{"id":72,"date":"2023-04-24T18:29:19","date_gmt":"2023-04-24T18:29:19","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/major-key-signatures\/"},"modified":"2025-08-12T21:43:13","modified_gmt":"2025-08-12T21:43:13","slug":"major-key-signatures","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/major-key-signatures\/","title":{"raw":"Major key signatures","rendered":"Major key signatures"},"content":{"raw":"<div class=\"major-key-signatures\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 4<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\r\n\r\n<ul>\r\n \t<li>What major key signatures are<\/li>\r\n \t<li>How to construct major key signatures<\/li>\r\n \t<li>How to identify major key signatures<\/li>\r\n \t<li>How to sing three- and four-note pitch patterns in major keys, focused on diatonic anchors (do, mi, and sol)<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Major key signatures\"><\/a>Major key signatures<\/h1>\r\n<p class=\"import-Normal\">When pieces of music use a scale for an extended period of time, it would become too cumbersome to continually write out every accidental (sharp or flat) every time it appears in the music. Instead, it is customary to use a [pb_glossary id=\"664\"]key signature[\/pb_glossary], a symbol that summarizes all of the flats or sharps used in a particular key, which is placed at the beginning of every system (staff) in a composition. The placement and order of key signatures are standardized and fixed. Example 4\u20111 shows the order and placement for <span>the sharps or flats in a key signature<\/span> employing sharps and those using flats in treble and bass clefs.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 4\u20111. Order and placement of sharps and flats<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image42.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image42.png\" alt=\"order and placement of accidentals for C-sharp major and C-flat major, in treble and bass clef staves\" class=\"alignnone\" width=\"1292\" height=\"150\" \/><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">The order of sharps and flats follows a predictable pattern, called the [pb_glossary id=\"675\"]circle of fifths[\/pb_glossary], which should be memorized. The order of sharps F C G D A E B, and the order of flats reverses this pattern: B E A D G C F. The circle of fifths may also be shown in visual form, as in Figure 4\u20111.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 4\u20111. The circle of fifths for major keys<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image43.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image43.png\" alt=\"visual depiction of the circle of fifths\" width=\"1430\" height=\"1614\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\nBeginning at the top of the circle with C major (no sharps or flats), one sharp is added at each point going clockwise around the circle: G major (one sharp, F[latex]\\sharp[\/latex]), D major (two sharps, F[latex]\\sharp[\/latex] and C[latex]\\sharp[\/latex]), A major (three sharps, F[latex]\\sharp[\/latex], C[latex]\\sharp[\/latex], and G[latex]\\sharp[\/latex]), E major (four sharps, F[latex]\\sharp[\/latex], C[latex]\\sharp[\/latex], G[latex]\\sharp[\/latex], and D[latex]\\sharp[\/latex]), B major (five sharps, F[latex]\\sharp[\/latex], C[latex]\\sharp[\/latex], G[latex]\\sharp[\/latex], D[latex]\\sharp[\/latex], and A[latex]\\sharp[\/latex]), F[latex]\\sharp[\/latex] major (six sharps, F[latex]\\sharp[\/latex], C[latex]\\sharp[\/latex], G[latex]\\sharp[\/latex], D[latex]\\sharp[\/latex], A[latex]\\sharp[\/latex], and E[latex]\\sharp[\/latex]), and finally C[latex]\\sharp[\/latex] major (all seven sharps).\r\n\r\nAgain starting with C major at the top, one flat is added at each point going counterclockwise around the circle: F major (one flat, B[latex]\\flat[\/latex]), B[latex]\\flat[\/latex] major (two flats, B[latex]\\flat[\/latex] and E[latex]\\flat[\/latex]), E[latex]\\flat[\/latex] major (three flats, B[latex]\\flat[\/latex], E[latex]\\flat[\/latex], and A[latex]\\flat[\/latex]), A[latex]\\flat[\/latex] major (four flats, B[latex]\\flat[\/latex], E[latex]\\flat[\/latex], A[latex]\\flat[\/latex], and D[latex]\\flat[\/latex]), D[latex]\\flat[\/latex] major (five flats, B[latex]\\flat[\/latex], E[latex]\\flat[\/latex], A[latex]\\flat[\/latex], D[latex]\\flat[\/latex], and G[latex]\\flat[\/latex]), G[latex]\\flat[\/latex] major (six flats, B[latex]\\flat[\/latex], E[latex]\\flat[\/latex], A[latex]\\flat[\/latex], D[latex]\\flat[\/latex], G[latex]\\flat[\/latex], and C[latex]\\flat[\/latex]), and finally C[latex]\\flat[\/latex] major (all seven flats).\r\n<p class=\"import-Normal\">Notice that there are three pairs of keys at the bottom of the circle that are [pb_glossary id=\"673\"]enharmonic[\/pb_glossary], meaning that they sound the same, but are spelled differently. These are D[latex]\\flat[\/latex] and C[latex]\\sharp[\/latex] major, G[latex]\\flat[\/latex] and F[latex]\\sharp[\/latex] major, and C[latex]\\flat[\/latex] and B major.<\/p>\r\n<p class=\"import-Normal\">Here are some tricks for identifying the major key signatures:<\/p>\r\n<p class=\"import-Normal\">For major keys with sharps, the last sharp is always the [pb_glossary id=\"677\"]leading tone[\/pb_glossary] of the key. For example, E major has four sharps, and the last sharp is D[latex]\\sharp[\/latex], the leading tone in the E major scale. If you forget what the leading tone is in a particular key, you can easily find it by identifying the note that is a diatonic half step below tonic.<\/p>\r\n<p class=\"import-Normal\">For major keys with flats, the second-to-last flat is the tonic of the key. For example, A[latex]\\flat[\/latex] major has four flats (B[latex]\\flat[\/latex], E[latex]\\flat[\/latex], A[latex]\\flat[\/latex], and D[latex]\\flat[\/latex]), and the second-to-last flat is A[latex]\\flat[\/latex], its tonic.<\/p>\r\n\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T07 Major key signatures (4:15)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[embed]https:\/\/www.youtube.com\/embed\/RDTxUDIKvgo[\/embed]\r\n<p class=\"import-Normal\">This video presents tips and tricks for learning major key signatures.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">\r\n\r\nSlides: Are you wondering why we have key signatures? Check out this <a href=\"https:\/\/docs.google.com\/presentation\/d\/1e0MdgaMqPjj0aWBkLP-X-mRO98Jzk1oCjQXC2U8nixc\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">slideshow<\/a>.\r\n\r\nAccess the audio for examples featured in the slideshow here: <a href=\"https:\/\/open.spotify.com\/playlist\/7nY2NZLbk3SmR4CVO3hBTP?si=e0a1cbfeaee64c54\" target=\"_blank\" rel=\"noopener\">Spotify playlist for Why key signatures?<\/a>\r\n\r\n<\/div>\r\n<h1><a id=\"EXERCISE 4-1 Major scales and key signatures\"><\/a>EXERCISE 4-1 Major scales and key signatures<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 4-1 Major scales and key signatures<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<div class=\"textbox__content\">\r\n\r\nPART A. On the staff provided or on a separate sheet of staff paper, write the notes for each major scale. Place accidentals on the appropriate line or space immediately preceding the notes they modify. Do not use key signatures. Finally, bracket the location of all half steps. The first is done for you.\r\n\r\n<img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image44.png\" alt=\"image of blank staves for scales\" width=\"1431\" height=\"568\" class=\"aligncenter\" \/>\r\n\r\nPART B. Provide key signatures for the specified keys.\r\n\r\n<img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image45.png\" alt=\"image of blank staves for key signatures\" width=\"1395\" height=\"746\" class=\"aligncenter\" \/>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/Ex4.1-Major-scales-and-key-signatures.pdf\" target=\"_blank\" rel=\"noopener\">Ex4.1 Major scales and key signatures<\/a><\/div>\r\n<div>\r\n<div class=\"textbox shaded\">\r\n<p class=\"import-Normal\">Want more practice identifying and constructing major key signatures? Try these drills:<\/p>\r\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId109\" target=\"_blank\" href=\"https:\/\/www.teoria.com\/en\/exercises\/ksi.php\" rel=\"noopener\"><span class=\"import-Hyperlink\">Practice identifying major key signatures<\/span><\/a> (teoria)<\/p>\r\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId110\" target=\"_blank\" href=\"https:\/\/www.musictheory.net\/exercises\/keysig\" rel=\"noopener\"><span class=\"import-Hyperlink\">Practice identifying major key signatures<\/span><\/a> (musictheory.net)<\/p>\r\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId111\" target=\"_blank\" href=\"https:\/\/www.teoria.com\/en\/exercises\/ksc.php\" rel=\"noopener\"><span class=\"import-Hyperlink\">Practice constructing major key signatures<\/span><\/a> (teoria)<\/p>\r\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId112\" target=\"_blank\" href=\"https:\/\/www.musictheory.net\/exercises\/keysig-construction\" rel=\"noopener\"><span class=\"import-Hyperlink\">Practice constructing major key signatures<\/span><\/a> (musictheory.net)<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"_Toc130306351\"><\/a>Pitch patterns in major keys<\/h1>\r\n<p class=\"import-Normal\">Composer and theorist <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.11968\" target=\"_blank\" rel=\"noopener\">Guido di Arezzo<\/a> (ca. 990\u20131050) wrote that solmization, or solfege, \u201cwill be of great use to you either in the competent singing of an unknown melody as soon as you see it written down, or in the accurate transcription of an unwritten melody immediately upon hearing it.\u201d[footnote]From \"Epistola de ignoto cantu,\" translated in <em>Source Readings in Music History<\/em>, ed. Oliver Strunk, rev. ed. Leo Treitler (New York: W. W. Norton, 1998), 217\u201318.[\/footnote]<\/p>\r\n<p class=\"import-Normal\">To this end, we will practice singing, playing, and aurally identifying the pitch patterns in Figure 4\u20112. In cases that may seem ambiguous, superscripts (<sup>1<\/sup>) indicate a pitch in the higher octave (above the previous note), and subscripts (<sub>1<\/sub>) indicate a pitch in the lower octave (below the previous note). These patterns are also shown in staff notation in Example 4\u20112. Although they appear in D major in this example, they should be practiced in other major keys as well.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 4\u20112. Pitch patterns in major<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/fig-4.2-rev.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/fig-4.2-rev-1024x878.png\" alt=\"image of pitch patterns in solfege\" width=\"1024\" height=\"878\" class=\"alignnone wp-image-2270 size-large\" \/><\/a>\r\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/Figure-4-2-Pitch-patterns-in-major.pdf\">Figure 4-2 Pitch patterns in major<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 4\u20112. Pitch patterns in D major<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/ex-4.2-rev.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/ex-4.2-rev-877x1024.png\" alt=\"image of score with notated pitch patterns\" width=\"877\" height=\"1024\" class=\"alignnone wp-image-2268 size-large\" \/><\/a>\r\n<p class=\"import-Normal\" style=\"text-align: center\"><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: S02 Pitch patterns in major keys (5:50)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[embed]https:\/\/www.youtube.com\/embed\/Ia8IgnqvqQE[\/embed]\r\n<p class=\"import-Normal\">This interactive video presents each of the major pitch patterns, sung and with hand signs. Practice singing the pitch patterns and using the appropriate hand signs with the video.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Supplemental resources\"><\/a>Supplemental resources<\/h1>\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Supplemental resources for Chapter 4<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a class=\"rId113\" href=\"https:\/\/milnepublishing.geneseo.edu\/fundamentals-function-form\/chapter\/8-major-keys-and-key-signatures-2\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Andre Mount's chapter on major key signatures<\/span><\/a><\/p>\r\n<p class=\"import-Normal\"><a class=\"rId114\" href=\"https:\/\/gmajormusictheory.org\/Fundamentals\/Ch05.pdf\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Gilbert <\/span><span class=\"import-Hyperlink\">DeBenedetti's<\/span><span class=\"import-Hyperlink\"> chapter on key signatures<\/span><\/a><\/p>\r\n<p class=\"import-Normal\"><a class=\"rId115\" href=\"https:\/\/musictheorymaterials.utk.edu\/wp-content\/uploads\/2018\/09\/Key-signatures.pdf\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Barbara Murphy's primer on key signatures<\/span><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"major-key-signatures\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 4<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>What major key signatures are<\/li>\n<li>How to construct major key signatures<\/li>\n<li>How to identify major key signatures<\/li>\n<li>How to sing three- and four-note pitch patterns in major keys, focused on diatonic anchors (do, mi, and sol)<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a><\/a>Major key signatures<\/h1>\n<p class=\"import-Normal\">When pieces of music use a scale for an extended period of time, it would become too cumbersome to continually write out every accidental (sharp or flat) every time it appears in the music. Instead, it is customary to use a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_72_664\">key signature<\/a>, a symbol that summarizes all of the flats or sharps used in a particular key, which is placed at the beginning of every system (staff) in a composition. The placement and order of key signatures are standardized and fixed. Example 4\u20111 shows the order and placement for <span>the sharps or flats in a key signature<\/span> employing sharps and those using flats in treble and bass clefs.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 4\u20111. Order and placement of sharps and flats<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image42.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image42.png\" alt=\"order and placement of accidentals for C-sharp major and C-flat major, in treble and bass clef staves\" class=\"alignnone\" width=\"1292\" height=\"150\" \/><\/a><\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">The order of sharps and flats follows a predictable pattern, called the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_72_675\">circle of fifths<\/a>, which should be memorized. The order of sharps F C G D A E B, and the order of flats reverses this pattern: B E A D G C F. The circle of fifths may also be shown in visual form, as in Figure 4\u20111.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 4\u20111. The circle of fifths for major keys<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image43.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image43.png\" alt=\"visual depiction of the circle of fifths\" width=\"1430\" height=\"1614\" class=\"alignnone\" \/><\/a><\/p>\n<\/div>\n<\/div>\n<p>Beginning at the top of the circle with C major (no sharps or flats), one sharp is added at each point going clockwise around the circle: G major (one sharp, F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>), D major (two sharps, F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> and C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>), A major (three sharps, F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>, C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>, and G<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>), E major (four sharps, F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>, C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>, G<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>, and D<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>), B major (five sharps, F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>, C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>, G<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>, D<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>, and A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>), F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> major (six sharps, F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>, C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>, G<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>, D<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>, A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>, and E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>), and finally C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> major (all seven sharps).<\/p>\n<p>Again starting with C major at the top, one flat is added at each point going counterclockwise around the circle: F major (one flat, B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>), B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major (two flats, B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> and E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>), E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major (three flats, B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>, E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>, and A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>), A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major (four flats, B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>, E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>, A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>, and D<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>), D<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major (five flats, B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>, E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>, A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>, D<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>, and G<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>), G<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major (six flats, B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>, E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>, A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>, D<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>, G<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>, and C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>), and finally C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major (all seven flats).<\/p>\n<p class=\"import-Normal\">Notice that there are three pairs of keys at the bottom of the circle that are <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_72_673\">enharmonic<\/a>, meaning that they sound the same, but are spelled differently. These are D<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> and C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> major, G<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> and F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> major, and C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> and B major.<\/p>\n<p class=\"import-Normal\">Here are some tricks for identifying the major key signatures:<\/p>\n<p class=\"import-Normal\">For major keys with sharps, the last sharp is always the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_72_677\">leading tone<\/a> of the key. For example, E major has four sharps, and the last sharp is D<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>, the leading tone in the E major scale. If you forget what the leading tone is in a particular key, you can easily find it by identifying the note that is a diatonic half step below tonic.<\/p>\n<p class=\"import-Normal\">For major keys with flats, the second-to-last flat is the tonic of the key. For example, A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major has four flats (B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>, E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>, A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>, and D<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>), and the second-to-last flat is A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>, its tonic.<\/p>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T07 Major key signatures (4:15)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T07 Major Key Signatures\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/RDTxUDIKvgo?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video presents tips and tricks for learning major key signatures.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">\n<p>Slides: Are you wondering why we have key signatures? Check out this <a href=\"https:\/\/docs.google.com\/presentation\/d\/1e0MdgaMqPjj0aWBkLP-X-mRO98Jzk1oCjQXC2U8nixc\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">slideshow<\/a>.<\/p>\n<p>Access the audio for examples featured in the slideshow here: <a href=\"https:\/\/open.spotify.com\/playlist\/7nY2NZLbk3SmR4CVO3hBTP?si=e0a1cbfeaee64c54\" target=\"_blank\" rel=\"noopener\">Spotify playlist for Why key signatures?<\/a><\/p>\n<\/div>\n<h1><a><\/a>EXERCISE 4-1 Major scales and key signatures<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 4-1 Major scales and key signatures<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<div class=\"textbox__content\">\n<p>PART A. On the staff provided or on a separate sheet of staff paper, write the notes for each major scale. Place accidentals on the appropriate line or space immediately preceding the notes they modify. Do not use key signatures. Finally, bracket the location of all half steps. The first is done for you.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image44.png\" alt=\"image of blank staves for scales\" width=\"1431\" height=\"568\" class=\"aligncenter\" \/><\/p>\n<p>PART B. Provide key signatures for the specified keys.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image45.png\" alt=\"image of blank staves for key signatures\" width=\"1395\" height=\"746\" class=\"aligncenter\" \/><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/Ex4.1-Major-scales-and-key-signatures.pdf\" target=\"_blank\" rel=\"noopener\">Ex4.1 Major scales and key signatures<\/a><\/div>\n<div>\n<div class=\"textbox shaded\">\n<p class=\"import-Normal\">Want more practice identifying and constructing major key signatures? Try these drills:<\/p>\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId109\" target=\"_blank\" href=\"https:\/\/www.teoria.com\/en\/exercises\/ksi.php\" rel=\"noopener\"><span class=\"import-Hyperlink\">Practice identifying major key signatures<\/span><\/a> (teoria)<\/p>\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId110\" target=\"_blank\" href=\"https:\/\/www.musictheory.net\/exercises\/keysig\" rel=\"noopener\"><span class=\"import-Hyperlink\">Practice identifying major key signatures<\/span><\/a> (musictheory.net)<\/p>\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId111\" target=\"_blank\" href=\"https:\/\/www.teoria.com\/en\/exercises\/ksc.php\" rel=\"noopener\"><span class=\"import-Hyperlink\">Practice constructing major key signatures<\/span><\/a> (teoria)<\/p>\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId112\" target=\"_blank\" href=\"https:\/\/www.musictheory.net\/exercises\/keysig-construction\" rel=\"noopener\"><span class=\"import-Hyperlink\">Practice constructing major key signatures<\/span><\/a> (musictheory.net)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<h1><a id=\"_Toc130306351\"><\/a>Pitch patterns in major keys<\/h1>\n<p class=\"import-Normal\">Composer and theorist <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.11968\" target=\"_blank\" rel=\"noopener\">Guido di Arezzo<\/a> (ca. 990\u20131050) wrote that solmization, or solfege, \u201cwill be of great use to you either in the competent singing of an unknown melody as soon as you see it written down, or in the accurate transcription of an unwritten melody immediately upon hearing it.\u201d<a class=\"footnote\" title=\"From &quot;Epistola de ignoto cantu,&quot; translated in Source Readings in Music History, ed. Oliver Strunk, rev. ed. Leo Treitler (New York: W. W. Norton, 1998), 217\u201318.\" id=\"return-footnote-72-1\" href=\"#footnote-72-1\" aria-label=\"Footnote 1\"><sup class=\"footnote\">[1]<\/sup><\/a><\/p>\n<p class=\"import-Normal\">To this end, we will practice singing, playing, and aurally identifying the pitch patterns in Figure 4\u20112. In cases that may seem ambiguous, superscripts (<sup>1<\/sup>) indicate a pitch in the higher octave (above the previous note), and subscripts (<sub>1<\/sub>) indicate a pitch in the lower octave (below the previous note). These patterns are also shown in staff notation in Example 4\u20112. Although they appear in D major in this example, they should be practiced in other major keys as well.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 4\u20112. Pitch patterns in major<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/fig-4.2-rev.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/fig-4.2-rev-1024x878.png\" alt=\"image of pitch patterns in solfege\" width=\"1024\" height=\"878\" class=\"alignnone wp-image-2270 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/fig-4.2-rev-1024x878.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/fig-4.2-rev-300x257.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/fig-4.2-rev-768x658.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/fig-4.2-rev-65x56.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/fig-4.2-rev-225x193.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/fig-4.2-rev-350x300.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/fig-4.2-rev.png 1524w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/Figure-4-2-Pitch-patterns-in-major.pdf\">Figure 4-2 Pitch patterns in major<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 4\u20112. Pitch patterns in D major<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/ex-4.2-rev.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/ex-4.2-rev-877x1024.png\" alt=\"image of score with notated pitch patterns\" width=\"877\" height=\"1024\" class=\"alignnone wp-image-2268 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/ex-4.2-rev-877x1024.png 877w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/ex-4.2-rev-257x300.png 257w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/ex-4.2-rev-768x896.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/ex-4.2-rev-1316x1536.png 1316w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/ex-4.2-rev-1755x2048.png 1755w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/ex-4.2-rev-65x76.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/ex-4.2-rev-225x263.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/ex-4.2-rev-350x408.png 350w\" sizes=\"auto, (max-width: 877px) 100vw, 877px\" \/><\/a><\/p>\n<p class=\"import-Normal\" style=\"text-align: center\">\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: S02 Pitch patterns in major keys (5:50)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-2\" title=\"S02 Pitch Patterns in Major Keys\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/Ia8IgnqvqQE?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This interactive video presents each of the major pitch patterns, sung and with hand signs. Practice singing the pitch patterns and using the appropriate hand signs with the video.<\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>Supplemental resources<\/h1>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Supplemental resources for Chapter 4<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a class=\"rId113\" href=\"https:\/\/milnepublishing.geneseo.edu\/fundamentals-function-form\/chapter\/8-major-keys-and-key-signatures-2\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Andre Mount&#8217;s chapter on major key signatures<\/span><\/a><\/p>\n<p class=\"import-Normal\"><a class=\"rId114\" href=\"https:\/\/gmajormusictheory.org\/Fundamentals\/Ch05.pdf\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Gilbert <\/span><span class=\"import-Hyperlink\">DeBenedetti&#8217;s<\/span><span class=\"import-Hyperlink\"> chapter on key signatures<\/span><\/a><\/p>\n<p class=\"import-Normal\"><a class=\"rId115\" href=\"https:\/\/musictheorymaterials.utk.edu\/wp-content\/uploads\/2018\/09\/Key-signatures.pdf\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Barbara Murphy&#8217;s primer on key signatures<\/span><\/a><\/p>\n<\/div>\n<\/div>\n<hr class=\"before-footnotes clear\" \/><div class=\"footnotes\"><ol><li id=\"footnote-72-1\">From \"Epistola de ignoto cantu,\" translated in <em>Source Readings in Music History<\/em>, ed. Oliver Strunk, rev. ed. Leo Treitler (New York: W. W. Norton, 1998), 217\u201318. <a href=\"#return-footnote-72-1\" class=\"return-footnote\" aria-label=\"Return to footnote 1\">&crarr;<\/a><\/li><\/ol><\/div><div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_72_664\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_72_664\"><div tabindex=\"-1\"><p>symbol that summarizes all of the flats or sharps used in a particular key, which is placed at the beginning of every system in Western musical notation<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_72_675\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_72_675\"><div tabindex=\"-1\"><p>a pattern that shows the system of key signatures in Western tonal music, whereby moving clockwise along the circle each key signature gains one sharp and moving counter-clockwise each key signature gains one flat; tonics of each adjacent key along the circle are related by P5; also refers to a harmonic sequence that features root motion by fifth<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_72_673\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_72_673\"><div tabindex=\"-1\"><p>term describing the relationship of notes or chords that sound the same, but are spelled differently<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_72_677\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_72_677\"><div tabindex=\"-1\"><p>scale degree 7 in any major, harmonic minor, or ascending melodic minor scale; this scale degree is always a half step below tonic<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><\/div>","protected":false},"author":3,"menu_order":4,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-72","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/72","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":49,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/72\/revisions"}],"predecessor-version":[{"id":6976,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/72\/revisions\/6976"}],"part":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/72\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=72"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=72"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=72"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=72"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}