Transcript File


When determining what key a piece of music is in you must first refer to the key
signature to give you a foundation for the tonal center of the piece.

Once you have assessed the information from the key signature you need to
analyze the piece to be sure that the tonality of the piece and the key signature
match.

The order of sharps in a key signature will ALWAYS appear in the same order.
However, not all sharps will be present at all times. You must look at each key
signature on an individual basis and read each key individually.
› The order of sharps is:

The order of flats in a key signature will ALWAYS appear in the same order.
However, not all flats will be present at all times. You must look at each key
signature on an individual basis and read each key individually.
› The order of flats is:


FCGDAEB
BEADGCF
The order of sharps and flats are reciprocals of one another.
Just remember which order is sharps and which is flats!

When reading a key signature when there are sharps in the key:
›
›
›
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When reading a key signature when there are flats in the key:
›
›
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Go to the last sharp and name it (remember it will be named sharp)
Go up ½ step
That is your key
Go to the 2nd to last flat and name it (remember it will be named flat)
That is your key (Remember it will have a flat in it’s name)
There are two exceptions to these rules:
›
›
When there is only one flat, you will not be able to go to the 2nd to last flat. When
this occurs, the flat you will see will be B flat and you will be reading the key of F.
When there are no sharps and no flats you will not be able to follow either of the
rules above, and this indicates that you are reading the key of C.

Following key signature rules DOES NOT always mean you have
identified the tonality of the piece! You need to look further at the
piece.

After determining the key signature, observe opening chords or
melodic intervals to help verify or deter your original determination.

You should also look at phrase cadences and the final chord of the
piece. But be sure there was not a key change in the middle of the
piece, or your answer will not be correct.

Sometimes your piece will be in a minor key. Relative minor keys are
3 half steps down from their major key component. They share the
same key signature and will usually have a 7th degree leading tone.
You will need to analyze the score for verification.

There are many types of scales in music. We will be dealing with four
main scales. Each scale has a formula for how it should be created.

Major: Do, Re, Mi, Fa, So, La, Ti, Do - W W H W W W H.
›

Natural Minor: Do, Re, Me, Fa, So, Le, Te, Do - W H W W H W W
›
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From a major scale, lower the 3rd, 6th and 7th scale degrees.
Harmonic Minor: Do, Re, Me, Fa, So, Le, Ti, Do - W H W W H W+H H.
›
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This is the most common scale.
From a major scale, lower the 3rd and 6th scale degrees only.
Melodic Minor:
›
Do, Re, Me, Fa, So, La, Ti, Do
›
WHWWWWH
›
›
Do, Te, Le, So Fa, Me, Re, Do
WWHWWHW
From a major scale, ascending, lower the 3rd scale degree only.
From a major scale, descending, lower the 7th, 6th and 3rd scale degrees.

The circle of 5ths shows the
relationships among the twelve tones
of the chromatic scale, their
corresponding key signatures, and the
associated major and minor keys.
(Wikipedia)

From Top around to the right, each key
is separated by the interval of a 5th.
Each time you go up a 5th (or down a
4th if you come down on the left), you
add or subtract 1 sharp or 1 flat.

All relative minor keys are listed within
the Circle of 5ths.

The parenthetical notations are
showing you enharmonic options.
Those key signatures do not exist.