abbreviation</a></li> <li><a href="/wiki/Bar_(music)" title="Bar (music)">Bar</a></li> <li><a href="/wiki/Clef" title="Clef">Clef</a></li> <li><a href="/wiki/Da_capo" title="Da capo">Da capo</a></li> <li><a href="/wiki/Dal_segno" title="Dal segno">Dal segno</a></li> <li><a href="/wiki/Key_signature" title="Key signature">Key signature</a></li> <li><a href="/wiki/Ledger_line" title="Ledger line">Ledger line</a></li> <li><a href="/wiki/Mode_(music)" title="Mode (music)">Mode</a></li> <li><a href="/wiki/Ossia" title="Ossia">Ossia</a></li> <li><a href="/wiki/Scale_(music)" title="Scale (music)">Scale</a></li> <li><a href="/wiki/Rehearsal_letter" title="Rehearsal letter">Rehearsal letter</a></li> <li><a href="/wiki/Repeat_sign" title="Repeat sign">Repeat sign</a></li> <li><a href="/wiki/Tempo" title="Tempo">Tempo</a></li> <li><a href="/wiki/Time_signature" title="Time signature">Time signature</a></li> <li><a href="/wiki/Transposition_(music)" title="Transposition (music)">Transposition</a></li> <li><a href="/wiki/Transposing_instrument" title="Transposing instrument">Transposing instrument</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Musical_note" title="Musical note">Musical notes</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Accidental_(music)" title="Accidental (music)">Accidental</a> <ul><li><a href="/wiki/Flat_(music)" title="Flat (music)">flat</a></li> <li><a href="/wiki/Natural_(music)" title="Natural (music)">natural</a></li> <li><a href="/wiki/Sharp_(music)" title="Sharp (music)">sharp</a></li></ul></li> <li><a href="/wiki/Cue_note" title="Cue note">Cue note</a></li> <li><a href="/wiki/Dotted_note" title="Dotted note">Dotted note</a></li> <li><a href="/wiki/Grace_note" title="Grace note">Grace note</a></li> <li><a href="/wiki/Note_value" title="Note value">Note value</a> <ul><li><a href="/wiki/Beam_(music)" title="Beam (music)">beam</a></li> <li><a href="/wiki/Notehead" title="Notehead">Notehead</a></li> <li><a href="/wiki/Stem_(music)" title="Stem (music)">stem</a></li></ul></li> <li><a class="mw-selflink selflink">Pitch</a></li> <li><a href="/wiki/Rest_(music)" title="Rest (music)">Rest</a></li> <li><a href="/wiki/Tacet" title="Tacet">Tacet</a></li> <li><a href="/wiki/Tuplet" title="Tuplet">Tuplet</a></li> <li><a href="/wiki/Tremolo" title="Tremolo">Tremolo</a></li> <li><a href="/wiki/Interval_(music)" title="Interval (music)">Interval</a></li> <li><a href="/wiki/Helmholtz_pitch_notation" title="Helmholtz pitch notation">Helmholtz pitch notation</a></li> <li><a href="/wiki/Letter_notation" title="Letter notation">Letter notation</a></li> <li><a href="/wiki/Scientific_pitch_notation" title="Scientific pitch notation">Scientific pitch notation</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Articulation_(music)" title="Articulation (music)">Articulation</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Accent_(music)" title="Accent (music)">Accent</a></li> <li><a href="/wiki/Caesura" title="Caesura">Caesura</a></li> <li><a href="/wiki/Damping_(music)" title="Damping (music)">Damping</a></li> <li><a href="/wiki/Dynamics_(music)" title="Dynamics (music)">Dynamics</a></li> <li><a href="/wiki/Fermata" title="Fermata">Fermata</a></li> <li><a href="/wiki/Fingering_(music)" title="Fingering (music)">Fingering</a></li> <li><a href="/wiki/Legato" title="Legato">Legato</a></li> <li><a href="/wiki/Marcato" title="Marcato">Marcato</a></li> <li><a href="/wiki/Ornament_(music)" title="Ornament (music)">Ornament</a> <ul><li><a href="/wiki/Appoggiatura" title="Appoggiatura">Appoggiatura</a></li> <li><a href="/wiki/Glissando" title="Glissando">Glissando</a></li> <li><a href="/wiki/Grace_note" title="Grace note">Grace note</a></li> <li><a href="/wiki/Mordent" title="Mordent">Mordent</a></li> <li><a href="/wiki/Slide_(musical_ornament)" title="Slide (musical ornament)">Slide</a></li> <li><a href="/wiki/Trill_(music)" title="Trill (music)">Trill</a></li></ul></li> <li><a href="/wiki/Portato" title="Portato">Portato</a></li> <li><a href="/wiki/Slur_(music)" title="Slur (music)">Slur</a></li> <li><a href="/wiki/Staccato" title="Staccato">Staccato</a></li> <li><a href="/wiki/Tenuto" title="Tenuto">Tenuto</a></li> <li><a href="/wiki/Tie_(music)" title="Tie (music)">Tie</a></li> <li><a href="/wiki/Tonguing" title="Tonguing">Tonguing</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Sheet_music" title="Sheet music">Sheet music</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/History_of_music_publishing" title="History of music publishing">History of music publishing</a></li> <li><a href="/wiki/Music_engraving" title="Music engraving">Music engraving</a></li> <li><a href="/wiki/Music_publisher" title="Music publisher">Music publisher</a></li> <li><a href="/wiki/Scorewriter" title="Scorewriter">Scorewriter</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other systems</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Braille_music" title="Braille music">Braille music</a></li> <li><a href="/wiki/Chord_chart" title="Chord chart">Chord chart</a></li> <li><a href="/wiki/Chord_diagram_(music)" title="Chord diagram (music)">Chord diagram</a></li> <li><a href="/wiki/Eye_music" title="Eye music">Eye music</a></li> <li><a href="/wiki/Figured_bass" title="Figured bass">Figured bass</a></li> <li><a href="/wiki/Graphic_notation_(music)" title="Graphic notation (music)">Graphic notation</a></li> <li><a href="/wiki/Lead_sheet" title="Lead sheet">Lead sheet</a></li> <li><a href="/wiki/Nashville_Number_System" title="Nashville Number System">Nashville Number System</a></li> <li><a href="/wiki/Numbered_musical_notation" title="Numbered musical notation">Numbered musical notation</a></li> <li><a href="/wiki/Klavarskribo" title="Klavarskribo">Klavarskribo</a></li> <li><a href="/wiki/Tablature" title="Tablature">Tablature</a></li> <li><a href="/wiki/Parsons_code" title="Parsons code">Parsons</a></li> <li><a href="/wiki/Percussion_notation" title="Percussion notation">Percussion notation</a></li> <li><a href="/wiki/Simplified_music_notation" title="Simplified music notation">Simplified</a></li> <li><a href="/wiki/Musical_system_of_ancient_Greece" title="Musical system of ancient Greece">Ancient Greek</a></li> <li><a href="/wiki/Chinese_musical_notation" title="Chinese musical notation">Chinese</a></li> <li><a href="/wiki/Ekphonetic_notation" title="Ekphonetic notation">Ekphonetic</a></li> <li><a href="/wiki/Gamelan_notation" title="Gamelan notation">Gamelan</a></li> <li><a href="/wiki/Kunkunshi" title="Kunkunshi">Kunkunshi</a></li> <li><a href="/wiki/Neume" title="Neume">Neume</a></li> <li><a href="/wiki/Swaralipi" title="Swaralipi">Swaralipi</a></li> <li><a href="/wiki/Shakuhachi_musical_notation" title="Shakuhachi musical notation">Shakuhachi</a></li> <li><a href="/wiki/Znamenny_chant#Notation" title="Znamenny chant">Znamenny</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Mensural_notation" title="Mensural notation">Mensural notation</a></li> <li><a href="/wiki/Music_stand" title="Music stand">Music stand</a></li> <li><a href="/wiki/Absolute_pitch" title="Absolute pitch">Perfect pitch</a></li> <li><a href="/wiki/Sight-reading" title="Sight-reading">Sight-reading</a></li> <li><a href="/wiki/Transcription_(music)" title="Transcription (music)">Transcription</a></li></ul> </div></td></tr><tr><td class="navbox-abovebelow" colspan="2"><div> <ul><li><span class="noviewer" typeof="mw:File"><span title="List-Class article"><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/d/db/Symbol_list_class.svg/16px-Symbol_list_class.svg.png" decoding="async" width="16" height="16" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/d/db/Symbol_list_class.svg/23px-Symbol_list_class.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/d/db/Symbol_list_class.svg/31px-Symbol_list_class.svg.png 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