John Smyth writes:

>Maybe true, but take away the obligatory minuets, trios, and firework
>finales and look at the "profound" moments of these works--the slow mov'ts
>for instance--and a quick look in my collection yields more minor-key
>signatures

I'm suspicious of counting things based on the "nominal" key of a movement;
the key likely changes several times in the course of a piece, and such a
count is not weighted by the actual number of notes or amount of time spent
in minor as opposed to major keys.

>Which makes me wonder about the "profundity" of happy music.

Why?

>But triumphance is only be measured by the hell that came before it.

I'm reminded of those psychology text "figure/ground illusion" examples.
Can we really meaningfully assign such roles to the participants in what
is after all a synergetic balance?

len.