Basic tone

Contents 1 Definition 2 Systems for basic tones 2.1 Alfabetic nomenclature 2.2 German nomenclature 2.3 Latin nomenclature 2.4 Relative Latin nomenclature 2.5 Indian nomenclature 2.6 Indian nomenclature transcribed 3 Transposition and alteration 3.1 Indian nomenclature transposed and altered 4 See also

Definition

There are 7 basic tones in most music, from which all other tones are derived by alteration.

Together, these 7 basic tones make up a diatonic scale, for example a church mode. These basic tones occur in different nomenclatures.

Note that a tone is a pitch, and not a note.

Systems for basic tones

There are various and different systems and nomenclatures for basically the same 7 basic tones.

The examples in the following sections make use of 3 different clefs.

Alfabetic nomenclature

In the international Western system, the following basic tones are used:

c, d, e, f, g, a, b

This alfabetic nomenclature normally denotes the following tones in notation:

German nomenclature

In the German nomenclature, the meaning of the letters is slightly deviant, as the b denotes an already altered tone in notation:

c, d, e, f, g, a, h

Latin nomenclature

Latin nomenclature is another widely used and originally Western system, based upon Latin solmisation:

do, re, mi, fa, sol, la, si

Relative Latin nomenclature

The latin nomenclature can also be used relatively, and do can then mean any chromatic tone, for example:

Note that in the transcriptions, some basic tones are altered in the notation.

Indian nomenclature

In Indian nomenclature the following basic tones or swaras are used:

SA, RE, GA, MA, PA, DHA, NI

These can be represented in notation as well, in Indian notation:

Indian notation

S R G M P D N

Indian nomenclature transcribed

Transcribed to Western notation, SA is usually rendered as c, even though on different instruments SA can vary, so such transcriptions may need retranscription to a certain key if intended for pratical performance.

There are two systems representing the lower and higher octaves, one using a dot above or below the tone, such as Ṣ. The other system is more easy to use, typing on a computer keyboard, with apostrophes to the right when higher, such as S' and to the left when in a lower octave, such as 'S. I will use the latter:

Transposition and alteration

As shown above, when transcribing and transposing from one system into another, alterations of the basic tones will often occur.

Indian nomenclature transposed and altered

Like the Latin nomenclature, the Indian nomenclature can also transposed to be used in a relative way. In these last examples, alteration of the basic tones is used.

For similar reasons as described above, there are also two differing conventions for representing chromaticaly lowering (komal or flat) and raising (tivra or sharp) a basic tone. Denoting komal, one convention uses a horizontal line below the note and another uses a small letter; denoting tivra one convention uses with a small vertical line above the note while another uses a plus sign + . In both cases I will use the latter.

Note that in the transcription of the third mode, A♭ Phrygian, there are no basic tones left in the notation.

See also

• Outline of basic music theory
• Special:Browse/Basic tone - browse this page to find whiteboards treating basic tones.