The sound of each key on the violin

Each key of the 12 keys sounds different on the violin. Advanced players may be able to identify notes and keys by ear, because each one comes out of the violin differently, with its own a unique tone.

Here are my personal impressions of each:

C MAJOR

Neither exceedingly bright nor dark, the lack of sharps and flats can be associated with simplicity and stability, but can also seem neutral or even somewhat blank. The sound on the violin is not as resonant as on the viola or cello (with their open C strings available to ring) however, there is some nice repertoire to be found here.

G MAJOR

Among the strongest-ringing keys on the violin, it pairs well with its relative minor, E minor, which also rings nicely. You have an excellent GDBG 4-note-chord that is relatively easy to play, and you have more than 2 full octaves within easy reach.

D MAJOR

Perhaps the most resonant key on violin, with strong-sounding I, IV and V chords, this is a favorite key of many. It is perhaps no coincidence that the first octave is an easy range for many people to sing.

A MAJOR

A major is a ringing key, and is one of the brightest on the violin. You have strong double stop and open string drone options for the I, IV and V chords, and also a can slip easily into Mixolydian mode, by using the G natural.

E MAJOR

Centered on the open E string, this is a bright key, but is less common as a fiddle tune key. I think Vivaldi's Spring is a good example of the brilliant character that E major can have. There are also some good possibilities for intricate string crossing patterns and effects that make use of the open E in various ways.

B MAJOR

This is a key area that a vocalist might want to go. This depends on the tune and the vocalist, but you may find it common in a Bluegrass style. More advance double stops may be required for a full sound, but overall it can be bright and the flat 3 is an intuitive choice, when blues notes are appropriate.

F# MAJOR

F# is either under-appreciated or avoided with good reason. It is rare for vocalists, who seem to opt for F or G, and rare for instrumentalists as well, as it is difficult to think in terms of all the sharps. The sound on the fiddle is more covered than resonant, but the A natural and E natural blues notes can be worked in easily.

C# MAJOR

I really prefer to think of the Db major scale, when I can. I think this is partly because it is easier to think of the 3rd as an F natural than an E sharp. Whichever note you think of, the scale contains no open strings and is a bit dark, but not overly so, in my opinion. In comparison, A flat might seem a little darker and F# seems may strike you as just a bit brighter.

F MAJOR

There is a semi-dark quality here, and for me there is a blues/jazz association, since it is a good key for horns and other Bb-tuned instruments. The relative minor, D minor, is very strong and is associated in Classical music with demonic themes and moods.

B FLAT

B flat is definitely winds and brass territory, but has a nice sound on the violin, with the resonant 3rd of D and 7th of A. On the fiddle side, some Scottish tunes in Bb are out there, but otherwise the fiddle world tends to favor the relative minor of G, which can be dramatic and even grave.

E FLAT

Pleasant on the violin, while being somewhat covered, E flat makes me think of trumpets. In Classical especially, the relative minor of C minor is very "dangerous" sounding and moody key, maybe because of its contrast to C major. Comparing C major and minor also shows clearly the three notes that become flat when changing from major to (natural) minor, namely the 3, 6 and 7.

A FLAT

One of the most mellow keys for strings, with the G natural as the only open string note, this is a difficult key. A flat is uncommon in the string repertoire, but has some qualities that are worth exploring.

D FLAT

Containing no open strings, all notes are fingered in this key, which creates an interesting, sweet sound. This is a pretty uncommon key, as are its immediate neighbors on the circle of 5ths, as neither vocalists or instrumentalists tend to want to hang out in this area. D flat, however, can be easier to conceptualize than C#, since it contains 5 flats as opposed to 7 sharps.

G FLAT

I do not think in the key of G flat very often, favoring to think of F# when I can. It is easier for most violinists to think of 6 sharps instead of 6 flats, since sharps are generally more of a home territory than flats. Sometimes you may need to think of the Gb chord, as it is the IV chord when playing in the key of D flat.

C FLAT

I pretty much do not think in C flat, as it is the same as B major. I think it is rare that anyone would need to think of it as C flat.