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  • Hello, everyone.

  • It's Zach here.

  • And again, I've just been looking through the forums and looking for things people

  • might need some extra assistance with, and

  • might need some more kind of hands on examples.

  • Of in order to understand it.

  • So what one of these areas I think is key signatures.

  • And just looking at key signatures determine what keys they

  • represent, and how to go about actually working that out.

  • So I'm just going to give kind of chatty informal.

  • Example, flashing some on the screen and talking

  • about how I would go through doing that.

  • Now you can find this exercise at musictheory.net.

  • I truly recommend it as a, a wonderful resource for you to

  • go to and to use some of the practice exercises that they have.

  • Certainly they'll be useful for getting to practice some

  • of the things that we're talking about in this course.

  • So let's have a, we look at some key signatures.

  • There's a few ways of going about this and I'm sure there's people on

  • the forums and people taking the course certainly have different ways of doing it.

  • I'm just going to show you a few different ways that you could do it.

  • But certainly if anyone else has got any useful tips out there,

  • please feel free to share them with the rest of the group.

  • Now, I'm looking at this, and I'm seeing that there's

  • an F sharp, C sharp, G sharp, and D sharp.

  • What I would say is eventually you'll get used to that.

  • You'll be able to look at this immediately and

  • see which key it is, just by the shape.

  • Just by seeing the, the, the, the fact that there's four sharps there.

  • But let's work it out.

  • So, this is a little trick that you can use for sharp keys.

  • If you look at the very last sharp in any key signature, and raise it by a semitone.

  • That gives you your answer.

  • That is the key.

  • So, in this case we've got D sharp as our last sharp.

  • Raise D-sharp by a semitone, so it gives us E [SOUND].

  • Click on E.

  • We get the answer right.

  • Okay, now we've got another sharp key here, so C-sharp is our last sharp.

  • So if we raise up by a semitone it gives us D.

  • Now, I'm not going to click it right away

  • because I just want to explain that to you.

  • Another way of thinking about this is that the last sharp

  • in the key signature is the leading note of the key.

  • Okay.

  • So C sharp is the seventh degree of the scale, of D major.

  • That gives us our answer, D major.

  • So of course we're just dealing with major keys here.

  • Each one of these also relates to its relative minor.

  • So we just said that the last one was D major.

  • It's relative minor would be.

  • B minor, and that would also be a perfectly acceptable answer

  • for the question, which key does any given key signature represent.

  • It would be either the major or the relative minor.

  • But just for the ease of explanation in this little video, I'm just going to

  • stick to majors because I think people would probably prefer that at this stage.

  • We can go into it in more depth later on or in the forums.

  • So again, I've got sharp keys, and I'm going to look at the last sharp here.

  • The last sharp is G sharp.

  • Now, a semitone above that is A.

  • We know that this is the key signature for A major.

  • It could also be the key signature for

  • it's relative minor, which is F sharp minor.

  • But at this stage I'll just say we're just dealing with major keys.

  • So that's looking at the last semitone.

  • Counting them up.

  • sorry, looking at the last sharp, counting up one semitone, and getting our answer.

  • Obviously, another way we can do this is to be a bit more kind of thorough.

  • Go back to the, the first transpose, and we could use the circle of fifths.

  • So what we can see is this one sharp, two sharps, three sharps.

  • So that is three steps clockwise round the circle of fifths

  • from the key of C, which has no sharps or flats.

  • So if we imagine C being at 12 o'clock on the circle of fifths,

  • and we go one step clockwise, well, we get C, D, E, F, G.

  • That takes us to G.

  • That would be our first stop.

  • G, A, B, C,D, D will be our second stop.

  • D, E, F, G, A will be our third stop and there is no stop at number three

  • is because we've got three sharps in the key

  • signature, and again that gives us the answer A.

  • So you can choose one of these options.

  • You can either count how many sharps there are and

  • go around that number of sharps in the circle of fifths.

  • Or you can look at the last sharp and raise it by a semitone.

  • Or indeed, as we've just done here, you can

  • do both, and use them as checks against one another.

  • So in this case, we're going to select A.

  • Okay, and this next one, we can do both options.

  • Let's run through this a bit quicker, now.

  • If we look at the last sharp, we've got A sharp.

  • Raise A sharp by a semitone, we get B.

  • Very simple, very easy.

  • If we wanted to do it using the circle of fifths,

  • what we could do is it's one, two, three, four, fifth.

  • Five.

  • Five sharps.

  • So we would carry the five.

  • Positions.

  • Round the circle of fifths from C at the top, at the 12 o'clock position.

  • So, if we do that, we get C to G is one.

  • G to D is two.

  • D to A is three.

  • A to E is four.

  • A, E to B is five.

  • So again, both methods take us to the same answer and that is B major.

  • Okay, so here's a flat key.

  • Now this has just got one flat.

  • Well if we go, if we use a similar example, we can say we're going to go

  • one step round the circle of fourths because

  • we're dealing with flats here, so we're going anticlockwise.

  • And if you go one step anticlockwise.

  • Round the circle.

  • We can see that this is a movement of a fourth, and this takes us to F.

  • C, D, E, F.

  • One, two, three, four.

  • Now, the key signature that just has a B flat is F major.

  • Again, of course it could be D minor, it's relative, but

  • at this stage we're just going to consider this as F major.

  • So we've just got one flat.

  • We're going to move one step.

  • Round the circle, anti-clockwise, to get from C to F.

  • F is our answer in this case.

  • Okay, we're back to a sharp key again, and what we see

  • is that the last sharp, because it is only one, is F sharp.

  • A semitone above that is G.

  • Let's use our circle of fifths method.

  • Got one sharp so we'll go one position around from C.

  • C to G is one position on the circle of fifths, G major.

  • Now, this one, because it doesn't have any sharps

  • or flats, obviously we know that to be C major.

  • Let's skip through this a bit quicker now.

  • We've got two sharps.

  • Last sharp is C sharp, so it mean's we're going to be in D.

  • No sharps or flats, C.

  • Four sharps, you look at the last one.

  • You've got D sharp.

  • Up a semitone, that gives us E.

  • No sharps, C.

  • Now this is being presented to me in a random order.

  • That's why we're getting some repetitions here.

  • Three sharps, look at the last one.

  • Last one's G sharp.

  • Up a semitone from G sharp gives us A.

  • Like this.

  • Okay, so apology's that the screen has all of the

  • sudden changed, but what I wanted to do is show you

  • just a little bit more of the screen, and draw your

  • attention to this area that the cursor's on at the moment.

  • And what this does is it allows you to customize the exercise.

  • So what I'm going to say is we're going to stick to

  • just the general clef for just now, and we're going to have.

  • All of our key signatures, I'm going to click on all of these options here.

  • You maybe can't see some of what I'm doing, but all I'm

  • doing is showing you that you can use this menu to customize

  • the exercise.

  • So I've just made that we bit harder, and what I'm

  • going to do is get rid of that and start the next exercise.

  • So, when we're using flat keys, there's another little trick that we can use.

  • [COUGH] And that is really simple, that the second last flat is the keynote.

  • We don't need to do anything to it, we don't need to raise

  • it by a semitone or lower it by a semitone or anything like that.

  • We just look at the second last flat, and that is the keynote.

  • Now this is only slightly problematic if you think about the key that has one flat

  • in it, because they can't have a second last flat because it's only got one flat.

  • If we just remember that that's F, or remember that we

  • can one-step around the circle

  • anticlockwise because we're dealing with flats.

  • We can get to the answer F.

  • But if we just remember that we can use

  • this little trick for the rest of the key signatures.

  • So if we look at the second last flat here, we've got a D flat.

  • That's our answer.

  • D flat major is the key signature.

  • Of course that can also be B flat minor, is relative minor.

  • But again we're just dealing with major keys in this example.

  • Okay, we're going to look at the last sharp here, and this

  • is a really interesting one that I want to show you.

  • You've got an E sharp.

  • Now E-sharp, what is a semitone above E sharp.

  • Well, it's not F, as some people might be thinking,

  • because remember, E and F are already a semitone apart.

  • So, a semitone above E sharp is actually F sharp.

  • B flat and E flat.

  • We look at the second last flat, and we can see that that's B flat major.

  • I just want to prove this to you

  • again by walking through the circle of fifths example.

  • no, we're dealing with going

  • ant-clockwise, because we've got flats here.

  • So if we move one step around we've gone from C to.

  • F.

  • That's the movement of a fourth, because we're going anti-clockwise.

  • If we go another fourth around we get from F to B flat, and

  • again, as we said, by looking at the second last flat, B flat major.

  • Okay, so this is just one sharp.

  • If we look it, at the last sharp in a key signature and go a semitone up from it.

  • This is F-sharp, a semitone up gets us to G-major.

  • So there's your answer.

  • This one, as I said, we can just either remember that one flat is F-major.

  • Or we can look at the circle fourths, which is

  • anticlockwise around the circle of fifths, and we can say.

  • Okay, it's got one flat, so we're going to move one position around.

  • One position around from C, with no sharps or flats, takes us to F with one flat.

  • So it's F major.

  • Again, we look at the second last flat here, and

  • we see that this is the key of E flat major.

  • If we were to work around the circle of fifths example, we would go from C to F.

  • We have an anti-clockwise, so we're moving in terms of fourth.

  • We'd go from C to F, which is one flat, F to B

  • flat, which is two flats, B flat to E flat, which is three flats.

  • So again, we've got E flat major here.

  • Again, one flat on this one, is F Major.

  • So we've done quite a lot of examples

  • and that's why we're starting to get repetitions here.

  • So I'm going to leave that there and hopefully that will be of use to people.

  • Please feel free to comment or get in touch and let

  • us know if you would like any more examples of this.

  • But hopefully this has been useful for you in the meantime.

Hello, everyone.

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A2 初級

第2講 番外編1 - キーサインの実演(Coursera - 音楽理論の基礎13 (Lecture 2 Extra 1 - Key Signature Demonstration (Coursera - Fundamentals of Music Theory 13))

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    songwen8778 に公開 2021 年 01 月 14 日
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