F♯ (musical note)

F♯ (eff-sharp or F-sharp; also known as fa dièse or fi) is the seventh semitone of the solfège.

It lies a chromatic semitone above F and a diatonic semitone below G, thus being enharmonic to Sol Bémol or G♭ (G-flat). However, in some temperaments, it is not the same as G♭. G♭ is a major third below B♭, whereas F♯ is a major third above D (a minor third below A).

When calculated in equal temperament with a reference of A above middle C as 440 Hz, the frequency of the F♯ above middle C (or F♯₄) is approximately 369.994 Hz. See pitch (music) for a discussion of historical variations in frequency.

Designation by octave

Scales

Common scales beginning on F♯

Diatonic scales

E (musical note)

E is the third note of the C major scale, and mi in fixed-do solfège. It has enharmonic equivalents of F♭ (which is by definition a diatonic semitone above E♭) and D, amongst others.

When calculated in equal temperament with a reference of A above middle C as 440 Hz, the frequency of Middle E (E₄) is approximately 329.628 Hz. See pitch (music) for a discussion of historical variations in frequency.

Designation by octave

Scales

Common scales beginning on E

Diatonic scales

Jazz Melodic Minor

Note

Note, notes, or NOTE may refer to:

Music and entertainment

Finance

Technology and science

Large denominations of United States currency

The base currency of the United States is the U.S. dollar. It is printed in bills in seven denominations: $1, $2, $5, $10, $20, $50, and $100. Previously there have also been five larger denominations: $500, $1,000, $5,000, and $10,000 were printed for general use (in large transactions), and a $100,000 bill for certain internal transactions.

Overview and history

High-denomination currency (i.e., banknotes with a negotiable face value of $500 or higher) had been used in the United States since the late 18th century. The first $500 note was issued by the Province of North Carolina, authorized by legislation dated May 10, 1780.Virginia quickly followed suit and authorized the printing of $500 and $1,000 notes on October 16, 1780 and $2,000 notes on May 7, 1781. High-denomination notes were also issued during the War of 1812 ($1,000 notes authorized by an act dated June 30, 1812), as well as the American Civil War Confederate currency ($500 and $1,000). During the Federal banknote issuing period (1861 to present), the earliest high-denomination notes included three-year Interest-bearing notes of $500, $1,000, and $5,000, authorized by Congress on March 2, 1861. In total, 11 different types of U.S. currency were issued in high-denomination notes across nearly 20 different series dates. The obverse of United States banknotes generally depict either historical figures, allegorical figures symbolizing significant concepts (e.g., liberty, justice), or a combination of both. The reverse designs range from abstract scroll-work with ornate denomination identifiers to reproductions of historical art works.

£1

There are many £1 banknotes, bills or coins, including:

Current currencies:

Obsolete currencies:

Musical theatre

Musical theatre is a form of theatrical performance that combines songs, spoken dialogue, acting, and dance. The story and emotional content of a musical – humor, pathos, love, anger – are communicated through the words, music, movement and technical aspects of the entertainment as an integrated whole. Although musical theatre overlaps with other theatrical forms like opera and dance, it may be distinguished by the equal importance given to the music as compared with the dialogue, movement and other elements. Since the early 20th century, musical theatre stage works have generally been called, simply, musicals.

Although music has been a part of dramatic presentations since ancient times, modern Western musical theatre emerged during the 19th century, with many structural elements established by the works of Gilbert and Sullivan in Britain and those of Harrigan and Hart in America. These were followed by the numerous Edwardian musical comedies and the musical theatre works of American creators like George M. Cohan. The Princess Theatre musicals and other smart shows like Of Thee I Sing (1931) were artistic steps forward beyond revues and other frothy entertainments of the early 20th century and led to such groundbreaking works as Show Boat (1927) and Oklahoma! (1943). Some of the most famous and iconic musicals through the decades that followed include West Side Story (1957), The Fantasticks (1960), Hair (1967), A Chorus Line (1975), Les Misérables (1985), The Phantom of the Opera (1986), Rent (1996), The Producers (2001) and Wicked (2003).

1776 (musical)

1776 is a musical with music and lyrics by Sherman Edwards and a book by Peter Stone. The story is based on the events surrounding the signing of the Declaration of Independence. It dramatizes the efforts of John Adams to persuade his colleagues to vote for American independence and to sign the document.

It premiered on Broadway in 1969, earning warm reviews, and ran for 1,217 performances. The production was nominated for five Tony Awards and won three, including the Tony Award for Best Musical. In 1972 it was made into a film adaptation. It was revived on Broadway in 1997.

History

In 1926, Rodgers and Hart had written a musical about the American Revolution, called Dearest Enemy. Additionally, in 1950, a musical about the Revolution had been presented on Broadway, titled Arms and the Girl, with music by Morton Gould, lyrics by Dorothy Fields, and a book by Herbert Fields, Dorothy Fields, and Rouben Mamoulian, the show's director.

Sherman Edwards, a writer of pop songs with several top ten hits in the late fifties and early sixties, spent several years developing lyrics and libretto for a musical based on the signing of the Declaration of Independence. Edwards recounted that, "I wanted to show [the founding fathers] at their outermost limits. These men were the cream of their colonies... They disagreed and fought with each other. But they understood commitment, and though they fought, they fought affirmatively." Producer Stuart Ostrow recommended that librettist Peter Stone collaborate with Edwards on the book of the musical. Stone recalled,