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Author Topic: Naragonia - where to start?  (Read 18612 times)

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Ollie

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Re: Naragonia - where to start?
« Reply #80 on: November 16, 2013, 03:59:54 PM »

Quote
"It's also common to associate specific colours with keys. Scriabin was famous for this, not surprisingly as he had synaesthesia"
or
It's common to hear nothing in one's later years. Beethoven was famous for this, not surprisingly because he was deaf.
Don't see the point and I would question the word "common."
And

Quote
"Here are other people's views"
I didn't say nobody believed as you do. I did give you a couple of examples which you choose to ignore while offering "authorities" to support you.

I read yours - did you read mine?
I recommend your ref to others as a source of an excellent wry grin and offer just one quote: "Though these writings often contradict each other ..."

Is there a reason you're being unnecessarily argumentative about this issue, or are you purposefully trolling?
Besides, this is all completely off-topic (I realise I've not helped matters). As posted earlier, there was a previous, lengthy discussion on keys and their different moods and characteristics. I and others have also linked you to some other examples of people's view on the matter; I really don't see why you are being so defensive about all this.

This is my last contribution to this discussion. 
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bellmartin

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Re: Naragonia - where to start?
« Reply #81 on: November 16, 2013, 04:02:20 PM »


Keys and moods/colours/emotions: Don't forget that the concert pitch has changed over the years. So C Major is not the same as it was in the Baroque f.e. And even now the concert pitch is higher than the one used at the time of Scriabin. Scriabin had a connection between colours and piano keys. No idea if he had the same connetion, if the piano was out of tune … :-)

Good point. Hopefully we still get the same experience in general, or relatively the same experience, when a variety of pieces in different keys is played in a concert, even if the colors are adjusted due to tuning changes.

A good example of colors and moods of keys, for me, was in an all-Bach program of concertos. The violin concerto in E major sounded zesty like a sweet margarita heavy on the lime juice, whereas the concerto in C minor for oboe and violin sounded (to continue the food image) nutty, dark and mellow. The fact that the zing of open e-strings for the violins was available in E major, and much darker low open c-strings for the cellos in C minor was part of the experience, but this is true, for me at least, if the pieces are played on a keyboard instrument. I mentioned the margarita idea to the conductor of the concert, and he agreed.
« Last Edit: November 16, 2013, 04:06:45 PM by bellmartin »
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Chris Ryall

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Re: Naragonia - where to start?
« Reply #82 on: November 16, 2013, 04:16:44 PM »

Wonder what key goes with the gin I just poured m'self.

Is it time to split this "moods" thread out before the main topic … un-Ravel's? ::)
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Anahata

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Re: Naragonia - where to start?
« Reply #83 on: November 16, 2013, 10:43:47 PM »

The fact that the zing of open e-strings for the violins was available in E major, and much darker low open c-strings for the cellos in C minor was part of the experience

That's certainly one of the physical explanations for the associations of some keys. Triumph, rejoicing and praising God: trumpet; soprano; D major (as someone said once on Radio 3, unforgettably for me) with lots of open strings adding brightness.

Quote
but this is true, for me at least, if the pieces are played on a keyboard instrument
If it's in true equal temperament, that is harder to explain. In other tunings line meantone, they would sound very different.

Beethoven and Mozart both favoured certain keys for particular purposes, and both seem to have had a special relationship with C minor.

Anyway, we digress, as has already been mentioned. 'nuff said, from me.
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