Tonality (from "Tonic") or key: Music which uses the notes of a particular scale is said to be "in the key of" that scale or in the tonality of that scale.[1]
A particular key features a tonicnote and its corresponding chords, also called a tonic or tonic chord, which provides a subjective sense of arrival and rest, and also has a unique relationship to the other pitches of the same key, their corresponding chords, and pitches and chords outside the key.[2] Notes and chords other than the tonic in a piece create varying degrees of tension, resolved when the tonic note or chord returns.
The key may be in the major or minor mode, though musicians assume major when this is not specified; for example "This piece is in C" implies that the key of the piece is C major. Popular songs and classical music from the common practice period are usually in one key. Longer pieces in the classical repertoire may have sections in contrasting keys. Key changes within a section or movement are known as modulation.
Overview
Methods that establish the key for a particular piece can be complicated to explain and vary over music history.[citation needed] However, the chords most often used in a piece in a particular key are those that contain the notes in the corresponding scale, and conventional progressions of these chords, particularly cadences, orient the listener around the tonic.
The key signature is not always a reliable guide to the key of a written piece. It does not discriminate between a major key and its relative minor; the piece may modulate to a different key; if the modulation is brief, it may not involve a change of key signature, being indicated instead with accidentals. Occasionally, a piece in a mode such as Mixolydian or Dorian is written with a major or minor key signature appropriate to the tonic, and accidentals throughout the piece.
Pieces in modes not corresponding to major or minor keys may sometimes be referred to as being in the key of the tonic. A piece using some other type of harmony, resolving e.g. to A, might be described as "in A" to indicate that A is the tonal center of the piece.
An instrument is "in a key", an unrelated usage that means the pitches considered "natural" for that instrument. For example, modern trumpets are usually in the key of B♭, since the notes produced without using the valves correspond to the harmonic series whose fundamental pitch is B♭. (Such instruments are called transposing when their written notes differ from concert pitch.)
Perfect authentic cadence (V-I [here in V-I form] with roots in the bass and tonic in the highest voice of the final chord): ii-V -I progression in C
The key usually identifies the tonic note and/or chord: the note and/or major or minortriad that represents the final point of rest for a piece, or the focal point of a section. Though the key of a piece may be named in the title (e.g., Symphony in C major), or inferred from the key signature, the establishment of key is brought about via functional harmony, a sequence of chords leading to one or more cadences, and/or melodic motion (such as movement from the leading-tone to the tonic). For example, the key of G includes the following pitches: G, A, B, C, D, E, and F♯; and its corresponding tonic chord is G—B—D. Most often at the beginning and end of traditional pieces during the common practice period, the tonic, sometimes with its corresponding tonic chord, begins and ends a piece in a designated key. A key may be major or minor. Music can be described as being in the Dorian mode, or Phrygian, etc., and is thus usually thought of as in a specific mode rather than a key. Languages other than English may use other key naming systems.
People sometimes confuse key with scale. A scale is an ordered set of notes typically used in a key, while the key is the "center of gravity" established by particular chord progressions.[3]
Cadences are particularly important in the establishment of key. Even cadences that do not include the tonic note or triad, such as half cadences and deceptive cadences, serve to establish key because those chord sequences imply a unique diatonic context.
Short pieces may stay in a single key throughout. A typical pattern for a simple song might be as follows: a phrase ends with a cadence on the tonic, a second phrase ends with a half cadence, then a final, longer, phrase ends with an authentic cadence on the tonic.
More elaborate pieces may establish the main key, then modulate to another key, or a series of keys, then back to the original key. In the Baroque it was common to repeat an entire phrase of music, called a ritornello, in each key once it was established. In Classical sonata form, the second key was typically marked with a contrasting theme. Another key may be treated as a temporary tonic, called tonicization.
In common practice period compositions, and most of the Western popular music of the 20th century, pieces always begin and end in the same key, even if (as in some Romantic-era music) the key is deliberately left ambiguous at first. Some arrangements of popular songs, however, modulate sometime during the song (often in a repeat of the final chorus) and thus end in a different key. This is an example of modulation.
In rock and popular music some pieces change back and forth, or modulate, between two keys. Examples of this include Fleetwood Mac's "Dreams" and The Rolling Stones' "Under My Thumb". "This phenomenon occurs when a feature that allows multiple interpretations of key (usually a diatonic set as pitch source) is accompanied by other, more precise evidence in support of each possible interpretation (such as the use of one note as the root of the initiating harmony and persistent use of another note as pitch of melodic resolution and root of the final harmony of each phrase)."[4]
Instruments in a key
Certain musical instruments play in a certain key, or have their music written in a certain key. Instruments that do not play in the key of C are known as transposing instruments.[5] The most common kind of clarinet, for example, is said to play in the key of B♭. This means that a scale written in C major in sheet music actually sounds as a B♭ major scale when played on the B-flat clarinet—that is, notes sound a whole tone lower than written. Likewise, the horn, normally in the key of F, sounds notes a perfect fifth lower than written.
Similarly, some instruments are "built" in a certain key. For example, a brass instrument built in B♭ plays a fundamental note of B♭, and can play notes in the harmonic series starting on B♭ without using valves, fingerholes, or slides to alter the length of the vibrating column of air. An instrument built in a certain key often, but not always, uses music written in the same key (see trombone for an exception). However, some instruments, such as the diatonic harmonica and the harp, are in fact designed to play in only one key at a time: accidentals are difficult or impossible to play.
The highland bagpipes are built in B♭ major, though the music is written in D major with implied accidentals.
In Western musical composition, the key of a piece has important ramifications for its composition:
As noted earlier, certain instruments are designed for a certain key, as playing in that key can be physically easier or harder. Thus the choice of key can be an important one when composing for an orchestra, as one must take these elements into consideration.
In the life of the professional clarinetist, for example, it is common to carry two instruments tuned a semitone apart (B♭ and A) to cope with the needs of composers: Mozart's well-known clarinet concerto is in A major. To play it on a B♭ instrument is difficult, and to rewrite all the orchestral parts to B♭ major would be an enormous effort. Even so, it is not unheard of for a piece published in B♭ to include notes a semitone (or more) below the range of the common B♭ clarinet. The piece must then be played on a more exotic instrument, or transposed by hand (or at sight) for the slightly larger A clarinet. There are clarinets with an extended range, with a longer bore and additional keys.
Besides this though, the timbre of almost any instrument is not exactly the same for all notes played on that instrument. For this reason a piece that might be in the key of C might sound or "feel" somewhat different (besides being in a different pitch) to a listener if it is transposed to the key of A.
In addition, since many composers often utilized the piano while composing, the key chosen can possibly have an effect over the composing. This is because the physical fingering is different for each key, which may lend itself to choosing to play and thus eventually write certain notes or chord progressions compared to others, or this may be done on purpose to make the fingering more efficient if the final piece is intended for piano.
In music that does not use equal temperament, chords played in different keys are qualitatively different.
Key coloration is the difference between the intervals of different keys in a single non-equal tempered tuning, and the overall sound and "feel" of the key created by the tuning of its intervals.
Historical irregular musical temperaments usually have the narrowest fifths between the diatonic notes ("naturals") producing purer thirds, and wider fifths among the chromatic notes ("sharps and flats"). Each key then has a slightly different intonation, hence different keys have distinct characters. Such "key coloration" was an essential part of much eighteenth- and nineteenth-century music and was described in treatises of the period.
For example, in tunings with a wolf fifth, the key on the lowest note of the fifth sounds dramatically different from other keys (and is often avoided). In Pythagorean tuning on C (C, E+, G: 4, 5, 6), the major triad on C is just while the major triad on E♯+++ (F♮) is noticeably out of tune (E♯+++, A+, C: 4+1⁄8, 5, 6) due to E♯+++ (521.44 cents) being a Pythagorean comma (23.46 cents) larger sharp compared to F♮.
Music using equal temperament lacks key coloration because all keys have the same pattern of intonation, differing only in pitch.
Related Research Articles
In Western musical notation, a key signature is a set of sharp, flat, or rarely, natural symbols placed on the staff at the beginning of a section of music. The initial key signature in a piece is placed immediately after the clef at the beginning of the first line. If the piece contains a section in a different key, the new key signature is placed at the beginning of that section.
The major scale is one of the most commonly used musical scales, especially in Western music. It is one of the diatonic scales. Like many musical scales, it is made up of seven notes: the eighth duplicates the first at double its frequency so that it is called a higher octave of the same note.
In music theory, a scale is any set of musical notes ordered by fundamental frequency or pitch. A scale ordered by increasing pitch is an ascending scale, and a scale ordered by decreasing pitch is a descending scale.
In music theory, an interval is a difference in pitch between two sounds. An interval may be described as horizontal, linear, or melodic if it refers to successively sounding tones, such as two adjacent pitches in a melody, and vertical or harmonic if it pertains to simultaneously sounding tones, such as in a chord.
A transposing instrument is a musical instrument for which music notation is not written at concert pitch. For example, playing a written middle C on a transposing instrument produces a pitch other than middle C; that sounding pitch identifies the interval of transposition when describing the instrument. Playing a written C on clarinet or soprano saxophone produces a concert B♭, so these are referred to as B♭ instruments. Providing transposed music for these instruments is a convention of musical notation. The instruments do not transpose the music; rather, their music is written at a transposed pitch. Where chords are indicated for improvisation they are also written in the appropriate transposed form.
An altered chord is a chord that replaces one or more notes from the diatonic scale with a neighboring pitch from the chromatic scale. By the broadest definition, any chord with a non-diatonic chord tone is an altered chord. The simplest example of altered chords is the use of borrowed chords, chords borrowed from the parallel key, and the most common is the use of secondary dominants. As Alfred Blatter explains, "An altered chord occurs when one of the standard, functional chords is given another quality by the modification of one or more components of the chord."
In music, two written notes have enharmonic equivalence if they produce the same pitch but are notated differently. This relation extends to pitch classes, chords, and key signatures. The term derives from Latin enharmonicus, in turn from Late Latin enarmonius, from Ancient Greek ἐναρμόνιος, from ἐν ('in') and ἁρμονία ('harmony').
An octatonic scale is any eight-note musical scale. However, the term most often refers to the ancohemitonic symmetric scale composed of alternating whole and half steps, as shown at right. In classical theory, this symmetrical scale is commonly called the octatonic scale, although there are a total of 43 enharmonically non-equivalent, transpositionally non-equivalent eight-note sets.
In a musical composition, a chord progression or harmonic progression is a succession of chords. Chord progressions are the foundation of harmony in Western musical tradition from the common practice era of Classical music to the 21st century. Chord progressions are the foundation of popular music styles, traditional music, as well as genres such as blues and jazz. In these genres, chord progressions are the defining feature on which melody and rhythm are built.
A chord, in music, is any harmonic set of pitches consisting of multiple notes that are sounded simultaneously, or nearly so. For many practical and theoretical purposes, arpeggios and other types of broken chords may also be considered as chords in the right musical context.
In music, modulation is the change from one tonality to another. This may or may not be accompanied by a change in key signature. Modulations articulate or create the structure or form of many pieces, as well as add interest. Treatment of a chord as the tonic for less than a phrase is considered tonicization.
Modulation is the essential part of the art. Without it there is little music, for a piece derives its true beauty not from the large number of fixed modes which it embraces but rather from the subtle fabric of its modulation.
In music theory, the circle of fifths is a way of organizing the 12 chromatic pitches as a sequence of perfect fifths.. If C is chosen as a starting point, the sequence is: C, G, D, A, E, B, F♯, C♯, A♭, E♭, B♭, F. Continuing the pattern from F returns the sequence to its starting point of C. This order places the most closely related key signatures adjacent to one another. It is usually illustrated in the form of a circle.
A semitone, also called a half step or a half tone, is the smallest musical interval commonly used in Western tonal music, and it is considered the most dissonant when sounded harmonically. It is defined as the interval between two adjacent notes in a 12-tone scale. For example, C is adjacent to C♯; the interval between them is a semitone.
In music, letter notation is a system of representing a set of pitches, for example, the notes of a scale, by letters. For the complete Western diatonic scale, for example, these would be the letters A-G, possibly with a trailing symbol to indicate a half-step raise or a half-step lowering. This is the most common way of specifying a note in speech or in written text in English or German. In Germany, Scandinavia, and parts of Central and Eastern Europe, H is used instead of B, and B is used instead of B♭. In traditional Irish music, where almost all tunes are restricted to two octaves, for notes in the lower octave to written in lower case while those in the upper octave to be written in upper case.
Chromaticism is a compositional technique interspersing the primary diatonic pitches and chords with other pitches of the chromatic scale. In simple terms, within each octave, diatonic music uses only seven different notes, rather than the twelve available on a standard piano keyboard. Music is chromatic when it uses more than just these seven notes.
In music, a minor seventh chord is a seventh chord composed of a root note, together with a minor third, a perfect fifth, and a minor seventh.
There are numerous techniques available for playing the harmonica, including bending, overbending, and tongue blocking.
A melodeon or diatonic button accordion is a member of the free-reed aerophone family of musical instruments. It is a type of button accordion on which the melody-side keyboard contains one or more rows of buttons, with each row producing the notes of a single diatonic scale. The buttons on the bass-side keyboard are most commonly arranged in pairs, with one button of a pair sounding the fundamental of a chord and the other the corresponding major triad.
Diatonic and chromatic are terms in music theory that are most often used to characterize scales, and are also applied to musical instruments, intervals, chords, notes, musical styles, and kinds of harmony. They are very often used as a pair, especially when applied to contrasting features of the common practice music of the period 1600–1900.
Richter tuning is a system of choosing the reeds for a diatonic wind instrument. It is named after Joseph Richter, a Bohemian instrument maker who adopted the tuning for his harmonicas in the early 19th century and is credited with inventing the blow/draw mechanism that allows the harmonica to play different notes when the air is drawn instead of blown.
References
↑ Berlin, Boris; Sclater, Molly; and Sinclair, Kathryn (2006). Keys to Music Rudiments, p.21. Gordon V. Thompson. ISBN9781457496509. "The key signature, meaning 'a sign which shows the key'..."
Innig, Renate (1970). System der Funktionsbezeichnung in den Harmonielehren seit Hugo Riemann. Düsseldorf: Gesellschaft zur Förderung der systematischen Musikwissenschaft.
Rahn, John (1980). Basic Atonal Theory. New York: Longman; London and Toronto: Prentice Hall International. ISBN0-02-873160-3. Reprinted 1987, New York: Schirmer Books; London: Collier Macmillan.
Steblin, Rita (1983). A History of Key Characteristics in the 18th and Early 19th Centuries. UMI Research Press, Ann Arbor.
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![Perfect authentic cadence (V-I [here in V-I form] with roots in the bass and tonic in the highest voice of the final chord): ii-V -I progression in C Ii-V-I turnaround in C.png](http://upload.wikimedia.org/wikipedia/commons/thumb/d/de/Ii-V-I_turnaround_in_C.png/220px-Ii-V-I_turnaround_in_C.png)
