(Two major scales that share seven pitch classes in common are considered to be the same scale.) Since each major scale is unique in this way, a piece in a major key will draw from the same pitches as its corresponding major scale. (Again, see Chapter 6 for a lengthier discussion of the major scale.) One major scale may share as many as six pitches with another, as we saw in Example 8–3, but not all. The melody sounds the same, only higher:Įach major scale contains a distinct set of seven pitch classes. The following example transposes it (rewrites it at a different pitch level) to E major by raising each note up two whole steps, putting E in the most stable position. The melody from Example 8–3 can be written in any major key. Because the pitch class C is the most stable-sounding pitch in the melody, Example 8–3 is in the key of C major. Whenever F appears, on the other hand, it is given a shorter note-value, and is always within a descending stepwise passage toward C. The excerpt begins and ends on C, and C holds a prominent position at the end of m. Simply looking at the melody, we can see that C occupies a more stable position than the pitch class F. It is likely that you heard the pitch C as having greater stability. Listen to the melody again and consider which pitch, C or F, sounds more stable-in other words, which pitch sounds more restful, more like a musical destination and less like an attraction along the way. To determine the key of this melody-C major or F major-we need to decide which note sounds most like the tonic. But all of these pitches also belong to the F major scale (F, G, A, B b, C, D, and E). This is a very good indication that this melody is in the key of C major. All of these pitches belong to the C major scale (C, D, E, F, G, A, and B). It is of paramount importance for the practicing musician to memorize these keys and to be able to recall them instantly.As you can see, this melody uses the pitches C, D, E, F, G, and A. The following tables illustrate each key signature, along with a listing of their corresponding keys. For example, B-flat major and G minor have the same key signature: the relative minor of the key of B-flat major is G minor, while B-flat major is the relative major of G minor. Each is termed the "relative" major or minor, respectively, in relation to the other. All other things being equal, though, each key signature can represent one of two musical keys: one major, and one minor. We need more than the key signature to determine the key of a passage, though - that must be decided on the basis of contextual features to be explained elsewhere in the School of Music. Since a the presence of a "key" in music is contingent on a certain pattern of accidentals, the key signature gives a partial indication of the key of a given passage of music. (For instance, in our example, if the key signature contains F-sharp but a written note F appears with a natural sign written in front of it, F-natural should be played.) In traditional notation, this influence of the new accidental applies for the duration of the measure before the key signature resumes its "dominion", or until canceled by a subsequent new accidental. An accidental immediately preceding the written note always takes precedence. Often, however, an accidental contradicting the direction of the key signature will appear immediately before the written note. (In this way it differs from a time signature, which need be written only once.) For example, if the key signature consists of only F-sharp, each written note F in the piece should be played as F-sharp, even though no sharp immediately precedes the written note. The key signature determines the pattern of accidentals - sharps and flats - to be played, and reappears at the beginning of each staff. A key signature serves as a guide for the performer of a piece of music.
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