Taking the 1st letter of the 1st word in the phrase - F , the 5th note of the major scale with its name as the tonic - F major scale is note C the 2nd word of the phrase. Now take the 5th note of the major scale whose tonic is C - the C major scale - this is note G the 3rd word of the phrase. Now take the 5th note of the major scale whose tonic is G - the G major scale - this is note D the 4th word of the phrase , and so on. Put another way, if you see a key signature with 1 sharp, that sharp will always be F the first phrase word.
Or if a key signature has 2 sharps, those sharps will always be F and C. To learn more about these patterns, have a look at Learn the circle of fifths.
The above rules apply to sharp-based key signatures - flat based key signatures have a similar set of rules, with the above phrase reversed. Have a look at the Cb major key signature. The staff above is to demonstrate all possible sharp symbol positions in a key signature. In the next step, only those sharp positions in this particular scale will be used. The only difference between them is that the bass clef symbols are shifted down to the next line or space and of course the note pitches are lower on the bass clef.
This is to reflect the fact that all note positions on the bass clef are one line or space lower than the treble clef. For example, on the treble clef, note C 2nd note shown occupies the 2nd space from the top, whereas on the bass clef, the same note is the 3rd space from the top.
Equally, on the treble clef, note D 4th note shown occupies the 2nd line from the top, whereas on the bass clef, the same note is the 3rd line from the top. The key signature consists of one to seven sharps or flats. Key signatures are either all sharps or all flats, never mixed. Key signatures and scales are closely related. For every major and relative minor scale there is a corresponding key signature with exactly the same sharps and flats that appear in the scale. The melodies and chords used in most pieces are based on the notes of a specific major or minor scale and the key signature is used to specify those sharps and flats.
The use of key signatures probably came about so that composers would not have to write sharps and flats so often. The sharps and flats that appear in the key signature affect every note of that name in the entire piece, no matter what octave the note appears in.
Here's the same melody in the key of E. It's much easier for the composer to write and for performer to read. Key signatures use from zero to seven sharps or zero to seven flats. Notice that, for the most part, the placement pattern of sharps and flats remains the same, regardless of the clef.
The symbols are simply moved up or down to match the arrangement of pitch letter names on the lines and spaces of the staff as indicated by the clef. The only exception is the set of sharp key signatures written beside a tenor clef the last key signature on the first line.
Here a small adjustment is made: the first and third sharps are shifted down an octave to avoid using ledger lines in the key signature.
In tonal music, you will never see a key signature with a mixture of sharps and flats. You may, however, encounter natural signs in a key signature when the accidentals of a previous key signature must be canceled out as in the following excerpt where the key changes to E major in m.
A piece that draws primarily from the pitches of a single major scale is said to be in that major key. Within a key, pitch classes are organized hierarchically—primarily around the tonic which is heard as the most stable and grounding degree of the scale. A piece in G major, for example, will use pitch classes from the G major scale but will treat the pitch class G as the most conclusive sounding resting point.
Other scale degrees will be treated accordingly, relative to the tonic. A key signature is a symbol—a collection of sharps or flats—that indicates the key of a particular piece or passage.
Key signatures are written just to the right of the clef and appear at the beginning of each line of music. A sharp or flat indicated by the key signature applies to every instance of that pitch-letter name, not just those on the line or space on which it is written.
They remain in effect throughout the entire piece unless they are canceled out by an accidental or a new key signature. Key signatures are always written in a particular pattern on the staff and must be adjusted to match the clef. Skip to content I. Example 8—1. Amalia Hjelm, 5 Songs, 5. Example 8—2. Example 8—3. Example 8—4. Exercise 8—1a: Question In what key is the following melody? Exercise 8—1b: Question In what key is the following melody?
Exercise 8—1c: Question In what key is the following melody? Louise Farrenc, Les Italiennes Op. Exercise 8—1d: Question In what key is the following melody? Exercise 8—1e: Question In what key is the following melody? Fanny Hensel, Gartenlieder Op. Exercise 8—1f: Question In what key is the following melody? Example 8—5. Identify the major key represented by each of the following key signatures: Exercise 8—2a: Question Which major key does the following key signature represent? Which major scale has two sharps?
Exercise 8—2b: Question Which major key does the following key signature represent? Which major scale has two flats? Exercise 8—2c: Question Which major key does the following key signature represent? Which major scale has three sharps? The last sharp in this key signature is B. Half step above that is C. Remember that there is a naturally occurring half step between B and C, which means B is the same pitch as C.
This means that half step above B is C. The quicker way to determine this is to look at the sharps already in the key signature. In this case, there is already a C in the key signature, so this key is the key of C.
What about the key of C or the key of F?
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