You can't write C as a substitute because that wouldn't be a major harmony it would confuse the band.
A third brings you to the third letter, B, but to be major (4 half steps wide) it has to be a raised B: B#. But there is a reason to have a "B#" and an "E#." For just one example, if you have written a G# in your music and want to make it the root of a major harmony you'll need a major third above it.
This is the origin of the black keys, which are now found between every pair of white keys that is separated by a whole step.īetween B and C and between E and F there is just a half step - no room there for a black key. To play it starting on G you'll need to use a higher F, F#. To play the major pattern starting on F, for example, you'll need to add a Bb, a lower form of B, between the A and the B. But suppose you want to play something using that same pattern of steps but starting higher or lower? If that's what you want, you'll need to add some in-between notes, which are represented by the black keys. Start on A and you get the natural minor pattern, A, B, C, D, E, F, G. The pattern formed by those seven notes C, D, E, F, G, A, B is the major scale: whole step, whole step, half step, whole step, whole step, whole step. If you start on the right pitch you can play many melodies on the white keys only: start on E to play the famous choral theme from Beethoven's 9th Symphony, or on C to play the Beatles' "She loves you," or on G for "Home on the Range." (If you're learning to improvise tunes, try playing just on the white keys for a start). That pattern is represented by the white keys of the piano and also by the natural notes on the staff. Most familiar melodies are based on the pattern of whole and half steps found in the major scale. So the question arises: why do we bother with pitches like that anyway? But people are often curious about pitches like B# and E# (and Cb and Fb) because the only way to play them on the piano is to use a white key: C for B# and so on. If you begin on C it's a "C major scale" and you're in the "key of C." Depending on the pitch you choose to start the pattern with, any pitch is a possible member of the scale. A major scale, for example, consists of these steps: whole, whole, half, whole, whole, whole. Question: Why is there no B# or E# in the musical scale? - M.L.B.Īnswer: Scales are patterns of steps, not specific pitches. Why no B# or E# in the scale? 9: Why no B# or E# in the scale?
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