Complete Encyclopaedia of Music/A/Ancient flat signatures

Ancient flat signatures. The objection to the sharp signatures dims not apply to the flat, since the second of their minor modes is not affected by the flat. For this reason, and from the variable nature of the sixth, or submediant, in the minor scale, the ancient list signatures are very frequently found. The signature of one flat belongs to 11 flat major and G minor. The following ex-ample in the opening of Corellli's fifth concerto is in B flat major.

This example affords a very striking instance of the use and effect of harmony in deciding the key and mode, independent of the signature. The eighth concerto of Corelli opens with this signature in G minor, as in the following example

This also depends upon harmony for the decision of its key and mode; the melody, as it stands above, might he equally in B flat major, or G minor; but the F sharp, which accompanies the C in the second measure, decides the key. The signature of two flats be-bugs to E flat major, as

The signature of its relative, minor mode C, is very common.

The signature of three flats is unusual in the major mode of A flat, but extremely frequent in the minor of F. Handel, indeed, has seldom if ever. used the modern signature in this mode.

In the above example, the E natural is the leading note, and points to the key note, F ; of which A fiat is the lesser third, and decides the mode.