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Since a typical door key fits inside a cuboid of about 5cm x 2. That's nothing like "multiple dump trucks". Ten height possibilities for a single pin also seems like an over-estimate. So my math is actually quite bad here, but the point I was illustrating still remains. It's pretty much physically impossible to surreptitiously carry around even , keys. Even at only. Thanks for pointing out the errors in my math by the way.
Or When asked "How many major and minor musical keys are there? Also Why, and says who? I am pretty sure I know what's considered the answer to how many keys there are, but I would like to know why and who settled for this.
In case you find that it matters I'm referring to 12 tone equal temperament. I could otherwise perhaps further have suggested, say, nine usable keys for e.
There are 12 unique named tones in Western music; all pitches are one of these 12 tones. Thus, from a purely sonic perspective, there are only twelve starting notes for a key, and with major and minor scale qualities, there are 24 tonally unique keys. For my part, this is my answer; it's the basis of the Circle of Fifths and thus much of Western music theory. Now, those 12 tones don't each have unique names; each flat note is the adjacent note's sharp for F and C, their flats are the natural notes E and B and vice versa.
For most of these, such as A , you have to go more than halfway around the Circle of Fifths, and "double-sharp" or "double-flat" notes in the key signature.
Double-sharping and double-flatting is generally frowned on, and is disallowed altogether in key signatures because key signatures are supposed to have only one symbol. Also, in these cases there is a key signature available with far fewer accidentals A would require double-sharping F,C, and G, but why have 4 sharps and three double-sharps, when all you need is two flats?
If we consider major and minor variants of these to be separate nameable keys, there are 30 nameable engravable keys that you could conceivably see on a piece of music using the Westen notation system. Virtually all your other possible systems violate the generally-accepted notation standards for Western sheet music primarily by unnecessarily double-flatting or double-sharping notes. These rules evolved out of a general desire to simplify and standardize notation based on logical symbolic progressions, which also generally followed the math behind the sounds of Western music.
There isn't one single person who set them in stone and indeed many things we consider "rules" can be bent and broken to great effect , but I'll bet that if you handed any professional musician a piece written in A he'd scratch out all those symbols and write in two flats, and curse your name for wasting his time. I hadn't really thought about the "engraving" standard, but in the diatonic tonal world, there are two answers:.
In equal temperament there are 24 "keys", if by key you mean tonal structure based on some transposition of the major or minor scale. You can keep modulating around the cycle of fifths forever and you will never return to the exact pitch from which you started. You will slowly drift either up or down in frequency by a Pythagorean comma don't ask until, ten of thousands of modulations later, you exceed the human ear's limits. We also don't have signatures for any of the non major or minor scales such as the modal scales when key isn't on, say D of dorian scale, etc , pentatonic, etc.
So no standard for all possible scales exists as far as I know. If you use equal temperament there will be 12 major keys and 12 minor keys, or 24 all together, as others have said on here.
You have C Major that has no sharps and then you have seven scales that go from one sharp to seven sharps. You also have C major that has no flats and then you have seven keys that go from one flat to seven flats.
That gives you 15 keys but as you know you only have twelve notes in the chromatic scale. That is why you have three pairs of keys that are enharmonically speaking identical. So now you have a system where all the twelve notes in the chromatic scale have a corresponding key Some have two and you have keys that vary from 0 - 7 sharps and the same for flats.
All your bases are covered now. As for the relative keys each one of the 15 has its own relative key, so now we are talking about 30 keys for both minor and Major. Practical soul that I am, I say there are as many keys as there are notes in the chromatic scale, times the number of modes.
That gives me 84, if my arithmetic skills serve me correctly. Of course, if there are only two modes anymore, then the number is One way of looking at it would be this: There are 12 different pitches in relative pitch, so a major and minor for each of these means there are 24 keys. However, each of these apart from C and Am is in a sharp or flat key, so there is an enharmonic key for each of these with the opposite, either flats or sharps.
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Small keys in the Caribbean Sea have disappeared entirely—becoming sandbar s—after a busy hurricane season.
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