I've been trying to understand this forever. This was the clearest explanation I've ever seen. Thanks! I'm currently attending Berklee and a lot of my professors actually hate double accidentals and tell us not to use them. I get why they make sense theoretically but tend to agree that they're more trouble than they're worth, especially when you're just trying to read a chord chart. B D# G seems quicker.
in my opinion...THIS IS BY FAR THE BEST VIDEO I"VE SEEN FOR MUSIC THEORY! very thorough and easily grasped..PLEASE if you havent already make more about Root Positions, Triad Inversions, Chord Progressions (I, IV, V) and Diatonic Chords in Major Keys. This would be very helpful for students like myself..Thank You Sir! :)
One of the best explanations I've ever heard! Thank you. I get why they are needed in scales (all letter names need to be present) and in chord naming but for singers and players in reality it still seems easier to score the note that is easiest to read, sing, play etc. This is where the confusion for me comes in. Also, as some inversions become other chords it can be hard to know if it's an aug. chord or an inversion of something else.
Hi, I've begun playing classical pieces, Chopin now. I've never had theory lessons. Only lessons as a youth to read my elementary piano music. I went on from there on my own playing popular music my day... Shadow of your smile,Yesterday, Mercy Mercy, (cannonball Adderley) Somewhere my love, etc. But at this time of my life, my taste is classical. Therefore learning backward as it were. Currently, Chopins Op.63, No. 3 Mazuka of course the double sharp occurs. Thank you for this video.
i am a junior in high school taking ap music theory and this helped so much!!! we didn't have a lot of time to cover this in class and this video definitely helped me understand these confusing notations! thank you so much!
Nicely done Tim. Are double sharps not written as two ## because back in the 10th and 19th centuries the cost to reprint music was based on characters on the score, and it was therefore less expensive to reprint… much like why figured base was established?
Great explanation. I've seen a lot of vids and your explanation is one of the clearest, by far: you really delve into the theory. That being said, one needs to know chord theory, otherwise it doesn't make any sense. Thank you.
Exactly. In my theory studies I came across this while talking about enharmonic spellings so I get how they work, I just didn't understand why. And how to figure out when to use them I'm just going to have to wait until I get to chord theory. At least having come across it now I'll be a little more prepared for that.
So basically the human brain is wired for pattern recognition and double sharps and double flats are more in keeping with a consistent visual patterns of notes (e.g. intervals, chords) across key signatures.
I have a question if in scale do you not play the double sharp, delete the sharp and play the note natural. Btw I am in G# minor harmonic. Thank you for explaining this to me it helped a lot.
Is the Db minor scale this: Db, Eb, Fb, Gb, Ab, Bbb, Cb, Db (This is my thinkings) The 'A' can't be notated as an A because there's already an Ab in the scale so it needs to be Bbb Also the third degree can't be an E because there's already an Eb so it must be Fb Even though thats a bit weird to call it that And the 7th can't be a B because you have the Bbb Am I correct in all of this?
Before I found this video, a song I was perusing was in the key of Eb (I don't remember the song, sorry). The melody went to a B double flat and the next note was Ab! Now, what is that note called when it's already flatted because of the key signature, and if it's Ab why aren't there just two Abs? And yes, I understood your explanation but I really would like music to be more simplified so I remember it.
They shouldn't be called double sharps and flats. Raise an "f" a half step by a sharp sign and it's called "f-sharp". Raise an f-sharp by a half step, it should be called f-sharp sharp. Calling it double sharp seems like it was raised twice when it wasn't. It's already an f-sharp, a totally different pitch than an f. And it's raised a half step. The elements are the tone f-sharp, and the function of the next sharp is just to raise that tone 1/2 step. Theoretically, if the pitch was called h instead of f-sharp, it would be h raised to h-sharp. I think there would be far less confusion if we called the tones f-sharp sharp or whatever letter they are and b-flat flat and such. They aren't double flats or double sharps at all. They're essential for reading the proper chords and knowing what scale and key you're in.
You call a double sharp “g” a g when in truth, the sound is a “c.” It can be called a “double sharp g” & a “c” but it should not be called a “g” as that’s untrue.
I've been trying to understand this forever. This was the clearest explanation I've ever seen. Thanks!
I'm currently attending Berklee and a lot of my professors actually hate double accidentals and tell us not to use them. I get why they make sense theoretically but tend to agree that they're more trouble than they're worth, especially when you're just trying to read a chord chart. B D# G seems quicker.
in my opinion...THIS IS BY FAR THE BEST VIDEO I"VE SEEN FOR MUSIC THEORY! very thorough and easily grasped..PLEASE if you havent already make more about Root Positions, Triad Inversions, Chord Progressions (I, IV, V) and Diatonic Chords in Major Keys. This would be very helpful for students like myself..Thank You Sir! :)
6 years later and this recording is still helping learners like me. Thank you!
Hello students!
Last day on the largest sale of the year for all my music courses:
goo.gl/A3UGy6
Double-sharps and flats also turn up in the scales for Cb, Fb, B#, and E# :)
One of the best explanations I've ever heard! Thank you. I get why they are needed in scales (all letter names need to be present) and in chord naming but for singers and players in reality it still seems easier to score the note that is easiest to read, sing, play etc. This is where the confusion for me comes in. Also, as some inversions become other chords it can be hard to know if it's an aug. chord or an inversion of something else.
Hi, I've begun playing classical pieces, Chopin now. I've never had theory lessons. Only lessons as a youth to read my elementary piano music. I went on from there on my own playing popular music my
day... Shadow of your smile,Yesterday, Mercy Mercy, (cannonball Adderley) Somewhere my love, etc. But at this time of my life, my taste is classical. Therefore learning backward as it were. Currently, Chopins
Op.63, No. 3 Mazuka of course the double sharp occurs. Thank you for this video.
i am a junior in high school taking ap music theory and this helped so much!!! we didn't have a lot of time to cover this in class and this video definitely helped me understand these confusing notations! thank you so much!
Nicely done Tim. Are double sharps not written as two ## because back in the 10th and 19th centuries the cost to reprint music was based on characters on the score, and it was therefore less expensive to reprint… much like why figured base was established?
Next up: the double natural
Next up: the flat sharp
double natural is a thing
Great explanation. I've seen a lot of vids and your explanation is one of the clearest, by far: you really delve into the theory. That being said, one needs to know chord theory, otherwise it doesn't make any sense. Thank you.
Exactly. In my theory studies I came across this while talking about enharmonic spellings so I get how they work, I just didn't understand why. And how to figure out when to use them I'm just going to have to wait until I get to chord theory. At least having come across it now I'll be a little more prepared for that.
Great explanation. I have always wondered why you see B sharps and E sharps sometimes.
So basically the human brain is wired for pattern recognition and double sharps and double flats are more in keeping with a consistent visual patterns of notes (e.g. intervals, chords) across key signatures.
Very helpful. Trying to score music and this really helps. Thanks!
I have a question if in scale do you not play the double sharp, delete the sharp and play the note natural. Btw I am in G# minor harmonic. Thank you for explaining this to me it helped a lot.
Man , 1000 thx - really super clear !!! which I heard stuff like this 20 years earlier !
OK, but If there is already a G# in the key signature, and there's a double sharp before a G note in a bar, so do I sharp the note three times?
Wow ! What great information. Thank you again.
Is the Db minor scale this:
Db, Eb, Fb, Gb, Ab, Bbb, Cb, Db
(This is my thinkings)
The 'A' can't be notated as an A because there's already an Ab in the scale so it needs to be Bbb
Also the third degree can't be an E because there's already an Eb so it must be Fb Even though thats a bit weird to call it that
And the 7th can't be a B because you have the Bbb
Am I correct in all of this?
Db Major scale: Db, Eb, F, Gb, Ab, Bb, C, Db
Db Natural Minor Scale(theoretically only): Db, Eb, Fb, Gb, Ab, Bbb, Cb, Db
Db Harmonic Minor Scale (theoretically only): Db, Eb, Fb, Gb, Ab, Bbb, C, Db
Db Melodic Minor Scale (theoretically only): Db, Eb, Fb, Gb, Ab, Bb, C, Db...(ascending)
Db, Cb, Bbb, Ab, Gb, Fb, Eb, Db...(descending)
Before I found this video, a song I was perusing was in the key of Eb (I don't remember the song, sorry). The melody went to a B double flat and the next note was Ab! Now, what is that note called when it's already flatted because of the key signature, and if it's Ab why aren't there just two Abs? And yes, I understood your explanation but I really would like music to be more simplified so I remember it.
Good explanation but why do we need them in scales?
Super simply explained. Thanks!
Supposedly, the double sharp actually _can_ be written like this: ♯♯ but it isn't practical which is probably why it is basically unused.
They shouldn't be called double sharps and flats. Raise an "f" a half step by a sharp sign and it's called "f-sharp". Raise an f-sharp by a half step, it should be called f-sharp sharp. Calling it double sharp seems like it was raised twice when it wasn't. It's already an f-sharp, a totally different pitch than an f. And it's raised a half step. The elements are the tone f-sharp, and the function of the next sharp is just to raise that tone 1/2 step. Theoretically, if the pitch was called h instead of f-sharp, it would be h raised to h-sharp.
I think there would be far less confusion if we called the tones f-sharp sharp or whatever letter they are and b-flat flat and such. They aren't double flats or double sharps at all. They're essential for reading the proper chords and knowing what scale and key you're in.
Benjamin Smith well no
Still find it a bit confusing in relation to intervals.
Why not just call it basic chord with improvements on the xx'th note?
Charlie puth at 1st sight.😄
Thanks for the lesson,sir.
This dude looks like Charlie puth 😂
You call a double sharp “g” a g when in truth, the sound is a “c.” It can be called a “double sharp g” & a “c” but it should not be called a “g” as that’s untrue.