Klarinet Archive - Posting 000370.txt from 2002/11

From: "William Semple" <wsemple@-----.com>
Subj: Re: [kl] Tuning for ensembles and larger
Date: Thu, 7 Nov 2002 19:41:41 -0500

> William, are you suggesting that keys have emotions associated with them?
For example, A major is a "happier" key then D-flat? And are you also
suggesting that modes (for example, the minor mode) also have
emotions associated with them, such as sadness for the minor mode?<

Taking your last point first, I certainly hear and feel and emotional
differences between major and minor triads and their derivatives: minor keys
tend to be darker, more solemn, spiritual, contemplative, moody. I say
"tend."

One of the classic examples of a triad shift is "I Love Paris," which moves
from the minor into the major in a nifty breathless kind of way, or in the
Brahms Symphony #1, in C minor, which resolves into a dramatic and exultant
major during the 3rd movement. ( I believe the Mahler Resurrection Symphony
#2, does the same upon entrance of the chorus).

Other comparisons would be between the Beethoven 5th in C minor compared to
his 7th, in A major and to his 9th in D minor. The Mozart Quintet in A vs.
the Brahms Quintet in B minor. The Brahms Trio for Piano, Clarinet and
Cello in A minor, as opposed to the Beethoven and Mozart trios in Bb major
and Eb major respectively. Others that come to mind are the Mozart 40th
Symphony (in G minor) as opposed to his #41, in C Major. Too entirely
different works. Schubert's Unfinished in B minor vs. "The Great," #9 in C
Major, or #3 in D Major.

Especially Bach's frequent resolution from minors to that final major earth
shaking blast that rocks the church.

I also have always felt chords that drop notes l/2 steps at certain
intervals, especially the third, but others as well, including diminished,
minor 7ths, and the "Blues notes," which are a minor third, whole step, half
step, half step, minor third and whole step -- to sound darker than major
keys.

But not every minor note is necessarily dark, e.g., the dominant 7th can be
quite upbeat because the chord includes a major 3rd and a minor 7th. Drop
the 3rd to a minor, and tears start to fall. :) or better :( Such sadness!
Woe is moi!

What is needed at minimum is a triad of some kind -- a root, third, and
fifth that determines the "quality" of the chord -- major, minor or
dominant. Why a minor third makes so much difference in emotional
perception, I don't know.

As far as keys are concerned, I find that when the I play in G, D, or A, C
major as opposed to F or Bb, Eb major the sound tends to sound brighter, or
more upbeat. But this is probably more of a function about how I lay my
fingers on the instrument -- the play of the keys -- than in any intrinsic
emotional relationship between a major key and the key itself (e.g., Bb
major shouldn't sound any happier or sadder than A major).

----- Original Message -----
From: "Daniel Leeson" <leeson0@-----.net>
Subject: Re: [kl] Tuning for ensembles and larger

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