This doc incorporates a number of data
from the Web concerning the emotion or temper related to musical keys.
It isn’t full nor does it embrace data discovered solely in print sources.

The affiliation of sure musical key signatures with a selected subjective
high quality or emotion. e.g., E main as “vibrant & piercing.”

Many theoretical works of the eighteenth century explicitly assign sure
affectations or emotional traits to totally different keys. Although these
writings usually contradict one another as to what these traits really
are, it’s well-known that many composers fastidiously selected keys for related
affectations all through their lives. To Mattheson, for instance, D main was
“considerably shrill and cussed,” whereas to Rousseau it was suited to “gaiety
or brilliance.”

From Christian Schubart’s Ideen zu einer Aesthetik der Tonkunst (1806)
translated by Rita Steblin in A Historical past of Key Traits within the 18th
and Early 19th Centuries. UMI Analysis Press (1983).

C main

Utterly pure. Its character
is: innocence, simplicity, naïvety, kids’s discuss.


C minor

Declaration of affection and on the
identical time the lament of sad love. All languishing, longing, sighing of
the love-sick soul lies on this key.


Db main

A leering key, degenerating into
grief and rapture. It can’t chortle, however it might smile; it can’t howl, however
it might a minimum of grimace its crying.–Consequently solely uncommon characters
and emotions may be introduced out on this key.


D main

The important thing of triumph, of Hallejuahs,
of war-cries, of victory-rejoicing. Thus, the inviting symphonies, the marches,
vacation songs and heaven-rejoicing choruses are set on this key.


D minor

Melancholy womanliness, the spleen
and humours brood.


D# minor

Emotions of the nervousness of the
soul’s deepest misery, of brooding despair, of blackest depresssion, of
probably the most gloomy situation of the soul. Each concern, each hesitation of the
shuddering coronary heart, breathes out of horrible D# minor. If ghosts might converse,
their speech would approximate this key.


Eb main

The important thing of affection, of devotion,
of intimate dialog with God.


E main

Noisy shouts of pleasure, laughing
pleasure and never but full, full delight lies in E Main.


F main

Complaisance & calm.


F minor

Deep melancholy, funereal lament,
groans of distress and eager for the grave.


F# main

Conquer problem, free
sigh of aid utered when hurdles are surmounted; echo of a soul which has
fiercely struggled and at last conquered lies in all makes use of of this key.


F# minor

A depressing key: it tugs at ardour
as a canine biting a gown. Resentment and discontent are its language.


G main

Every thing rustic, idyllic and
lyrical, each calm and happy ardour, each tender gratitude for true
friendship and devoted love,–in a phrase each mild and peaceable emotion
of the center is appropriately expressed by this key.


G minor

Discontent, uneasiness, fear
a few failed scheme; bad-tempered gnashing of tooth; in a phrase: resentment
and dislike.


Ab main

Key of the grave. Dying, grave,
putrefaction, judgment, eternity lie in its radius.


Ab minor

Grumbler, coronary heart squeezed till
it suffocates; wailing lament, tough wrestle; in a phrase, the colour of
this key’s all the pieces battling problem.


A serious

This key contains declarations
of harmless love, satisfaction with one’s state of affairs; hope of seeing
one’s beloved once more when parting; youthful cheerfulness and belief in God.


A minor

Pious womanliness and tenderness
of character.


Bb main

Cheerful love, clear conscience,
hope aspiration for a greater world.


Bb minor

A quaint creature, usually dressed
within the garment of evening. It’s considerably surly and really seldom takes on a
nice countenance. Mocking God and the world; discontented with itself
and with all the pieces; preparation for suicide sounds on this key.


B main

Strongly colored, asserting
wild passions, composed from probably the most evident coulors. Anger, rage, jealousy,
fury, despair and each burden of the center lies in its sphere.


B minor

That is because it had been the important thing of
endurance, of calm awaiting ones’s destiny and of submission to divine dispensation.


Shade and musical
pitch

http://www.harmonics.com/lucy/lsd/colours.html:
Pitch, color, Scriabian, and others by Charles E. H. Lucy

an try and make a “connection via arithmetic and physics”

He states that along with Scriabin, “Berlioz, Debussy and Wagner had been
additionally fascinated by music and color and Rimsky-Korsakov thought-about C as
white.”

This web site contains Scribians, The Rosicrucian Order’s, and Charles Fourier’s
shade charts for musical pitches.


Keys
and Colours: Is There a Connection?
by Gail Smith

Consists of Amy Seashore’s listing of key colours



From
http://rhythmiclight.com/archives/concepts/modetoshade.html

From Frank Popper, Origins and Improvement of Kinetic Artwork, 1968:

p. 157-8: Scriabin held that every mode corresponded to a specific shade
of color, and every modulation to a nuance of this shade.



From Tom Douglas Jones, The Artwork of Mild & Shade, 1972:

p. 102: Beethoven is claimed to have referred to as B minor the black key. Schubert
likened E minor “unto a maiden robed in white with a rose-red bow on her
breast.” One Russion composer stated, “Rimsky-Korsakoff and many people in Russia
have felt the connection between colours and sonorities. Certainly for everyone
daylight is C main and chilly colours are minors. And F-sharp is decidedly
strawberry pink!” Of his delicate compositions Debussy wrote: “I noticed that
music may be very delicate, and it takes, due to this fact, the soul at its softest
fluttering to catch these violet rays of emotion.”

p. 103: Dr. D.S. Myers, a psychologist who talked with Scriabin, stated,
“Sriabin’s consideration was first severely drawn to his coloured listening to owing
to an expertise at a live performance in Paris, the place sitting subsequent to his fellow
countryman and composer Rimsky-Korsakoff, he remarked that the piece to which
they had been listening (in D main) appeared to him yellow; whereupon his neighbor
replied that to him, too, the colour appeared golden. Scriabin has since in contrast
together with his compatriot and with different musicians the colour results of different keys,
particularly B, C main, and F-sharp main, and believes a basic settlement
to exist on this respect. He admits, nevertheless, that whereas to him the important thing
of F-sharp main seems violet, to Rimsky-Korsakoff it seems inexperienced; however
this derivation he attributed to an unintentional affiliation with the colour
of leaves and grass arising from the frequent use of this key for pastoral
music. He permits that there’s some disagreement as to the colour impact of
the important thing of G main. Nonetheless, as is so universally the case with the
topics of synesthesia, he believes that the actual colours which he
obtains have to be shared by all endowed with coloured listening to.”



From
http://www.thereminvox.com/story/28?web page=5

Athanasius Kircher system of correspondences between musical intervals and
colours

octave: inexperienced

seventh: blue-violet

main: sixth hearth pink

minor: sixth red-violet

augmented fifth: darkish brown

fifth: gold

diminished fifth: blue

fourth: brown-yellow

main third: vibrant pink

minor third: gold

main wholetone: black

minor second: white

minor wholetone: gray
(See this web site for extra techniques like this)

Scriabin’s system of coloured musical keys:

C# — Purple

F# — Vibrant Blue/Violet

B   — Blue

E   — Sky Blue

A   — Inexperienced

D   — Yellow

G   — Orange

C   — Crimson

F   — Deep Crimson

Bb — Rose/Metal

Eb — Flesh

Ab — Violet

Db — Purple (identical as C#)

Gb — Vibrant Blue/Violet (identical as F#)



From
http://www.composersdatebook.org/archives/090400.shtml
(this hyperlink not works 05/28/09)

Two Russian composers had been fascinated with the concept of linking sure musical
keys to specific colours – however got here up with fully totally different associations.
In accordance with Nikolai Rimsky-Korsakov, the important thing of C Main was “white,” whereas
Alexander Scriabin stated it was “pink.” The 2 composers did agree, nevertheless,
that the important thing of D main was “yellow” and that Eb Main was both “bluish-grey”
or “steely.”

This is an inventory of different key signatures, with Rimsky-Korsakov’s shade alternative
given first, then Scriabin’s shade affiliation:

G Main (Brownish-gold/Orange-rose)

A Main (Rosy/Inexperienced)

E Main (SapphireBlue/Bluish-white)

B Main (Darkish Blue/Bluish-white)

F# Main (Grayish-green/Vibrant blue)

Db Main (Dusky/Violet)

Ab Main (Grayish-violet/Purple-violet)

E Main (Inexperienced/Crimson)


From
http://glenngould.org/f_minor/msg08707.html

“… descriptions of keys from varied writings … (quoted from a guide by
Rita Steblin):

C Main:

   “Utterly pure” (Schubart, 1784)

   “Cheerful and pure” (Knecht, 1792)

   “State of nature, virginal chastity and purity, pretty
innocence of youth” (Heinse, 1795)

   “Naturalness and the Aristocracy” (Gervasoni, 1812)

   “Cheerful and pure; innocence and ease” (Weikert,
1827)

   “Easy, unadorned” (Schumann, 1835)

   “Regarding the bodily expression of this key, it seems
to be fully pure” (Schilling, 1835)

C-sharp minor:

   “Penitential lamentation, intimate dialog with God”
(Schubart, 1784)

   “Despair” (Knecht, 1792; Schrader, 1827; Weikert, 1827;
Ebhardt, 1830)

D main:

   “Homosexual issues and grandeur” (Rousseau, 1691)

   “Joyful and really militant” (Charpentier, 1692)

   “Nice, joyful, vibrant, songs of victory” (Masson,
1697)

   “Songs of mirth and rejoicing; grandeur and magnificence”
(Rameau, 1722)

   “Martial passion” (Hawkins, 1776)

   “The important thing of triumph, of Hallelujahs, of war-cries, of
victory-rejoicing” (Gathy, 1835)

Eb minor:

   “Horrible, frightful” (Charpentier, 1692)

   “Emotions of the nervousness of the soul’s deepest misery,
of brooding despair, of blackest melancholy, of probably the most gloomy situation
of the soul. Each concern, each hesitation of the shuddering coronary heart, breathes
out of horrible Eb minor. If ghosts might converse, their speech would approximate
this key” (Schubart, 1784)

E main:

   “Uplifting” (Junker, 1777)

   “Vibrant” (Gretry, 1797)

Bb minor:

   “Gloomy and horrible” (Charpentier, 1692)

   “Mournful songs” (Rameau, 1722)

   “Preparation for suicide sounds on this key” (Schubart,
1784)



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