Sunday, October 12, 2008

THE TRUE CHARACTER OF MUSICAL KEYS

From Christian Schubart's Ideen zu einer Aesthetik der Tonkunst (1806), translated by Rita Steblin in A History of Key Characteristics in the 18th and Early 19th Centuries. UMI Research Press (1983

C Major - Completely Pure. Its character is: innocence, simplicity, naivety, children's talk.

C Minor - Declaration of love and at the same time the lament of unhappy love. All languishing, longing, sighing of the love-sick soul lies in this key. . .

Eb Major The key of love, of devotion, of intimate conversation with God. . .

D# Minor Feelings of the anxiety of the soul's deepest distress, of brooding despair, of blackest depresssion, of the most gloomy condition of the soul. Every fear, every hesitation of the shuddering heart, breathes out of horrible D# minor. If ghosts could speak, their speech would approximate this key. . .

F Major - Complaisance & Calm. . .

G Major - Everything rustic, idyllic and lyrical, every calm and satisfied passion, every tender gratitude for true friendship and faithful love,--in a word every gentle and peaceful emotion of the heart is correctly expressed by this key.

G Minor Discontent, uneasiness, worry about a failed scheme; bad-tempered gnashing of teeth; in a word: resentment and dislike. . .

Ab Major Key of the grave. Death, grave, putrefaction, judgment, eternity lie in its radius.

Bb Major Cheerful love, clear conscience, hope aspiration for a better world. . .

1 Comments:

At October 13, 2008 12:12 PM, Anonymous Anonymous said...

Yet another example of a cognitive anomaly known as synaesthesia--the elicitation of percepts associated with one sense within the domain of another sense.
In addition to evocation of emotions, colors may become associated with keys or tonalities.
Certainly most everyone has experience this phenomena to some extent while listening to the musical form commonly known as the blues.

 

Post a Comment

<< Home