![]() Often I have tried to explain the cycle of fifths and how you can work out key-signatures, to pupils just starting to learn music theory, and then realised that it is easier for them to learn a few key-signatures first, and then apply the rules later, to help them learn the rest. There are, of course, patterns and rules for the sharps and flats used in different key-signatures, but if you have learnt the key-signatures, you can then look for and understand these patterns and rules.īTW, I am certainly not advocating learning by rote without understanding. ![]() (Of course, there is no need for these to be learned in a week! I could have said, Week 1: learn… Week 2: learn…) Day 2: check what you learnt the day before learn that D Major has two sharps, F# and C# learn that Bb Major has two flats, Bb and Eb.Īnd so on, up to 7 sharps (C# Major) and 7 flats (Cb Major).Day 1: learn that C Major has no sharps or flats in the key signature G Major has an F# F Major has a Bb.You could learn them in the same way you learn, say, the capital cities of countries (the capital of Peru is Lima the capital of "this" is "that") no mnemonics are going to help you with that. So, another way to learn them, is in the same way you learn individual facts. ![]() Eventually most musicians will just know all of the key-signatures. To be honest, though, I tell music pupils of mine, that learning key-signatures by using mnemonics is only partially helpful. The mnemonics you refer to can help you to remember the order sharps and flats are added in. So, if you know how many there should be for a key, you can work out what they are. The sharps and flats are always "added" in a particular order.
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