In each of the bottom three places on the circle of fifths the two enharmonic equivalents can be notated entirely with single accidentals and so do not classify as 'theoretical keys': But if the home key is near the bottom of the circle (a key signature of many accidentals), and particularly if the new key is on the opposite side (in the late Classical and Romantic eras), it becomes necessary to consider enharmonic equivalence (if double accidentals are to be avoided). When the key is near the top of the circle (a key signature of zero or few accidentals), the notation of both keys is straightforward. While a piece of Western music generally has a home key, a passage within it may modulate to another key, which is usually closely related to the home key (in the Baroque and early Classical eras), that is, close to the original around the circle of fifths. Modulation Circle of fifths showing major and minor keys Nevertheless, examples of the latter can be found (see below). Consequently, the theoretical key of G-sharp major is usually notated as A-flat major which has four flats.Įven when enharmonic equivalence is not resorted to, it is more common to use either no key signature or one with single-sharps and to provide accidentals as needed for the F s, than to incorporate double-sharps into the key signature. An equal-tempered scale of G-sharp major scale consists of the same pitches as the A-flat major scale, so that the two scales sound exactly the same such key pairs are said to be enharmonically equivalent. G-sharp major, a key signature with a double-sharpįor example, the key of G-sharp major is a key of this type, because its corresponding key signature has an F (on its leading-tone), giving it eight sharps.
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