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In the measure (bar) where it appears, an accidental sign raises or lowers the immediately following note (and any repetition of it in the bar) from its normal pitch, overriding the key signature. A note is usually raised or lowered by a semitone, and there are double sharps or flats, which raise or lower the indicated note by two semitones. Accidentals usually apply to all repetitions within the measure in which they appear, unless canceled by another accidental sign, or tied into the following measure. If a note has an accidental and the note is repeated in a different octave within the same measure the accidental is usually repeated, although this convention is far from universal.

The modern accidental signs derive from the two forms of the lower-case letter b used in Gregorian chant manuscripts to signify the two pitches of B, the only note that could be altered. The "round" b became the flat sign, while the "square" b diverged into the sharp and natural signs.

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In most cases, a sharp raises the pitch of a note one semitone while a flat lowers it one semitone. A natural is used to cancel the effect of a flat or sharp. This system of accidentals operates in conjunction with the key signature, whose effect continues throughout an entire piece, unless canceled by another key signature. An accidental can also be used to cancel a previous accidental or reinstate the flats or sharps of the key signature.

Accidentals apply to subsequent notes on the same staff position for the remainder of the measure where they occur, unless explicitly changed by another accidental. Once a barline is passed, the effect of the accidental ends, except when a note affected by an accidental is tied to the same note across a barline. Subsequent notes at the same staff position in the second or later bars are not affected by the accidental carried through with the tied note.

Though this convention is still in use particularly in tonal music, it may be cumbersome in music that features frequent accidentals, as is often the case in atonal music. As a result, an alternative system of note-for-note accidentals has been adopted, with the aim of reducing the number of accidentals required to notate a bar. According to Kurt Stone, the system is as follows:[2]

In some atonal scores (particularly by composers of the Second Viennese School), an accidental is notated on every note, including natural notes and repeated pitches. This system was adopted for "the specific intellectual reason that a note with an accidental was not simply an inflected version of a natural note but a pitch of equal status."[3]

Double accidentals raise or lower the pitch of a note by two semitones (or a whole tone),[4] an innovation developed as early as 1615.[5] This applies to the written note, ignoring key signature. An F with a double sharp applied raises it a whole step so it is enharmonically equivalent to a G.

Usage varies on how to notate the situation in which a note with a double sharp (or flat) is followed in the same measure by a note with a single sharp (or flat). Some publications simply use the single accidental for the latter note, whereas others use a combination of a natural and a sharp (shown below), with the natural being understood to apply to only the second sharp.

In modern scores, a barline cancels an accidental, with the exception of tied notes. Courtesy accidentals, also called cautionary accidentals or reminder accidentals are used to remind the musician of the correct pitch if the same note occurs in the following measure. The rules for applying courtesy accidentals (sometimes enclosed in parentheses) vary among publishers, though in a few situations they are customary:

Composers of microtonal music have developed a number of notations for indicating the various pitches outside of standard notation. One such system for notating quarter tones, used by the Czech Alois Hba and other composers, is shown.

Ben Johnston created a system of notation for pieces in just intonation where the unmarked C, F, and G major chords are just major chords (4:5:6) and accidentals create just tuning in other keys. Between 2000 and 2003, Wolfgang von Schweinitz and Marc Sabat developed the Extended Helmholtz-Ellis Just Intonation (JI) pitch notation, a modern adaptation and extension of the notation principles first used by Hermann von Helmholtz, Arthur von Oettingen, and Alexander John Ellis that some other musicians use for notating extended just intonation.[7]

Triple accidentals lower or raise the pitch of a note by three semitones (or a whole tone and a semitone). Of course, they are almost non-existent in general music, and especially when the number of flats/sharps in the key signature is about 5 to 4 or less in about 12-TET, there is almost no need to appear. The symbols appear in Alcan's Minor Etude No. 10 (Op. 39 No. 10), the 30th Sonata, Roslavets' Sonata No. 1 and Etude No. 2, Max Reger's Clarinet Sonata No. 2, Anton Reiha's Fugue No. 34 and Ustvolskaya's Piano Sonata No. 3.And theoretically, if we go further, symbols beyond quadruple accidentals (a quadruple flat/a quadruple sharp) can sometimes be considered.[8][9]

As polyphony became more complex, notes other than B required alteration to avoid undesirable harmonic or melodic intervals (especially the augmented fourth, or tritone, that music theory writers referred to as diabolus in musica, i.e., "the devil in music"). Nowadays "ficta" is used loosely to describe any such un-notated accidentals. The implied alterations can have more than one solution, but sometimes the intended pitches can be found in lute tablatures where a fret is specified.[14]

The convention of an accidental remaining in force through a measure developed only gradually over the 18th century. Before then, accidentals only applied to immediately repeated notes or short groups when the composer felt it was obvious that the accidental should continue.[15] The older practice continued in use well into the 18th century by many composers, notably Johann Sebastian Bach.[16] The newer convention did not achieve general currency until early in the 19th century.[17]

On February 3, 1959, American rock and roll musicians Buddy Holly, Ritchie Valens, and "The Big Bopper" J. P. Richardson were all killed in a plane crash near Clear Lake, Iowa, together with pilot Roger Peterson.[a][1][2] The event became known as "The Day the Music Died" after singer-songwriter Don McLean referred to it as such in his 1971 song "American Pie".

Richardson and Valens began experiencing flu-like symptoms and drummer Bunch was hospitalized for severely frostbitten feet after the tour bus stalled in the middle of the highway in subzero temperatures near Ironwood, Michigan. The musicians replaced that bus with another school bus and kept traveling.[9] As Holly's group had been the backing band for all of the acts, Holly, Valens and DiMucci took turns playing drums for each other at the performances in Green Bay, Wisconsin, and Clear Lake, Iowa, with Holly playing drums for Dion, Dion playing drums for Ritchie, and Ritchie playing drums for Holly.[10]

The most widely accepted version of events was that Richardson had contracted the flu during the tour and asked Jennings for his seat on the plane.[16] When Holly learned that Jennings was not going to fly, he said in jest: "Well, I hope your damned bus freezes up." Jennings responded: "Well, I hope your ol' plane crashes", a humorous but ill-fated response that haunted him for the rest of his life.[17] Valens, who once had a fear of flying, asked Allsup for his seat on the plane. The two agreed to toss a coin to decide.[11] Bob Hale, a disc jockey with Mason City's KRIB-AM, was emceeing the concert that night and flipped the coin in the ballroom's side-stage room shortly before the musicians departed for the airport. Valens won the coin toss for the seat on the flight. Valens is apocryphally said to have remarked, "That's the first time I've ever won anything in my life."[citation needed]

The Bonanza had impacted terrain at high speed, estimated to have been around 170 mph (270 km/h), banked 90 to the right and in a nose-down attitude. The right wing tip struck the ground first, gouging a 12'x2' deep furrow, crumpling then breaking off. The fuselage then hit the ground right-side down and bounced a few feet back into the air, traveling another 50 feet through the air, simultaneously rolling inverted due to the remaining left wing still generating lift. The plane struck the ground a final time, in an inverted, nose-down position, the nose hitting and flipping the plane over into a right-side up, tail-first position. The momentum of the heavy engine caused the fuselage, left wing remaining attached and intact to the end, to roll upon itself into a virtual ball, rolling nose-over-tail across the frozen field for 540 feet (160 m), before coming to rest tail-first against a wire fence.[12] The bodies of the performers had been ejected from the fuselage and lay near the plane's wreckage, while Peterson's body was entangled in the cockpit.[12] With the rest of the entourage en route to Minnesota, Anderson, who had driven the party to the airport and witnessed the plane's takeoff, had to identify the bodies of the musicians.[22] The county coroner, Ralph Smiley, reported that all four victims died instantly, the cause of death being "gross trauma to brain" for the three musicians and "brain damage" for the pilot.[23][24]

The official investigation was carried out by the Civil Aeronautics Board (CAB, precursor to the NTSB). It emerged that Peterson had over four years of flying experience, of which one was with Dwyer Flying Service, and had accumulated 711 flying hours, of which 128 were on Bonanzas. He had also logged 52 hours of instrument flight training, although he had passed only his written examination, and was not yet qualified to operate in weather that required flying solely by reference to instruments. Peterson and Dwyer Flying Service itself were certified to operate only under visual flight rules, which essentially require that the pilot must be able to see where the aircraft is going. On the night of the accident visual flight would have been virtually impossible due to the low clouds, the lack of a visible horizon, and the absence of ground lights over the sparsely populated area.[12] e24fc04721