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In the case of six sharps or flats, the actual notes are [[enharmonic|enharmonically]] identical, which means that on keyboard instruments this represents the exact same scale, though notated differently. J.S. Bach also used this enharmonic equivalence to prove a point in Book 1 of the ''Well-Tempered Clavier'', in which he wrote the eighth prelude in e{{music|♭}} minor, and its accompanying fugue in d{{music|♯}} minor.

In the case of six sharps or flats, the actual notes are [[enharmonic]]ally identical, which means that on keyboard instruments this represents the exact same scale, though notated differently. J.S. Bach also used this enharmonic equivalence to prove a point in Book 1 of the ''Well-Tempered Clavier'', in which he wrote the eighth prelude in e{{music|♭}} minor, and its accompanying fugue in d{{music|♯}} minor.

It is also possible, albeit rare, for a key signature to denote a [[mode (music)|mode]] other than major or minor. In 17th and early 18th-century music, g minor is sometimes written with one flat, which is a holdover from the modal thinking of [[Renaissance]] music.

It is also possible, albeit rare, for a key signature to denote a [[mode (music)|mode]] other than major or minor. In 17th and early 18th-century music, g minor is sometimes written with one flat, which is a holdover from the modal thinking of [[Renaissance]] music.

[[category:musical terms]]

[[Category:Musical terms]]