When I was considering all my favorite aspects of C-sharp for this blog post, I listened through my iTunes playlist of “C-sharp Major and Minor” songs (yep, I’ve set aside an entire playlist for it). When radio stations play songs a half-step higher to speed up the song slightly, it changes the song, however subtly.) (This preference of one key over another may seem to many like a preference of spaghetti over linguine–isn’t it all still music, just as spaghetti and linguine are both still pasta? Well, like the kids who insist that the two types of pasta just TASTE different, I insist that a song played in a different key lends the song a whole new “vibe,” an entirely different feeling. (Of course, there are exceptions to every rule and every perception, but I’m speaking rather generally.) C-sharp, by contrast, seems to be endlessly flexible in every emotional direction, which delights me. For me, the keys of F and B-flat seem stuck in celebratory modes, while G and E are for country songs, and C is so ubiquitous as to be too simple. I’m a composer (have been since sixth grade), and I’ve loved using C-sharp major and minor for many of my songs, because it just seemed to fit them. I also find C-sharp to be a wonderful key for exploring and expressing all different types of moods, more so than any other key. F-sharp is a nice place to visit, a vacation home, perhaps, but C-sharp is truly home. Strange word to describe a musical key, I know, but it just feels stable, strong, resonant…beautiful. Since I am a sound-color synesthete with perfect pitch, I experience C-sharp as sparkling crystals on deep violet backgrounds, and the feeling of velvet. As I’ve related in earlier posts, C-sharp/D-flat is my favorite key to hear music played in.
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