"For example, C major and A minor share a key signature that feature no sharps or flats, despite having different tonic pitches (C and A, respectively). ""Tonic"" may be reserved exclusively for use in tonal contexts while tonal center and/or pitch center may be used in post- and atonal music: ""For purposes of non-tonal centric music, it might be a good idea to have the term 'tone center' refer to the more general class of which 'tonics' (or tone centers in tonal contexts) could be regarded as a subclass."" Thus a pitch center may function referentially or contextually in an"
"C-flat major C major (or the key of C) is a major scale based on C, consisting of the pitches C, D, E, F, G, A, and B. Its key signature has seven flats. The direct enharmonic equivalent of C major is B major, a key signature with five sharps. The C major scale is: \override Score.TimeSignature #'stencil = ##f \relative c' { </score> C major is the only major or minor key, other than theoretical keys, which has ""flat"" or ""sharp"" in its name, but whose tonic note is the enharmonic equivalent of a natural note (a white key"
"C-sharp major C-sharp major (or the key of C-sharp) is a major scale based on C, consisting of the pitches C, D, E, F, G, A, and B. It is enharmonically equivalent to D-flat major. Its key signature has seven sharps. The C-sharp major scale is: \override Score.TimeSignature #'stencil = ##f \relative c' { </score> Its relative minor is A-sharp minor (or enharmonically B-flat minor) and its parallel minor is C-sharp minor. A harp tuned to C-sharp major has all its pedals in the bottom position. Because all the strings are then pinched and shortened, this is the least resonant"
"is usually replaced by D major, since C major, which contains seven sharps, is not normally used. Its enharmonic equivalent, D minor, having eight flats, including the B, has a similar problem. Therefore, C minor is often used as the parallel minor for D major. (The same enharmonic situation occurs with the keys of A major and G minor.) There are only two known symphonies in the 18th century written in this key. One of them is by Joseph Martin Kraus, but he appears to have found the key difficult since he later rewrote it in C minor. Even in"
"D-flat major D-flat major (or the key of D-flat) is a major scale based on D, consisting of the pitches D, E, F, G, A, B and C. It is enharmonically equivalent to C-sharp major. Its key signature has five flats. The D-flat major scale is: \override Score.TimeSignature #'stencil = ##f \relative c' { </score> Its relative minor is B-flat minor. Its parallel minor, D-flat minor, is usually replaced by C-sharp minor, since D-flat minor features a B in its key signature and C-sharp minor only has four sharps, making it rare for D-flat minor to be used. C-sharp major,"
"or a ""sharp"" key signature. The key signatures with seven flats () and seven sharps () are rarely used because they have simpler enharmonic equivalents. For example, the key of C major (seven sharps) is more simply represented as D major (five flats). For modern practical purposes these keys are (in twelve tone equal temperament) the same, because C and D are enharmonically the same note. Pieces ""are"" written in these ""extreme"" sharp or flat keys, however: for example, Bach's Prelude and Fugue No. 3 from Book 1 of The Well-Tempered Clavier BWV 848 is in C major. The modern"
"G-flat major G-flat major (or the key of G) is a major scale based on G, consisting of the pitches G, A, B, C, D, E, and F. Its key signature has six flats. Its relative minor is E-flat minor (or enharmonically D-sharp minor), and its parallel minor is G-flat minor, usually replaced by F-sharp minor, since G-flat minor's two double-flats make it generally impractical to use. Its direct enharmonic equivalent, F-sharp major, also contains the same number of sharps. G-flat is more in common. The G-flat major scale is: \override Score.TimeSignature #'stencil = ##f \relative c"" { </score> Like"
"can be seen, for example, in the Albéniz example given above: Iberia, 1st movement: ""Evocación"", about two-thirds of which is in 7 flats, and every bass-clef staff of which shows this variant. This is also seen in the second movement of the Beautiful Danube waltz in the Boosey & Hawkes concert band edition. C-flat major C major (or the key of C) is a major scale based on C, consisting of the pitches C, D, E, F, G, A, and B. Its key signature has seven flats. The direct enharmonic equivalent of C major is B major, a key signature"
"G-sharp major G-sharp major is a theoretical key based on the musical note G, consisting of the pitches G, A, B, C, D, E and F. Its key signature has six sharps and one double sharp. Its relative minor is E-sharp minor (usually replaced by F minor), its parallel minor is G-sharp minor, and its enharmonic equivalent is A-flat major. The G-sharp major scale is: \override Score.TimeSignature #'stencil = ##f \relative c"" { </score> Although G-sharp major is usually notated as the enharmonic key of A-flat major, because A-flat major has only four flats as opposed to G-sharp major's eight"
"online post on C major confirmed that each key had its own personality. It is also the only key whose gender is not made clear, with both male and female pronouns being used, while all the other keys are either male or female. On SoundCloud, there are sets to categorise the keys according to number of sharps or flats and their tonality (major and minor). They are The Sharp Majors, The Sharp Minors, The Flat Majors, The Flat Minors and No sharps, No flats. Some keys are given ""ages"", such as A major being referred to as a ""teenager"" and"
"The numbers inside the circle show the number of sharps or flats in the key signature, with the sharp keys going clockwise, and the flat keys counterclockwise from C major (which has no sharps or flats.) The circular arrangement depends on enharmonic relationships in the circle, usually reckoned at six sharps or flats for the major keys of F = G and D = E for minor keys. Seven sharps or flats make major keys (C major or C major) that may be more conveniently spelled with five flats or sharps (as D major or B major). The term ""major"
"D-flat minor D minor is a theoretical key based on D, consisting of the pitches D, E, F, G, A, B, and C. Its key signature has six flats and one double flat. Its relative major is F major (usually replaced by E major), its parallel major is D major, its direct enharmonic equivalent is C♯ minor, which is normally used. The D natural minor scale is: \override Score.TimeSignature #'stencil = ##f \relative c' { </score> Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The D harmonic minor and melodic"
"A-flat major A-flat major (or the key of A-flat) is a major scale based on A, with the pitches A, B, C, D, E, F, and G. Its key signature has four flats. The A-flat major scale is: \override Score.TimeSignature #'stencil = ##f \relative c"" { </score> The relative minor is F minor. Its parallel minor, A-flat minor, is usually replaced by G-sharp minor, since A-flat minor, which would contain seven flats, is not normally used. G-sharp major, its enharmonic, with eight sharps, including the F, has a similar problem, and so A-flat major is often used as the parallel"
"major, although they usually notate this with accidentals in some other key signature, seldom a 7-flat key signature: for example: C major is used for Benjamin Britten's ""Interlude"" in C major for harp, several of Max Reger's Canons in All Major and Minor Keys (Book 1 Nos. 62 and 63, and Book 2 No. 48), and No. 29 from the ""Thirty Preludes in All Major and Minor Keys"" by Christian Heinrich Rinck. In some scores, the C major key signature in the bass clef is written with the flat for the F on the second line from the top. This"
"F-flat major F major (or the key of F) is a theoretical key based on F, consisting of the pitches F, G, A, B, C, D, and E Its key signature has six flats and one double flat. The F major scale is: \override Score.TimeSignature #'stencil = ##f \relative c' { </score> Its relative minor is D minor, usually replaced by C minor (see reason below) and its parallel minor is F minor, usually replaced by E minor, since F minor's four double-flats make it generally impractical to use. Because of that, it is usually enharmonic to E major with"
"F-sharp major F major (or the key of F) is a major scale based on F, consisting of the pitches F, G, A, B, C, D, and E. Its key signature has six sharps. The F-sharp major scale is: \override Score.TimeSignature #'stencil = ##f \relative c' { </score> The direct enharmonic equivalent of F major is G major, a key signature with six flats. Its relative minor is D minor (or enharmonically E minor) and its parallel minor is F minor. F is the key of the minuet in Joseph Haydn's ""Farewell"" Symphony, of Beethoven's Piano Sonata No. 24, Op."
"of sharps or flats (which is the same in any clef), rather than their position on the staff. For example, if a key signature has only one sharp, it must be an F-sharp, which corresponds to a G major or an E minor key. However, in 20th-century music, there are occasional exceptions to this, where a piece uses an unorthodox or synthetic scale, where a key signature may be invented to reflect this. This may consist of a number of sharps or flats that are not the normal ones (such as a signature of just C or E), or it"
"G minor G minor is a minor scale based on G, consisting of the pitches G, A, B, C, D, E, and F. Its key signature has two flats. Its relative major is B-flat major and its parallel major is G major. The G natural minor scale is: \override Score.TimeSignature #'stencil = ##f \relative c"" { </score> Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The G harmonic minor and melodic minor scales are: \override Score.TimeSignature #'stencil = ##f \relative c"" { </score> \override Score.TimeSignature #'stencil = ##f \relative c"""
"F minor F minor is a minor scale based on F, consisting of the pitches F, G, A, B, C, D, and E. Its key signature consists of four flats. Its relative major is A-flat major and its parallel major is F major. The F natural minor scale is: \override Score.TimeSignature #'stencil = ##f \relative c' { </score> Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The F harmonic minor and melodic minor scales are: \override Score.TimeSignature #'stencil = ##f \relative c' { </score> \override Score.TimeSignature #'stencil = ##f \relative"
"E-flat major. For Mozart, E-flat major was associated with Freemasonry, ""E-flat evoked stateliness and an almost religious character."" E-flat major E-flat major (or the key of E-flat) is a major scale based on E, with the pitches E, F, G, A, B, C, and D. Its key signature has three flats: B, E, and A. Its relative minor is C minor, while its parallel minor is E minor (or enharmonically D minor). The E-flat major scale is: \override Score.TimeSignature #'stencil = ##f \relative c' { </score> The key of E-flat major is often associated with bold, heroic music, in part"
"B-flat major In music theory, B-flat major is a major scale based on B, with pitches B, C, D, E, F, G, and A. Its key signature has two flats. Its relative minor is G minor and its parallel minor is B-flat minor. The B-flat major scale is: \override Score.TimeSignature #'stencil = ##f \relative c' { </score> Many transposing instruments are pitched in B-flat major, including the clarinet, trumpet, tenor saxophone, and soprano saxophone. As a result, B-flat major is a popular key for concert band compositions. In Nordic, Baltic, Western and Southern Slavic (except Bulgarian) languages, Hungarian, German and"
"E-flat major E-flat major (or the key of E-flat) is a major scale based on E, with the pitches E, F, G, A, B, C, and D. Its key signature has three flats: B, E, and A. Its relative minor is C minor, while its parallel minor is E minor (or enharmonically D minor). The E-flat major scale is: \override Score.TimeSignature #'stencil = ##f \relative c' { </score> The key of E-flat major is often associated with bold, heroic music, in part because of Beethoven's usage. His ""Eroica Symphony"", ""Emperor Concerto"" and ""Grand Sonata"" are all in this key. Also"
"Separate from these six common chords there is one degree of the scale, the seventh, that results in a diminished chord. Thus in the key of C Major, the seventh note of the scale, B, would be the root note of a diminished triad (the notes B, D and F). In addition, extra chromatic notes may be added to any chord. Chromatic notes are notes that are not in the key. Returning to our example of a song in C Major, this is a key with no sharps or flats. The key of C Major is the ""white notes"" on"
"and dominant pitches. Many editions of the work, however, use no key signature and specify the instrument as ""Timpani in B–F"". Five of Mozart's piano concertos are in B-flat major. B-flat major In music theory, B-flat major is a major scale based on B, with pitches B, C, D, E, F, G, and A. Its key signature has two flats. Its relative minor is G minor and its parallel minor is B-flat minor. The B-flat major scale is: \override Score.TimeSignature #'stencil = ##f \relative c' { </score> Many transposing instruments are pitched in B-flat major, including the clarinet, trumpet, tenor"
"works in B minor. Notes Sources B minor B minor is a minor scale based on B, consisting of the pitches B, C, D, E, F, G, and A. Its key signature consists of two sharps. Its relative major is D major and its parallel major is B major. The B natural minor scale is: \override Score.TimeSignature #'stencil = ##f \relative c' { </score> Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The B harmonic minor and melodic minor scales are: \override Score.TimeSignature #'stencil = ##f \relative c' { </score>"
"G major G major (or the key of G) is a major scale based on G, with the pitches G, A, B, C, D, E, and F. Its key signature has one sharp, F. Its relative minor is E minor and its parallel minor is G minor. The G major scale is: \override Score.TimeSignature #'stencil = ##f \relative c"" { </score> For orchestral works in G major, the timpani are typically set to G and D, a fifth apart, rather than a fourth apart as for most other keys. In Baroque music, G major was regarded as the ""key of"
"D minor D minor is a minor scale based on D, consisting of the pitches D, E, F, G, A, B, and C. Its key signature has one flat. Its relative major is F major and its parallel major is D major. The D natural minor scale is: \override Score.TimeSignature #'stencil = ##f \relative c' { </score> Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The D harmonic minor and melodic minor scales are: \override Score.TimeSignature #'stencil = ##f \relative c' { </score> \override Score.TimeSignature #'stencil = ##f \relative c'"
"major. Most of these sound a perfect fifth lower than written, with the exception of the trumpet in F which sounds a fourth higher. (The basset horn also often sounds an octave and a fifth lower.) F major F major (or the key of F) is a major scale based on F, with the pitches F, G, A, B, C, D, and E. Its key signature has one flat: B. Its relative minor is D minor and its parallel minor is F minor. The F major scale is: \override Score.TimeSignature #'stencil = ##f \relative c' { </score> F major is"
"B minor B minor is a minor scale based on B, consisting of the pitches B, C, D, E, F, G, and A. Its key signature consists of two sharps. Its relative major is D major and its parallel major is B major. The B natural minor scale is: \override Score.TimeSignature #'stencil = ##f \relative c' { </score> Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The B harmonic minor and melodic minor scales are: \override Score.TimeSignature #'stencil = ##f \relative c' { </score> \override Score.TimeSignature #'stencil = ##f \relative"
"by A-flat major. Its parallel major, E-sharp major, is usually replaced by F major, due to the presence of 4 double-sharps in the E-sharp major scale causing it to be one of the more impractical key signatures in music to use. Although E-sharp minor is usually notated as F minor, it could be used on a local level, such as bars 17 to 22 in Johann Sebastian Bach's ""The Well-Tempered Clavier"", Book 1, Prelude and Fugue No. 3 in C-sharp major. (E-sharp minor is the mediant minor key of C-sharp major.) F minor F minor is a minor scale based"
"B major B major (or the key of B) is a major scale based on B. The pitches B, C, D, E, F, G, and A are all part of the B major scale. Its key signature has five sharps. Its relative minor is G minor, its parallel minor is B minor, and its enharmonic equivalent is C major. The B major scale is: \override Score.TimeSignature #'stencil = ##f \relative c' { </score> Although B major is usually thought of as a remote key (due to its distance from C major in the circle of fifths and its fairly large"
"G-sharp minor G-sharp minor is a minor scale based on G, consisting of the pitches G, A, B, C, D, E, and F. Its key signature has five sharps. The G-sharp natural minor scale is: \override Score.TimeSignature #'stencil = ##f \relative c"" { </score> Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The G-sharp harmonic minor and melodic minor scales are: \override Score.TimeSignature #'stencil = ##f \relative c"" { </score> \override Score.TimeSignature #'stencil = ##f \relative c"" { </score> Its relative major is B major. Its parallel major, G major,"
"D major D major (or the key of D) is a major scale based on D, consisting of the pitches D, E, F, G, A, B, and C. Its key signature consists of two sharps. Its relative minor is B minor and its parallel minor is D minor. The D major scale is: \override Score.TimeSignature #'stencil = ##f \relative c' { </score> D major is well-suited to violin music because of the structure of the instrument, which is tuned G D A E. The open strings resonate sympathetically with the D string, producing a sound that is especially brilliant. This"