okay okay....i know this is technically in the wrong forum but it's trivial too, so i think it can be allowed to stay here in the ccl.
here goes: i knew the answer to what i asked sometime back bt the b# n e#....but i just wanted to shw off.....heheh...
here's the story, dont friggin close the thread, i hardly post good shit.
long back when we didnt even have a scale, a couple of wise greeks including pythagoras (yeah that hypotenuse guy), find out that notes repeat in cycles.
they then decided to divide it (the gap between the octaves) into easily distinguishable notes n came up with the following number: 2^1/12
now when we take a note's frequency say 440 (the concert A) and multiply by this number, u get the next note....keep doing this n you land up at high A, the octave, at 880hz.
now when the greeks got 12 notes, they somehow thought of condensing this loong chromatic line of notes into a smaller chain n that which promises melody, they came up with the following 7 notes.
! @ # $ % ^ & * ------------>>(im not numbering them or naming
them for a reason.)
then they called it:
c d e f g a b c.
the step pattern being:
r t t st t t t st
r= root note
t= up 1 tone (eg d to e)
st= up 1 semitone (eg.d to d#)
*(ill contradict myself later, because im cutting down on some info to make this point easier to understand.)
now, AFTER naming the scale,, they thought okay, now lets name the main chromatic stuff too!
heres how u get the naming.....
the notes are : c x d x e f x g x a x b c
all the x's were called c# d# f# g# and a#... to sort of fit the progression. notice how they didnt need to name anything between b and c and between e and f. THe thing to note here is that: had they chosen some other step pattern instead to the one we got right now for the major scale, we wud have had some other notes that would have been without #'s.
its not that they didnt want to name it like abcdefghijkl. they might have. they just named the condensed scale first n then the chromatic n were left with no other choice but to use #'s for the remaining, in-between, unnamed notes. or maybe they deliberately didnt cuz they cdnt think of how to name the condensed scale if they names the chromatic scale abcdefghijkl. anyway u now know why there aint no b# and e#.
@sacchoooooooo, die, die you silly ass.
@and mod bhai: u shudnt be so rash in closin threads...that was MY thread..haha.
@bjr: yup, i knew bt the naming convention. i doubt people here know that. n if you're as pernickety abt theory as i am, i guess u'll appreciate the above posted tidbit....that somehow isnt talked bt or expplained anywhere....in fact i find it fascinating when i go back to musical history n find out how they came up with scales, modes, n stuff ladat.
there's one more interesting bit of trivia (this is the point where i said ill contradict):
the a minor scale was considered the main scale. then the dudes later thought, nah, minor is kinda sad lets consider the major pattern, the main scale. THUS the c major scale, which is a relative major of A minor... (they have the same step pattern.) is now considered a reference scale. if u see the numbering 1 2 3 4 5 6 7 anywhere in music, u know its the major scale...cus its the standard, all scales are compared to this scale for eg. 1 2 3 4 5 6 7b is mixolydian.
whats so 'trivia' abt it? here: ppl keep asking why does the major scale go cdefgabc and not abcdefga...the main scale which was a minor, started with a, dude. in fact the naming of notes and the scale was done with A as root and not C....as i have (or not) illustrated in the eg above, where i pointed that id contradict myself....