E#. Wait, what?

[Lobster11]

F## ?

That's what I think he would say, because the name of the note is "F sharp," and bending it makes it sharp, so the result is F##. Maybe a better question would be, what we he call it if he bends a Bb? I've got ten bucks says he would call it Bb#.

 

[Febs]

That's what I think he would say, because the name of the note is "F sharp," and bending it makes it sharp, so the result is F##. Maybe a better question would be, what we he call it if he bends a Bb? I've got ten bucks says he would call it Bb#.

Nah. He wouldn't call it a Bb in the first place because there is no Bb on his electric tuner. He'd call the original note an A# and the bent note an "A sharper."

 

[David Jayne]

I'd have called it Cb. : D

 

[Imaginary Pony]

Care to tell me the interval between E# and F?

They ARE two different notes, correct? Just the facts. Interval please.

A comma!

If you are really interested, read this.
Invalid Link Removed

 

[HaphAsSard]

I got it in the park, you knocked it out!

You made a well defined social commentary.

Ahh, we bassist can argue though.

Absolutely, and your comment on the often excessive emotional involvement in defending one's opinion on these boards (as well as others) is duly noted.

Thing is, there's a time and a place for pedantry.

And as it happens...this is precisely it.

I'm all for free thinking, but no amount of foot-stomping by an individual or many can turn sub-standard into standard: it can happen but it takes consensus and time. By all means speak like you (as in, anyone) want if you're so inclined but don't insist yours is the right way unless you can back it up with actual facts, be them physical or socially constructed like a codified language.

A comma!

So it's: the interval between E#, and F?
I keeda, I keeda.

 

[Vertigo Jones]

OK, but let the record show you just told me that two notes that have the same pitch, and thus would sound identical are somehow two different notes. So if you called out E# and I played an F, you would stop the song to call me out for my stupidity, even though I was classically trained, and had my first theory exam at a major university at the age of eight, and received rather high marks. E# is F, no matter what you call it. Two notes of the same pitch are THE SAME note. Anything more is semantics. Enough!

Now you're being obtuse -and leave the conjecture about what I would say or do out of this.

Yes, they are two different notes. Based on your logic, C major and A minor are the same key because they have the same key signature.

For the record- I would never say E#, I'd just say F. However, if I asked you to write out the F# major scale and you put F and F# for the 7th and root, I'd mark your response as an "F." There is a time to use the correct terminology, and trying to come off as learned by saying "E#" when it isn't necessary sounds pretentious at best. I really and honestly don't care about your creds and you can call an E# a G double-flat for all I care, but don't kid yourself that you're dispensing information that would be worth paying for.

 

[Imaginary Pony]

And when you notate a quarter note E# and a quarter note F, the player will play the exact same note.

You are arguing semantics. They both have the same pitch. They both make the same sound. The both have the same duration. They are the same note.

Nope...

E sharp
E♯ is a common enharmonic equivalent of F, but is not regarded as the same note. E♯ is commonly found before F♯ in the same measure in pieces where F♯ is in the key signature, in order to represent a diatonic, rather than a chromatic semitone; writing an F♮ with a following F♯ is regarded as a chromatic alteration of one scale degree.
https://en.m.wikipedia.org/wiki/E♯#E_sharp

 

[stringtapper]

C to C-flat

Well, some have made the case that, if considered as a melodic interval, such an interval (C to C♭) would be a diminished unison. But when it comes to harmonic intervals and the conventional way they are calculated, from the lowest pitch up, it makes it so a diminished unison is sort of a paradox and doesn't really exist (at least in modern thinking).

So conventionally C to C♭ is going to be considered an augmented unison because C♭ is the lowest of the two pitches and since it shares the same note name the C♮ is "augmented" or raised in relation to the C♭.

 

[mellowinman]

For the record- I would never say E#, I'd just say F. --------------There is a time to use the correct terminology, and trying to come off as learned by saying "E#" when it isn't necessary sounds pretentious at best.

That's exactly what I've been saying this entire time. Perspective. In the context of this thread, E# is simply F.

 

[pholli00]

OK, but let the record show you just told me that two notes that have the same pitch, and thus would sound identical are somehow two different notes. So if you called out E# and I played an F, you would stop the song to call me out for my stupidity, even though I was classically trained, and had my first theory exam at a major university at the age of eight, and received rather high marks. E# is F, no matter what you call it. Two notes of the same pitch are THE SAME note. Anything more is semantics. Enough!

Semantics here are important, they allow to see the same thing slightly differently.

 

[pholli00]

Modulation is simple really. Just add a couple of sharps to the one chord and start over.
People just think that it is difficult because it changes key.
In the new world of everything is a number of sharps and flats relative to middle C it is easy.
Sort of...
Instead of playing 1-4-5 just play a 1##-4##-5##

"Modulation is the essential part of the art. Without it there is little music, for a piece derives its true beauty not from the large number of fixed modes which it embraces but rather from the subtle fabric of its modulation." — Charles-Henri Blainville (1767).

I wiki'd. Wikipedie'd?

 

[Gazman]

Depending on your bass, you can play the open e, and bend it by pushing down on the string behind the nut.
If you have a light gauge, you can get an extra half tone up.


Good luck!

 

[Liam Wald]

"Modulation is the essential part of the art. Without it there is little music, for a piece derives its true beauty not from the large number of fixed modes which it embraces but rather from the subtle fabric of its modulation." — Charles-Henri Blainville (1767).

I wiki'd. Wikipedie'd?

Love it! Yes, there is that whole thing about modes.
And as for modulation, Just ask Stevie Wonder if modulation makes POP songs pop.

 

[Liam Wald]

Depending on your bass, you can play the open e, and bend it by pushing down on the string behind the nut.
If you have a light gauge, you can get an extra half tone up.


Good luck!

Really? Although I have never tried that particular technique, I might just give it a go.
On the rare occasion that I have had the privilege of touring down under I found that grabbing a dingo or perhaps a kangaroo by the throat and allowing them to smack their feet in an effort to free themselves about the nut of the instrument had the same effect. But then there was that whole dirty little issue of how to deal with the creature, in a dignified manor as it were, once that I was finished with that particular note.
Actually I found it to be much easier and, shall I mention, less of a mess, to simply pull the string with my fretting hand to find the exact pitch that I was hoping to achieve.

 

[Gazman]

I use my fretting hand to hold my beer, so I only play open strings.

 

[Whousedtoplay]

Ask your buddy if he can count.
F (1) - G (2) - A (3) - B (4)...

F to A is "3"...making his A# into a III+ not a IV.

Are you using B as European B; otherwise, in the key of F major, I think it should be Bb (4).

 

[JimK]

I was just counting using "whole" letters A-G. Trying to keep it simple...but then I threw you a curve.


So, yes, you're correct-
F(1) - G(2) - A(3) - Bb(4) - etc...

Back in my college theory daze, prof. would say something like F to A#...what's the interval?
Instinctively, I would think F to A# on my bass...I processed A# as Bb pretty much 100% back then. So, when I piped in that it was a Perfect 4th...WRONG!
Sounded like a Perfect 4th.
Theoretically, it's a raised 3rd.
Couldn't count to 3 back then, I guess.

 

[Liam Wald]

I use my fretting hand to hold my beer, so I only play open strings.

I once found that excusable. But now that FOSTERS big cans are made in Canada... not so much mate.

 

[rogerb]

I was just counting using "whole" letters A-G. Trying to keep it simple...but then I threw you a curve.


So, yes, you're correct-
F(1) - G(2) - A(3) - Bb(4) - etc...

Back in my college theory daze, prof. would say something like F to A#...what's the interval?
Instinctively, I would think F to A# on my bass...I processed A# as Bb pretty much 100% back then. So, when I piped in that it was a Perfect 4th...WRONG!
Sounded like a Perfect 4th.
Theoretically, it's a raised 3rd.
Couldn't count to 3 back then, I guess.

Raised 3rd? Oh please, theoretically that should be an Augmented 3rd.

 

[JimK]

You're killin' me...