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Unread 05-02-2014, 09:01 PM   #1
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Lightbulb B# and Other Odd Notes

Im working on B sharp

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Unread 05-03-2014, 07:00 AM   #2
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Hahaha, try doing C instead. You might find it easier to play.
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Unread 05-04-2014, 06:39 PM   #3
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On one of my high school music theory tests, a spelling error made the hilarious question: How many snarps are in the key of F snarp?
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Unread 05-04-2014, 09:35 PM   #4
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I use to think there was no such thing as B# or E# and then I read some theory for piano. Guess what they are used at least in theory. Strange, but true.

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Unread 05-05-2014, 03:00 AM   #5
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Originally Posted by gospelbluesman View Post
I use to think there was no such thing as B# or E# and then I read some theory for piano. Guess what they are used at least in theory. Strange, but true.

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I have played in bands that use them. Not as rare as you think when you're playing a Bb or an Eb instrument.

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Unread 05-05-2014, 08:07 AM   #6
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I have played in bands that use them. Not as rare as you think when you're playing a Bb or an Eb instrument.

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I played saxophones for 6 years and I don't remember ever using one, but that was 20 years ago too.

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Unread 05-05-2014, 08:16 AM   #7
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Quote:
Originally Posted by gospelbluesman View Post
I use to think there was no such thing as B# or E# and then I read some theory for piano. Guess what they are used at least in theory. Strange, but true.

("It is Not about your feeling so Stand Up and be a Man of God") (TM) GBM
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I have played in bands that use them. Not as rare as you think when you're playing a Bb or an Eb instrument.

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I played saxophones for 6 years and I don't remember ever using one, but that was 20 years ago too.

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It all depends on what key you are playing in.
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Unread 05-05-2014, 08:26 AM   #8
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Yes but they are just C and F so I really don't get why they would write it that way? I understand its use in interval theory, just not its practical use.

In the blues I can bend to a note somewhere between the E and F, but there is no notation for that. We call that a sour bend.

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Unread 05-05-2014, 08:34 AM   #9
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Originally Posted by gospelbluesman View Post
Yes but they are just C and F so I really don't get why they would write it that way? I understand its use in interval theory, just not its practical use.

In the blues I can bend to a note somewhere between the E and F, but there is no notation for that. We call that a sour bend.

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If you are playing in C# minor the harmonic minor would include a B#. It's not something you're going to see much (if at all) and is more common if you are studying theory.
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Unread 05-05-2014, 08:46 AM   #10
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Yes normal you would see that C with the natural sign

that I don't have on my keyboard.

Maybe that is why B#? lol , ha ha that's a joke!

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Unread 05-05-2014, 11:15 AM   #11
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They are about as common as double sharps or double flats. The names come because we must use the appropriate letter, but the # or b to give us the right note.
A C# augmented scale, for example, would look like
C# D# E# F## G## A# B# C#, though it is usually rewritten to have flats. Though, as a trumpet player, I am more used to seeing sharps than flats, so I would rather read the C# scale than the Db.
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I like peanut butter, and I like jam, so what's to stop me from putting them together? People do it all the time.
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Unread 05-05-2014, 12:24 PM   #12
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I play in a brass band. Double sharps are used too
We play in every key possible.

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Unread 05-06-2014, 07:16 PM   #13
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Yes but they are just C and F so I really don't get why they would write it that way?
Well, in equal temperment you're correct. But if we're talking perfect harmonic relationships, these aren't exactly the same notes, and players of non-fretted instruments (like a violin or cello) can play the exact tones.

We discussed this a bit on the forum some years ago, but I'll just repeat part of a post I made back then:

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The intervals between notes are determined by very precise mathematical relationships. It's impossible, though, to achieve the exact desired ratios in every key on the guitar, or on other instruments with fixed intervals. In a perfectly tuned world, C# and Db are not quite the same note, for example.

The tuning we use on guitars, pianos, and most other instruments is a compromise that allows C# and Db to be the same note. The ratios between pitches are very slightly off, and the errors are distributed among all the notes. In this way, these instruments can play acceptably in any key. Otherwise, only two or three keys would sound good, and there would be excessive dissonance in other keys.

This method of tuning is called "equal temperament." The frequency ratio of each note to the next is the same. It's an approximation to "just temperament" which would only work in one key.

For example, consider concert A, which is 440Hz. The major third above A is C#. In just temperament, that frequency would be 1.25000 * 440 = 550Hz.

So in the key of A, C# is ideally 550Hz. But, in the key of C, the minor second is Db, which would have an ideal (just temperament) ratio of 1.06667 above C, and that gives 563Hz. C# and Db, therefore, are not exactly the same note.

So equal temperament provides an acceptable compromise. In equal temperament, the 1.25000 ratio is compromised to use 1.25992, so we get 1.25992 * 440 = 554Hz for C#. It's a little higher than a true C#, and a little lower than a true Db.
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Unread 02-05-2015, 05:51 PM   #14
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The key of F# has to have an E# in the staff as there is no way to have F natural and F# both. It's an understood thing.
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Unread 02-09-2015, 12:19 AM   #15
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Quote:
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On one of my high school music theory tests, a spelling error made the hilarious question: How many snarps are in the key of F snarp?
Well that's better than the key of F Snark...
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