The pre-filled row on major scale worksheet for the key of Eb has a mistake. The 4th is listed as A not Ab. It is correct on the complete sheet.
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@lankytoreador Hello and welcome to the community.
The worksheet has the alphabetical letters entered to start … you need to add the correct accidentals where needed.
Thanks for taking the time to report, though this is by design, not in error.
Thanks for clarifying Richard. The fact the row for the key of A was filled in also with all the correct #s made me believe the key of Eb was complete also.
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The last row starts with a C flat, is this a mistake?
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No. Theoretically possible but unlikely to be used. And good scale to test your understanding of the theory.
Welcome to the Community.
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I need to know the G# Major scale for an exercise. The only problem is - I have no idea where that was covered in the PMT course. I don’t remember it (which given my memory is not surprising in the least).
The way I worked it out it should look like this:
G# A# C C# D# F G G#
I looked it up online and this is the form:
G# A# B# C# D# E# F## G#
Yeah, ok. I can see how that is derived but I don’t understand the theory as to why?
Anyway, looking for clarification.
Thanks.
Take the G major scale and put a sharp symbol after each and every note. Including the already sharp F# making it double sharp.
That is a quick one-step of using what you know to figure out what you don’t know.
Or, do it from first principles using the major scale forma and the note circle - which are definitely in the theory course.
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Also, each “letter” has to appear once and only once in the scale, so no sequences like C - C# or G - G# and leaving the E out altogether.
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I like to think about this from first principles (like Richard mentions).
Every major scale must have some sort of each note. In this case some sort of G, some A, some B etc. So you can start by writing G, A, B, C, D, E, F. Now you know the G has to be G#. Then apply the T, T, S, T, T, T, S formula of a major scale to work out any other sharps and flats.
A tone up from G# gives you A#. Another tone could take you to C, however you know it must be some sort of B, so its B# etc.
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Why are there only 2 sharp keys on the worksheet? I only see F# and C#. So that leaves out A#, D#, and G#. I get it that Bflat and so on are the same notes but my completionist head can’t get around the why of missing these sharps.
Can someone explain that for me?
Also, when i click the read full discusion button the page i get sended to is not loading. I just get collored dots in the middle of the screen and that’s it.
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I guess it is for saving some space and avoid information overload. Also, you will notice that the notes of the A# major or any other “x#” major scales are the same as those of the natural major scales, only raised by 1 semitone. E.g. in A major you have A B C# D E F# G#; in A# major you just need to raise all these notes by 1 semitone and make sure you use each “letter” only once as usual.
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Hello Wim,
Once you get to C#, you have a major scale that contains all sharps.
If you move past the C#, and continue to name/see them in this fashion - A#, E#, G#, D#, etc, then you start to run into double sharps, and theoretical keys.
Much more efficient, and practical , to denote the above as flat keys.
Cheers, Shane
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Welcome to the Community @Wammus
Sharp keys are seldom used because most contain double sharps.
In real life, the Key of B Flat will be used in preference to the Key of A Sharp.
A Sharp has four # notes and three ## notes.
That is horrible to use and communicate with.
B Flat two flat and five natural notes.
It is much more user friendly.
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on the circle of fifths there is no c flat so what note is a tone from c flat
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so Big Cats Eat Fast not flat, meaning C flat and F flat are just C and F ?
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Cb and C# can be thought of as the furthest extreme in two directions from C itself.
C → no sharps, no flats, all natural notes
Cb → all flats, no naturals
C# → all sharps, no naturals
Cb is enharmonically equivalent to B.
C# is enharmonically equivalent to Db.
One tone distance from Cb in both directions:
Bbb ← Cb → Db
One tone distance from C# in both directions:
B ← C# → D#
One tone down from the root arrives at a note not in the major scale, the b7.
Taking enharmonics into consideration, wouldn’t these be
Bbb ← Cb → Db and B ← C# → D# ?
Cb is enharmonically equivalent to B, and Fb is enharmonically equivalent to E. There’s only a semitone from B to C and from E to F.
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Yes, thanks Jozsef.
I was thinking of notes in the major scale, not a whole tone below the root.
I have corrected my error with an additional comment too.
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I guess my question I had is already answered, but this is the first time in the music theory course that we are faced with the existence of B# or Cb, E# or Fb. I lost like 1h redoing the matrix over and over. I actually ended up asking my daughter (she plays piano) about this and she told that yes Cb is equivalent to B, thats why I ended up coming to the forum to check. It would probably help with Justin gave a small hint on this (on the video or on the lesson description).
Coming from computer programming this would actually make a lot of sense. Even a Cbbb eventually being an A or a Cbbb# being an A# (but this is me being carried away with looking of b’s and #'s as programming operators 
).
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