By doing this a lot, it will become instantaneous. If you find a phrase that has 50 or more notes that are 1,3,& 5, then 1 is the key note. Count the melodic notes in a phrase and see how many notes are tonic, mediant or dominant, 1,3,& 5, or do, mi, sol.
By thinking in terms of decreasing flats instead of increasing sharps, we can continue in this direction until we eventually complete the circle and arrive back at C major, with no flats or sharps. In tonal music all notes lead to the key note, tonic. So instead of having the 7 sharps of C sharp major at the 7 o'clock position, we can have the slightly simpler enharmonic equivalent key of D flat major with only five flats. One by one, each key a fifth higher will have one less flat, instead of one more sharp.
If we switch over to the identical sounding (enharmonically equivalent) key of G flat major with 6 flats instead of F sharp major with 6 sharps, we can continue in the same clockwise direction, but this time we'll be subtracting flats instead of adding sharps (which is essentially the same thing). We can go one more step to the 7 o'clock position which will give us the keys of C sharp major or A sharp minor (not shown on the chart), with seven sharps-one for every note, but we can't go any further without getting into keys that have more sharps than notes. We can't keep adding sharps indefinitely or we'll soon end up with more sharps than notes (double sharps). By the time we get to F sharp major at the bottom, we've amassed 6 sharps. Unfortunately, equal tempered tuning means all stringed instruments have to allowįor the slight differences in tunings between instruments when keyboards are also involved.As you can see, by going around clockwise, one more sharp is added each time. Such tuning was known in the time of Bach, but rejected because it was regarded as too "bland" (all keys have the same tone quality) and there were no frequency measuring tools that would have allowed exact tunings. Keyboards so that the notes were evenly spaced (like the frequencies given in the table presented above). In the early 20th century, it was decided to tune There were actually several different tuning systems in use during Bach's time, including meantone (which aimed to make major 3rds sound good, but was not as concerned about the quality of major 5ths, with the effect that some keys were not usable), and Werckmeister's 1691 tuning which allowed composers to create music in any key (with the effect that the various keys had a different tonal quality). Sounded great in those keys, but pretty awful in other unrelated Instruments, especially strings, sounded "right" in those keys. Tuned for a particular group of keys, so that all the Playing the same note will play E `= 659.26\ "Hz"` [just a littleĪround 400 years ago, keyboards (usually harpsichords and organs) were But notice (from the frequency table above) that a piano This is possible, and we can play a beautiful, perfect E at `440 ×ġ.5 = 660\ "Hz"`. On a violin (or viola or any fretless stringed instrument) To get a "perfect 5th" (the interval between AĪnd the E above, say), we need to play a note which has `1.5` times An interesting problem has faced musical instrument makers for
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