CtoB: On the Impression Effects of Note Names and Timbres. -Tidy Up! Gemini!-

01: Introduction

1-1. Background and Purpose

In the world of music theory, note names like "Do" or "Re"note names (pitch classes) are merelysymbolsused to distinguish specific frequencies. However, when we listen to music in our daily lives, even if it is the same instrument, don't we perceive completely different atmospheres and impressions(textures) for each note name?

In this essay, I will unravel why note names, which appear to be mere symbols, each possess their own unique character. The secret lies in a system where two things intersect: the "microscopic sound components hidden within a single tone(overtones)," which are the true nature of timbre, and the "filter of the assumption of C major" that our brains possess.system where two things intersect*C major: The familiar Do-Re-Mi-Fa-Sol-La-Ti-Do

1-2. Premises I would like to share in advance (a foundation of subtraction)

To keep this discussion simple, I will establishtwo premises beforehand.

They are that we listen to "instrument sounds rich in overtones" in our daily lives, and that we unconsciously use "C major (the world of white keys)" as areference in our minds. I will subtract everything like electronic pure tones such as sine waves or complex modulations, and focus on the purest"collision between sound and brain".

02: The Intersection of Physics and Cognition: "Small Chords" within a Single Tone

Excluding exceptions like electronic sounds, if youmagnify a "single tone" produced by an instrument from a microscopic perspective, it actually contains manysmall sounds in a regular order (this is called the harmonic series). In other words, it can be said that "the moment you play a single tone, the DNA of a 'major chord' (major triad) is already sounding within it."*Fundamental tone + 2 tones = Major triad

The mismatch (cognitive friction) that occurs when this "small chord(physics)" lurking within a single tone collides with the "filter centered on Do(cognition)" in our brains is the true nature of theimpression effect that each note possesses.

【 物理（音色：単音の中に眠る和音） 】 
          ↓ （衝突・すれ違い）
【 認知（音名：ドを基準にする脳のフィルター） 】
          ＝ 私たちが感じる、その音独特のキャラクター

2-1. Impressions/Effects of each note: C, D, E, F, G, A, B

• C (Origin/Self-contained): "Do" When you magnify the sound of "Do," a perfect chord family of "Do-Mi-Sol" is already harmonized within it. Because it perfectly matches the brain's reference point, no mismatch (friction) occurs at all. It is processed as the most neutral and ultimately reassuring reference tone.

• D (Pleasant Deviation): "Re" The sound of "Re" contains "Re-Fa#-La" lurking within it. It is located one whole tone away from the origin "Do," which is a comfortable distance for the brain. It does not have an overly strong assertion, providing a balanced sense of independence and a pleasant feeling of openness.

• E (The Beginning of Mismatch): "Mi" The sound of "Mi" contains "Mi-Sol#-Ti" lurking within it. As the sound gets slightly higher, its internal components gradually begin to deviate from the world of "Do," which is the brain's reference. This "departure from the world of Do" creates an effect that makes the outline of the sound stand out clearly.

• F (Gentle Inclusion of the Origin): "Fa" The sound of "Fa" contains the "Fa-La-Do" chord. Interestingly, it gently embraces the sound of "Do," which is the origin, within its own components. Therefore, while being independent, it always makes one feel a place to return to "Do," creating a calm space where tension is released.

• G (Propulsive Force toward the Future): "Sol" The sound of "Sol" contains "Sol-Ti-Re." The "Ti" sound hidden within this, even though only one note should be sounding, makes the brain imagine a strong vector toward the future that says, "I want to return to Do quickly!" Therefore, a dynamic impression full of energy is born, even though it is a single tone.

• A (The faintly lurking shadow): 'A' contains 'A, C#, E' within it. The 'C#' within it sharply raises the 'C' note—the standard of C major—by a semitone. This momentary brilliance (or sense of floating) that erodes the world of white keys is the true nature of the somewhat nostalgic feeling one experiences when hearing 'A' within C major.

• B (The near-miss of limits): 'B' contains the chord 'B, D#, F#' within its sound. These are black keys (#) that should not exist in C major (the world of white keys). In addition to the tension of being 'right next to C,' the (#) aggressively erodes the basic system, making it perceived as the most stinging and tense sound.

03: Conclusion

The 'impression effect' we feel toward a single note is a highly sophisticated and romantic phenomenon born from the collision and fusion of micro-overtones (chords as physics) that shape the timbre of a single note with the musical web (filters as cognition) created within the brain.

When all difficult annotations and exceptions are subtracted, what emerges is the micro and macro beauty of music itself.