Sorry bros! Because of negative reactions, let me say that tomorrow. it's so easy and will be settled in your memory for ever and does not need circle of 5th or anything and is appropriate for keyboard players.

I don't know where you can use it but works fine for either of sharps and flats.

 

Last edited by a moderator: Mar 7, 2016

Give it a break man... Set the controls for the heart of the sun.... numerical equations is not a substitute for no talent.....

 

This right here should've been enough for you to stop.

Coming up with uneeded solutions for problems that don't exist in matters that you don't understand. Amazing effort.

 

As you know there are 7 key signatures with sharps and 7 key signatures with flats. Please look at your midi keyboard examining this. All of the sentences are almost the same but for description, I repeated them. This reminds me of two forms of whole-tone scales.



1- Put C=0 and C#=7.



2- Start from C=0 and count 2 by 2.

.The first key is C and because its size is 0, it has nothing in its key signature -----> C Major = 0

.The next key is D and because its size is 2, it has 2# in its key signature -----> D Major = 2#

.The next key is E and because its size is 4, it has 4# in its key signature. -----> E Major = 4#

.The next key is F# and because its size is 6, it has 6# in its key signature. -----> F# Major = 6#

.The next key is G# and because its size is 8, it should has 8# in its key signature but we don't have any key signature with 8# so we simply write it in this way (8=12-4). Because of minus sign sharps are converted into flats and we change the key of G# to Ab -----> Ab Major = 4b

.The next key is A# and because its size is 10, it should has 10# in its key signature but we don't have any key signature with 10# so we simply write it in this way (10=12-2). Because of minus sign, sharps are converted into flats and we change the key of A# to Bb -----> Bb Major = 2b



3- Start from C#=7 and count 2 by 2.

.The first key is C# and because its size is 7, it has 7# in its key signature -----> C# Major = 7#

.The next key is D# and because its size is 9, it should has 9# in its key signature but we don't have any key signature with 9# so we simply write it in this way (9=12-3). Because of minus sign, sharps are converted into flats and we change the key of D# to Eb -----> Eb Major = 3b

.The next key is F and because its size is 11, it should has 11# in its key signature but we don't have any key signature with 11# so we simply write it in this way (11=12-1). Because of minus sign, sharps are converted into flats -----> F Major = 1b

.The next key is G and because its size is 13, it should has 13# in its key signature but we don't have any key signature with 13# so we simply write it in this way (13=12+1) -----> G Major = 1#

.The next key is A and because its size is 15, it should has 15# in its key signature but we don't have any key signature with 15# so we simply write it in this way (15=12+3) -----> A Major = 3#

.The next key is B and because its size is 17, it should has 17# in its key signature but we don't have any key signature with 17# so we simply write it in this way (17=12+5) -----> B Major = 5#


4- 11 key signatures were identified by above method and 3 keys (Cb, Db, Gb) remained. They are so easy.

.Cb is equal to B. From above, B has 5# and because Cb is flat in its nature we simply write it in this way (5=12-7) -----> Cb Major = 7b

.Db is equal to C#. From above, C# has 7# and because Db is flat in its nature we simply write it in this way (7=12-5) -----> Db Major = 5b

.Gb is equal to F#. From above, F# has 6# and because Gb is flat in its nature we simply write it in this way (6=12-6) -----> Gb Major = 6b








For simplicity:
(1)
C = 0 ----->0
D = 2 ----->2#
E = 4 ----->4#
F# = 6 ----->6#
Ab = 8 = 12 - 4 ----->4b
Bb = 10 = 12 - 2 ----->2b

C# = 7 ----->7#
Eb = 9 = 12 - 3 ----->3b
F = 11 = 12 - 1 ----->1b
G = 13 = 12 + 1 ----->1#
A = 15 = 12 + 3 ----->3#
B = 17 = 12 + 5 ----->5#

3 keys remain.
Cb = B(5#) = 12 - 7----->7b
Db = C# (7#) = 12 - 5----->5b
Gb = F# (6#) = 12 - 6----->6b




or




(2) From black keys, just C# and F# have sharps.
even
C----->0
D----->2#
E----->4#
F#----->6#
Gb----->6b
Ab----->4b
Bb----->2b

odd
Cb----->7b
C#----->7#
Db----->5b
Eb----->3b
F----->1b
G----->1#
A----->3#
B----->5#

 

Last edited by a moderator: Mar 9, 2016

Theory Helps and is a great tool. Does it make music?
Find a way that works for u because most theory been around for centuries and is inconsequential unless u need to link B7 (blah, Blah Balh).
In the, many decades this has in many places become stagnat.
Off course study theory. It opens up avenues that let u express your note choice in different ways. It makes you a more rounded musician. Does it matter????? NO.
Many Artists make great music without any knowledge. (Is that because they don't know "correctness". IMHO no.
Think about your direction and what you need to get you directed towards your expression musically.
Say what "you" want to say not what established protocols tell u to do.
If u follow that path if becomes another boring pentatonic scale-extraveganza.
Search outside ideas & make those bits fit what you actually mean to represent.

Good luck to most because coz it's hard!!

 

I am working on a simple way for memorizing below table. It's so easy. It would help you for better studying and practicing the tonal and modal theories. This table is based on the "Circle of 5th" but forget it because mine needs nothing (neither the chromatic circle). But for better explaining it you would need to know my previous post.

 

In my previous post, I showed a method for specifying the number of accidentals of any key signature but "each key has which accidentals" remained. In this post I describe a method for determining them. If you know them, creating chords based on the scales' tones and modulations would be done so confidently.

We just need to know the keys (C, D, E, F, G, A, B). Other keys are just sharp or flat versions of the mentioned keys.


We start from "C Major" scale.

1 - "C Major" scale is simple. No accidentals. ----------> "C Major" scale = C D E F G A B

2 - "D Major" scale has 2 accidentals (2=1+1). What does (1+1) mean? It means that "D Major" scale has 1 accidental before D (=C#) and 1 accidental after D (=E#). As you know we do not have E# note in the keyboard. So we change it to F# . ----------> "D Major" scale = D E F# G A B C#

3 - "E Major" scale has 4 accidentals (4=2+2). What does (2+2) mean? It means that "E Major" scale has 2 accidentals before E (=C#, D#) and 2 accidentals after E (=F#, G#). ----------> "E Major" scale = E F# G# A B C# D#

4 - "F Major" scale has just 1 flat accidental (=Bb, simply memorize it). ----------> "F Major" scale = F G A Bb C D E

5 - "G Major" scale has 1 accidental before G (=F#). ----------> "G Major" scale = G A B C D E F#

6 - "A Major" scale has 3 accidentals (3=2+1). What does (2+1) mean? It means that "A Major" scale has 2 accidentals before A (=F#, G#) and 1 accidental after A (=B#). As you know we do not have B# note in the keyboard. So we change it to C# . ----------> "A Major" scale = A B C# D E F# G#

7 - "B Major" scale has 5 accidentals (5=3+2). What does (3+2) mean? It means that "B Major" scale has 3 accidentals before B (=F#, G#, A#) and 2 accidentals after B (=C#, D#). ----------> "B Major" scale = B C# D# E F# G# A#


That's it.


Other keys can be resulted from above 7 keys. For example:

"Cb Major" scale = b"C Major" scale = b (C, D, E, F, G, A, B) = Cb, Db, Eb, Fb, Gb, Ab, Bb

or

"C# Major" scale = #"C Major" scale = # (C, D, E, F, G, A, B) = C#, D#, E#, F#, G#, A#, B#



This method can be easily applied to the modes. I'll post it later.

 

Last edited by a moderator: Mar 23, 2016

Thanks, my music sounds much better now with your method.

You're great at coming up with solutions to problems that don't exist.

 

Foster do u play an instrument or some kind of teacher?

Are u like compiling some kind of strange universal book or something?

Not like trying to be down on anything at all but not quite sure what you are attempting to achieve with this?

Maybe if I knew i'd get the point. Probably my fault but was just unsure as to where it is all leading

 

Yes and no

Yes and no

Nothing except memorizing

Human science or humanities (languages, literature, music, philosophy, history, religion, and the visual and performing arts) base is not mathematics so 2 choices remain for them. 1- memorizing with practicing, 2- memorizing with man-made inventions. Second one just shortens the period with simple formulas.

 

Last edited by a moderator: Mar 24, 2016

This post is just to much. It should never be ok to treat other members like this, IMHO.

 

@duskwings
Please look at our likes! They are the same. What does that mean? Does that mean we get to a conjunction point after all divergences?

 

Dear @duskwings!
I always appreciate all of your attentions to my OK BS. But accept that there is no inconsistency and contradiction between studying and memorization.

 

Last edited by a moderator: Mar 24, 2016

No time, I just do them during my study and practicing.

Shortcuts no, just some hints for better memorization and nothing else. If I give up music for 10 years and come back again, with those hints I can remember the things so fast. Hints speed up the learning.

What you say is making things inherent to the mind and soul by practicing and studying. Yes I believe in you so deeper than my searching for hints but sometimes for getting to a confident point in short time without re-thinking every time, some simple hints are so useful.

There is no dead end. Destination of all of us is obvious. Making pleasant and enjoying music. But maybe our path would differ to some angle.

 

Ever thought that maybe there's a reason why you're the only one approving your own methods? How can you, as a beginner, be the one deciding what's important and how things should be thought out?

You're trying to be the racecar driver who writes a book on car aerodynamics but doesn't even know how to drive a car... yet he insists that knowing aerodynamics is what will give him 1st place.


Yes foster911, you're being tremendously stupid and probably misleading other beginners who will be turned off by your crap because they don't know that you're just a noob trying to make up things to teach other people.

 

@duskwings here we go again ... hot blooded paisano...

and @kouros ..
( are you a frog.. a hot babe, a motorcyle racer, or a black jazz man, or all of the above ? )

Somehow foster seems on a path to become one of those Phd. music professors
who will torture students with obtuse theories in a grand university someday..
should we dissuade him from his destiny ?

 

I changed it again to make it easier for people to find the AudioSex Metal Album threads.

 

No I am not torturing anyone. The only torturing things are the rigid theory books. I just try to find simple ways for learning them better and faster. You can test my hints even on pre-elementary students.

How much materials about the scales' keys exsist on the web? By testing mine, you'd see that it's so easier and simpler than most of them. I am sure you have not read even one of my posts.

 

Last edited by a moderator: Mar 24, 2016

@foster911 I have tried to read more than ONE of your posts.. I just don't get very far before my eyes glaze over !!

 

An accidental is a note of a pitch (or pitch class) that is not a member of the scale or mode indicated by the most recently applied key signature.

From the above definition, in C Major, any note that player is hitting (C# or any sharp/flat for that matter) is automatically an accidental. An accidental can be flat, sharp (black keys), or natural (white keys). Are you sure you have your music theory straight, before teaching your wisdom to others?