<html><head><meta http-equiv="content-type" content="text/html; charset=utf-8"></head><body dir="auto"><div>Have any scholars examined keys in film scores or broadway? The number and nature of keys changes often require extremely full key signatures and key area juxtapositions.</div><div><br></div><div>Best,</div><div>Conor Cook, MMus, M.A.</div><div>LaSalle Catholic Parishes</div><div><br>On May 19, 2014, at 10:54 AM, Michael Luxner <<a href="mailto:mluxner@mail.millikin.edu">mluxner@mail.millikin.edu</a>> wrote:<br><br></div><blockquote type="cite"><div>
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<div>Dear all,</div>
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<div>I wonder if anyone has an idea why the composers of 19th-century Italian opera, from Bel Canto to late Verdi, are so partial to keys with more than four flats, and why they chose these keys on the flat side as opposed to the so-called "enharmonic" equivalents on the sharp side? I've long suspected that it has something to do the primary role of the piano in the gestation and rehearsal of these works, but no evidence. </div>
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<div>Michael Luxner</div>
<div>Millikin University<br><br>>>> Donna Doyle <<a href="mailto:donnadoyle@att.net">donnadoyle@att.net</a>> 5/19/2014 7:11 AM >>><br></div>
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<div><span style="-webkit-text-size-adjust: auto">Dear Steve,</span></div>
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<div><span style="-webkit-text-size-adjust: auto">Notice that most of your list's pieces are for keyboard. Take a look at your hand, place it outstretched on a keyboard and observe where your fingers rest. F#M/GbM are the most comfortable keys for pianists--long fingers on the black keys, short finger(s) on the white. 19th c pianist-composers experienced this. A story goes that when Schubert submitted his GbM Moment Musical for publication, the publisher took away the flats to sell more copies and ended up with left-over inventory. Also, who was the American songwriter who played everything in C#M on a transposing keyboard? Why not CM? Lastly, one need only observe a good church organist to know that just about anything can be managed on the keyboard by skillful hands (hence the WTC). </span></div>
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<div><span style="-webkit-text-size-adjust: auto">Best regards,<br>Donna Doyle</span></div>
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<div><span style="-webkit-text-size-adjust: auto">Adjunct Assistant Professor</span></div>
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<div><span style="-webkit-text-size-adjust: auto">Aaron Copland School of Music</span></div>
<div><span style="-webkit-text-size-adjust: auto">Queens College</span></div>
<div><span style="-webkit-text-size-adjust: auto">Flushing, New York 11367</span></div></div></div>
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<div style="-webkit-text-size-adjust: auto">On May 18, 2014, at 10:38 PM, Stephen Jablonsky <<a href="mailto:jablonsky@optimum.net">jablonsky@optimum.net</a>> wrote:<br><br></div>
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<div>I know that many of our members in academe are preparing for the end of the school year and have little time for a dalliance with a particular key and the rest of you have busy lives as well. I, on the other hand, being a lifteime composer, have a mild case of OCD and could not let go of this inquiry into the frequency of usage of F sharp major. A cursory search of the Internet, and some help from friends, has produced what may be the first definitive list of works in this very rare key. Obviously, the list does not include works that attempt to do things in every key. G flat major is another story for another day.
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<p class="MsoNormal">Beethoven Sonata No. 24, op.78<o:p></o:p></p>
<p class="MsoNormal">Chopin Nocturne op. 15, No. 2; Barcarole, op. 60; Impromptu, op. 36<o:p></o:p></p>
<p class="MsoNormal">Dvorak Humoresque, B. 138 (op. 32)<o:p></o:p></p>
<p class="MsoNormal">Huré Sonata for Cello and Piano No. 3<o:p></o:p></p>
<p class="MsoNormal">Korngold Symphony, op. 40<o:p></o:p></p>
<p style="TEXT-INDENT: -1.5in; MARGIN-LEFT: 1.5in" class="MsoNormal">Liszt “Benediction de Dieu dans la solitude” from <i>Harmonies poetique et religieuses, III<o:p></o:p></i></p>
<p class="MsoNormal">Mahler Symphony No. 10<o:p></o:p></p>
<p class="MsoNormal">Scarlatti Sonatas, K. 318 and 319<o:p></o:p></p>
<p class="MsoNormal">Schumann Romance, op. 28, No. 2<o:p></o:p></p>
<p class="MsoNormal">Scriabin Sonata No. 4, op. 30; Poeme, op. 32. No. 1<o:p></o:p></p>
<p class="MsoNormal">Soler Sonata, Rubio 90<o:p></o:p></p><!--EndFragment-->
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