Changes

The notes used in the key of C major (corresponding to the white notes on the piano) are C, D, E, F, G, A, B and C.  When sung or played, these are often referred to by their respective names ''do'', ''re'', ''mi'', ''fa'', ''so'', ''la'' ''ti'', and ''do''.

The notes used in the key of C major (corresponding to the white notes on the piano) are C, D, E, F, G, A, B and C.  When sung or played, these are often referred to by their respective names ''do'', ''re'', ''mi'', ''fa'', ''so'', ''la'' ''ti'', and ''do''.

In the late nineteenth century, composers such as [[Richard Wagner]], [[Hugo Wolf]], and [[Richard Strauss]] began to use extreme chromaticism and modulations to distantly related keys for a heightened expressive affect. In the [[Twentieth Century period (music)|twentieth century]], this trend developed to the point where the listener's impression of a tonal center became weak or even irrelevant, leading to [[atonal]] music. Composers such as [[Arnold Schoenberg|Arnold Schönberg]] attempted to create a new set of rules to replace tonality, resulting in [[twelve tone]] music.

In the late nineteenth century, composers such as [[Richard Wagner]], [[Hugo Wolf]], and [[Richard Strauss]] began to use extreme chromaticism and modulations to distantly related keys for a heightened expressive affect. In the [[Twentieth Century period (music)|twentieth century]], this trend developed to the point where the listener's impression of a tonal center became weak or even irrelevant, leading to [[atonal]] music. [[Arnold Schoenberg|Arnold Schönberg]] eventually attempted to create a new set of rules to replace tonality, resulting in [[twelve tone]] music.

Many styles, or genres, of music are quite recognizable by the type of key structure they employ.

Many styles, or genres, of music are quite recognizable by the type of key structure they employ.