Is F Minor sad?

Hermann von Helmholtz once described F minor as harrowing and melancholy. Christian Schubart described this key as "Deep depression, funereal lament, groans of misery and longing for the grave".

en.wikipedia.org - F minor - Wikipedia

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Tonality

F minor is a minor scale based on F, consisting of the pitches F, G, A♭, B♭, C, D♭, and E♭. Its key signature consists of four flats. Its relative major is A-flat major and its parallel major is F major. Its enharmonic equivalent, E-sharp minor, has eight sharps, including the double sharp F , which makes it impractical to use.

The F natural minor scale is

Audio playback is not supported in your browser. You can download the audio file Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The F harmonic minor and melodic minor scales are Audio playback is not supported in your browser. You can download the audio file Audio playback is not supported in your browser. You can download the audio file

Music in F minor [ edit ]

Famous pieces in the key of F minor include Beethoven's Appassionata Sonata, Chopin's Piano Concerto No. 2, Ballade No. 4, Haydn's Symphony No. 49, La Passione and Tchaikovsky’s Symphony No. 4. Glenn Gould once said if he could be any key, he would be F minor, because "it's rather dour, halfway between complex and stable, between upright and lascivious, between gray and highly tinted... There is a certain obliqueness."[1] Hermann von Helmholtz once described F minor as harrowing and melancholy. Christian Schubart described this key as "Deep depression, funereal lament, groans of misery and longing for the grave".[2]

Notable compositions [ edit ]

E-sharp minor [ edit ]

E-sharp minor is a theoretical key based on the musical note E♯, consisting of the pitches E♯, F , G♯, A♯, B♯, C♯ and D♯. Its key signature has six sharps and one double sharp, (or eight sharps). Its relative major is G-sharp major, which is usually replaced by A-flat major. Its parallel major, E-sharp major, is usually replaced by F major, as E-sharp major’s four double-sharps make it impractical to use.

The E-sharp natural minor scale is:

Audio playback is not supported in your browser. You can download the audio file Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The E-sharp harmonic minor and melodic minor scales are: Audio playback is not supported in your browser. You can download the audio file Audio playback is not supported in your browser. You can download the audio file Although E-sharp minor is usually notated as F minor, it could be used on a local level, such as bars 17 to 22 in Johann Sebastian Bach's The Well-Tempered Clavier, Book 1, Prelude and Fugue No. 3 in C-sharp major. (E-sharp minor is the mediant minor key of C-sharp major.)

Notes [ edit ]

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Is Clair de lune overplayed?

What was the pianist Stephen Hough doing opening his Carnegie Hall recital on Tuesday, honoring the 100th anniversary of Debussy's death, with “Clair de lune”? The piece has been so overplayed that's it's almost past cliché.

nytimes.com - Review: Cool and Subdued, a Pianist Saves Debussy From Cliché

What was the pianist Stephen Hough doing opening his Carnegie Hall recital on Tuesday, honoring the 100th anniversary of Debussy’s death, with “Clair de lune”? The piece has been so overplayed that’s it’s almost past cliché.

Why not do the full work from which it’s drawn, Debussy’s early “Suite Bergamasque,” which you don’t often hear? And what were Schumann’s formidable Fantasy in C and Beethoven’s stormy “Appassionata” Sonata doing on a recital dedicated to Debussy, who didn’t have much interest in either composer?

Well, the adventurous Mr. Hough, who is also a composer, knew just what he was up to. His subdued account of “Clair de lune” set a contemplative mood in the hall. I think Mr. Hough was also sending another message: Don’t assume anything about Debussy; even this popular early piece reveals a radical in the making. Mr. Hough conveyed the exploratory elements of “Clair de lune” by playing it with rhythmic integrity and not a trace of expressive milking. He emphasized the halting flow of the ethereal melody, which unfolds in abrupt phrases that keep stopping momentarily to let a plush harmony linger.