Why Scholars Think You Should Know The Cb and E# Notes

By Chuku Onyemachi

August 15

Cb, E#

In this lesson, I’ll be showing you why music scholars think you should know the Cb and E# notes.

C#:

…is known by almost everyone (even those who started learning yesterday). Same thing can be said about Eb:

But the moment you talk about Cb and E#, it raises eyebrows and this is because there are certain note spellings that so many musicians don’t know on the keyboard and this is because of the general perception of sharps (#) and flats (b).

Contrary to the understanding of sharps and flats, we’ll be looking at the proper definition of sharps and flats from a theoretical standpoint and after that, you’ll understand see the Cb and E# notes and understand their importance as well.

“What Are Sharps And Flats?”

Sharps and flats are symbols used in the modification of pitch. The pitch of a note is said to be modified when it is either raised or lowered.

Let’s look at these symbols closely.

A Short Note On The Sharp Symbol

The sharp symbol (#) raises the pitch level of a note by a half-step.

For example, the note C:

…can be modified by the sharp symbol (#), which raises its pitch level by a half-step. Raising C by a half-step produces C#:

The addition of the sharp symbol to the letter name of any given note, raises its pitch by a half-step.

Raising F (by a half-step):

…produces F#:

Raising G (by a half-step):

…produces G#:

Raising A (by a half-step):

…produces A#:

…and so on.

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The Flat Symbol — Explained

The flat symbol (b) lowers the pitch level of a note by a half-step. For example, the note D:

…can be modified by the flat symbol (b), which lowers its pitch level by a half-step. Lowering D by a half-step produces Db:

The addition of the flat symbol to the letter name of any given note, lowers its pitch by a half-step.

Lowering G (by a half-step):

…produces Gb:

Lowering A (by a half-step):

…produces Ab:

Lowering B (by a half-step):

…produces Bb:

…and so on.

“So, Where Are The Cb and E# Notes On The Piano?”

From our understanding of sharp and flat symbols as pitch modifiers, it’s clear that Cb and E# notes are modified from the natural C and E notes.

Cb is basically a C note:

…that is lowered by a half-step. Lowering C by a half-step produces Cb:

…while the E# note is an E note:

…that is raised by a half-step. Raising E by a half-step produces E#:

So, here is the Cb note:

…and the E# note:

Why Scholars Think You Should Know The Cb and E# Notes

The Cb note (which is rare):

…is always considered as B (which is common):

The same thing applies to the E# note:

…which is always misspelled as F:

If you’re in the league of musicians who consider Cb as B and E# as F, then you need to pay attention to two reasons why music scholars think you should know the Cb and E# notes.

Reason #1 – Cb Is The Fourth Tone Of The Gb Major Scale

In the key of Gb major:

Cb:

…is the fourth tone.

Although the Cb note is misspelled as B:

…most of the time and this is because B is the more common spelling of the fourth tone of the Gb major scale, it is important to note that the fourth tone of the Gb major scale is NOT B:

…it is Cb:

Reason #2 – E# Is The Third Tone Of The C# Major Scale

In the key of C# major:

E#:

…is the third tone.

The E# note is usually misspelled as F:

…most of the time and this is because F is the more common spelling of the fourth tone of the C# major scale. However, it is important to note that the third tone of the C# major scale is NOT F:

…it is E#:

Final Words

The use of the Cb and E# spelling is inevitable in music theory; as long as the keys of Gb major:

…and C# major:

…are in perspective.

It’s also important to note that the seventh tone of the F# major scale:

…is E#:

So, the next time you come across Cb and E#, I’m very certain they won’t raise those eyebrows anymore.