# Key and Perception



## lpbug (Jul 27, 2010)

I heard a while back that certain keys have certain "feelings" to them. Of course, this is different for everyone, but I'm a noob in composing music. I just want to know from more experienced music players/composers to answer this question. Is there a certain key composers prefer when writing songs that are romantic? Also, I notice there is always a part that goes for three half-steps and it sounds really good (I know I'm being vague here) but if anyone know the terminology for it, it'd help me alot. 

P.S- I'm starting to compose here and there, any suggestions on what classes I should take? Or what books I should read? I'm kind of at a loss here because I have absolutely no idea what to do =\ 

Thanks =]


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## Ukko (Jun 4, 2010)

You're talking classical music? Do you play piano - or at least a keyboard that distinguishes touch? Read a book on basic music theory; it should explain the significance of key signatures, particularly as related to the triad. Much modern music doesn't relate to key signatures, but you'll see that.


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## Norse (May 10, 2010)

Some people are very sensitive to different keys. For instance, they might associate them with different colours. I'm not one of them, but it might be that keys matter more to me than I'm consciously aware of. You can find lists from different times about what key is supposed to convey what "feeling" strongly. The most famous is probably that Eb-major is "heroic". I tend think these things are mostly "cultural baggage", but maybe that's just me.

I'm not sure what you mean by "three half steps", though. If you're talking about melodic movement, that is in itself not related to keys. Any key could have melodic material that moves chromatically here and there. Maybe you're confusing keys and scales? I think "everyone" would agree that different scales have a much more inherent "feeling-tone" to them than different key centers do. Then again I guess you can say that d-dorian is a different key from d-minor. I'm not sure about the English usage here..


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## TresPicos (Mar 21, 2009)

Well, you have Schubart's old theory on the emotional qualities of different keys, but I don't think it has many followers today.

And then there is the concept of synesthesia, of course.


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## Kopachris (May 31, 2010)

TresPicos said:


> Well, you have Schubart's old theory on the emotional qualities of different keys, but I don't think it has many followers today.


Beaten to the punch again! Yeah, Christian Friedrich Daniel Schubart's entire _Ideen zu einer Ästhetik der Tonkunst_ is an interesting read for someone wishing to learn a little more about how music is (or at least used to be) perceived emotionally. Well, maybe not the whole book--it has a bunch of history about various music institutions in Germany that you might want to skip over if you're just after the juicy bits. You'll probably want to skip to the second part ("Die Grundsätze der Tonkunst," The Principles of Music). You can find a partial copy of the book for reading here (translated, of course).

Just a snippet for you (translated from the section on Canabile):


> A piece on an instrument that mimics the song. Ridiculous it is when some one write about Singstück Cantabile. Who will bring about an organ sonata: Orgelmäßig.


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## Huilunsoittaja (Apr 6, 2010)

TresPicos said:


> Well, you have Schubart's old theory on the emotional qualities of different keys, but I don't think it has many followers today.


I see how stuff like that can actually create prejudices in people, so that their minds would accept the idea "This key is so and so, the minor is so and so." On one's own, one may have completely different ideas.

D flat major is one of those keys where I have certain prejudices for, but it was created on my accord. I've noticed through actual extensive study that this key has a sweeter timbre than most keys, and is especially effective in romantic settings. I can name at least 20 famous works that have used this key, especially in the piano and symphonic genres. Some composers that have used it are Tchaikovsky, Grieg, Rachmaninoff, Dvorak, Liszt, etc. So here's a hint for composers out there: if you want to make a piece that's especially moving, or has potential to become great, use this key.


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## Ostinato (Jun 24, 2009)

I have always thought it strange that keys can have a particular "feel" about them. The standard tuning of instruments has varied greatly through history, over a range of more than a semitone, so it seems strange that a key can consistently be associated with a particular feeling. But it does seem that it can, to some extent at least. My view is that our feelings about keys are based on a subtle combination of what we actually hear, what we read in the score, and our general preconceptions about the effect of sharps and flats.

On this last point, I think that enharmonic changes can make a big psychological difference to anyone experienced in reading music. For example, consider the Funeral March from Beethoven's piano sonata Op. 26. This is written in A flat minor. Would it have a different emotional effect on the player (or on a listener familiar with the score) if it were notated in G sharp minor? I suspect it would be perceived as less 'tragic' and more 'sinister', less 'resigned' and more 'assertive'.

Incidentally, talking of D flat major, this seems to me an odd key for Weber's _Invitation to the Dance_. It seems the kind of piece that ought to be in a "bright" sharp key such as D major!


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## Huilunsoittaja (Apr 6, 2010)

Ostin[LEFT said:


> ato;107221]
> Incidentally, talking of D flat major, this seems to me an odd key for Weber's _Invitation to the Dance_. It seems the kind of piece that ought to be in a "bright" sharp key such as D major!


Really now?? Well, that makes # 34 on my list of great pieces in D flat


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## Polednice (Sep 13, 2009)

People with keen ears might be able to hear certain differences with some keys, hence the supposed popularity of D Major for violin concertos, as it most effectively utilises the open strings on a violin, so could create a somewhat different sound. However, I certainly wouldn't notice these differences.


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## Ostinato (Jun 24, 2009)

Polednice said:


> People with keen ears might be able to hear certain differences with some keys, hence the supposed popularity of D Major for violin concertos, as it most effectively utilises the open strings on a violin, so could create a somewhat different sound.


Another example is the use of C major in the scherzo of Schubert's String Quintet, with its powerful use of the open C, G and D strings of the cellos and viola. I am sure that would sound much less effective in any other key.


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## Kopachris (May 31, 2010)

Ostinato said:


> Another example is the use of C major in the scherzo of Schubert's String Quintet, with its powerful use of the open C, G and D strings of the cellos and viola. I am sure that would sound much less effective in any other key.


Ironic much, considering C Major's common connotations of "innocence and simplicity"? Actually, it may be powerful, but it still sounds like "children's talk" to me. It _is_ a great scherzo, though.


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## GraemeG (Jun 30, 2009)

Polednice said:


> People with keen ears might be able to hear certain differences with some keys, hence the supposed popularity of D Major for violin concertos, as it most effectively utilises the open strings on a violin, so could create a somewhat different sound. However, I certainly wouldn't notice these differences.


Violinists generally avoid open strings, unless specifically asked for by the composer (and this most usually in ensemble work).
D major is popular just because it happens to fall very consistently under the fingers; many of the fingering patterns are the same across the top two strings in many fingering positions.
cheers,
G


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## PicklePepperPiper (Aug 3, 2010)

I actually have always stood by that keys 'feel' different - but then I'm an absolute loon most of the time. Flats feel rounder, and it's true for me that their enharmonics feel more angular. For me, Eb Major and C Minor are my favourite keys, they just have a great roundness to them.

D Major/D Minor feel quite bright, but it might just be instrumental timbres. I find that they are predominantly used in film music, but then maybe all I've heard is Hans Zimmer, so.

It's probably entirely based on people's own perceptions.
-PPP


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## mueske (Jan 14, 2009)

PicklePepperPiper said:


> I actually have always stood by that keys 'feel' different - but then I'm an absolute loon most of the time. Flats feel rounder, and it's true for me that their enharmonics feel more angular. For me, Eb Major and C Minor are my favourite keys, they just have a great roundness to them.
> 
> D Major/D Minor feel quite bright, but it might just be instrumental timbres. I find that they are predominantly used in film music, but then maybe all I've heard is Hans Zimmer, so.
> 
> ...


D minor, bright? This is a first.


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