No its not. It is a different naming system that is all. It is like claiming the existence of the word ‘yes’ in the English language negates the existence of ‘oui’ in the French one.
It is no less real, nor any more synthetic, than the Eb.
Fair enough. I mean - it fell out of fashion and is largely unused outside of Germany and a few Scandinavian countries. It remains an interesting system, though.
For example, in the German system B is referred to as ‘H’ and Bb as ‘B’. Which means the german note system is actually very much modal going (in ‘normal’ not German names) A, Bb, C, D, E, F, G, B (for a scale on A), giving an interesting chromatic turnover (G, B, A, Bb, C) in the middle of scales. Chromatically, it is C, Cis/Des, D, Dis/Es(s), E, F, Fis/Ges, G, Gis/As, A/Bes, Ais/Hes/B, H/Bis, C. This quirk of naming allowed both Bach and Schostakovich to create their BACH and DSCH motifs which they used throughout their compositions.
In german note naming systems, Eb is sometimes referred to as “Es” which is abbreviated to “S”. So the “S” note does actually exist.
Yeah but that’s just E flat.
no need to disparage the
Snote like thatSorry let me check on my guitar where the S note is.
Oh it isn’t 😑
The S note is about as real as democracy in imperial core countries.
wow, I can’t believe we have an
Snote existence denier on the 'Gradthe State Department told me that it exists, which proves that it does
The Ssssstate department was it? Sounds bias.
No its not. It is a different naming system that is all. It is like claiming the existence of the word ‘yes’ in the English language negates the existence of ‘oui’ in the French one. It is no less real, nor any more synthetic, than the Eb.
Agreed, but it’s not like a new note or anything.
Fair enough. I mean - it fell out of fashion and is largely unused outside of Germany and a few Scandinavian countries. It remains an interesting system, though. For example, in the German system B is referred to as ‘H’ and Bb as ‘B’. Which means the german note system is actually very much modal going (in ‘normal’ not German names) A, Bb, C, D, E, F, G, B (for a scale on A), giving an interesting chromatic turnover (G, B, A, Bb, C) in the middle of scales. Chromatically, it is C, Cis/Des, D, Dis/Es(s), E, F, Fis/Ges, G, Gis/As, A/Bes, Ais/Hes/B, H/Bis, C. This quirk of naming allowed both Bach and Schostakovich to create their BACH and DSCH motifs which they used throughout their compositions.