😂😂😂

NO, it's meant to confuse and make people SAD. Get with it.

@@CharlesCornellStudios Just say you hated learning to read music bro

@@Better-Piano Nuh uh, I've ALWAYS known how to read music, literally since before I could read WORDS.

@@CharlesCornellStudios Whatever, nobody believes you. Go practice.

@@Better-Piano No u

Awesome!! Hope this helps!

Thanks for watching them!

You bet, lastnamefirstname

@@Better-Piano good lessons and information as always!

"Do THIS to the following note:"

Ahhh, so that comes from Epidemic Sound and I believe it's called "Got That Feeling" by Peter Sandberg!

Indeed. Another very good reason for naming the fourth degree of G flat major as a Cb is that the key signature has 6 flats, and as there are only five black notes, it follows that's as many flats as we can achieve if we rely only on flattening white notes which have a black note immediately below them. Hence we have no alternative but to flatten one of the "other" white notes (which have white notes immediately below them). And we're in luck, because the sixth flat in a key signature is: yay! C flat. So the solution is rather elegantly built into the key signature system. I guess if he'd mentioned things like this, however interesting and useful, the clip could have grown arms and legs... But seeing as how no-one reads long comments except those with unquenchable thirst for ideas, I'll indulge myself by pointing out another elegant feature of the key signature system: it can be inferred from what I wrote above that seven must be the maximum useful number of flats (or sharps) in a key signature, because as well as only five black notes, there are only two places in the octave where two white notes are adjacent, so only two "emergency" black notes are available to supplement the five actual ones. Musicologists seem to enjoy pretending that we are at liberty to carry on by adding double (or even triple) sharps or flats to a key signature, leading to perversions like Gb minor or Db minor. I don't even know what the symbol for a triple sharp looks like.

*[screams in number notation]*

😂😂😂

He is explaining WHY those rules exist. This is helpful to a lot of people, because firstly, those rules have limited applicability. For instance, you are talking only about the two simplest scales: major and minor. There are screeds of other scales (about sixteen important ones in jazz, for instance), many of which do not have 7 notes, for starters. Secondly, if a person understands how a rule came to be needed, then they can reconstruct the rule from first principles when memory of a dry rule is not preserved. Lastly: If you insist on rules: A more useful (and more generally applicable) pair of notation rules to remember would be: 1) Intervals of a second should be represented on a line and the adjacent space 2) Intervals of a third should be represented on two adjacent lines or spaces The other intervals follow on in this way in alternation, whether major, minor or augmented in all cases. Those rules (which arise from his explanation in the clip) work at every level of musical sophistication, the ones you cited are only useful if you don't plan to progress any further than notating or recognising basic scales.

NOPE that was ME

@@Better-Piano (I meant viewer, not owner HAHA XD)