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Is Cb the same note as B? (Patreon)

Published:
2022-12-21 16:26:21
Imported:
2026-06
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Content

A little video explainer/essay thing on Cb and B!

AHHH! I'm back to making videos! There will be quite a few that get churned out in the next couple of weeks, I'm going to try and make up for lost time. Touring burnt me out on videos, but I have a lot of footage and ideas that I'm going to be working through. I haven't died, I swear. The memes and the music theory will flow!

Adam

Files

Previews only

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Let's ARGUE! The first 1,000 people to use the link will get a 1 month free trial of Skillshare: https://skl.sh/adamneely10221 0:00 Intro 3:05 Cb vs B Tune 4:10 All About Functions 6:29 Why Cb is a different pitch from B 10:25 Sensitivity to difference 13:02 Music can be complicated (⌐■_■) ⦿ Adam Neely T-shirts! ⦿ https://teespring.com/stores/adam-neely-merchandise ⦿ SUPPORT ME ON PATREON ⦿ http://www.patreon.com/adamneely ⦿ FOLLOW ME ON THE INTERNETS ⦿ http://www.facebook.com/adamneely http://www.instagram.com/its_adamneely ⦿ Check out some of my music ⦿ http://sungazermusic.bandcamp.com http://insideoutsidemusic.bandcamp.com http://adamneelymusic.bandcamp.com Peace, Adam

Comments

Alexandre Enkerli

Glad you made this one, as it could prove useful. There’s a common form of “pianocentrism” in popular opinion about music (including among music tech people and other musickers). A bias towards thinking that the piano keyboard is the “normal” representation of what matters in music. Just like other -centrisms, it puts limits on the kinds of exchange we can have. In this case, what’s dominant is a simplified pitch theory based on the fundamental frequency of piano keys using a model from 12TET, often using a base frequency standardized in the mid-20th Century. While it’s not exactly what people might call a “mind virus”, it’s a pernicious feature of the way people thinking about music. Now, funnily enough, the “piano roll” notation could eventually help us out of some forms of pianocentrism. Not to agree with Sweeney, here, just rethinking transcription and notation from a broader perspective. Arguably, staff notation does best with “the harmonic style of 18th Century composers”, as someone might call the “Common Practice Period”. You could say it has been augmented, refined, partially revised… and it still does much better with certain musical practices than others, including a specific type of analysis. It’d be useful to check on research in music cognition which might have assessed its cognitive load on people who learn it. If such studies exist. Earlier times in music cognition were so entrenched in Eurocentrism that people often took it for granted that staff notation could encompass everything which is important about music. It sounds like the field has changed quite a bit during the past few decades. So, going back to DAW-style “piano roll” as a basis for notation… While Sweeney’s comment wasn’t thoughtful, we could base an inclusive approach to musical learning on a model closer to “piano roll”. And grids. In my experience, there’s a significant benefit in exploring that standard. Especially if we apply some “pedagogical care”. Eventually, this is one space in which musicking can lead to epistemic justice. It’ll take time and thoughtfulness.

Brimaxian (Worldbri ASMR)

When I was learning guitar as a teenager (30 years ago), I struggled with tuning between the G & B strings because with heavy distortion, when they were "perfectly" tuned, my playing sounded not-quite-awesome. Some classic Van Halen riffs sounded BETTER when I nudged the 3rd a bit "out of tune". Since then, it's always been a give-and-take compromise on tuning for the program material versus "proper" tuning. I've tried to stop caring so much. haha Excellent video!