toying with the theory that D and A, Bb, Eb, Ab for happy music make. Open to agreement or refutation.
OK here's some stuff I call happy
Wagner prelude to act 1 of Meistersinger
Richard Strauss 2nd horn concerto
Glazunov violin concerto (well possibly)
Just drove back to Durham from Newcastle with the Saint-Saens 2nd piano concerto - there's a big happy inconsequential tune!
Symphonies...Parry's English symphony always cheers me up...the Franck d minor has similar silly tunes to the Saint-Saens but happy (?) - witty maybe - like Heseltine aka Warlock's piano duet version of one of the Franck big silly tunes - in "Cod Pieces"
The Gliere horn concerto has its cheerful moments - now there's a thing, have a Google around and see how folk think the Conan the Barbarian style of music is derived from Gliere's idiom. I've noted before the film music lineage and all the Star Wars/Star Trek type stuff (Horner, Williams, Goldsmith et al) derive much from Korngold and Steiner, in turn derived from high romantic Viennese chromatic heights Zemlinsky (and Korngold) after Strauss and Mahler - before Schoenberg, Berg took one direction and Joseph Marx did not. Mahler's 7th nachtmusik - it's all about big sweeping horn tunes and lush strings!
There's the temporary cheerful as well as the mood changers - Queen Seaside Rendezvous - extended jams as well even though self-indulgent - the more elongated versions of Natucket Sleighride or the Allmans in full flow - Elizabeth Reed - or the Nitty Gritty Dirt Band doing their stuff
So I guess happy music is all simple diatonic stuff in major keys with lots of thirds. Ha! especially the trios of marches - Sousa the Diplomat, Filmore's Americans We, Vivian Dunn's Cockleshell Heroes, etc
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