The reasons come from a long time ago, and there was a lot of evolution involved...
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I found this video fascinating and clear, thanks for sharing.
The subject addressed here is at the confluence of history, religion, music theory, musical instruments, the human voice, tool building, communication, logic and probably a domain or two that I'm missing.
It must have been quite fun to work out the white keys and then the black.
https://soundcloud.com/user-646279677 BiaB 2026 Windows For me there’s no better place in the band than to have one leg in the harmony world and the other in the percussive. Thank you Paul Tutmarc and Leo Fender.
What was described made what could be constructed as arcane a bit more understandable. As I started out on trumpet reading written music was just how it was done and as a young kid, I never questioned the use of written sheet music.
Later, playing guitar, and reading sheet music was pretty rare. Later I started to play piano and sheet music became an advantage again. Having said all that, I was unaware of the connection between Gregorian chants and the dislike for try tones. Unless someone told you, why would you ever think about the connection between music created in the 9th and 10th centuries and the keyboard layout?
It is only because of the internet that I would ever likely had the occasion to be exposed to such things. Still, the discussion is in itself a bit arcane.
If all you have ever done is sight-read music your questions would likely be different than for example a guitar player who never saw any value in sight-reading.
If you only play piano by ear, then the question of B# and E# does not mean much, to begin with.
I find being able to play by ear and also being able to sight-read a huge advantage.
Some things have some logical basis, others not so much but the historical perspective is always interesting to me.
Billy
“Amazing! I’ll be working with Jaco Pastorius, Charlie Parker, Art Tatum, and Buddy Rich, and you’re telling me it’s not that great of a gig? “Well…” Saint Peter, hesitated, “God’s got this girlfriend who thinks she can sing…”
"Such a mess of accidentals" is a great description why you need E# and B# in notation.
Yes, his explanation of Moonlight Sonata justified that perfectly. I remember the first time I played it, it took some effort in interpreting the unusual notation.
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I find being able to play by ear and also being able to sight-read a huge advantage.
...
Billy
Being able to sight-read got me into a madrigals group when I wasn't the best tenor being interviewed. I was the only one of the 13-member group who could look at the 7-part sheet music, walk up to the piano on stage and play a 7-note chord so each member (2 first sopranos, 2 second sopranos, 2 first altos, 2 second altos, 1 tenor (me), 2 baritones and 2 basses) could get their initial pitch. Then it was all a capela after that. I felt lucky to be part of that.
Last edited by TheMaartian; 04/15/2209:00 PM.
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