Download Key Symbolism (Affektenlehre)

Key Symbolism (Affektenlehre)
(from Key Symbolism by Charles McDermott)
“The concept of key symbolism was not only rooted in the modal distinctions of ancient theorists* … but received no wider
discussion than in Bach’s own lifetime.”
*Pythagoras, Aristotle, et alia; also, theorists of the Mediaevum and the (especially Italian) Renaissance. Originally associated
with planets in Greek Classical philosophy (the planets & their gods being, in turn, associated with states of mind and
morality), the Greek Toyol were evolved into the ecclesiastical eight modes which eventually expanded to twelve (see Grout,
HWM, Chapters 1-5). [source: J. Mattheson; Das Neu-Eroffnete Orchestre (1913)]
1.
D minor – submissive and quiet, but also grand, pleasant and satisfying: it can promote devotion in churchly subjects, but
calmness in secular. Generally flowing when pleasant.
2.
D major – by nature rather penetrating and obstinate. Best suited to joyous, warlike, enlivening material, but may be used
on a delicate subject for agreeable and unusual effect, especially in flute and violin music.
3.
Eb major – lofty and earnest, often plaintive (but, to Bach, a grand key symbolic of the Holy Trinity).
4.
E minor – pensive and profound, often gloomy and sad. Yet, the listener still may hope for consolation. Swift music may
be in this key, but merriment is not therefore implied.
5.
E major – despair or morifying sadness; most comfortable (sic) with subjects of helplessness (and helplessness from an
excess of being in love), and sometimes so cutting severe, sorrowful and mordaunt that one could compare it to a fatal
separation of body and soul.
6.
F minor – gentle calm, although dark and heavy emotional pain associated with some despair; and immoderately
moving. Expresses beautifully a black, hopeless melancholy and may cause fear and dread in the listener.
7.
F major – capable of expressing the most beautiful and virtuous sentiments with a perfect grace, whether magnanimosity,
perseverance, or whatever, with a natural moderation and incomparable facility.
8.
F# minor – leads directly to great affliction (especially in mean-tone tuning!). It is more languishing and lovelorn than
fatal. Has an abandoned and singularly misanthropic aspect about it.
9.
G minor – almost the most beautiful key. Combines earnestness, amiability, grace and complaisance. In this it is, above
all, flexible to delicate and refreshing qualities as well as to longing or amusing, or to temperate lamenting or
cheerfulness.
10. G major – has much of insinuating and expressive in it. For all that, it is no less brilliant and is as well adapted to serious
as well as gay subjects.
11. A minor – plaintive, decorous, composed and somewhat soporific (but not therefore displeasing).
12. A major – extremely exhausting in spite of some brilliancy. More suited to sorrowful and sad passions than to
divertissements. Very effective for violin compositions.
13. Bb major – very entertaining and sumptuous. Something modest is contained in it, enabling it to pass simultaneously as
magnificent and dainty.
14. B minor – bizarre, listless, melancholic and therefore rather seldom encountered.
15. B major – vexatious, hard, somewhat desparate, and quite uncomfortable.
16. C minor – exceedingly lovely but also sorrowful. Since the first quality wants far too much to prevail, and one can easily
be satiated thereby, it is not inappropriate to enliven it through a livelier movement, that on e might not become sleepy
with the gentleness. “But if it is rather a piece which should promote sleep, then one can leave this remark aside and
naturally attain this end soon.”
17. C major – somewhat coarse and impudent, but not unsuitable to rejoicing and to where one otherwise lets joy run its
course. In despite of this, a clever composer can rechristen it to something quite charming, and apply it to tender
situations.