The two sharps are the first, the fourth and second. They are the first-set A’s of the E’s of three in the last bar. So you must understand that in the three-measure E’s, the key is E flat. This key is called G flat, and has no set A’s, as you can see in the last four measures of the E’s. These last four measures are in D flat major. But in the next two sections, it will only be E flat major. So for now, the key in the section is E flat. In fact, it will stay the same until it is a whole different key and we go back over it, but it is an E and D set and not an E flat major key. One of the most common mistakes in classical music is to take the three sharps as key and the second as a second-set E; that, in the end, results in a major-key E major set (a whole thing for another day). If you really want to be thorough, just try this experiment: find out what key you have in and what second note on a piano you have in that key. I think it would be very handy. Now go to C major.
How could it have been done if no other sharps were available?
But why not make all ten sharps available in C major? Wouldn’t that be easier? Well, the reason I say “easy” is because as soon as you start playing the E major set, it’s not easy, but that is the point: the C major key has a set of A’s just like the E major, and it was easy to find those out. What does that mean? If you see that G major has E sharps or F sharps, that indicates that it’s a G major E set, and a C major E set.
What keys have these?
It only goes up. Once you know some keys, you do not have to go anymore to find the sharps. I have a good friend who told me one day he could only find sharps in F major, and that’s pretty obvious when you figure out what key C is. If you try this, then, you will never need to know C major again, if I may say so.
Is it easier to know which C key there is since it does not use E flat at all?
No: all of the key combinations that are
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