alt Hacker NewsSuffers from the same problem that all music theory texts seem unable to avoid: they require the reader to simply accept a bunch of random facts to memorize with no context.
Example: memorize the major scale as a series of whole and half steps but we won’t provide you with any context or motivation for why this is so.
Similar: in a major scale all notes are played and none are skipped or repeated. Except if your scale goes D–E–F#–G, in which case you skip F. The only way for this to be correct is apparently we consider F and F# to be the same note for purposes of scales even though this directly contradicts a previous section.
I was expecting a “21st century” music theory reference to have an emphasis on building intuition. Music theorists are apparently allergic to good pedagogy.
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A better way to think about it is that all letters in the musical alphabet are represented in a musical scale. Some are sharp or flat
D major: D E F♯ G A B C♯
D minor: D E F G A B♭ C
Db major: D♭ E♭ F G♭ A♭ B♭ C
Db minor: D♭ E♭ F♭ G♭ A♭ B♭♭ C♭
We recently had a long discussion about this. I come from the “music theory makes a lot more sense once one understands that 2:1, 3:2, 4:3 sound really whole and good to the human ear, 5:4 has a little more tension, and 6:5 has even more tension” school of thought [1] but for other people it is a distraction from understanding basic stuff like “this is a minor scale”. See here for the long discussion: https://news.ycombinator.com/item?id=49541888
[1] I understand ancient scales were 3-limit instead of 5-limit scales, and that modern equal temperament has thirds which significantly deviate from 5:4 and 6:5, but once polyphony became a thing, 5-limit temperament made a lot more sense because they reduce beating.