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More About Keys and Key Signatures

Lesson 2/145 | Study Time: 5 Min
More About Keys and Key Signatures

More About Keys and Key Signatures

The key describes the note around which a piece of music is built. When a song consists of notes from a particular scale, it is said to be written in the key which has the same notes as that scale. For example, if a song contains mostly notes from the C major scale, it is said to be in the key of C major. If a song contains mostly notes from the F major scale, it is said to be in the key of F major. If a song contains mostly notes from the G major scale, it is said to be in the key of G major. When playing in any major key other than C, the key will contain at least one sharp or flat, and possibly as many as six. Instead of writing these sharps or flats before each note as they occur, they are usually written at the beginning of the song just before the time signature. These sharps or flats are called a key signature. The number of sharps or flats in the key signature depends on the number of sharps or flats in the corresponding major scale. The major scales and key signatures for the keys of F and G are shown below. Without sharps and flats, these scales would not contain the correct pattern of tones and semitones and would therefore not sound like a major scale.

Key Signature of G Major

The G major scale contains one sharp, F#, therefore the key signature for the key of G major contains one sharp, F#.

Key Signature of F Major

The F major scale contains one flat, Bb, therefore the key signature for the key of F major contains one flat, Bb.

The reason some scales contain sharps while others contain flats is that there has to be a separate letter name for each note in the scale. E.g. the G major scale contains F# instead of Gb even though these two notes are identical in sound. However, if Gb was used, the scale would contain two notes with the letter name G and no note with the letter name F. This is the reason for choosing to call the note F# in this key. In the key of F major, the note Bb is chosen instead of A# for the same reason. If A# was used, the scale would contain two notes with the letter name A and no note with the letter name B. The note each major scale starts on will determine how many sharps or flats are found in each key signature because of the necessity for the scale to have the correct pattern of tones and semitones in order to sound right. The charts on the following page contain the key signatures of all the major scales used in music, along with the number of sharps or flats contained in each key. Because there are 12 notes used in music, this means there are 12 possible starting notes for major scales (including sharps and flats). This means that some of the keys will have sharps or flats in their name, e.g. F# major, Bb major, Eb major, etc. Keys which contain sharps are called sharp keys and keys which contain flats are called flat keys.

Written below are the key signatures for all the major scales that contain sharps.

The sharp key signatures are summarised in the table below.

Written below are the key signatures for all the major scales that contain flats.

The flat key signatures are summarised in the table below.

* Intervals are dealt with in detail in lesson 31.

Peter Gelling

Peter Gelling

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Class Sessions

1- INTRODUCTION 2- The Diatonic Harmonica (Key of C) 3- Making Musical Sounds 4- Rests 5- Playing Single Notes 6- Hand Vibrato 7- The Eighth Note 8- 12 Bar Blues 9- The C Major Scale 10- Cross Harp Playing(Second Position) 11- The Triplet 12- Sliding Between Notes 13- Bending Notes 14- Grace Notes 15- Sixteenth Notes 16- Dotted Eighth Notes 17- What are These Sounds? 18- Cross Harp Sounds 19- Articulations 20- Improvisation 21- Eight Bar Blues 22- Third Position 23- Fourth Position 24- Harps in Other Keys 25- The Chromatic Harmonica 26- Solving Reading Problems 27- Sharps and Flats 28- More About Major Scales 29- Playing the Chromatic Scale 30- More About Keys and Key Signatures 31- Transposing 32- More About Blues Scales 33- Intervals 34- Minor Keys and Scales 35- Relative Keys 36- Using the Compact Discs 37- How to Hold the Harmonica 38- Reading the Notation System 39- Moving Between Positions 40- The Lead-in 41- The Train Whistle 42- Double Tonguing 43- Rhythm Playing 44- Key of C Major 45- More About 12 Bar Blues 46- Swing Rhythms 47- The Trail Off 48- Licks 49- The Trill 50- First and Second Endings 51- Notes on the C Harmonica 52- The G Major Pentatonic Scale 53- Accents 54- The Turnaround 55- The Dorian Scale 56- Relative Major and Minor Keys 57- Bending Exhale Note 58- Holding the Chromatic Harmonica 59- Positions on the Chromatic Harp 60- The Chromatic Scale 61- Major Scale Pattern 62- Enharmonic Notes 63- The Key Cycle 64- The Key of E Flat Minor 65- Interval Qualities 66- The Harmonic Minor Scale 67- Learning a New Minor Key 68- Approach to Practice 69- Bar Lines 70- Playing Songs 71- The Tie 72- Breath Control 73- Syncopation 74- Chord Numbers 75- The Shuffle 76- More Notes to Bend 77- Throat Vibrato 78- Sixteenth Notes and Ties 79- Complete Range of the C Harmonica 80- The Minor Pentatonic Scale 81- Ghost Notes 82- Ear Training 83- Simple and Compound Time 84- Swinging Sixteenth Notes 85- Understanding Chords 86- Understanding Music 87- Intervals 88- The G Major Scale 89- Major Scales in all Keys 90- Interval Distances 91- The Melodic Minor Scale 92- Minor Scales in all Keys 93- Types of Harmonicas 94- Consecutive Breaths 95- Combining Chords and Single Notes 96- Posture 97- Root Notes 98- Stop Time 99- The Major Pentatonic Scale 100- The Blues Scale 101- Learning From Horn Players 102- Call and Response 103- The Blues Scale in Third Position 104- Playing in Other Keys 105- Melody and Harmony 106- Standard Music Notation 107- Using the Slide 108- Key Signatures 109- Using the Key Cycle 110- Identifying Intervals by Ear 111- Table of Minor Scales 112- Tonguing 113- Tone Development 114- Learning Vocal Melodies 115- Playing Octaves 116- Different Types of Chords 117- Learning the Notes on the Staff 118- The F Major Scale 119- Jam Along Progressions 120- Playing by Ear 121- Leaving Space Between Phrases 122- New Topic 123- Note Values 124- Performing in Public 125- Riffs 126- The Note Tree 127- Overcoming Nerves 128- Range of the Chromatic Harmonica 129- Eye Contact 130- Playing Songs on the Chromatic Harmonica 131- Stage Presence and Stage Craft 132- Slurs 133- Developing Your Own Style 134- Cut Common Time 135- Microphones 136- Octaves on the Chromatic Harp 137- Microphones for Performing Live 138- Developing Your Music Reading 139- Amplification 140- Overdrive 141- Using a Harmonica Rack 142- Listening 143- Transcribing 144- Recording Yourself 145- Learning More About Music

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