Minor scale based on the accidentals of the "natural" minor scale, not on those of the harmonic or melodic minor scales. For example, a piece in E minor will have one sharp in its key signature because the E natural minor scale has one sharp (F). Major and minor keys that share the same key signature are "relative" to each other. For instance, F major is the relative major of D minor since both have key signatures with one flat. Since the natural minor scale is built on the 6th degree of the major scale, the tonic of the relative minor is
G-flat major and Winding used G-flat major over F-sharp major, but this does not affect the integrity of the scheme as the key sequence breaks down. Muzio Clementi chose G-flat for the "Grande Exercice" and F-sharp for the prelude. Antonín Dvořák composed Humoresque No. 7 in G-flat major, while its middle section is F-sharp minor. Gustav Mahler was fond of using G-flat major in key passages of his symphonies. Examples include: the choral entry during the finale of his Second Symphony, during the first movement of his Third Symphony, the modulatory section of the Adagietto from his Fifth Symphony, and during the