User:Sonia/C major
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C major (often just C or key of C) is a musical major scale based on C, with pitches C, D, E, F, G, A, and B. Its key signature has no flats/sharps.
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Relative key | A minor | |
---|---|---|
Parallel key | C minor | |
Dominant key | ||
Subdominant | ||
Notes in this scale | ||
C, D, E, F, G, A, B, C | ||
Its relative minor is A minor, and its parallel minor is C minor. Many instruments, such as the piano, are tuned in C.
C major is one of the most commonly used key signatures in music. Most transposing instruments playing in their home key are notated in C major; for example, a clarinet in B-flat sounding a B-flat major scale is notated as playing a C major scale. The white keys of the piano correspond to the C major scale (however, some electronic keyboards are in B-flat). The Western concert flute and piccolo, oboe, bassoon, trombone, and tuba all have C major as their home key. A harp tuned to C major has all its pedals in the middle position.
C major is often thought of as the simplest key, owing to its lack of either sharps or flats, and beginning piano students' very first pieces are usually very simple ones in this key, and the first scales and arpeggios that students learn are usually C-major ones. However, going against this common practice, the composer Frédéric Chopin regarded this scale as the most difficult one to play with complete evenness, and he tended to give it last to his students. He regarded B major as the easiest scale to play on the piano, because the position of the black and white notes best fitted the natural positions of the fingers, and so he often had students start with this scale. A C-major scale lacks black keys, and thus does not fit the natural positions of the fingers very well.
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Twenty of Joseph Haydn's 104 symphonies are in C major, making it his second most often used main key, second only to D major. Of the 134 symphonies mistakenly attributed to Haydn that H. C. Robbins Landon lists in his catalog, 33 of them are in C major, more than any other key. Before the invention of the valve trumpet, Haydn did not write trumpet and timpani parts in his symphonies, except those in C major. H. C. Robbins Landon writes that it wasn't "until 1774 that Haydn uses trumpets and timpani in a key other than C major ... and then only sparingly." Most of Haydn's symphonies in C major are labelled "festive" and are of a primarily celebratory mood.[1] (See also List of symphonies in C major).
Many Masses and settings of Te Deum in the Classical era were in C major. Mozart wrote most of his Masses in C major, and so did Haydn.[2]
Of Franz Schubert's two symphonies in the key, the first is nicknamed the "Little C major" and the second the "Great C major."
Many musicians have pointed out that every musical key conjures up specific feelings. American popular song writer Bob Dylan claimed the key of C major to "be the key of strength, but also the key of regret." "French composers such as Marc-Antoine Charpentier and Rameau generally thought of C major as a key for happy music, but Hector Berlioz in 1856 described it as "serious but deaf and dull." Ralph Vaughan Williams was impressed by Sibelius's Symphony No. 7 in C major and remarked that only Sibelius could make the key sound fresh. However, C major was a key of great importance in Sibelius's previous symphonies.[3] Claude Debussy, noted for composing music that avoided a particular key center, once said, "I do not believe in the supremacy of the C major scale."
In musical catalogs that sort the musical pieces by key, whether they go by semitones or along the circle of fifths, they almost always begin with those pieces in C major.
A notable modern use of the key is Terry Riley's In C.
Whereas traditionally key signatures were cancelled whenever the new key signature had fewer sharps or flats than the old key signature, in modern popular and commercial music, cancellation is only done when C major or A minor replaces another key.[4]