Getting comfortable with accidentals and key signatures, including knowing why and how to use each, is a complex matter. This is because the proper use of sharps and flats, and the basic concept of keys and key signatures, can really only be fleshed out by first understanding scales.

Scales tell you what it means to be in a given key. If you want to play in the key of E-flat major, the E-flat major scale is what makes the reality of that key explicit.

In music, the name of the key's center and the first note of the scale are known as the tonic. Scales and keys are defined and named by tonic pitches. In fact, the tonic acts as the tonal center, or home base, for scales and keys. For example, if you are in the key of C, the note C will become the center of the musical universe. In this case, the other notes revolve around C and play a supporting role. You might think of C as the king in his castle and the rest of the notes as his subjects. But don't get confused. In the key of F, for instance, C becomes a subject and F becomes the king!

A scale is made up of seven different notes plus an eighth note that is a repetition of the tonic one octave higher. Usually performed in ascending and descending fashion, each note in a scale can be numbered indicating its position in the scale. These numbers are called scale degrees.

There is a relational aspect to all scales and keys that makes them essentially the same. All major and minor keys and scales are based on the same exact recipe, relatively speaking. That recipe is based on whole-step intervals (two frets apart) and half-step intervals (one fret apart). For major scales, the recipe is:

• Play the tonic.

• Go up one whole step (two frets) and play that note.

• Go up another whole step (two frets) and play that note.

• Go up a half step (one fret) and play that note.

• Go up a whole step (two frets) and play that note.

• Go up a whole step (two frets) and play that note.

• Go up a whole step (two frets) and play that note.

• Go up a half step (one fret) play that note.

Reverse to descend the scale. To summarize, the intervallic model for a major scale is whole, whole, half, whole, whole, whole, half. This is true in all keys.

Believe it or not, natural minor scales contain the same content as major scales. Only the intervallic order is changed. Consequently, every major scale has a relative minor. How do you find the tonic of a relative minor scale? All you need to do is find the sixth scale degree of its major scale partner. This is best learned through example.

In the key of C major, you would count up six steps to A. The steps are C, D, E, F, G, and A. A is the sixth scale degree; therefore, A minor becomes C major's relative minor key. Both scales, major and minor, share the exact same key signature. Only by listening or studying the content of the piece can you tell if it is in a major or minor key.