George Saunders

Some did, yeah

Of Mice and Men. I just got 45 fifteen year olds to actually enjoy it.

More like Love in the Time of Don’t Bother-a

I’ll give this a shot

> if I have 5 sharp notes c#, d#, f#, g#, a#

so far you’re in B-major, but your sharps are out of order (should be f#, c#, g#, d#, a#)

> which is also called flat notes

false. Sharps and flats are different.

> So how can i find is it in b-major or c# or d flat major

For starters, you’ll only be in a “flat” key if there are flats in the key signature; you can eliminate d flat major already. Second, you would distinguish between B and C#-major based on how many sharps there are. B-major has 5 sharps, C#-major has 7 sharps.

> In the kye signature I have 5 sharps then it is B major kye

Yes

> if it have 5 flats it is in c# major kye

No. A key signature of flats is not in a “sharp” key. 5 flats is D-flat Major.

> my confusion is both kye have the same black notes I don’t matter if we call it sharp or flat the notes are the same

You are creating your own confusion, here. It does matter what you call them. It is true that C# and D-flat use the same black piano key, and it is true that they will sound the same because they are the same pitch, but they are not the same note.

To put it frankly, you have to make it matter. C# and D-flat might sound the same and are performed the same way physically, but they aren’t the same. Saying they’re the same, or saying that it doesn’t matter, is doing you a disservice, and that’s why you’re confused. The rules of music dictate that there are certain intervals between every note of every key, and if you start mixing up sharps and flats in the same key, you break the rules.

> if there is a difference then what is it

They have different names and they have different functions. A sharp raises a note and a flat lowers a note. I would look at a chromatic scale (sheet music) while playing each note one at a time. Start with C. The next note HIGHER (right on the piano) in the chromatic scale is C#. Then D, then D#, and all the way up. When you get to the top, that’s the note; let’s say it’s a “high” B, and now we’re going in the other direction. But then on the way down (left on the piano), you are lowering notes now, so the next note down is going to be B-flat. Yeah, you’ll play it the way you’d play A#, and it sounds the same, but you’re not raising the A, you’re lowering the B, so you have to call it B-flat. I suspect doing this will help distinguish between sharps and flats SOME. You’ll have to do some of the mental work, though; it’s not just going to make sense - you have to think about it.

> how can I find the key if I have five black notes

Well, you have to distinguish between sharps and flats, first. But each number has a certain key. Check out something called The Circle of Fifths. It’s got all the info you need, but it’s way too complicated to explain in a Reddit comment. Read that page, it will help a lot.

But also stop calling flats and sharps the same thing. They are not.

I’m a little dubious about what real events the book is based on.

I know this is nerdy but the book is WAY darker.

This is my favorite part of teaching Romeo and Juliet. I fuckin hate that play and all of the characters in it but there is no denying that it’s got some moments that leave me in awe that they came out of a man’s head.

Yes, this is true, but students won’t read it if they aren’t interested in it, and there are plenty of other books from the time that teach those things and are also interesting to teenagers. I read something different to culminate my American Lit class, but I offer students Gatsby as extra credit so when they get to college they aren’t the only dipshit who didn’t read it in HS like I was.

It’s like a 1000 piece puzzle, but there’s no way of knowing what it looks like until you put the final piece in. You get the border, so you have a frame, sort of understand what’s going on. Then you put together three or four different sections that all look exactly the same but are on different ends of the picture. And they’re hilarious but sad but also hilarious. You figure all those out, and then you’re onto the next section, but now it’s kind of circling the middle, seemingly all by itself, unrelated, but you just know; it even sort of references the other sections you’ve done, but doesn’t really tell you how, and right in the center of it is a huge blank. It goes this way until you are down to the last fifty pieces, and not only do they go together easily because they make a lot of sense, but now everything else makes a lot of sense. You throw the final piece in, and you finally know the secret; there’s nothing left to do but sit back and look at it, but the only thing you can think of to to say or think or feel is “fuck.”