![]() ![]() Other than these two exceptions, all keys with no word after their name are also sharp keys: D, E, G, A, B are all sharp keys. And C is the natural key (neither sharps or flats). All keys with the word Sharp are obviously sharp keys. Ab is obviously a flat key, and so on.Ĭonversely, C# is obviously a sharp key, G# is obviously a sharp key. ![]() Here is a trick for knowing when a key has sharps or flats: with the exception of F, all flat keys have the word “Flat” as part of their name. Fact is, keys are either sharp keys, or flat keys, never mixed, i.e there is no such thing as a key that contains both sharps and flats – either / or, never both! Period, end of story. So far, we have only been doing sharp keys. Similarly, we can decrease whole-steps to half-steps: A B becomes A Bb or A# B 1 ½ ½ How you determine to increase that half-step depends on the effect it is going to have on the spaces surrounding it, but more particularly which key you are in. it turns a 1/2 step into a 1 step: B C becomes B C# or Bb C ½ 1 1 Either way results in the space becoming a half-step larger, i.e. Note: there are two ways to adjust spaces: add a sharp (#) to the note in front, are add a flat (b) to the note in back. So, we’ll increase the space between B and C by making the C a C#:Īnd there we are, back to our 1 1 ½ 1 1 1 ½ diatonic pattern of spaces. So, let’s fix that first:Ĭool, as before we killed two birds with one stone: adding the F# gave us our 2 whole-step spaces in the beginning, while at the same time decreasing that next whole step space giving us the next half-step we needed.Īll that is left to do is get the 3 whole steps and one half step at the end. We need two whole-steps in the beginning, and instead that second space is a half step. Obviously, this pattern is not diatonic major: 1 ½ 1 1 1 ½ 1 – not the 1 1 ½ 1 1 1 ½ we need. Notice I always begin by writing out the notes up the alphabet, then adjust the spaces with sharps or flats later. Let’s do another one, this time we’ll begin on D: Without it, starting on G does not give us our diatonic major pattern of spaces. The resulting pattern of spaces became Diatonic Major. At the same time, it decreased the whole step between F and G, resulting in a half-step at the end. Adding the sharp to F increased the space by a half-step, giving us the whole-step we needed between E and F. ![]() Remember, sharps (#) raise (increase) a pitch up by a half-step. Starting on G shifted the pattern a bit, but we can easily adjust it with a sharp #. The space pattern here is whole, whole, half, whole, whole, half, whole – 2-wholes, 1-half, 2-wholes, 1-half. Let’s write out seven notes, but this time we’ll start on G: Okay, fasten your seat belt – here we go. Since most music is based on diatonic major keys, you will use it the rest of your musical life! So memorize it. In order to write out the other eleven keys in music, you must know this pattern by heart. Got it? Say it again, 10 times: 2-wholes, 1-half, 3-wholes, 1-half. The pattern of spaces between the notes is Diatonic Major (a seven-tone major scale). This means no sharp (#) or flat (b) is required to make it a half step. Remember, E to F and B to C are the only intervals in music that are “natural” half-steps, as indicated above. The pattern above shows the larger “whole-step” spaces versus the smaller “half-step” spaces. You just need to understand two things to write out all twelve diatonic major scales:ġ) The space pattern between notes (structure) andĢ) How sharps (#) and flats (b) control those spaces.Īs a review, the key of C is the only key that does not require the use of sharps or flats to become a diatonic major scale begin on C, continue up the 7 letter music alphabet (when you get to G, go to A and continue up):
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