F-sharp minor
| ||
| Relative key | A major | |
|---|---|---|
| Parallel key | F♯ major | |
| Dominant key | ||
| Subdominant | ||
| Notes in this scale | ||
| F♯, G♯, A, B, C♯, D, E, F♯ | ||
F-sharp minor is a minor scale based on F-sharp, consisting of the pitches F♯, G♯, A, B, C♯, D, and E. For the harmonic minor, the E is raised to E♯ (F♮). Its key signature has three sharps (see below: Scales and keys).
Its relative major is A major, and its parallel major is F-sharp major.
Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary.
Very few symphonies are written in this key, Haydn's Farewell Symphony being one famous example. George Frederick Bristow and Dora Pejačević also wrote symphonies in this key.
The few concerti written in this key are usually premiere concerti written for the composer himself to play, including Sergei Rachmaninoff's Piano Concerto No. 1, Alexander Scriabin's Piano Concerto, Henryk Wieniawski's Violin Concerto No. 1 and Henri Vieuxtemps's Violin Concerto No. 2.
Mozart's only composition in this key is the second movement to his Piano Concerto No. 23 in A major.
The third (slow) movement from Beethoven's Hammerklavier Sonata is set in F-sharp minor.
Many piano pieces have been written in F-sharp minor. For example, 2 of Chopin's 52 mazurkas, and 1 of his nocturnes are in this key, though he seems to have preferred the related key C-sharp minor. Of course, 2 preludes and fugues from J. S. Bach's Well-Tempered Clavier are in F-sharp minor. Scriabin's Piano Sonata No. 3 is also in this key.
Both Reger's and Tippett's second string quartets are in this key, as is Shostakovich's seventh string quartet.
Characteristics
- F sharp minor has been described as 'light red' by Harry Farjeon.
- Johann Mattheson, in 1713, wrote 'F♯ minor, although it leads to great distress, nevertheless is more languid and love-sick than lethal. Moreover, it has something abandoned, singular, and misanthropic about it.' On a similar theme, Harry Farjeon wrote that it is the key that Mendelssohn uses when being passionate.
- It is generally believed to be melancholy and gloomy.
- We cannot well accompany the Devil in any key but F♯ minor - Anon. 1828
Scales and keys
 |
| ||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The table shows the number of sharps or flats in each scale. Minor scales are written in lower case. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||
References
- A. Morris, "Symphonies, Numbers And Keys" in Bob's Poetry Magazine, III.3, 2006.