If an instrument is a transposing instrument.In a score containing more than one instrument, all the instruments are usually written with the same key signature. For example, if a five-sharp key signature is placed at the beginning of a piece, every A in the piece in any octave will be played as A sharp, unless preceded by an accidental (for instance, the A in the above scale - the next-to-last note - is played as an A ♯ even though the A ♯ in the key signature is written an octave lower). The effect of a key signature continues throughout a piece or movement, unless explicitly cancelled by another key signature. For example, if a key signature has only one sharp, it must be an F sharp. The sequence of sharps or flats in key signatures is generally rigid in music from the common practice period. The purpose of the key signature is to minimize the number of such accidentals required to notate the music. In principle, any piece can be written with any key signature, using accidentals to correct any notes where it shouldn't apply. Super-locrian is a notorious example that has almost nothing to do with the locrian mode other than it's underlying interval pattern.B major scale: key signature accidentals not needed The scales just share some common characteristics and inherit the name. For instance the function of the aforementioned lydian dominant would be more likely found played over a V+11 than to actually emphasize the mode itself. It's worth noting most of the Jazz scales commonly named after modes aren't necessarily used in a "modal" way. Both half-whole and whole-half variants suffer this. Something needs to give in order to fill in the gaps without an augmented unison, so this scale will contain a C♯ as the 7th step in order to have an interval of a second between each step while still outlining the correct diatonic chord. Say we're in Cmin and want to play a diminished scale over the ii. Diminished scales are also frequently impossible to write without a sharp and flat. Lydian dominant is a nice self-explanatory one - contains a ♯4 and ♭7. Pick up any Aebersold book and head to the scale syllabus and you'll find some examples. Sticking with diatonic harmony, the most common examples are going to be scales that outline some extended harmony because there can be multiple altered chord factors which are either nonsensical or impossible to spell without a sharp and flat due to their function relative to the key.
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