In this discussion of key choices made by composers, we have never yet entertained the idea that some keys are chosen for the simple reason that a particular key falls under the fingers more comfortably than others. Chopin said that he thought beginners should start playing in the key of B because it falls under the hands so much more comfortably than any other. On this, I agree with him. Take one of his pieces written in B and try to play it in B-flat. It's very awkward. This had to have some influence on a choice of key. dave David M. Porritt, RPT dporritt at smu.edu -----Original Message----- From: caut-bounces at ptg.org [mailto:caut-bounces at ptg.org] On Behalf Of Israel Stein Sent: Tuesday, January 13, 2009 10:48 PM To: caut at ptg.org Subject: [CAUT] Speaking of Chopin... Gang, Speaking of Chopin, I have here a little excerpt from a rather scathing contemporary review of his music (out of a very fun little book that I highly recommend - "Lexicon of Musical Invective" by Nicholas Slonimsky. It's a collection of reviews panning some of the greatest composers - starting from Beethoven). Anyway, L. Rellstab writes on August 2, 1833 for the Berlin publication "Iris" about the three Nocturnes opus 9: "Furthermore, Chopin has again not failed to choose the remotest keys, B flat minor, B major and, of course, E flat Major". In general his music is being panned for its wild, crude sound - often citing key choice. Now, if quasi-equal temperament is being used - what difference does key choice make? Would Herr Rellstab be so bent out of shape about having to listen to B flat minor if it didn't sound much different from D minor? Whatever tuning system Chopin used, those outer keys must have sounded quite wild for reviewers to object to them so vehemently... Israel Stein
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