Talk:F-sharp major

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For keyboard players, F# major can be regarded as a remote key relative to the "natural" key of C for keyboard instruments.

Perhaps a discussion of the concept of a remote key is appropriate here? -- Karada 21:26, 18 February 2006 (UTC)

F# major is remote from C major because it is on the other side of the circle of fifths. My problem with the line above is that piano players are taught fingering for all 24 major and minor keys (or at least I was). Sure, the keys on the "northern hemisphere" on the circle of fifths are used more often, but no halfway decent pianist can complain that a key is too "remote" for him the way a wind player has the right to. Volunteer Sibelius Salesman 19:37, 5 April 2006 (UTC)

Maybe some talk about how this key was used by Liszt to evoke heaven? Or how Beethoven's favorite sonata was in this key?

(New comment: the previous writer about Liszt's use of F# major forgot to sign, so his/her post has no visible conclusion.) I have no quibble with the comment saying that F# can be regarded as a remote key - but why with reference in particular to keyboard instruments. C major is regarded pretty universally as the "central" key of music, whatever instrument you play - so F# major is remote from that, period - not in particular for keyboard players, or for players of any other particular instrument. M.J.E. 02:51, 12 November 2007 (UTC)

[edit] Standard repertoire... probably

However, Erich Wolfgang Korngold's symphony has gained in number of recordings and performances. And away from symphonies, Dmitri Shostakovich's 14th quartet while played less often than some of the rest of his cycle shouldn't be omitted either; likewise the 24th of Beethoven's piano sonatas, as noted above...

(and Domenico Scarlatti's Allegro Kirkpatrick no. 319.)

But the Rachmaninoff is irrelevant to keys of works- the last bars of many works in F-sharp minor after the classical era (and the whole concluding section of the Farewell symphony by Haydn, for another example...), not just the Rachmaninoff first concerto, end in major; it's more and more usual...

(Though keys of sections - as with the Liszt examples, yes- or of movements- well, the slow movement of Haydn's op. 76/5 quartet is a notable example here...)

(In the "notable, by notable composers, category but not standard" category one can fit works like Hubert Parry's piano concerto, Nikolai Medtner's sonate-ballade op. 27 (1912-4) ... The key is underused, if not as much so as eg A flat minor... Schissel | Sound the Note! 22:49, 29 July 2007 (UTC)

The point about Korngold is valid: I wouldn't say that either Mahler's 10th or Korngold's are common members of the repertoire, but a case could be made that the Korngold is just as standard as the Mahler, especially if you consider one of the completed versions of the Mahler, such as that by Deryck Cooke. In any case, standard repertoire is a subjective judgement: mention of *any* published or performed piece in the key of F# major seems valid to mention here. In particular, I think the mention of the Mahler being the *only* symphony in the standard repertoire in F# major should be altered, and I will think about doing so. M.J.E. 02:51, 12 November 2007 (UTC)

I've corrected this: both works are mentioned now. M.J.E. 04:46, 12 November 2007 (UTC)

[edit] Scriabin's use of F# major - Sonata 5 dubious.

It is true that Scriabin used this key a number of times, and it seems likely it was one of his very favourite keys. But I think mentioning that two of his sonatas are in this key is rather questionable.

I don't dispute no. 4, which, despite showing the beginnings of his style evolving away from tonality, is undisputably in this key: very emphatically in the last two pages, in fact; a little ambiguously in the first movement.

But I strongly question Sonata no. 5, despite its beginning with a 6-sharp key signature, and often being labelled as in F# major on record covers. Consider: the very opening is actually notated in the wrong key signature, because it has naturals in it consistently that indicate the Locrian mode in D#: if this passage were given a 4-sharp key signature, it would not have a single accidental in it. Then, after that, the slow part of the introduction is sort of centred around F#, but so chromatic as to be very vague. Then, with the first subject, it centres more firmly around F#, but there is not a single F# major triad in the start of it, and it soon moves away from this key by using accidentals; parts of it have a generalized modal feel to it rather than a firm F# tonality. The recapitulation does a similar thing to this theme, but in B, not F#. The second subject is in Bb major, then Eb major in the recapitulation. The 3-flat signature is the one the piece ends in; but the coda moves towards Eb Locrian, then (still continuing the 3-flat signature, but cancelled constantly by masses of sharps), the last bars are similar to the very beginning, once again in D# Locrian, and should have a 4-sharp signature.

So, in short, I think this is a very weak candidate for the key of F# major. Despite its even more advanced chromaticism, "Prometheus: The Poem of Fire" is a better example of F# major, even ending on a pure F#-major triad. M.J.E. 03:03, 12 November 2007 (UTC)

I've thought a bit further about this, and I think a modification of the references to Scriabin is justified, and I've just done it. M.J.E. 04:47, 12 November 2007 (UTC)

[edit] Well-known music in this key

I plan on deleting any unsourced entries from this in a few weeks. (Listening to a piece and trying to figure out the key is not a source, and is also WP:OR.) Torc2 (talk) 08:22, 11 January 2008 (UTC)