If you teach scales correctly, the student uses patterns to derive the circle of fifths as well the key signature. All that’s left for the student is to be able to be able to write out the key signature properly on the treble and bass staves and work towards instantly being able to identify how many sharps or flats particular scales have and what they are. Then the same thing in reverse: given a key signature, students work towards instantly identifying the major and minor scales associated with that.
For starters, read a couple of my previous articles:
Given that pre-requisite knowledge, students will be able to play, for instance, the G major scale and tell you that it has F#. To show that a piece has been written in the key of G major, we tell the student that this is shown at the start of the stave after the clef, but before the time signature. In the treble clef, it’s placed on the top line, and in the bass clef, on the fourth line. Always. When you see that, you know that all F’s in the piece should be sharps, unless otherwise indicated by an accidental.
Placement of the key signature.
Then give the student a piece of manuscript and have them copy out the key signature. If you want to be thorough, you can show them (or have them play) a piece in G major, for example, the famous Minuet in G by Petzold so they can see its relevance to playing music:
Minuet in G by Petzold is in G major.
Follow the same procedure for the next scale in the circle, and keep going. Here’s B major:
B major time signature.
The student simply has to learn where to place the sharps or flats, and that this placement is just a matter of convention.
Practising key signatures
Build up the knowledge step by step and regularly quiz students by asking questions such as:
- What is the key signature of A major? (F#, C#, G#)
- What is the key signature of D minor? (B flat)
- What scale has four sharps? (E major)
- What are they? (F#, C#, G, D#)
Have students practise writing out key signatures. Simply give them a piece of manuscript and randomly ask them to write out the key signatures of the scales you specify. (One day I’ll create some key signature worksheets!)
Also, you can use the key signature flashcards which I’ve provided as a free printable resource.
Patterns of key signatures
Students understanding of key signatures won’t be entirely complete until they realise two underlying patterns. Just as the scales are related to each other through the circle of fifths, the order of sharps goes through a cycle of fifths (going up):
F# – C# – G# – D# – A# – E# – B#
And the order of flats goes through a cycle of fifths (going down):
B♭ – E♭ – A♭ – D♭ – G♭- C♭ – F♭
And the final pattern, the order of flats is simply the order of sharps in reverse.
Scales and key signatures in context
The danger in all of this is that key signatures (and scales) become abstract thing to practise, rather than the knowledge that they are the building blocks of music. So I usually do a harmonisation exercise with my students to put scales, chords and key signatures into context. They figure out a well-known melody in a particular scale (like Happy Birthday) and harmonise it with the chords of that scale.
For more information, read:
You can take this exercise further by having the student figure out the same melody by ear using a different scale, and then have them write it out in notation using the correct key signature.
