Charakteristik der Tne (C.D.F. Schubart, 1784-85; appearing in der AMZ* as late as c.

1830) The following is a translation of Schubarts characterizations of all the major and minor keys. Total consistency in the repertoire is, of course not possible, but the tendency of composers in the classical and early romantic periods toward the usage described here is incontestable. A awareness of Tonartencharakteristik, along with the Doctrine of Affections (C.P.E. Bach) and a knowledge of the myriad rhetorical figures (Doctrine of Figures) - found in both vocal and instrumental of the 16th through the19th centuries - are indispensable for an understanding of musical grammar of the period should provide a basis for any performers interpretive decisions. Absolutely pure. Its character is innocence, simplicity, naivet, child-like innocence. (Ganz rein. Sein Charakter heisst Unschuld, Einfalt, naivet, Kindersprache). Mozart: all C-major Sonatas, Variations; Haydn: 2 Sonatas, Fantasie in C; Beethoven: Op. 2)
C-Major -

c-minor - A declaration of love and at the same time a lament for unhappy or unrequited love. Lovesick yearning, longing and sighing lies in this key. (Liebeserklrung und zugleich Klage der unglcklichen Liebe. Jedes Schmachten, Sehnen, Seufzen der liebetrunknen Seele, liegt in diesem Tone). Mozart: Als Luise die Briefe..., Fantasie, Sonate c-minor; Haydn Sonata in c minor; Schubert der Jger, Erstarrung in orginal key. D-Major - The key of victory, of Hallelujas, triumph in battle. For this reason one composes opening Sinfonias, marches, festive songs and choruses of rejoicing in this key. (Der Ton des Triumphes, des Hallelujas, des Kriegsgeschreys, des Siegsjubels. Daher setzt man die einladenden Sinfonien, die Mrsche, Festtagsgesnge, und himmelaufjauchzenden Chre in diesen Ton. Mozart, Haydn Sonatas; Clementi: Sonata, Schubert Mein from the Schnen Mllerin. d-minor - Femininity, somewhat depressed and melancholy; Vaguely obsessed with something, perhaps a bit scheming. (Schwermthige Weiblichkeit, die Spleen und Dnste brtet). Mozart: Fantasie, piano concerto; Beethoven: Sturm-Sonate, Schubert Gute Nacht in original key, Latrobe Sonate Nr 2. D-flat Major - Leering, furtive, casting a sidelong glance; ambivalence expressed in sorrow and blissfulness. He cannot laugh, but can smile; cannot weep but can make mournful faces; thus one can portray only very rare characters and express uncommon sensibilities with this key. (Ein schielender Ton, ausartend in Leid und Wonne. Lachen kann er nicht, aber lcheln; heulen kann er nicht, aber wenigstens das Weinen grimassiren. Mann kann sonach nur seltene Charaktere und Empfindungen in diesen Ton verlegen). No examples yet.

c-sharp minor Penitential prayer, conversation with God or a trusted confidante; sighs of unrequited friendship or love lie also in this vicinity. (Buklage, trauliche

Unterredung mit Gott; dem Freunde; Seufzer der unbefriedigten Freundschaft und Liebe liegen in seinem Umkreis). Schubert Moment Musical, Beethoven Moonlight Sonata, Haydn sonata, Chopin Waltz. E-flat Major - The key of love, reverence and/or confidential communication with God; the three flats of this key can express the Holy Trinity. (Der Ton der Liebe, der Andacht, des traulichen Gesprchs mit Gott; durch seine drei b die heiligeTria ausdrckend). Mozart: Sonate , Kegelstatt-Trio; Haydn; Andante con variazioni, Genzinger Sonate: Schubert Klaviertrio B-Dur, ii). e-flat minor - The terror associated with the deepest anguish of the soul, growing despair, darkest melancholy, the blackest mood, and the shudder of the fainthearted, breathe forth from this ghastly key. If ghosts could speak, they would do so in this key. (Empfindungen der Bangigkeit des allertiefsten Seelenbangs; der hinbrtenden Verzweiflung; schwrzesten Schwermuth, der dstersten Seelenverfassung. Jede Angst, jedes Zagen des schaudernden Herzens, athmet aus dem grlichen es-moll. Wenn Gespenster sprechen knnten so sprchen sie ungefhr aus diesem Tone). Haydn: Klaviertrio Jacobs Dream; Schubert: 3 Klavierstcke, i. E-Major - Loud jubilation, joy, but not quite full delight lies in this key. A key not used much. (Lautes Aufjauchzen, lachende Freude, noch nicht ganzer, voller Genu liegt in E-Dur). Mozart: Klaviertrio, Haydn: Sonata, Beethoven: Op. 90 ii. e-minor - Nave, innocent and feminine declaration of love; lament without grousing or grumbling, sighs but few tears; living in hope of bliss via resolution into C Major (!). (Naive, weibliche unschuldige Liebeserklrung, Klage ohne Murren; Seufzer von wenigen Thrnen begleitet; nahe Hoffnung der reinsten in C-Dur (!) sich auflsenden Seligkeit spricht dieser Ton). Mozart: Sonata for piano & violin; Haydn: 2 Sonaten; Beethoven Op. 90, i) F-Major - Pleasant, agreeable and quiet. (Geflligkeit und Ruhe). Mozart, Haydn: piano sonatas, violinsonatas; Beethoven: Frhlingssonate. (It should not be forgotten that the baroque characterization for example that of Mattheson - is one of a concertizing key, suitable for grand and virtuosic expression as well). f-minor - Deep melancholy or depression, mourning, weeping, longing for death. (Tiefe Schwermut, Leichenklage, Jammergechz, und grabverlangende Sehnsucht). Haydn: Andante con variationi; Beethoven: Op. 57; Schubert: Impromptu,Gefrorene Trnen, Der Wegweiser. G-flat Major - Triumph over adversity, breathing free after reaching the summit; reflections of the soul which has struggled with adversity and finally emerged victorious. Seldom used. (Triumph in der Schwierigkeit, freyes Aufathmen auf berstiegenen Hgeln; Nachklang einer Seele, die stark gerungen, und endlich gesiegt hat - liegt in allen Applicaturen dieses Tons). Schubert Impromptu, de Krufft Prelude in F-sharp major (!).

f-sharp minor A dark key; it tugs on the passions like a biting dog on the pantcuff. Resentment and displeasure is its language. The key of one who is not comfortable in his own skin. For this reason it yearns for the peace of A-Major or for the triumphant bliss of D-Major. Appears seldom. (Ein finsterer Ton; er zerrt an der Leidenschaft, wie der bissige Hund am Gewande. Groll und Mivergngen ist seine Sprache. Es scheint ihm ordentlich in seiner Lage nicht wohl zu seyn; daher schmachtet er immer nach Ruhe von A-Dur, oder nach der triumphirenden Seligkeit von D-Dur hin). C.P.E. Bach: Freie Fantasie; Mozart: piano concerto KV 488, ii; Clementi: Sonata, Jadin: Sonata. G-Major- Pastoral and idyllic; peaceful and satisfied, tgentle thankfulness for loyal friendship and true love. In a word, all gentle and quiet sentiments of the heart can be expressed perfectly in this key. (Alles Lndliche, Idyllen- und Eklogenmige, jede ruhige und befriedigte Leidenschaft, jeder zrtlicher Dank fr aufrichtige Freundschaft und treue Liebe; -- mit einem Wort, jede sanfte und ruhige Bewegung des Herzens lt sich trefflich in diesem Tone ausdrcke). Mozart: Das Veilchen, piano trio, piano sonata, Variations for piano, 4 hands; Haydn: sonata, , Sauschneider Capriccio, Kaiser variations, piano concerto; Beethoven: Op. 14 und 78, Rondo for piano; Schubert: Liebesbotschaft. g-minor - Displeasure and discomfort, worry/regret about a failed plan; ill-tempered gnashing of the teeth; in a word complaint and indifference. (Misvergngen und Unbehaglichkeit; Zerren an einem verunglckten Plane; missmuthiges Nagen am Gebiss; mit einem Worte, Groll und Unlust). Mozart: piano quartet, 2 symphonies; Dussek: variations op. 6; Haydn: sonata (only one in this key). A-Major - This key holds the declaration of innocent love, satisfaction with its lot; the hope of reunion after separation; youthful optimism and trust in God. (Dieser Ton enthlt Erklrungen unschuldiger Liebe, Zufriedenheit ber seinen Zustand; Hoffnung des Wiedersehens beim Scheiden; jugendliche Heiterkeit, und Gottesvertrauen). Mozart: piano concerto KV 414, 488, Sonate 331, Clarinet-Quintet, Clarinet concerto; J.C. Bach: piano sonata, 4 hands; Schubert: Rondo for piano, 4 hands, Frhlingstraum (original key), Trout quintet.

a-minor - Pious femininity and softness of character. (Fromme Weiblichkeit und Weichheit des Charakters). Mozart: Rondo in a minor; Schubert: Arpeggione sonata; Beethoven: Fr Elise. A-flat Major - The key of the grave, death, decay, judgement and denial all lie within its compass. (Der Grberton, Tod, Grab, Verwesung, Gericht, Weigkeit, liegen in seinem Umfange). Schubert: Trauer-Walz, Impromptus; Beethoven_ op. 110. a-flat minor not mentioned. (nicht besprochen)

B-flat Major - platonic love (in any case not romantic or sexual), a cheerful positive nature, a clear conscience, hope, longing for a better world. (Heitere Liebe, gutes Gewissen, Hoffnung, Hinsehnen nach einer bessern Wel)t. Mozart. Piano sonatas, piano concertos, Violin sonatas; Schubert: Impromptu, sonata (last), piano trio.

b-flat minor - A somewhat peculiar key, often clothed in darkness; mumbling and grumbling, almost never showing a cheerful countenance. Mocking of God and the world, displeasure with itself and everything else, and even preparation for suicide lurk in this key. Not used much. (Ein Sonderling, mehrentheils in das Gewand der Nacht gekleidet. Er ist etwas mrrisch, und nimmt hchst selten eine gefllige Miene an. Moquerien gegen Gott und die Welt, Misvergngen mit sich und allem, Vorbereitung zum Selbstmord hallen in diesem Tone). Chopin: sonata. B-Major Strongly coloured, igniting wild passions, comprised of dazzling colors. Wrath, courage, jealousy, raving madness, despair and heavy-heartedness are found here. (Stark gefrbt, wilde Leidenschaften anzndend, aus den grellsten Farben zusammen gesetzt. Zorn, Muth, Eifersucht, Raserey, Verzweiflung, und jeder Last des Herzens liegt in seinem Gebiethe). No examples yet. b-minor The key of patience, quietly awaiting fate, surrender to Gods will. For this reason its lamento is so gentle, without ever a whimper or complaint. The fingerings in this key is rather difficult on all isntruments and for this reason it is used relatively little. (Der Ton der Geduld, der stillen Erwartung seines Schicksals, und der Ergebung in die gttliche Fgung. Darum ist seine Klage so sanft, ohne jemals in beleidigendes Murren, oder Wimmern auszubrechen. Die Applicatur dieses Tons ist in allen Instrumenten ziemlich schwer; deshalb findet man auch so wenige Stcke, welche ausdrcklich in selbigem gesetzt sind). Schubert: Der Leiermann, Die liebe Farbe, Einsamkeit- original keys; Mozart: Adagio in b minor; Haydn: sonata; Schubert: Unfinished symphony; Clementi: sonata; Chopin: prelude, waltz, sonata. * Written in 1784/85, first published in Vienna 1806 in Ideen zu einer Aesthetik der Tonkunst. Was last published in the Allgemeine Musikzeitschrift as late as 1830. Musical examples and translations: Richard Fuller, Wien, November 2001

Quantz ber die Wahl der Tonarten (Quantz: concerning the choice of keys)

A minor, c minor, D-sharp minor and f minor express a melancholy sentiment (das Melancholische) much better that other minor keys; and this is why composers usually employ the keys cited for that purpose. The other major and minor keys, on the other hand, are used for pleasing, singing and arioso pieces. Elsewhere: In general the Adagio must be distinguished from the first Allegro by its rhythmic structure, meter and tonality. If the Allegro is written in a major tonality, for example, in C major, the Adagio may be set, at ones discretion, in c minor, e minor, a minor, F Major, G Major, or g minor. If, however, the first Allegro is written in a minor key, for example c minor, the Adagio may be set in E-flat major, f minor, g minor, or A-flat Major. These sequences of keys are the most natural ones. The ear will never be offended by them, and the relationships are acceptable for all keys, whatever their names. Anybody who wishes to surprise his listeners in a rude and disagreeable manner is free to choose other keys; but since they may be pleasing only to him, he should at least proceed with great circumspectiion.

c:\winword\document\tonart.doc