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MIDI numbers,Note names and frequencies
可参考：NUSW
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- Note names, MIDI numbers and frequencies are related here in tables and via an application that converts them. The musical interval between two notes depends on the ratio of their frequencies.
- An octave is a ratio of 2:1 and, in equal temperament, an octave comprises 12 equal semitones. Each semitone therefore has a ratio of 21/12 (approximately 1.059). By convention, A4 is often set at 440 Hz. These data were used to calculate the first table below, which gives the frequency of any standard keyboard note or MIDI note number. To convert from any frequency to pitch (i.e. to the nearest note and how far it is out of tune).
- This table is reproduced inverted below, i.e. with high pitch at the top.
- To convert from any frequency to pitch (i.e. to the nearest note and how far it is out of tune, go to the frequency to note converter written by Andrew Botros.
- How to do the caluation? Suppose thattwo notes have frequencies f1 and f2, and a frequency ratio of f2/f1. An octave is a ratio of 2:1, so the number of octaves between f2 and f1 is
- Now to divide the octave into smaller units. In equal temperament, where all semitones have the same frequency ratio of 21/12, conversion between note name and frequency is simple. First, one needs a reference note and frequency. This is usually A4, which is often set at 440 Hz. For a note that lies n semitones higher (or −n semitones lower), the frequency is then
- Conversely, one can obtain n, the number of semitones from A4, from
- Similar equations give no, the number of octaves from A4, and nc, the number of cents from A4:
- no = log2(fn/440 Hz) and nc = 1200*log2(fn/440 Hz).
- In electronic music, pitch is often given by MIDI number: let's call it m for our purposes. m for the note A4 is 69 and increases by one for each equal tempered semitone, so this gives us a simple conversion between frequencies and MIDI numbers (again using 440 Hz as the pitch of A4):
- m = 12*log2(fm/440 Hz) + 69 and fm = 2(m−69)/12(440 Hz).
- The notation used here is not universal: in German speaking countries, H is used instead of B, and B is used for Bb. (This allowed Bach to write his name in the Art of Fugue.) And of course when different tuning systems are used, different names are applied.
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MIDI旋律乐器组(GM1)
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MIDI打击乐器组(GM1+GM2)
- 27-High Q-电子乐中的按钮声
- 28-Slap-拍打声
- 29-Scratch Push-特效处理推音
- 30-Scratch Pull-特效处理拉（勾）音
- 31-Sticks-鼓棒敲击声
- 32-Square Click-敲方板
- 33-Metronome Click-节拍器击打
- 34-Metronome Bell-节拍器铃声
- 35-Acoustic Bass Drum-原声大鼓（低音大鼓）
- 36-Bass Drum 1-大鼓1（低音鼓）
- 37-Side Stick-敲鼓边
- 38-Acoustic Snare-原声小鼓（军鼓、小鼓）
- 39-Hand Clap-拍手
- 40-Electric Snare-电子小鼓（电子军鼓）
- 41-Low Floor Tom-低音落地筒鼓
- 42-Closed Hi-Hat-闭合踩镲（闭合双面镲）
- 43-High Floor Tom-高音落地筒鼓
- 44-Pedal Hi-Hat-踩镲（踩镲双面镲）
- 45-Low Tom-低音筒鼓
- 46-Open Hi-Hat-开放（双面）镲
- 47-Low-Mid Tom-中低音筒鼓
- 48-Hi-Mid Tom-中高音筒鼓
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- 49-Crash Cymbal 1-镲击（吊镲）1
- 50-High Tom-高音筒鼓
- 51-Ride Cymbal 1-高架镲1
- 52-Chinese Cymbal-中国镲
- 53-Ride Bell-悬挂钟玲
- 54-Tambourine-铃鼓、小手鼓
- 55-Splash Cymbal-侧击镲、溅开镲声
- 56-Cowbell-牛铃、颈铃
- 57-Crash Cymbal 2-镲击（吊镲）2
- 58-Vibraslap-颤击
- 59-Ride Cymbal 2-高架镲2
- 60-High Bongo-高音邦加鼓
- 61-Low Bongo-低音邦加鼓
- 62-Mute Hi Conga-闷音高音康加鼓
- 63-Open Hi Conga-开放音高音康加鼓
- 64-Low Conga-低音康加鼓
- 65-High Timbale-高音定音鼓
- 66-Low Timbale-低音定音鼓
- 67-High Agogo-高音撞铃（拉丁打铃）
- 68-Low Agogo-低音撞铃（拉丁打铃）
- 69-Cabasa-卡巴沙铃（珠铃）
- 70-Maracas-砂槌（砂铃）
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- 71-Short Whistle-短口哨
- 72-Long Whistle-长口哨
- 73-Short Guiro-短音刮板（短锯琴、短梗笛）
- 74-Long Guiro-长音刮板（长梗笛）
- 75-Claves-音棒
- 76-Hi Wood Block-高音木鱼
- 77-Low Wood Block-低音木鱼
- 78-Mute Cuica-闷音鸟鸣桶（短笛）
- 79-Open Cuica-开音鸟鸣桶（短笛）
- 80-Mute Triangle-闷音三角铁（三角铃）
- 81-Open Triangle-开音三角铁
- 82-Shaker-摇筛（振动筛）
- 83-Jingle Bell-门铃（信号铃、铃铛）
- 84-Bell Tree-铃树（树铃）
- 85-Castinets
- 86-Mute Surdo-闷音苏多鼓
- 87-Open Surdo-开音苏多鼓
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