Download Octave - Philip Tagg

P Tagg: P Tagg: Entry for EPMOW — octave
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P Tagg: Entry for EPMOW — octave
octave: interval between two pitches whose frequencies differ by a factor of two, for
example between a3 (220 Hz) and a4 (440), or between a4 and a5 (880), or between c4
and c5, or e$3 and e$4, etc. (see Table 1). With its simple frequency ratio of 2:1, the octave
is also the interval between a note’s fundamental pitch and that of its first harmonic, which
is, in its turn, an intrinsic part of the timbre of every singing voice and acoustic instrument.
1. OCTAVE AS UNISON. 2. OCTAVE PITCH DESIGNATION. 3 OCTAVE LEAPS.
1. OCTAVE AS UNISON. All known music traditions tend to treat two pitches an octave apart
as ‘the same note’. For example, men are understood to be singing the same tune as women and children if both parties follow the same pitch contour at the same time in parallel
octaves. The octave’s property of ‘unison at another pitch’ is also illustrated by the fact that:
(i) a common chord consisting of the tonic, third, fifth and octave is treated as a triad because it contains three, not four, different notes (tonic/octave, third, fifth); (ii) any single
note sounded on instruments like the 12-string guitar (see TUNING 4), or using common
types of organ registration, produces two pitches an octave apart; (iii) parallel octaves are
commonly used to enhance melodic timbre in jazz piano and guitar playing, not as a harmonic device (e.g. Erroll Garner, Wes Montgomery); (iv) lower octave doubling of bass
notes is used timbrally and dynamically in a huge variety of styles (classical, jazz, rock) to
boost the power of the bass line, not as a harmonic device; (v) the octave is closely associated with the concept of register (see PITCH 3).
2. OCTAVE PITCH DESIGNATION. Music’s range of fundamental pitches can be divided into
octaves. A standard piano keyboard spans eight octaves from a0 (27.5 Hz) to a7 (3520 Hz),
a synth keyboard five octaves from c2 to c6 (Table 1). The average human singing voice
usually spans about two octaves.
Table 1 Range of piano keyboard split into octaves
Table 1 shows the standard MIDI system of designating octaves, running from 0 to 10 and
incrementing at every c. Such a system facilitates the absolute pitch specification of any
note without resorting to the often complex numerical expressions of frequency designation in Herz. For example, the first note of the Rolling Stones’ Satisfaction riff (in E) is b2,
middle c is c4, concert pitch is a4 (440 Hz, a major sixth above c4), and the first melodic
note at the start of Abba’s Dancing Queen (in A) is c#5. Although older octave designation
conventions are still in operation (Table 2), the MIDI convention is recommended because
it is more consistent, less confusing and industry standard.
P Tagg: P Tagg: Entry for EPMOW — octave
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Table 2 Octave designation conventions
MIDI
older
conventions
c0 – b0
c 1 – b1
c2–b2
c3 – b3
c4 – b4
c 5 – b5
c 6 – b6
C2–B2
C 1–B1
C–B
c–b
c1–b1
c2–b2
c3–b3
C1–B1
C–B
c–b
c'–b'
c''–b''
c'''–b'''
c''''–b''''
CCC–BBB
CC–BB
C–B
c–b
c'–b'
c''–b''
c'''–b'''
27.5
55
110
220
440
880
1760
a = Hz*
etc.
etc.
etc.
* i.e. the frequency, in Herz, of the note a within each octave.
3. OCTAVE LEAPS. Monophonic leaps (in a melodic line) up an octave to an accentuated
note often have a proclamatory, sometimes even heroic, character and are found in prominent positions in the theme tunes to such audiovisual productions as The FBI, Gunsmoke,
Kojak, The Saint and Superman (Tagg 2000:186-200).
See also PITCH, SCALE, TUNING.
References
Verbal
SIROTA, Warren (n.d.) ‘Wes Montgomery - The King of Octaves’. www.slowgold.com/woodsheddin/Issue%208/Wes.htm [2002-05-14]
TAGG, Philip (2000). Kojak - 50 Seconds of Television Music. New York: Mass Media Music
Scholars’ Press.
Musical
ABBA (1976). ‘Dancing Queen’. Arrival. Polar PMC 272.
‘The Adventures of The Saint’ (Anon). Themes Like Old Times, Vol 1 (n.d.). Viva V-36018.
The Erroll GARNER Trio (1956). Misty. Columbia 41067.
KAPER, Bronislau (1965). ‘The FBI Theme’. Covered on Golden Hour of Favourite TV
Themes: Golden Hour GH 845 (1976).
KOURY, Rex (1955). ‘Gunsmoke’. Covered on Golden Hour of Favourite TV Themes: Golden
Hour GH 845 (1976).
MONTGOMERY, Wes; SMITH Jimmy (1997). Jimmy & Wes: The Dynamic Duo [Original Recording Remastered]. Polygram B0000047D7.
The R OLLING STONES (1965): (I Can’t Get No) Satisfaction. Decca F 12220.
WILLIAMS, John (1978). Superman - The Movie. Warner Brothers WB 2BSK 3257.
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