How to Read the Key Signature to Determine What Key to Play

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Re is a flat hand help up straight out and then raised to about a 30 degree angle. In this scale, the sixth and seventh notes are each raised one half step. So if there is one flat in the key signature, what is it?

Half step above that is C. Remember that sharps and flats affect names. So if there is one flat in the key signature, what is it?

Remembering Key Signatures

Key signatures are generally written immediately after the at the beginning of a line of musical notation, although they can appear in other parts of a , notably after a. A key signature designates that are to be played higher or lower than the corresponding notes and applies through to the end of the piece or up to the next key signature. A sharp symbol on a line or space in the key signature raises the notes on that line or space one above the natural, and a flat lowers such notes one semitone. Further, a symbol in the key signature affects all the notes of one letter: for instance, a sharp on the top line of the applies to Fs not only on that line, but also to Fs in the bottom space of the staff, and to any other Fs. This convention was not universal until the late and early , however; music published in the 1720s and 1730s, for example, uses key signatures showing sharps or flats on both octaves for notes which fall within the staff. Although a key signature may be written using any combination of sharp and flat symbols, the most common series of thirteen homogeneous key signatures—ranging from six flats to six sharps, with each successive flat or sharp placed on the , respectively, the previous one—is assumed in much of this article. A piece scored using a single diatonic key signature and no accidentals contains notes of at most seven of the twelve , which seven being determined by the particular key signature. Each and has an associated key signature that sharpens or flattens the notes which are used in its scale. However, it is not uncommon for a piece to be written with a key signature that does not match its key, for example, in some Baroque pieces, or in transcriptions of traditional modal folk tunes. Later on, this use of a key signature that is theoretically incorrect for a piece as a whole or a self-contained section of a piece became less common in contrast to brief passages within a piece, which, as they modulate from key to key often temporarily disagree with the key signature ; but it can be found at least as late as one of Beethoven's very late piano sonatas. The second appearance later in the movement of this same section, a semitone lower, in G minor, uses the correct key signature of two flats. The purpose of the key signature is to minimize the number of such accidentals required to notate the music. The sequence of sharps or flats in key signatures is generally rigid in modern. This allows musicians to identify the key simply by the number of sharps or flats which is the same in any clef , rather than their position on the staff. For example, if a key signature has only one sharp, it must be an , which corresponds to a or an key. However, in 20th-century music, there are occasional exceptions to this, where a piece uses an unorthodox or synthetic scale, where a key signature may be invented to reflect this. Key signatures of this kind can be found in the music of , for example. The effect of a key signature continues throughout a piece or movement, unless explicitly cancelled by another key signature. In a score containing more than one instrument, all the instruments are usually written with the same key signature. Besides not using a key signature, timpani parts were early on also treated often as transposing instrument parts, the pitch of the high drum being written as C and, as timpani were almost always tuned a apart dominant on the low drum and tonic on the high drum , the pitch of the low drum being written as G, with the actual pitches indicated at the beginning of the part, e. This is perhaps reminiscent of the early days of brass instruments, when would be added to them, in order to change the length of the tubing and allow playing in different keys. Starting from or equivalently which has no sharps or flats, successively raising the key by a fifth adds a sharp, going clockwise round the circle of fifths. The new sharp is placed on the new key's seventh degree for major keys or second degree for minor keys. Thus has one sharp which is on the F; then has two sharps on F and C and so on. Similarly, successively lowering the key by a fifth adds a flat, going counterclockwise around the circle of fifths. The new flat is placed on the fourth degree for major keys or sixth degree for minor keys. Thus has one flat which is on the B; then has two flats on B and E and so on. Put another way: for key signatures with sharps, the first sharp is placed on F with subsequent sharps on C, G, D, A, E and B; for key signatures with flats, the first flat is placed on B with subsequent flats on E, A, D, G, C and F. There are thus 15 conventional key signatures, with up to seven sharps or flats and including the empty signature of C major A minor. Further such raising adds sharps as described above. Further such lowering adds flats as described above. The same principle applies to the process of successive lowering by a fifth. The relative minor is a down from the major, regardless of whether it is a flat or a sharp key signature. For example, the key of seven sharps is more simply represented as five flats. Pieces are written in these extreme sharp or flat keys, however: for example, 's Prelude and Fugue No. The modern musical by and also has several songs written in these extreme keys. The key signature may be changed at any time in a piece, usually at the beginning of a , simply by notating the new signature, although if the new signature has no sharps or flats, a signature of naturals, as shown, is needed to cancel the preceding signature. If a change in signature occurs at the start of a new line on the page, where a signature would normally appear anyway, the new signature is customarily repeated at the end of the previous line to make the change more conspicuous. Variants of standard conventions In traditional use, when the key signature change goes from sharps to flats or vice versa, the old key signature is cancelled with the appropriate number of naturals before the new one is inserted; but many more recent publications whether of newer music or newer editions of older music dispense with the naturals and simply insert the new signature. Similarly, when a signature with either flats or sharps in it changes to a smaller signature of the same type, strict application of tradition or convention would require that naturals first be used to cancel just those flats or sharps that are being subtracted in the new signature before the new signature itself is written; but, again, more modern usage often dispenses with these naturals. When the signature changes from a smaller to a larger signature of the same type, the new signature is simply written in by itself, in both traditional and newer styles. At one time it was usual to precede the new signature with a provided the change occurred between bars and not inside a bar , even if it was not required by the structure of the music to mark sections within the movement; but more recently it has increasingly become usual to use just a single barline. The courtesy signature that appears at the end of a line immediately before a change is usually preceded by an additional barline; the line at the very end of the staff is omitted in this case. If both naturals and a new key signature appear at a key signature change, there are also more recently variations about where a barline will be placed in the case where the change occurs between bars. For example, in some scores by Debussy, in this situation the barline is placed after the naturals but before the new key signature. Hitherto, it would have been more usual to place all the symbols after the barline. In key signatures of five or more sharps or of seven flats, one occasionally encounters variant positions of particular symbols in the key signatures, both of them in the bass clef. Scales with sharp key signatures Sharp key signatures consist of a number of sharps between one and seven, applied in this order: F C G D A E B. The major scale with one flat is F major. A key signature is not the same as a ; key signatures are merely notational devices. They are convenient principally for or music. The key signature defines the that a piece of music uses without the need for accidentals. Most require that some notes be consistently sharped or flatted. For example, the only sharp in the G is F sharp, so the key signature associated with the G major key is the one-sharp key signature. However, it is only a notational convenience; a piece with a one-sharp key signature is not necessarily in the key of G major, and likewise, a piece in G major may not always be written with a one-sharp key signature; this is particularly true in pre-Baroque music, when the concept of key had not yet evolved to its present state. In any case, more extensive pieces often change key during contrasting sections, and only sometimes is this change indicated with a change of key signature; if not, the passage in the second key will not have a matching key signature. Additional terminology Keys which are associated with the same key signature are called. When , such as or Dorian, are written using key signatures, they are called transposed modes. D scale · Exceptions to use may be found in scales, such as. In the 20th century, composers such as and see below began experimenting with unusual key signatures that departed from the. Further information: The above 15 key signatures only express diatonic scale. Other scales are written either with a standard key signature and use accidental as required, or with a nonstandard key signature. An example is Bartók's , which has no fixed key and is highly chromatic. If not bound by common practice conventions, can also be notated in a key signature; which are used depends on the system. The conventions are so firmly established that some have been unable to show nonstandard key signatures until recently. The use of a one-flat signature developed in the period, but signatures with more than one flat did not appear until the 16th century, and signatures with sharps not until the mid-17th century. When signatures with multiple flats first came in, the order of the flats was not standardized, and often a flat appeared in two different octaves, as shown at right. In the late 15th and early 16th centuries, it was common for different voice parts in the same composition to have different signatures, a situation called a partial signature or conflicting signature. This was actually more common than complete signatures in the 15th century. The 16th-century motet Absolon fili mi attributed to features two voice parts with two flats, one part with three flats, and one part with four flats. Music of the Baroque. New York: Oxford University Press, 2001. The Petrie Collection of the Ancient Music of Ireland. Cork: Cork University Press, 2005. For example, Banish Misfortune is presented in D minor, although it is clearly in the Dorian mode. The Everything Music Theory Book, p. Modesto, CA: Capistrano School K—12 website. Accessed 17 March 2010. Music Theory: The Fundamental Concepts of Tonal Music Including Notation, Terminology, and Harmony, p. Oxford Dictionary of Music, second edition, associate editor, Joyce Bourne. Oxford and New York: Oxford University Press. However, since that is the only key that can be used, the key signature is normally not written out.

The blues scale is a chromatic variant of the major scale. New York: Oxford University Press, 2001. The next syllable in ascending order is Re say 'ray'. Then, the next step is to learn the primary chords in that key. D scale · Exceptions to use may be found in scales, such as. Modes In the middle ages, modes were used to organize the melodic and harmonic parts of music.