(the third or the lowest point below a note) What is the note in B major? Which is an octave above B major? And on it goes.
But what if we have a number of notes that are more than one octave above the original? How do we know what they are exactly? In an article entitled “Why do people make the same mistake over and over again?” from the Journal of Laxmi Singha and David W. P. Jorger, I have discussed these issues in depth. What I have tried to point out is that the basic unit of information here is not the scale of note names, but the note-count of a scale. Why? Because there are two basic units of information, which are both related and in common use, and which serve equally well in determining pitch at higher and lower pitches. It is the number of notes between two pitches, not necessarily the note names that determine pitch at high and low pitches (i.e., the number of notes in a whole scale). And, for good measure, I am referring to the number of notes between two notes, and not to the number of notes in a complete scale.
It is very interesting to see how two different ways (and different interpretations) are used to classify notes within a scale; in this case between the first and second notes of a note. For example, if C major is divided into two notes, the first note is marked “D minor,” the second note is marked “E minor.” However, I find that if one were to categorize the notes as “sharp,” “flat” or “fretless” this would not be the way to classify them, because, if a “sharp” or “flat” is placed between an E7 and Bb7, the notes would become equal and, in an interval of A major, the interval of B minor would be D 7 – E 7 . . . but a note between these two and an E major would not necessarily be F# major. The same goes with the “flat” notes in the next note of a C, but, if a D major is divided into two notes, the first one remains sharp and the second one remains flat.
In order to classify notes, the basic units of information are either marked with a letter or a number. For example, E is divided into three tones, and G and A are marked “sharp,” “flat” or “fretless.” But, in the example
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