Editing Key signature (section)

== History ==
The use of a one-flat signature developed in the [[Medieval music|Medieval]] period, but signatures with more than one flat did not appear until the 16th century, and signatures with sharps not until the mid-17th century.<ref>"Key Signature", ''Harvard Dictionary of Music'', 2nd ed.</ref>

When signatures with multiple flats first came in, the order of the flats was not standardized, and often a flat appeared in two different octaves, as shown at right. In the late 15th and early 16th centuries, it was common for different voice parts in the same composition to have different signatures, a situation called a '''partial signature''' or '''conflicting signature'''. This was actually more common than complete signatures in the 15th century.<ref>"Partial Signature", ''Harvard Dictionary of Music'', 2nd ed.</ref> The 16th-century motet ''Absolon fili mi'' by [[Pierre de La Rue]] (formerly attributed to [[Josquin des Prez]]) features two voice parts with two flats, one part with three flats, and one part with four flats.

Baroque music written in [[minor key]]s often was written with a key signature with fewer flats than we now associate with their keys; for example, movements in C minor often had only two flats (because the A{{music|flat}} would frequently have to be sharpened to A{{music|natural}} in the [[minor scale|ascending melodic minor scale]], as would the B{{music|flat}}).