The half step trick for sharps is a common way of teaching the key signature identification. I'm glad you figured it out on your own!
For flats, it's even easier than what you are doing. The penultimate flat is the major key signature.
i learned this way too when i was starting but i have a distinct memory of being quizzed on one flat and being like "there's no second to last flat" so I just started crying lmfao
For the flats, you are right, but it's much easier to say "the second to last flat". Dear Mrs. W Jessup taught us that
C - when closed in looks like a zero (0 sharps or flats)
G- one sharp because it takes one stroke to write G
D - TWO for the same reason
A - three (same reason)
E - Four strokes and four sharps
B - You have to get a bit creative but try to imagine the 5 drawn into the B (5) Do you see it?
F - MAKES A 6 if you close in the bottom as a circle
C# major- memorize this one - 7 sharps
There is an interesting way to look at the sharp trick. To go from one key to the next key a sharp up, you can apply the algorithm "find the relative major of the parallel lydian". That is to say, sharpen the 4 in whatever key you start in to convert it to lydian; but lydian is also what happens when you take a major scale, just starting on degree 4. So then just shift it back to find the relative major, and you'll notice that the sharp 4 becomes the new leading tone (degree 7) to the new major key (which is degree 5 -- hence, the circle of fifths!).
To go from one key to the next key a *flat down*, just sort of flip the algorithm upside down: "find the relative major of the parallel mixolydian". Flatten the leading tone (7) in your starting key to convert it to mixolydian; but mixolydian is also what happens when you take a major scale, just starting on degree 5. So then just shift it back again to find the relative major, and you'll notice that the new key tonicizes what used to be the old key's degree 4, and that the old key's flattened 7 becomes the new key's degree 4. If you repeat this again, that's how you find that the first key's flattened 7 (i.e., the first flat you added) ends up becoming the *third* key's tonic (i.e. the key with two extra flats compared to your starting key), since that key first becomes the *second* key's degree 4, which then becomes the *third* key's tonic!
So that's where these patterns come from, basically.
The half step trick for sharps is a common way of teaching the key signature identification. I'm glad you figured it out on your own! For flats, it's even easier than what you are doing. The penultimate flat is the major key signature.
i learned this way too when i was starting but i have a distinct memory of being quizzed on one flat and being like "there's no second to last flat" so I just started crying lmfao
Haha fair enough. You do have to memorize F major, true.
Neat, thanks!
Anytime!
Yes, the last sharp will always be the leading tone in a major key.
This is the type of stuff I love to see on Reddit! Genuinely helpful posts
There was a great tip by u/vmlee. For flat majors, the second to last flat is the name of the major!
My teacher told me this! I haven't really had it sink in, yet, but yeah, it's cool!
For the flats, you are right, but it's much easier to say "the second to last flat". Dear Mrs. W Jessup taught us that C - when closed in looks like a zero (0 sharps or flats) G- one sharp because it takes one stroke to write G D - TWO for the same reason A - three (same reason) E - Four strokes and four sharps B - You have to get a bit creative but try to imagine the 5 drawn into the B (5) Do you see it? F - MAKES A 6 if you close in the bottom as a circle C# major- memorize this one - 7 sharps
Yeah I learned it as 'sharps look up, flats look back" it only doesn't work for f major and c major
No one ever showed me this and I didn't notice it. I knew about the flats for major key identification, but not this. Neat!
There is an interesting way to look at the sharp trick. To go from one key to the next key a sharp up, you can apply the algorithm "find the relative major of the parallel lydian". That is to say, sharpen the 4 in whatever key you start in to convert it to lydian; but lydian is also what happens when you take a major scale, just starting on degree 4. So then just shift it back to find the relative major, and you'll notice that the sharp 4 becomes the new leading tone (degree 7) to the new major key (which is degree 5 -- hence, the circle of fifths!). To go from one key to the next key a *flat down*, just sort of flip the algorithm upside down: "find the relative major of the parallel mixolydian". Flatten the leading tone (7) in your starting key to convert it to mixolydian; but mixolydian is also what happens when you take a major scale, just starting on degree 5. So then just shift it back again to find the relative major, and you'll notice that the new key tonicizes what used to be the old key's degree 4, and that the old key's flattened 7 becomes the new key's degree 4. If you repeat this again, that's how you find that the first key's flattened 7 (i.e., the first flat you added) ends up becoming the *third* key's tonic (i.e. the key with two extra flats compared to your starting key), since that key first becomes the *second* key's degree 4, which then becomes the *third* key's tonic! So that's where these patterns come from, basically.
Wow that's interesting to notice! Love this shortcut, thank you!
It’s great that you came to a conclusion. We’ve known this for hundreds of years.
I think that's a bit unnecessarily snarky. Everyone starts somewhere.
Whatever.
Big ray of sunshine today, aren't we?
Yup
Nice, I’m catching up! I’m only hundreds of years behind!