Analysis. Correspondence analysis is performed on the key preferences of the seven composers. It noteworthy that correspondence analysis contributes to the varying amount of data available for the different composers. E. g. low number of available pieces for Brahms is not as important for correspondence analysis as the big number of pieces by Haydn. The projection of the composers into the 2-dimensional plane spanned by the two most prominent factors provides a stylescape: stylistically related composers are close to each other on this plane (cf. Figure 4). In the biplot composers/keys in Figure 4 composers are related to keys: Due to their shared »Cologne Dome« preference for C-Major and D-Major, Haydn and Mozart are very close and Vivaldi is not so far off. Beethoven is close to his favored E-Major and near to Haydn and Mozart. Brahms and Bach are positioned in their favored minor keys. Chopin maintains his outlier position due to the outlier position of his favored -Major key. The explanatory value for the first (63.23 %) and the first two factors (88 %) in correspondence analysis is high. The most important factor is very dominant.