{"id":48,"date":"2024-04-04T13:53:09","date_gmt":"2024-04-04T17:53:09","guid":{"rendered":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/?post_type=chapter&#038;p=48"},"modified":"2024-07-23T17:19:13","modified_gmt":"2024-07-23T21:19:13","slug":"major-key-signatures","status":"publish","type":"chapter","link":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/chapter\/major-key-signatures\/","title":{"raw":"Major Key Signatures","rendered":"Major Key Signatures"},"content":{"raw":"<h2>Major Key Signature for Sharps<a id=\"retfig10.1\"><\/a><\/h2>\r\n[caption id=\"attachment_920\" align=\"aligncenter\" width=\"1024\"]<img class=\"wp-image-920 size-large\" src=\"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-content\/uploads\/sites\/35\/2024\/04\/First-5-sharp-keys-Major-e1718202031174-1024x290.jpeg\" alt=\"Figure 10.1 Image description available.\" width=\"1024\" height=\"290\" \/> Figure 10.1 [Image description \u2013 <a href=\"https:\/\/openbooks.macewan.ca\/introtomusictheory\/back-matter\/appendix-c-figure-descriptions\/#fig10.1\">See Appendix C Figure 10.1<\/a>][\/caption]When identifying or trying to memorize the major key signatures that have sharps in them, a useful \u201ctrick\u201d is to look at the last sharp added (meaning the sharp found on the farthest right of the key signature) and go up one semitone. The note found one semitone above the last sharp added will always be the name of the major scale associated with that key signature.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<img class=\"alignleft wp-image-1095\" src=\"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-content\/uploads\/sites\/35\/2024\/04\/D-major-KS.jpeg\" alt=\"\" width=\"176\" height=\"133\" \/>\r\n\r\nFor example, in the key signature with 2 sharps, the C\u266f is the furthest to the right. One semitone higher than C\u266f is D, and D major is the correct major scale.\r\n\r\n<\/div>\r\n<\/div>\r\nThe sharps appear in a specific order and position in the key signature. A mnemonic device is used to help remember the order of the sharps. This can be helpful when writing a key signature down by hand or for quickly remembering which notes are sharp in a key signature. The mnemonic device is:\r\n\r\n<strong>F<\/strong>ather\r\n\r\n<strong>C<\/strong>harles\r\n\r\n<strong>G<\/strong>oes\r\n\r\n<strong>D<\/strong>own\r\n\r\n<strong>A<\/strong>nd\r\n\r\n<strong>E<\/strong>nds\r\n\r\n<strong>B<\/strong>attle\r\n<h2>Major Key Signature for Flats<\/h2>\r\nFor major key signatures that have flats, the flats and the order of the flats differ from the sharps.<a id=\"retfig10.2\"><\/a>\r\n\r\n[caption id=\"attachment_921\" align=\"aligncenter\" width=\"1024\"]<img class=\"wp-image-921 size-large\" src=\"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-content\/uploads\/sites\/35\/2024\/04\/First-5-Flat-keys-major-e1718202073307-1024x288.jpeg\" alt=\"Figure 10.2 Image description available.\" width=\"1024\" height=\"288\" \/> Figure 10.2 [Image description \u2013 <a href=\"https:\/\/openbooks.macewan.ca\/introtomusictheory\/back-matter\/appendix-c-figure-descriptions\/#fig10.2\">See Appendix C Figure 10.2<\/a>][\/caption]There is, again, a mnemonic device and \u201ctrick\u201d that can be helpful in identifying and memorizing the key signatures with flats.\r\n\r\n<strong>B<\/strong>attle\r\n\r\n<strong>E<\/strong>nds\r\n\r\n<strong>A<\/strong>nd\r\n\r\n<strong>D<\/strong>own\r\n\r\n<strong>G<\/strong>oes\r\n\r\n<strong>C<\/strong>harles'\r\n\r\n<strong>F<\/strong>ather\r\n\r\n<span style=\"color: #0000ff;\"><span style=\"color: #000000;\">As B\u266d, E\u266d, A\u266d, D\u266db, G\u266d, C\u266d, then F\u266d appear in that order, the mnemonic device above can be used to help remember the order in which they appear. It can also be used to identify or create a key signature. The flats in a major key signature are always (almost) one flat past the name of the key, using the mnemonic device<\/span>. <span style=\"color: #000000;\">For example, when trying to remember the key signature for A\u266d major, we would say the \u201ctrick\u201d one past the A. Battle Ends And Down - D is one past the A in the device, so the key signature would be four flats. The exception is F major, as there is only one flat.\u00a0 Similarly, when trying to identify a key signature, we can look at the second last flat added, and that will be the key - with the exception again of F major as it only has one flat.\u00a0\u00a0<\/span><\/span>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Exercise<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[h5p id=\"27\"]\r\n\r\n<\/div>\r\n<\/div>","rendered":"<h2>Major Key Signature for Sharps<a id=\"retfig10.1\"><\/a><\/h2>\n<figure id=\"attachment_920\" aria-describedby=\"caption-attachment-920\" style=\"width: 1024px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-920 size-large\" src=\"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-content\/uploads\/sites\/35\/2024\/04\/First-5-sharp-keys-Major-e1718202031174-1024x290.jpeg\" alt=\"Figure 10.1 Image description available.\" width=\"1024\" height=\"290\" srcset=\"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-content\/uploads\/sites\/35\/2024\/04\/First-5-sharp-keys-Major-e1718202031174-1024x290.jpeg 1024w, https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-content\/uploads\/sites\/35\/2024\/04\/First-5-sharp-keys-Major-e1718202031174-300x85.jpeg 300w, https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-content\/uploads\/sites\/35\/2024\/04\/First-5-sharp-keys-Major-e1718202031174-768x217.jpeg 768w, https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-content\/uploads\/sites\/35\/2024\/04\/First-5-sharp-keys-Major-e1718202031174-1536x435.jpeg 1536w, https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-content\/uploads\/sites\/35\/2024\/04\/First-5-sharp-keys-Major-e1718202031174-65x18.jpeg 65w, https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-content\/uploads\/sites\/35\/2024\/04\/First-5-sharp-keys-Major-e1718202031174-225x64.jpeg 225w, https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-content\/uploads\/sites\/35\/2024\/04\/First-5-sharp-keys-Major-e1718202031174-350x99.jpeg 350w, https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-content\/uploads\/sites\/35\/2024\/04\/First-5-sharp-keys-Major-e1718202031174.jpeg 2029w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption id=\"caption-attachment-920\" class=\"wp-caption-text\">Figure 10.1 [Image description \u2013 <a href=\"https:\/\/openbooks.macewan.ca\/introtomusictheory\/back-matter\/appendix-c-figure-descriptions\/#fig10.1\">See Appendix C Figure 10.1<\/a>]<\/figcaption><\/figure>\n<p>When identifying or trying to memorize the major key signatures that have sharps in them, a useful \u201ctrick\u201d is to look at the last sharp added (meaning the sharp found on the farthest right of the key signature) and go up one semitone. The note found one semitone above the last sharp added will always be the name of the major scale associated with that key signature.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-1095\" src=\"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-content\/uploads\/sites\/35\/2024\/04\/D-major-KS.jpeg\" alt=\"\" width=\"176\" height=\"133\" srcset=\"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-content\/uploads\/sites\/35\/2024\/04\/D-major-KS.jpeg 244w, https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-content\/uploads\/sites\/35\/2024\/04\/D-major-KS-65x49.jpeg 65w, https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-content\/uploads\/sites\/35\/2024\/04\/D-major-KS-225x170.jpeg 225w\" sizes=\"auto, (max-width: 176px) 100vw, 176px\" \/><\/p>\n<p>For example, in the key signature with 2 sharps, the C\u266f is the furthest to the right. One semitone higher than C\u266f is D, and D major is the correct major scale.<\/p>\n<\/div>\n<\/div>\n<p>The sharps appear in a specific order and position in the key signature. A mnemonic device is used to help remember the order of the sharps. This can be helpful when writing a key signature down by hand or for quickly remembering which notes are sharp in a key signature. The mnemonic device is:<\/p>\n<p><strong>F<\/strong>ather<\/p>\n<p><strong>C<\/strong>harles<\/p>\n<p><strong>G<\/strong>oes<\/p>\n<p><strong>D<\/strong>own<\/p>\n<p><strong>A<\/strong>nd<\/p>\n<p><strong>E<\/strong>nds<\/p>\n<p><strong>B<\/strong>attle<\/p>\n<h2>Major Key Signature for Flats<\/h2>\n<p>For major key signatures that have flats, the flats and the order of the flats differ from the sharps.<a id=\"retfig10.2\"><\/a><\/p>\n<figure id=\"attachment_921\" aria-describedby=\"caption-attachment-921\" style=\"width: 1024px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-921 size-large\" src=\"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-content\/uploads\/sites\/35\/2024\/04\/First-5-Flat-keys-major-e1718202073307-1024x288.jpeg\" alt=\"Figure 10.2 Image description available.\" width=\"1024\" height=\"288\" srcset=\"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-content\/uploads\/sites\/35\/2024\/04\/First-5-Flat-keys-major-e1718202073307-1024x288.jpeg 1024w, https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-content\/uploads\/sites\/35\/2024\/04\/First-5-Flat-keys-major-e1718202073307-300x84.jpeg 300w, https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-content\/uploads\/sites\/35\/2024\/04\/First-5-Flat-keys-major-e1718202073307-768x216.jpeg 768w, https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-content\/uploads\/sites\/35\/2024\/04\/First-5-Flat-keys-major-e1718202073307-1536x432.jpeg 1536w, https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-content\/uploads\/sites\/35\/2024\/04\/First-5-Flat-keys-major-e1718202073307-2048x576.jpeg 2048w, https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-content\/uploads\/sites\/35\/2024\/04\/First-5-Flat-keys-major-e1718202073307-65x18.jpeg 65w, https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-content\/uploads\/sites\/35\/2024\/04\/First-5-Flat-keys-major-e1718202073307-225x63.jpeg 225w, https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-content\/uploads\/sites\/35\/2024\/04\/First-5-Flat-keys-major-e1718202073307-350x98.jpeg 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption id=\"caption-attachment-921\" class=\"wp-caption-text\">Figure 10.2 [Image description \u2013 <a href=\"https:\/\/openbooks.macewan.ca\/introtomusictheory\/back-matter\/appendix-c-figure-descriptions\/#fig10.2\">See Appendix C Figure 10.2<\/a>]<\/figcaption><\/figure>\n<p>There is, again, a mnemonic device and \u201ctrick\u201d that can be helpful in identifying and memorizing the key signatures with flats.<\/p>\n<p><strong>B<\/strong>attle<\/p>\n<p><strong>E<\/strong>nds<\/p>\n<p><strong>A<\/strong>nd<\/p>\n<p><strong>D<\/strong>own<\/p>\n<p><strong>G<\/strong>oes<\/p>\n<p><strong>C<\/strong>harles&#8217;<\/p>\n<p><strong>F<\/strong>ather<\/p>\n<p><span style=\"color: #0000ff;\"><span style=\"color: #000000;\">As B\u266d, E\u266d, A\u266d, D\u266db, G\u266d, C\u266d, then F\u266d appear in that order, the mnemonic device above can be used to help remember the order in which they appear. It can also be used to identify or create a key signature. The flats in a major key signature are always (almost) one flat past the name of the key, using the mnemonic device<\/span>. <span style=\"color: #000000;\">For example, when trying to remember the key signature for A\u266d major, we would say the \u201ctrick\u201d one past the A. Battle Ends And Down &#8211; D is one past the A in the device, so the key signature would be four flats. The exception is F major, as there is only one flat.\u00a0 Similarly, when trying to identify a key signature, we can look at the second last flat added, and that will be the key &#8211; with the exception again of F major as it only has one flat.\u00a0\u00a0<\/span><\/span><\/p>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Exercise<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<div id=\"h5p-27\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-27\" class=\"h5p-iframe\" data-content-id=\"27\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Chapter 2 Key Signature exercise\"><\/iframe><\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"author":69,"menu_order":3,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-48","chapter","type-chapter","status-publish","hentry"],"part":27,"_links":{"self":[{"href":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-json\/pressbooks\/v2\/chapters\/48","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-json\/wp\/v2\/users\/69"}],"version-history":[{"count":31,"href":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-json\/pressbooks\/v2\/chapters\/48\/revisions"}],"predecessor-version":[{"id":1372,"href":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-json\/pressbooks\/v2\/chapters\/48\/revisions\/1372"}],"part":[{"href":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-json\/pressbooks\/v2\/parts\/27"}],"metadata":[{"href":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-json\/pressbooks\/v2\/chapters\/48\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-json\/wp\/v2\/media?parent=48"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-json\/pressbooks\/v2\/chapter-type?post=48"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-json\/wp\/v2\/contributor?post=48"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-json\/wp\/v2\/license?post=48"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}