Klarinet Archive - Posting 000591.txt from 1995/05

From: John Roman <JohnARoman@-----.COM>
Subj: Thoughts and questions on weird keys
Date: Sat, 20 May 1995 00:00:34 -0400

First...
Its likely that we all find some keys easier to play in than others. When
we first study an instrument, we are indoctrinated with certain keys, usually
beginning with or near the key of C and fanning out in both directions around
the circle of fifths. That custom along with the fact that many of the
naturals on the clarinet are produced using the basic finger holes probably
make keys without many sharps or flats easier for clarinetists.

I, myself, am not nearly as active a clarinetist as many on this list and I
get really nervous when I find myself sight reading in six or seven sharps or
flats. On the other hand, if I have time to look at the music first, I find
playing in those keys a challenge that I look forward to.

Second...
When this thread on "weird" keys got started, I skipped over many of the
postings. However, when the discussion turned to special characteristics
being attributed to certain keys as an explanation for writing in "weird
keys", I went back and read all the comments from the beginning. I've heard
this concept suggested many times over the years and the same thoughts and
questions always come to mind.

While I find the theory of the light, dark, rich, full, bright, etc. sound of
various keys interesting, I question its validity and have several questions
for its proponents.

I would like know whether the bright (active) sound being attributed to the
key of A for example refers to the clarinet's "key of A" or concert pitch
where the clarinet is actually playing in the "key of B"?

I can understand that certain keys as played on the clarinet (as well as some
other instruments) might be perceived as having unique sound characteristics
since many of the notes on the instruments themselves also have a specific
timbre. However, I have difficulty understanding how special qualities can
be attributed to a key when music is being played on instruments with no
discernible difference among the various pitches (a keyboard for example) and
where a tempered scale is in use. I have never been able to notice a
difference among the sound of the various keys in such cases. I'm not
suggesting that I necessarily have to hear a difference to believe that one
exists, but it would be nice.

Is it possible that the sound quality attributed to certain keys comes from
comparison with other keys (i.e. does the "key of A" sound bright because the
same music was just heard played in some other key)? Would those who claim
that some keys have unique qualities be able to listen to a recording of a
piano composition and categorically state that it could not possibly be in
the "key of A" because it doesn't sound bright enough?

All right. Those are the questions. Does someone have the answers?

John Roman