Have you noticed that the tonleiter in C-Dur goes like this C-D-E-F-G-A-H-C?
at least in hungary along with other central european countries, germany and scandinavian countries. but still, the germanophone countries being the cradle of classical music, this remark seems to be quite important. in anglo-saxon countries the scale (any set of musical notes ordered by fundamental frequency or pitch) in increasing C major is C–D–E–F–G–A–B–[C], with the bracket indicating that the last note is an octave higher than the first note. so it seems that H equals to B and B♭-> B.
What's the reason behind this?
Some say that in the late medieval system there were six normal notes, C D E F G A, and one note that had two forms, soft B (b) which was a semitone above A and hard B (♮) which was a whole tone above A. so, hard B looked a bit like an H with an added crossbar.
Nevertheless, in the school we used the french system too. Do Ré Mi Fa Sol La Si .
source: wikipedia; music.stackexchange.com
image credits: nn 1,2
at least in hungary along with other central european countries, germany and scandinavian countries. but still, the germanophone countries being the cradle of classical music, this remark seems to be quite important. in anglo-saxon countries the scale (any set of musical notes ordered by fundamental frequency or pitch) in increasing C major is C–D–E–F–G–A–B–[C], with the bracket indicating that the last note is an octave higher than the first note. so it seems that H equals to B and B♭-> B.What's the reason behind this?
Some say that in the late medieval system there were six normal notes, C D E F G A, and one note that had two forms, soft B (b) which was a semitone above A and hard B (♮) which was a whole tone above A. so, hard B looked a bit like an H with an added crossbar.
Nevertheless, in the school we used the french system too. Do Ré Mi Fa Sol La Si .
source: wikipedia; music.stackexchange.com
image credits: nn 1,2
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