Tonality
- Created by: Harriet
- Created on: 03-04-14 19:15
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- Tonality
- Debussy Sarabande
- Modal - principal mode = C# Aeolian mode(bar 1-8 and 15-22).
- Tonal ambiguity e.g. melody in bar could be in E major but the harmony is closer to C# (mode)
- bars 42-45 - D major chord may be Neapolitan 6th
- Passes through E mixolydian mode, D# major (b54) and at the end passes through G# Aeolian minor and back to C# Aeolian.
- Beethoven Septet
- Functional Tonality - modulations to closely related keys.
- Tonic is Eb major seen in introduction, exposition 1st subject and recap. 2nd subject
- In the exposition 2nd subject, the dominant is seen - typical of classical sonata form.
- Development = various keys - C minor - Ab major (b124) - F minor (b132).
- All established by perfect cadenses
- Schumann Kinderscenen
- No. 1
- G major
- Briefly to E minor (b12) but avoids resolving to tonic
- No. 3
- B minor
- modulates to G major ( b9)
- No. 11
- E minor initially
- bar 4 = G major, bar 10 = E minor, bar 12 = C major (sequentially)
- Briefly A minor (bar22) and B minor (bar24)
- E minor initially
- No. 1
- Sweenlick Pavana Lachrimae
- Modal - Aeolian
- G#'s occasionally added giving A minor feel explained as conventional chromatic alterations.
- Modal - Aeolian
- Bach concerto no. 4 in G major.
- G major
- Modulations to related keys
- Tonic, Subdominant and Dominant with their relative minors.
- Ritornello's appear in all 6 keys
- G, C, D, e, a and b.
- Debussy Sarabande
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