I would invite the OP to read a basic book on music theory, any good undergrad-level text should do, before stating some of the "facts" he is making, which are

I would invite the OP to read a basic book on music theory, any good undergrad-level text should do, before stating some of the "facts" he is making, which are just untrue. For one thing, the author is confusing physical pitches with musical notes. C double-sharp exists and is enharmonic to D, for example, because the frequencies are the same. But these are very different notes in a musical context. There are many examples of this in the article that would be cleared up by a basic understanding of music theory that all music students complete, many of whom do this in piano lessons growing up long before graduating from highschool. I admire the effort, but I often see people analyze music from a perspective that is not actually that of a musician, and there are always huge gaps in the understanding that needn't be there if they sought a basic knowledge of the matter. Example: > For some reason I don't totally understand, some have 2 names (e.g. C#=Db, D#=Eb, F#=Gb, A#=Bb). Fair enough, you don't understand this, so that should be a clue that more knowledge is necessary before making this claim: > There is also no E#. It just doesn't exist. Get used to it. Those are the 12 notes. Incidentally, it goes much further than this, and for good reasons. F is the same pitch as E# and G-double-flat, but all three are distinct musical notes which serve different purposes. There's also C-flat, B, A-double-sharp. And B#, C, D-double-flat, etc.