Is F Minor sad key?

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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Why do major keys sound happy?

Have you ever wondered why major chords sound “happy” and minor chords sound “sad”? According to guitar instructor Adam Neely, it all comes down to intervals. “It has a lot to do with the concept of brightness—relative sizes of intervals and how we psychologically perceive larger intervals to be 'brighter',” he says.

guitarworld.com - Why Do Major Chords Sound ""Happy""? | Guitar World

Have you ever wondered why major chords sound “happy” and minor chords sound “sad”?

“It has a lot to do with the concept of brightness—relative sizes of intervals and how we psychologically perceive larger intervals to be ‘brighter’,” he says. “Brightness can be defined as the relative size of the intervals within a particular chord or a scale,” he explains. “Wider intervals are perceived as being brighter than smaller intervals. So major chords with their major 3rd are brighter that minor chords with their minor third. “Under this basic definition of brightness, augmented chords are brighter than major chords because they have a wider 5th-the augmented fifth-as compared to major chords’ perfect fifth.” Things really get interesting when Adam begins to explore the modes and their inversions. It gets a little heady—there’s some theory involved here—but Adam keeps things clear, and his music demonstrations illustrate the concepts nicely.

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