Although it is now the tonic key, C major is also strongly associated with brass in the Seventh Symphony.' It is the key of the Third, the relative major of the Fourth and the important 'neutral agent' in its Finale, the key which first forces away the tonic in the Fifth's Finale, and the principal opposition – the key of the brass – in the Sixth. Sibelius's Seventh 'is in C major, and a look back at the previous four symphonies will reveal how great the domination of C major has been. ^ Philip Coad, 'Sibelius' in A Guide to the Symphony edited by Robert Layton.^ 'Affective Musical Key Characteristics', Western Michigan University.101-140 This essay includes an extensive survey of classical works in C major 'Shostakovich: The Present-Day Master of the C Major Key', Acta Musicologica, Vol. in C features the bright, trumpet-dominated sound typical of masses in this key.' ^ James Webster & Georg Feder, The New Grove Haydn.

^ Triumph of Light, Wilfrid Mellors (2005).

60, 63, 69, 82 and 90, reaching its final culmination in No. 38 and 41 to its synthesis in the Maria Theresia (No. For the rest, however, the C major path is astonishingly clear it can be traced from its inception, in Nos. are C major symphonies without the psychological manifestations inherent in most of the later works in this key. 'In the course of composing his first symphonies, the tonality of C major became indelibly impressed on Haydn's mind as the key of pomp, the key of C alto horns, trumpets and timpani, the vehicle for composing brilliant and festive music, although at least during this period he did not always reserve the tonality of C major for this particular kind of symphony: Nos. London: Universal Edition & Rockliff (1955): 227. Robbins Landon, The Symphonies of Joseph Haydn.

Chord names and symbols (popular music).

Introduction and Polonaise brillante for cello and piano, Op.

Wedding March from A Midsummer Night's Dream.

Triple Concerto for violin, cello, and piano in C major, Op.

Concerto for flute and harp, KV 299/297c.

12 Variations in C major on the French song 'Ah, vous dirai-je, Maman', KV 265.

Toccata, Adagio and Fugue in C major, BWV 564.

7 is in C major and that key was of great importance in his previous symphonies. American popular songwriter Bob Dylan claimed the key of C major to 'be the key of strength, but also the key of regret.' Sibelius's Symphony No. This idea is further explored in a radio program called The Signature Series. Many musicians have pointed out that every musical key conjures up specific feelings. Scott Joplin's ' The Entertainer' is written in the key of C major.

Of Franz Schubert's two symphonies in the key, the first is nicknamed the ' Little C major' and the second the ' Great C major'. Gounod (in a review of Sibelius' Third Symphony) said that 'only God composes in C major'. Mozart and Haydn wrote most of their masses in C major. Many masses and settings of Te Deum in the Classical era were in C major. (See also List of symphonies in C major.) Wilfrid Mellers believed that Mozart's Symphony No 41, written in 'white' C major, 'represented the triumph of light'. and then only sparingly.' Most of Haydn's symphonies in C major are labelled 'festive' and are of a primarily celebratory mood. Landon writes that it wasn't 'until 1774 that Haydn uses trumpets and timpani in a key other than C major. Before the invention of the valves, Haydn did not write trumpet and timpani parts in his symphonies, except those in C major. Robbins Landon lists in his catalog, 33 are in C major, more than any other key. Of the 134 symphonies mistakenly attributed to Haydn that H. Twenty of Joseph Haydn's 104 symphonies are in C major, making it his second most-used key, second only to D major.

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