who's sheet music literate here? I can't quite wrap

halp me bump

Oh fuck me I used to know this stuff
Now you've fucked my head too

>>70893923
>thinking /mu/ posters play instruments

>>70893923
Yeah, it's still a whole step up

you treat it like a double-sharp C (Natural D)

Every pitch modifier automatically ignores the key signature.

>>70894432
wait, isn't sampling my own farts and playing them in reverse with reverb considered playing an instrument?

Treat the note in pic like C natural being sharped twice, so the note is D. But anyone who notates with double flats/sharps are a little bit stupid.

>>70893923
>If a note is marked as double sharp when in a key that already calls for it to be sharp...
It becomes 1 semitone higher. So C# in a key with a C# in its signature marked as a double-sharp sounds like D natural. Double sharp always means two (double) semitones higher than the unaffected tone.

>>70894469
I kinda assumed this was the case, but it wasn't so certain because this music I'm reading throws sharps, double sharps and naturals around like fucking rice at a wedding.

>>70894555
>anyone who notates with double flats/sharps are a little bit stupid.
t. Person Who Hasn't Studied Functional Harmony

>>70894616
Enlighten me.

>>70894531
t. Kevin Shields

>>70894913
https://en.wikipedia.org/wiki/Diatonic_function#Diatonic_functions_of_notes_and_chords
In short, 12-tone Western music is all based on a repeating sequence of just 7 unique harmonic INTERVALS named (in order of smallest to largest):
>Tonic (aka unison)
>Supertonic (aka 2nd)
>Mediant (aka 3rd)
>Subdominant (aka 4th)
>Dominant (aka 5th)
>Submediant (aka 6th)
>Leading (aka 7th)

Any of which can be temporarily modified up or down in order to spark increased harmonic interest. Now, it just so happens that, for a major scale starting on any pitch defined as C natural, the top pitches of these intervalic pairs happen to correlate to the pitches known UNIQUELY FROM EACH OTHER as:
>C
>D
>E
>F
>G
>A
>B

Respectively. However if your starting pitch happens to be something like C#, Your normal scale is gonna look like this:
>C#
>D#
>E#
>F#
>G#
>A#
>B#

So what happens if you want to raise the Dominant (in this case G#) by a semitone for dramatic effect? You can't call the resulting note A natural, because that would imply that you are modifying the value of the Submediant in this particular scale. So therefore you have the existence of something like G double-sharp. Because sharps/flats in key signatures and enharmonics introduced for dramatic effect actually have nothing to do with each other, despite the fact that they share the same sharp/flat signs.