http://www.youtube.com/watch?v=e64sqYZlhSM <http://www.youtube.com/watch?v=e64sqYZlhSM> Torn apart in C# minor sharp How the hell does a broken heart Get back together when it's torn apart And teach itself to start beating again
This little bluebird Came looking for you http://www.youtube.com/watch?v=3L4DZgN4LTw <http://www.youtube.com/watch?v=3L4DZgN4LTw> Ah, because the world is round, it turns me on Because the world is round, ah Because the wind is high, it blows my mind Cardy: My love for you is old, is new --- In FairfieldLife@yahoogroups.com, "card" wrote: > > > > --- In FairfieldLife@yahoogroups.com, "card" cardemaister@ wrote: > > > > > > Oddly 'nuff, two of my favorite classical tunes, Beethoven's > > Moonlight and Chopin's Fantasie-impromptu are both in the key > > of C# minor! > > > > And furthermore, seems to me the composers themselves didn't much > > appreciate those particular tunes! LoL! > >The key of C minor occupies a peculiar position in Beethoven's compositions. how about: Cantata on the Death of Emperor Joseph II, WoO 87 (1791) Piano Trio, Op. 1, No. 3 (1793) Piano Sonata, Op. 10, No. 1 (1795-8) Piano Sonata, Op. 13, "Pathétique" (1798) String Trio, Op. 9, No. 3 (1798) Piano Concerto No. 3 (1800) String Quartet, Op. 18, No. 4 (1800) Violin Sonata, Op. 30, No. 2 (1802) Symphony No. 3, second movement, "Funeral March" (1803) 32 Variations in C minor, WoO 80 (1806) Coriolan Overture, Op. 62 (1807) Fifth Symphony (1808) Choral Fantasy, Op. 80 (1808) String Quartet No. 10, Op. 74, scherzo movement (1809) Piano Sonata No. 32, Op. 111 (his last piano sonata, 1822) > > FWIW, Wiki: > > Some aspects of this piece [F-I -- card] are similar to Beethoven's Moonlight Sonata, which is also in C-sharp minor. Two measures after the melody begins, an abrupt run up and down has exactly the same notes as the cadenza in movement 3 (Presto agitato) of that work. The climax on a six-four chord is similar in both pieces.[2] Also, the Fantaisie-Impromptu's middle part and the second movement of the Moonlight Sonata are in D-flat major. The first and third movements are in C-sharp minor. > The piece uses many cross-rhythms (the right hand plays sixteenth notes against the left hand playing triplets) and a ceaselessly moving note figuration and is in cut time (2/2). The opening tempo is marked allegro agitato. The tempo changes to largo and later moderato cantabile when the key changes to D-flat major, the enharmonic equivalent of the more obscure tonic major key of C-sharp major, that is, the parallel major of C-sharp minor. > The piece then changes to presto (although some versions of the score incorporate a coda, meaning that the original tempo of allegro agitato is repeated) where it continues in C-sharp minor as before. It concludes in an ambiguous fantasy-like ending, in a quiet and mysterious way, where the left hand replays the first few notes of the moderato section theme, while the right hand continues playing sixteenth notes (semiquavers). The piece resolves and gently ends on a C-sharp major rolled chord. >
