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Violinia, what you say makes sense to me on one level, as I was thinking along the same lines myself, especially: 'if you were to play a piece of music in F# major but then change the key signature so you were playing it in Gb major nobody would be able to tell the difference.' That would be so on the piano I suppose. īack to the discussion on emotion - thank you Petrat for the suggestion I searched for these threads in Google and in the AB site but without success, as yet. Regarding colours, others might be interested in a previous Reith lecture on synaesthesia at. (2nd ed) I did slightly better on google and looking for AB references - this is related although not quite the same Wonder if search facility is not working too well at the moment? or maybe it's me too !) (ed) I drew a blank as well - on topics that I definitely know are there somewhere. Thanks for your link - I shall have a read later on. Have always been fascinated by keys every since I thought I could recognise some as a child. I can't remember how far back we're looking. Well in a way it does, but only in the sense of starting a whole tone lower!

This would make you prick up your ears and think: 'hey this sounds completely different!' and if you were inclined to think different keys had different characters you may well think it was because F has a different character. They may then put that difference down to F major having a different intrinsic quality to G major, whereas what you're really hearing is the piece played in a slightly lower register than usual. Imagine if you always heard Eine Kleine Nacht Musik in G major (as you do) and then an ensemble suddenly played it in F major, anyone with a sensitive ear would immediately hear a difference. I know there are people here who are utterly convinced there are differences but believe me they're aren't! It's all down to association. Likewise B major and Cb major, yet one of them is very much a sharp key and the other is very much a flat key, yet by merely listening nobody would be able to detect the slightest difference as the notes would inhabit exactly the same frequencies. However, if you were to play a piece of music in F# major but then change the key signature so you were playing it in Gb major nobody would be able to tell the difference. I think it's all about the ability to differentiate between sharp keys and flat keys due to repeated listening and memory this then gives us the false impression that flat keys are somehow different. In Britain we fixed the key of A at 440 but we could have fixed it at 445 or 450 or anywhere else for that matter in other words it's arbitrary. We need to think outside the box here - the keys are fixed by man, only the intervals are fixed in nature.

We may think different keys stir up different emotions but it's all to do with memory and association.