Author: oboeguy
Date: 2002-12-31 02:55
Yeah, I was a little annoyed, but yeah. The fact is, not everyone has the opportunity to have previously played piano, therefore, for some, it would be hard to understand it Dee's way. I'm not saying that Dee is saying anything untrue, but when you think about memorizing i find it easier to have, say, 3 things to think about rather than 7. Consider computer programming. If your computer had to process each and every situation of a double sharp seperately it would way take longer than saying: "ok, C,D,F,G,A double sharp play the next natural whole tone up whereas E and B double sharp play the next tone up but sharped. It would have 2 or 3 things to think through. Much faster I think. You can go on about how musically incorrect it is to say that, but if you think about it, what exactly is a double sharp? Meaning to play the next tone up! It may not be written that way, but enharmonically it's the exact same thing.
Stop and think: when you go to play a E## on the piano you don't go looking for the E## key, you look for the F# key. For younger students, such as the person who initially asked the question, all they really need to know is what enharmonic note they should play. Once they start to grasp the concept on what a double sharp actually is, they can go on to see what it is used for. I rarely ever see E##, and B## Simply because for them to occur, they have to be in a heavily sharped key like D# major, but by then, the key can be wrapped, and stated as Eb instead, which most people do.There is the odd time in alto sax music, where I will occasionally see it, due to a concert C##, or a Concert A##. That is why I said they are more rare. They simply don't put that in lower level music. Typical double sharps aren't even written in music until you get up to at least Grade 5 Conservatory.
oboeguy
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