Theoretical key the signature this leads to a key whose key signature has an additional sharp. A piece in C that performs this modulation would lead to the theoretical key of G major, requiring eight sharps, meaning an F in place of the F already present. To write that passage with a new key signature would require recasting the new section using the enharmonically equivalent key signature of A major. An example of such recasting is Claude Debussy's "Suite bergamasque": in the third movement "Clair de lune" the key shifts for a few measures from D major to D minor (eight flats),
Choses vues à droite et à gauche (sans lunettes) aside, Satie was painstaking in his efforts to redevelop these old musical forms in modern terms, harmonically and structurally. He rejected the first movement he completed, an untitled 31-bar chorale in G Major, and experimented with several fugue subjects (including a quotation of the folksong "Au clair de la lune") for the "Fugue à tâtons". In his analysis of Satie's composing methods Robert Orledge remarked on "how ordinary his first thoughts often were", and this certainly applies to the "Choses vues". Satie's original order for the pieces - "Fantaisie", "Choral", "Fugue" - would have given the suite a conventional fast-slow-fast