Remembering Sharps and Flats

Is this the right place for this?

My professor wants me to learn chord progressions (I, V7, IV, I, etc.) chromatically. Problem is remembering all those sharps/flats. I actually did them for her last semester but now they're just gone from my head and long forgotten. Of course there's no problem remembering the keys in which I know the scales of...but C#, D#, Eb, and so on...

So for Andrew or anybody...is there like a pattern or an easier to way to remember them? (For major and maybe minor keys too) And yes, I do have that circle of fifths cheat sheet in my folder. It's just hate to keep looking at it.

Dalirus wrote:Is this the right place for this?

My professor wants me to learn chord progressions (I, V7, IV, I, etc.) chromatically. Problem is remembering all those sharps/flats. I actually did them for her last semester but now they're just gone from my head and long forgotten. Of course there's no problem remembering the keys in which I know the scales of...but C#, D#, Eb, and so on...

So for Andrew or anybody...is there like a pattern or an easier to way to remember them? (For major and maybe minor keys too) And yes, I do have that circle of fifths cheat sheet in my folder. It's just hate to keep looking at it.

My advice to you is ^_^ remember "Father Charles Goes Down And Ends Battle" And remember it backwards as well

Then after memorize your circle of fifths completely! So well you don't need to look at the paper anymore, AND while you're doing that, start playing all those different scales on the piano to further help you memorize it! After all that, you should know it pretty well! I know it seems like a lot of work, but anything worth anything in life takes some work.

Would it be more productive, say I work on major scales today, minor scales tomorrow, major flats the next day, and so on...instead of trying to learn them all at once and make your brains explode?

Dalirus wrote:Would it be more productive, say I work on major scales today, minor scales tomorrow, major flats the next day, and so on...instead of trying to learn them all at once and make your brains explode?

You'd think so, I actually used to think that was the best way. But, if you only do majors then it's like trying to do much of one thing. By the time you come BACK to majors you've most likely forgotten them already. So it's best to do a small amount of everything, that way nothing gets left out, PLUS you're not doing the same motion over and over again. It's a more balanced approach ^_^

That actually makes perfect sense. No wonder I can't do A major scales fast lately because lately I've been concentrating on harmonic minor scales.

Dalirus wrote:That actually makes perfect sense. No wonder I can't do A major scales fast lately because lately I've been concentrating on harmonic minor scales.

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NOW you're getting it ^_^

I've been reading a berklee theory on harmony and i'm confused. I had the idea that a flat or sharp only affects the note where it shows, and that's also what is said, but then why is it also said that these need to be canceled so the note returns to the unaltered condition?

phobik2000 wrote:I've been reading a berklee theory on harmony and i'm confused. I had the idea that a flat or sharp only affects the note where it shows, and that's also what is said, but then why is it also said that these need to be canceled so the note returns to the unaltered condition?

There are two way notes can be effected. One is with key signature and the other with direct accidental signs like flat, sharp and natural.
I am sure the theory book mention the natural sign. In case that appear the notes return to their unaltered version in case of the key signatures.

There is one more thing worth mentioning. If your are in lets say G major (#) and you see a # sign in front of a C then that C is altered to C#. If there is an other C in the same measure but you dont see a # or natural sign in front it still means that C will be altered by #.
Anywhere else in the piece the other C or other notes are not changed and only obey the key signature.

I hope I answered your question ( and I hope I was understandable)

Maggies right:) she answered this question for me! thanks!

Admin Andrew wrote:Maggies right:) she answered this question for me! thanks!

Thanks for the confirmation It is always nice to hear Im right

I read that also. I wasn't aware of that "continuous" effect for the measure. And I find it quite strange tbh. Damn classic-non-illogicals

Btw, how about those intangible scale designations? C major is C or Cmaj, but minor is C-, but -7 is dminished? WTH? It's crazy (note sure I got it right, but you should know what I mean!)

Well Im sure Andrew know what you meant... I am not good on those special scales and chords... ( yet - hopefully )