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<div>This thread is getting really interesting. Back to my theory professor…Guess what? He's an organist!</div>
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<div>Eric Lai</div>
<div>Baylor University</div>
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<span style="font-weight:bold">From: </span>Fiona McAlpine <<a href="mailto:fe.mcalpine@auckland.ac.nz">fe.mcalpine@auckland.ac.nz</a>><br>
<span style="font-weight:bold">Date: </span>Tuesday, May 20, 2014 1:47 AM<br>
<span style="font-weight:bold">To: </span>Ildar Khannanov <<a href="mailto:solfeggio7@yahoo.com">solfeggio7@yahoo.com</a>>, Conor Cook <<a href="mailto:conor.p.cook@gmail.com">conor.p.cook@gmail.com</a>>, Michael Luxner <<a href="mailto:mluxner@mail.millikin.edu">mluxner@mail.millikin.edu</a>><br>
<span style="font-weight:bold">Cc: </span>smt-talk smt <<a href="mailto:smt-talk@societymusictheory.org">smt-talk@societymusictheory.org</a>><br>
<span style="font-weight:bold">Subject: </span>Re: [Smt-talk] F SHARP MAJOR<br>
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Keyboards, fingers & organists: why might Messiaen have found F# major a congenial key signature – or an accustomed place to put his hands – at a time when he was developing his
<i>modes de transposition limitée</i>? See his early <i>Banquet Céleste</i> which ends on what would be a V7 chord in relation to the key signature, or 'Les Mages' from
<i>La Nativité du Seigneur</i><br>
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<div><font class="Apple-style-span" face="'Times New Roman'" style="font-size:13px"><span class="Apple-style-span" style="font-size: medium; "><font class="Apple-style-span" color="#800080">(Dr) Fiona McAlpine</font></span></font>
<div style="font-family:Tahoma; font-size:13px"><font class="Apple-style-span" face="'Times New Roman'"><span class="Apple-style-span" style="font-size:medium"><font class="Apple-style-span" color="#800080">Honorary Research Fellow</font></span></font></div>
<div style="font-family:Tahoma; font-size:13px"><font class="Apple-style-span" face="'Times New Roman'"><span class="Apple-style-span" style="font-size:medium"><font class="Apple-style-span" color="#800080">School of Music</font></span></font></div>
<div style="font-family:Tahoma; font-size:13px"><font class="Apple-style-span" face="'Times New Roman'"><span class="Apple-style-span" style="font-size:medium"><font class="Apple-style-span" color="#800080">University of Auckland</font></span></font></div>
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<div style="font-family:Tahoma; font-size:13px"><font class="Apple-style-span" face="'Times New Roman'"><span class="Apple-style-span" style="font-size:medium"><i><font class="Apple-style-span" color="#800080">Le Béguinage</font></i></span></font></div>
<div style="font-family:Tahoma; font-size:13px"><font class="Apple-style-span" face="'Times New Roman'"><span class="Apple-style-span" style="font-size:medium"><font class="Apple-style-span" color="#800080">42 Horns Rd</font></span></font></div>
<div style="font-family:Tahoma; font-size:13px"><font class="Apple-style-span" face="'Times New Roman'"><span class="Apple-style-span" style="font-size:medium"><font class="Apple-style-span" color="#800080">RD 1</font></span></font></div>
<div style="font-family:Tahoma; font-size:13px"><font class="Apple-style-span" face="'Times New Roman'"><span class="Apple-style-span" style="font-size:medium"><font class="Apple-style-span" color="#800080">Oxford 7495</font></span></font></div>
<div style="font-family:Tahoma; font-size:13px"><font class="Apple-style-span" face="'Times New Roman'"><span class="Apple-style-span" style="font-size:medium"><font class="Apple-style-span" color="#800080">North Canterbury</font></span></font></div>
<div style="font-family:Tahoma; font-size:13px"><font class="Apple-style-span" face="'Times New Roman'"><span class="Apple-style-span" style="font-size:medium"><font class="Apple-style-span" color="#800080">NEW ZEALAND</font></span></font></div>
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<div id="divRpF842998" style="direction: ltr;"><font face="Tahoma" size="2" color="#000000"><b>From:</b> Smt-talk [<a href="mailto:smt-talk-bounces@lists.societymusictheory.org">smt-talk-bounces@lists.societymusictheory.org</a>] on behalf of Ildar Khannanov
[<a href="mailto:solfeggio7@yahoo.com">solfeggio7@yahoo.com</a>]<br>
<b>Sent:</b> Tuesday, 20 May 2014 14:51<br>
<b>To:</b> Conor Cook; Michael Luxner<br>
<b>Cc:</b> smt-talk smt<br>
<b>Subject:</b> Re: [Smt-talk] F SHARP MAJOR<br>
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<div><span>Dear Conor and the List,</span></div>
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<span>I have published an article on music of Dmitri Tiomkin for the High Noon in the Film Music Journal. His Oscar-winning ballade Do not forsake me, o my darling is written in D flat major. It is difficult to visualize this key while horse-riding and singing
on the prairie, and the guitar is not the best friend of this key! However, considering Dmitri's lessons with Glazunov it does not seem far fetched at all.</span></div>
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<span>Best wishes,</span></div>
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<span>Ildar Khannanov</span></div>
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<span>Peabody Conservatory, Johns Hopkins University</span></div>
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<span><a href="mailto:solfeggio7@yahoo.com">solfeggio7@yahoo.com</a></span></div>
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<div dir="ltr"><font face="Arial" size="2">On Monday, May 19, 2014 3:44 PM, Conor Cook <<a href="mailto:conor.p.cook@gmail.com">conor.p.cook@gmail.com</a>> wrote:<br>
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<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>
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<div>Best,</div>
<div>Conor Cook, MMus, M.A.</div>
<div>LaSalle Catholic Parishes</div>
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On May 19, 2014, at 10:54 AM, Michael Luxner <<a href="mailto:mluxner@mail.millikin.edu" rel="nofollow" shape="rect" target="_blank">mluxner@mail.millikin.edu</a>> wrote:<br clear="none">
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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.
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<div>Michael Luxner</div>
<div>Millikin University<br clear="none">
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>>> Donna Doyle <<a href="mailto:donnadoyle@att.net" rel="nofollow" shape="rect" target="_blank">donnadoyle@att.net</a>> 5/19/2014 7:11 AM >>><br clear="none">
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<div><span>Dear Steve,</span></div>
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<div><span>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>Best regards,<br clear="none">
Donna Doyle</span></div>
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<div><span>Adjunct Assistant Professor</span></div>
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<div><span>Aaron Copland School of Music</span></div>
<div><span>Queens College</span></div>
<div><span>Flushing, New York 11367</span></div>
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<div>On May 18, 2014, at 10:38 PM, Stephen Jablonsky <<a href="mailto:jablonsky@optimum.net" rel="nofollow" shape="rect" target="_blank">jablonsky@optimum.net</a>> wrote:<br clear="none">
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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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<div class="yiv8102998339MsoNormal">Beethoven Sonata No. 24, op.78</div>
<div class="yiv8102998339MsoNormal">Chopin Nocturne op. 15, No. 2; Barcarole, op. 60; Impromptu, op. 36</div>
<div class="yiv8102998339MsoNormal">Dvorak Humoresque, B. 138 (op. 32)</div>
<div class="yiv8102998339MsoNormal">Huré Sonata for Cello and Piano No. 3</div>
<div class="yiv8102998339MsoNormal">Korngold Symphony, op. 40</div>
<div class="yiv8102998339MsoNormal" style="margin-left:1.5in">Liszt “Benediction de Dieu dans la solitude” from
<i>Harmonies poetique et religieuses, III</i></div>
<div class="yiv8102998339MsoNormal">Mahler Symphony No. 10</div>
<div class="yiv8102998339MsoNormal">Scarlatti Sonatas, K. 318 and 319</div>
<div class="yiv8102998339MsoNormal">Schumann Romance, op. 28, No. 2</div>
<div class="yiv8102998339MsoNormal">Scriabin Sonata No. 4, op. 30; Poeme, op. 32. No. 1</div>
<div class="yiv8102998339MsoNormal">Soler Sonata, Rubio 90</div>
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