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F sharp minor
From Wikipedia, the free encyclopedia
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| Relative key | A major | |
|---|---|---|
| Parallel key | F-sharp major | |
| Component pitches | ||
| F-sharp, G-sharp, A, B, C-sharp, D, E, F-sharp | ||
- Also see: F-sharp major, or F minor.
F-sharp minor is a minor scale based on F-sharp, consisting of the pitches F-sharp, G-sharp, A, B, C-sharp, D, E, and F-sharp (natural minor scale). 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.
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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 No. 1, Henryk Wieniawski's Violin Concerto No. 1 and Henri Vieuxtemps's Violin Concerto No. 1.
Mozart's only composition in this key is the second movement to his Piano Concerto No. 23 in A major.
Both Reger's and Tippett's second string quartets are in this key, as is Shostakovich's seventh string quartet.
- Before He Cheats - Carrie Underwood
- Crazy Train - Ozzy Osbourne
- The Final Countdown - Europe
- Firestarter - The Prodigy
- Immigrant Song - Led Zeppelin
- Me Against the Music - Britney Spears
- More and More - Blood Sweat & Tears
- Numb - Linkin Park
- The Way - Fastball
- Time - Pink Floyd
- You Spin Me Round (Like a Record) - Dead or Alive
- Party Like a Rockstar - Shop Boyz
- Refugee - Tom Petty
| Diatonic Scales and Keys | ||||||||||||||||||||||||||||||||||||||||||||||||||
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| lower case letters are minor the table indicates the number of sharps or flats in each scale |
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- 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
- A. Morris, "Symphonies, Numbers And Keys" in Bob's Poetry Magazine, III.3, 2006.
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