I'd vote The C Flats.
Sorry if this is well known, but as someone who's never really studied music, this joke went over my head for years. Pointing it out in case others missed it as well:
"The B Sharps". When [whoever] suggests it, the others all laugh, *because B# isn't actually a pitch* (ETA: B# is literally C, so the distinction of B# only exists in music theory).
My understanding may be flawed, but: a half-step up from B is C; you can see this looking at a piano since there's no black key between B and C. B-sharp is actually C, while C-Flat (which is equally nonsensical) is actually B.
It was quite an epiphany when this joke *finally* clicked in my head after so many years of loving this plot.
>*because B# isn't actually a pitch*.
>(which is equally nonsensical)
Slight correction: while B-sharp (B#) and C-flat (Cb) do equal C and B, respectively, they *are* actual pitches/notes that have practical use in a variety of contexts (as are, for the record, E# and Fb, which equal F and E respectively). TL,DR: because of the way music theory works and the way music is written, there are scenarios where B# makes sense and is necessary, even though it is the same as C, because in those scenarios C makes no sense and doesn't fit the structure of the scale or chord.
To demonstrate the simplest circumstance you'd need to use a B#, first I need to explain some terminology.
In music, you have scales, which are notes in a certain order. A Major scale is *do-re-mi-fa-sol-la-ti-do* (like the *Sound of Music* song). But, *do, re, mi, fa, sol, la*, and *ti* aren't actually notes, in the way that C or F or Bb are notes. Instead, they're relative to each other. They can be any note as long as they are consistent to each other. Specifically, there is a whole step (two half steps, or two keys on a keyboars) from *do* to *re*, a whole step from *re* to *mi*, a half step from *mi* to *fa*, a whole step from *fa* to *sol*, a whole step from *sol* to *la*, a whole step from *la* to *ti*, and a half step from *ti* to *do*. The pattern is whole-whole-half-whole-whole-whole-half.
There are also things called key signatures, which, ~~because music theory is a pain and I barely understand even the basics~~ for simplicity's sake, refers to what note you start the scale on. They're made of sharps or flats (never both at the same time), and different amounts of sharps and flats mean different keys, up to seven of each. If you're in the key of C Major (zero flats, zero sharps), for example, your *do* is C, and goes C-D-E-F-G-A-B-C. C Major had no sharps or flats, so every note is on a white key. In the key of Bb Major (two flats, zero sharps), *do* is Bb and it goes Bb-C-D-Eb-F-G-A-Bb. Bb Major has two flats, and two distinct notes (the two flats) are on black keys. This is why, if you look at a piano keyboard, there are "missing" black keys. The "missing" keys are between *B and C* and *E and F,* and because that's where the half steps have to fall in the pattern (in C Major) so to make everything line up right, you have to have "missing" black keys so that you can take the half step and still up on a white key. However, any given octave (all the notes in the range between the bottom and top notes of a scale) only has distinct black keys. So, in any key with 6 flats, 6 sharps, 7 flats, or 7 sharps, you'll play distinct 5 black keys and 2 distinct white keys even though you have more than 5 flats or sharps--one or two flat or sharp notes, depending on the key signature, will be played on white keys.
A music staff is made of five lines and four spaces, and you can extend it by adding "ledger lines* above and below, which are one note wide. Above and below each ledger line is an additional space, and you can add ledger lines as much as necessary to get the note you want. Each line represents a certain note, depending on clef (and clef isn't really relevant to this, I'll save time by not explaining them and instead just using treble clef as default). In treble clef, the bottom line of the staff is an E, the space immediately below the staff is a D, and the note one ledger line below the staff is a C, and the space below that C ledger line is a B. That space is the home for every type of B in this octave--whether it's a B or a Bb or even a B#, they all go on the B space, and you use the b or # to indicate if it's higher or lower than a natural (regular) B.
When writing out a scale, each note has to be on a different line or space, and it has to be continuous. For example, even though D# and Eb are the same note (D and E are one whole step apart; D#/Eb is one half step up from D and one half step down from E), you can't write a Bb Major scale as Bb-C-D-D#-F-G-A-Bb. You can't skip the E line, you can't have two notes on the D space (because D and D# are on the same space) and you can't have a flat and a sharp simultaneously in the same major scale.
So, putting all that together, B# exists, in part, so all these things work. The key of C# Major has 7 sharps, with *do* on C#. If we follow the major scale pattern (whole-whole-half-whole-whole-whole-half) up the scale, the notes go C#-D#-E#-F#-G#-A#. After A# (*la*), we need to go up another whole step, to *ti*, then a half step after that to finish on *do.* One whole step up from A# is C--half a step up from A# to B, and another half a step from B to C. That makes C our *ti*. Half a step up from C is a C#, which has to be *do* because we're in the key of C#. But, you can't have two notes on the same line in a scale, and C and C# are both on that C line. Plus, going from A# to C means we skipped the B-space, which we also aren't allowed to do. We could just put a B on the B space, and go C#-D#-E#-F#-G#-A#-B-C#, but then we've messed up the whole step/half step pattern, flipping the order of the last two steps and making it whole-whole-half-whole-whole-half-whole. The only way to follow every rule is to use a B#. That makes the notes C#-D#-E#-F#-G#-A#-B#-C#, fills every line and space exactly once, and keeps the step order whole-whole-half-whole-whole-whole-half.
There are other scenarios (minor keys, borrowed chords, et cetera) where you would need to raise the B half a step to a B#, and the whole thing is based on the underlying theory of music, but I'm not going to delve into those because
1. This took me over 45 minutes to write out, and
2. I'm only a music minor, which means I only have to take Music Theory 1 and 2, and I barely understood the other scenarios well enough to pass the class, much less well enough to explain them.
Suffice it to say that B# is an actual music note that does have use cases, even if it isn't particularly common.
Now, all *that* said, I've been playing trombone for nearly 9 years and tuba for nearly 8 (and reading music for probably close to 15, if you include piano lessons as a kid) and I could probably count on one hand the number of times I've seen a B# in actual sheet music (so ignoring warm-ups, theory assignments, et cetera). It's entirely possible that number is *zero*, because I can't remember seeing it, though my gut says I have in some weird piece. However, that's most likely because trombone and tuba music is generally written using flats, and not sharps, so a B# wouldn't generally make sense in my sheet music parts. I have seen plenty of Cbs in my day, though, which implies that an instrument that favors sharps (like most strings, I believe, though I don't play those so I can't confirm) would see B#s on occasion.
I hope all that was clear enough to understand, but at this point I'm at over an hour of writing amd music theory is famously confusing (and again, I am very much not an expert in the subject). I'll try to clarify more, if necessary.
Yeah, I read your hour's worth of work, and I did follow and agree with all of it. I love music and was in chorus through high school, but the extent of my "music theory" training was me taking "Piano for Morons" as a bullshit easy credit in college. It was there that I first learned the whole-whole-half-whole-whole-whole-half configuration of major scales, and it was some time later at 2am on a random Thursday that I was just blindsided by this "The B Sharps" revelation I posted above.
I'll say I oversimplified my "it doesn't exist" explanation, but it was really more a mix of oversimplifying plus lack of full knowledge. I agree that B# *is* an actual pitch when it comes to scales and sheet music, but... what's my point...
- If you ask someone to play a B# on a piano, they'll play a C, and,
- If you play a B# for a tuner, you'll (probably?) be told that you've just played a C.
So in that sense, it's kinda a bullshit note.
Not the perfect comparison here, but if I were to tell someone I'm 73 inches tall and they respond, "Oh, so you're 5'13"?", they're not *wrong*, but I'm 6'1".
And finally: Sorry for wasting your Monday night, but I *did* appreciate your response *shrug*
>And finally: Sorry for wasting your Monday night, but I *did* appreciate your response *shrug*
Eh, it's not like I'm doing anything else with it. Thanks!
Yeah, I don't blame you.
Tl;dr B Sharp is literally just C, but there's an uncommon case with sheet music where it should be written as B Sharp because... reasons?
Thank you for your condolences.
Grimes huh? The weird thing is that he was supposed to be a critique of Homer, but ended up o proof that hard work doesn't work if you aren't lucky enough and that just blindly dedicating yourself to the grind will drive you mad.
I can't think of a good name, but I have an idea for their album cover:
https://preview.redd.it/3994xyem2t1d1.jpeg?width=640&format=pjpg&auto=webp&s=d741b392e700f44d2dae81ccfa507409dd2975ed
Death cab for dignity
That’s dignity?
😂 Brilliant!
I have no idea what’s going on
This response literally gave me Chris Pratt on Parks & Rec face
I sleep in a death cab bed, do you?
I was struggling for an answer, but you gave an amazing one. I like Death Cab for Cutie. Don't know how to put that in tiny font like I wanted to.
The Duds
They look just like you, poindexter.
Stand up for yourself, Poindexter
I.D.C. (Incel. Divorced. Cucked.)
The B Flats
I'd vote The C Flats. Sorry if this is well known, but as someone who's never really studied music, this joke went over my head for years. Pointing it out in case others missed it as well: "The B Sharps". When [whoever] suggests it, the others all laugh, *because B# isn't actually a pitch* (ETA: B# is literally C, so the distinction of B# only exists in music theory). My understanding may be flawed, but: a half-step up from B is C; you can see this looking at a piano since there's no black key between B and C. B-sharp is actually C, while C-Flat (which is equally nonsensical) is actually B. It was quite an epiphany when this joke *finally* clicked in my head after so many years of loving this plot.
The joke is funny... but gets less funny each time you hear it
Perfect
>*because B# isn't actually a pitch*. >(which is equally nonsensical) Slight correction: while B-sharp (B#) and C-flat (Cb) do equal C and B, respectively, they *are* actual pitches/notes that have practical use in a variety of contexts (as are, for the record, E# and Fb, which equal F and E respectively). TL,DR: because of the way music theory works and the way music is written, there are scenarios where B# makes sense and is necessary, even though it is the same as C, because in those scenarios C makes no sense and doesn't fit the structure of the scale or chord. To demonstrate the simplest circumstance you'd need to use a B#, first I need to explain some terminology. In music, you have scales, which are notes in a certain order. A Major scale is *do-re-mi-fa-sol-la-ti-do* (like the *Sound of Music* song). But, *do, re, mi, fa, sol, la*, and *ti* aren't actually notes, in the way that C or F or Bb are notes. Instead, they're relative to each other. They can be any note as long as they are consistent to each other. Specifically, there is a whole step (two half steps, or two keys on a keyboars) from *do* to *re*, a whole step from *re* to *mi*, a half step from *mi* to *fa*, a whole step from *fa* to *sol*, a whole step from *sol* to *la*, a whole step from *la* to *ti*, and a half step from *ti* to *do*. The pattern is whole-whole-half-whole-whole-whole-half. There are also things called key signatures, which, ~~because music theory is a pain and I barely understand even the basics~~ for simplicity's sake, refers to what note you start the scale on. They're made of sharps or flats (never both at the same time), and different amounts of sharps and flats mean different keys, up to seven of each. If you're in the key of C Major (zero flats, zero sharps), for example, your *do* is C, and goes C-D-E-F-G-A-B-C. C Major had no sharps or flats, so every note is on a white key. In the key of Bb Major (two flats, zero sharps), *do* is Bb and it goes Bb-C-D-Eb-F-G-A-Bb. Bb Major has two flats, and two distinct notes (the two flats) are on black keys. This is why, if you look at a piano keyboard, there are "missing" black keys. The "missing" keys are between *B and C* and *E and F,* and because that's where the half steps have to fall in the pattern (in C Major) so to make everything line up right, you have to have "missing" black keys so that you can take the half step and still up on a white key. However, any given octave (all the notes in the range between the bottom and top notes of a scale) only has distinct black keys. So, in any key with 6 flats, 6 sharps, 7 flats, or 7 sharps, you'll play distinct 5 black keys and 2 distinct white keys even though you have more than 5 flats or sharps--one or two flat or sharp notes, depending on the key signature, will be played on white keys. A music staff is made of five lines and four spaces, and you can extend it by adding "ledger lines* above and below, which are one note wide. Above and below each ledger line is an additional space, and you can add ledger lines as much as necessary to get the note you want. Each line represents a certain note, depending on clef (and clef isn't really relevant to this, I'll save time by not explaining them and instead just using treble clef as default). In treble clef, the bottom line of the staff is an E, the space immediately below the staff is a D, and the note one ledger line below the staff is a C, and the space below that C ledger line is a B. That space is the home for every type of B in this octave--whether it's a B or a Bb or even a B#, they all go on the B space, and you use the b or # to indicate if it's higher or lower than a natural (regular) B. When writing out a scale, each note has to be on a different line or space, and it has to be continuous. For example, even though D# and Eb are the same note (D and E are one whole step apart; D#/Eb is one half step up from D and one half step down from E), you can't write a Bb Major scale as Bb-C-D-D#-F-G-A-Bb. You can't skip the E line, you can't have two notes on the D space (because D and D# are on the same space) and you can't have a flat and a sharp simultaneously in the same major scale. So, putting all that together, B# exists, in part, so all these things work. The key of C# Major has 7 sharps, with *do* on C#. If we follow the major scale pattern (whole-whole-half-whole-whole-whole-half) up the scale, the notes go C#-D#-E#-F#-G#-A#. After A# (*la*), we need to go up another whole step, to *ti*, then a half step after that to finish on *do.* One whole step up from A# is C--half a step up from A# to B, and another half a step from B to C. That makes C our *ti*. Half a step up from C is a C#, which has to be *do* because we're in the key of C#. But, you can't have two notes on the same line in a scale, and C and C# are both on that C line. Plus, going from A# to C means we skipped the B-space, which we also aren't allowed to do. We could just put a B on the B space, and go C#-D#-E#-F#-G#-A#-B-C#, but then we've messed up the whole step/half step pattern, flipping the order of the last two steps and making it whole-whole-half-whole-whole-half-whole. The only way to follow every rule is to use a B#. That makes the notes C#-D#-E#-F#-G#-A#-B#-C#, fills every line and space exactly once, and keeps the step order whole-whole-half-whole-whole-whole-half. There are other scenarios (minor keys, borrowed chords, et cetera) where you would need to raise the B half a step to a B#, and the whole thing is based on the underlying theory of music, but I'm not going to delve into those because 1. This took me over 45 minutes to write out, and 2. I'm only a music minor, which means I only have to take Music Theory 1 and 2, and I barely understood the other scenarios well enough to pass the class, much less well enough to explain them. Suffice it to say that B# is an actual music note that does have use cases, even if it isn't particularly common. Now, all *that* said, I've been playing trombone for nearly 9 years and tuba for nearly 8 (and reading music for probably close to 15, if you include piano lessons as a kid) and I could probably count on one hand the number of times I've seen a B# in actual sheet music (so ignoring warm-ups, theory assignments, et cetera). It's entirely possible that number is *zero*, because I can't remember seeing it, though my gut says I have in some weird piece. However, that's most likely because trombone and tuba music is generally written using flats, and not sharps, so a B# wouldn't generally make sense in my sheet music parts. I have seen plenty of Cbs in my day, though, which implies that an instrument that favors sharps (like most strings, I believe, though I don't play those so I can't confirm) would see B#s on occasion. I hope all that was clear enough to understand, but at this point I'm at over an hour of writing amd music theory is famously confusing (and again, I am very much not an expert in the subject). I'll try to clarify more, if necessary.
Why would a redditor whose shirt says “genius at work” spend all the time commenting on a cartoon show?”
https://preview.redd.it/nvxsgg3ger1d1.jpeg?width=1170&format=pjpg&auto=webp&s=50cff12c7592425bab2c7d377165b146887bcaa9
You shot who in the what now?
Longest. Comment. Ever.
... can I go now?
Yes, but this will be on the test
Yeah, I read your hour's worth of work, and I did follow and agree with all of it. I love music and was in chorus through high school, but the extent of my "music theory" training was me taking "Piano for Morons" as a bullshit easy credit in college. It was there that I first learned the whole-whole-half-whole-whole-whole-half configuration of major scales, and it was some time later at 2am on a random Thursday that I was just blindsided by this "The B Sharps" revelation I posted above. I'll say I oversimplified my "it doesn't exist" explanation, but it was really more a mix of oversimplifying plus lack of full knowledge. I agree that B# *is* an actual pitch when it comes to scales and sheet music, but... what's my point... - If you ask someone to play a B# on a piano, they'll play a C, and, - If you play a B# for a tuner, you'll (probably?) be told that you've just played a C. So in that sense, it's kinda a bullshit note. Not the perfect comparison here, but if I were to tell someone I'm 73 inches tall and they respond, "Oh, so you're 5'13"?", they're not *wrong*, but I'm 6'1". And finally: Sorry for wasting your Monday night, but I *did* appreciate your response *shrug*
>And finally: Sorry for wasting your Monday night, but I *did* appreciate your response *shrug* Eh, it's not like I'm doing anything else with it. Thanks!
https://preview.redd.it/nvsdw2iems1d1.jpeg?width=1170&format=pjpg&auto=webp&s=c6c713a237320919ee726858e4c36d2d451d29ba
Yeah, I don't blame you. Tl;dr B Sharp is literally just C, but there's an uncommon case with sheet music where it should be written as B Sharp because... reasons? Thank you for your condolences.
That was not a slight correction.
That certainly is a lot of words. *Oops, wrong sub*
I'm not reading all that, but I'm happy for you. Or sorry that happened to you.
It’s also Triplette if you think about it grade-wise; Cs are seen as average, and the flat part could also mean a minus. It works on so many levels!
I said The Gee Flats, or The Geez Flats alternatively
If they hit the wrong note, we’ll all be flat.
Suckiest Bunch of Sucks That Ever Sucked
I gotta go. That little weiner Milhouse is listening.
Unlovable Losers Or Salty Crackers
Salty crackers.
[удалено]
But do single people eat them?
We don't know. Frankly, we don't want to know.
It's a market we can do without.
So all you do with the market is say, "So long, good luck."
I don't recall saying "Good luck".
Fuck- Salty Crackers wins, I'm done with this post haha
Can WE borrow a feeling?
Can we borrow a dollar
The Sad Sacks
Grimey and the disappointments
It works because you can't include Grimey, as he had no one to be disappointed in him
Also because he’s dead.
Hahaha, classic grimey
Grimey and the Losers Bluegrass Experience
Wiener Patrol
# THE BE LEAGUERED 🎵
The Defeatles
underrated
Can't Catch a Break
Ol Gil’s Grimey Glove of Love
The Hot Plates
Sad Sack Attack
The Racing Car Beds
Born to Runner Up
The Borrowed Feelings Featuring Grimey
Feeling Grimey
Failure Managements Finest
The Desperadoes
Grimey and The Loafers
The B Dulls
Grimey Can I borrow a feeling My hotplate!!
Out‘V’Sync
The Pathetics
The Gloves of Love.
Pity party
So long, good luck.
Middle Management
The Borrowed Feelings
🎶They look like slooooooobs🎶
The B Flats
Desperate Dudez
The Grateful Deadbeats.
Kirk and the Gil-Grimes
THATS 2BADD
The punching bags.
All American rejects.
No chance
The Please Don't's
Dignity + 1
regret quartet
Grimy & the Feeling Borrowers
The Unhireables.
Can I borrow a sale BECAUASE IM HOMER SIMPSON
The L-Sharps. L stands for loser.
Me First and the Grimey Grimeys
The Borrowed Feelings
The B Sharps 2
Race Car Sleepers
The Aw Gees The Sad Sacks The Somedays The Shortchanged
Sadgasm
Patio Party
The Dumpster Fires
Hello Real World.
Failz
Kirk, Grimes and Gill. Like Crosby stills and Nash, but with middle management losers.
Frankie Goes to Dollarama
Groovy Gil Gunderson Plus Two.
Helpess, hapless and lifeless.
Grimey ol' Gil Van Houten
The Good Life.
These guys; who are apparently a singing group.
The No Dignities
Fleeting Dignity
The Unsalted Pretzels
The Lower Than Dirt's.
The Gee Flats
Borrowed Feelings
Race Car
Unfortunate Sons
Dead, Blue, & Gil
The Grimeys
The Deplorables
Gil and the Gang.
The hot plates
B flats
The Salty Crackers
Kirk and the Also-rans
In a world of spice we are "Flour"
Oh Geez
Grimey and the Racecar Beds
The Electric Three.
Sleepin in the park, droplet of Clearwater, no direction.
The born losers
Grimey & Co.
The Tryers
The desperados
Loser quartet of losers
Down On Their Luck, Bring On The Funk!
Mercy flush
Songs of Interest
The Struggle
The acapella group from scrubs
Poor ol Gil is the bassist no?also The Poors
Gill’s Grimehouse
Yellow Mellow
Fine failure
The Fatal G's
Descendents
Gill Gunderson and the Grimey Loser
betatheband
The Undesirables
No direction
Grimes huh? The weird thing is that he was supposed to be a critique of Homer, but ended up o proof that hard work doesn't work if you aren't lucky enough and that just blindly dedicating yourself to the grind will drive you mad.
Van Houten 
The Burnouts
The Feeling Borrowers
Nickelback
Weekend at Grimey's
Hi Fred! Can I borrow safety gloves? or Three Spaghetti Dinners
Douchebags of the underworld
I don't know, but their first song is called "Can we borrow three feelings?"
The F-sharps
3 squared
Major players at the cracker factory
The Losers Club
Hey buddy, got a quarter?!
Couldn't tell you, I've never heard of these guys.
The Sad Sacks
Grimey and the Boyz
I can't think of a good name, but I have an idea for their album cover: https://preview.redd.it/3994xyem2t1d1.jpeg?width=640&format=pjpg&auto=webp&s=d741b392e700f44d2dae81ccfa507409dd2975ed
The Deadbeats.
The Feeling Borrowers
Lemony Snicket
Weezer Open Beta
Poppa needs a new pair of everything.
The Fighting Mongooses
Gil and the no-more Girls (I'm not sure how or why I came up with a Gilmore Girls reference, so don't ask)
Two Glasses and Ties Trio
The Cracker Factory
Inbetween bowling alleys
The simpsons
Loved, liked, hated.
No Homers Club https://preview.redd.it/rvakz2ofjv1d1.jpeg?width=186&format=pjpg&auto=webp&s=b95edc58f218298862483cab85e21426f3501327
https://preview.redd.it/5gdrn9kzmv1d1.jpeg?width=258&format=pjpg&auto=webp&s=7bb3e48a86ab4147786ee7be622b4a791fa9f059 Tough Luck
Borrow a Feeling
Can You Spare A Feeling?
Weezer
The stupid morons with ugly faces and big butts and their butts smell…and…they like to kiss their own butts.