Progressive tonality
Encyclopedia
Progressive tonality is the name given to the compositional practice whereby a piece of music does not finish in the key
in which it began, but instead 'progresses' to an ending in a different key. To avoid misunderstanding, it should be stressed that in this connection 'different key' means a different tonic
, rather than merely a change to a different mode
: Mahler's 2nd Symphony
(1888–94), for example, which moves from a C minor start to an E-flat major conclusion, exhibits 'progressive tonality'—whereas Beethoven's 5th Symphony (1804–08), which begins in C minor and ends in C major, does not. A work which ends in the key in which it began may be described as exhibiting 'concentric tonality'. The terms 'progressive' and 'concentric' were both introduced into musicology
by Dika Newlin
.
In instrumental and orchestral music, progressive tonality is a development of the later 19th-century, and no doubt reflects the increasingly programmatic and narrative orientation of 'late Romantic' music. Thus it occurs in five of the symphonies of Mahler
, but never at all in the symphonies of his predecessors Brahms or Bruckner. As Mahler's 7th Symphony
shows, 'progressive tonality' may occur within an individual movement (the work's first movement 'progresses' from an implied B minor to an explicit E major) as well as across an entire multi-movement design (the symphony ends with a C major finale).
It was in vocal music, with its explicit and verbally defined narrative and programmatic allegiances, that 'progressive tonality' began to be explored. While Bach
in his instrumental and orchestral suites would often place every movement in the same key (see, for example, the solo cello
Suites, BWV 1007-1012 or the equally homotonal
A minor solo flute partita
BWV 1013), in a work like his St. Matthew Passion he felt able to 'progress' from an E minor start to an ending in C minor, and his B Minor Mass actually ends in D major. Nor, after the establishment of opera
, did composers feel compelled to end even individual operatic acts and scenes in the starting key. Single operatic 'numbers' which (usually for some discernible dramatic and expressive purpose) fail to return to their original tonics can also be found—while in the quartets, symphonies and sonatas of the time such a practise was exceedingly uncommon.
As in his symphonies, Mahler took the idea of 'progressive tonality' in the song cycle to an extreme of refinement: each of his four Lieder eines fahrenden Gesellen
ends in a key other than its original tonic. The four songs 'progress' as follows: (1) D minor to G minor; (2) D major to F-sharp major; (3) D minor to E-flat minor; (4) E minor to F minor.
For musical analysts of a Schenkerian
orientation, progressive tonality presents a challenge. Heinrich Schenker
's concept of the 'background' Ursatz (fundamental structure), rooted as it is in a metaphysically elaborated appreciation of the acoustic resonance of a single tone, inclines towards a severely monotonal approach to musical structure: either the opening or the closing key of a progressive tonal structure will frequently not be considered to be a true tonic. By contrast, Graham George
developed a theory of 'interlocking tonal structures', in which two tonal 'axes' could coexist, with the second emerging after the first was established, and persisting after it was abandoned. Later generations of Schenkerians, following Harald Krebs have begun to identify "background conglomerates" in works that permanently change tonics: in this approach, two fundamental structures (Ursätze) are held to be present in the background of such works, one of them being the so-called elided fundamental structure (Ursatz).
In British post-World War II
musicology, 'progressive tonality' was sometimes contrasted with 'regressive tonality' (e.g. in the analytic and critical writings of Hans Keller
). The distinction was not one of chronological or stylistic 'advancedness', but rather a means of distinguishing between tonal motions that could either be reckoned as 'up' or 'down' around a circle of fifths
construed as intersecting with the original tonic. By this measure, Mahler's 4th Symphony
would exhibit 'progressive tonality' (it begins in G and ends in E, three fifths 'higher')—while the same composer's 5th Symphony
would display 'regressive tonality' (it begins in C# and ends in D, five fifths 'lower').
The same period showed a quickening of interest in 'progressive tonality' as displayed in the music of Carl Nielsen
, in which it plays a particularly significant role. In Nielsen's Fourth Symphony
, for example, the initial tonal focus of D minor (clashing with C) issues at the end of the work in a firm E major. In the two-movement Fifth Symphony
, more radical in this regard, the first movement begins in F and rises by fifths to a conclusion in G, while the second begins on B, with an opposing pull to F, and while tending towards A major works round instead, by a similar tritone opposition, to a triumphant close in E flat. The tonal workings of these symphonies were analysed with particular clarity by the British composer and writer Robert Simpson
in his book Carl Nielsen, Symphonist (first edition 1952), which gave the whole conception of 'progressive tonality' something like popular currency in the English-speaking world; and similar principles, partly derived from Nielsen, infuse the tonal workings of Simpson's own early symphonies and quartets.
A significant earlier example of the use of 'progressive tonality' by a British composer is the First Symphony (The Gothic)
by Havergal Brian
. This huge six-movement, two-part work begins with a sonata
movement in D minor whose second-subject area is initially D-flat, becoming C-sharp; this moves to E in the matching portion of the recapitulation. This is a harbinger of E's later importance. Part I of the symphony closes in D major (end of movement 3), and Part II begins there, but during movement 4 the tonality shifts to E major, which for the remainder of Part II is opposed by its relative minor C-sharp until the unequivocal E major of the final a cappella
bars.
One notable comment about this subject was made by the American 20th century composer Charles Ives
. Looking back at the conservative musical establishment who would often insist a musical piece had to eventually return to its original key, Ives drew an analogy and stated to the effect that this made as much sense as being born and dying in the same place.
Key (music)
In music theory, the term key is used in many different and sometimes contradictory ways. A common use is to speak of music as being "in" a specific key, such as in the key of C major or in the key of F-sharp. Sometimes the terms "major" or "minor" are appended, as in the key of A minor or in the...
in which it began, but instead 'progresses' to an ending in a different key. To avoid misunderstanding, it should be stressed that in this connection 'different key' means a different tonic
Tonic (music)
In music, the tonic is the first scale degree of the diatonic scale and the tonal center or final resolution tone. The triad formed on the tonic note, the tonic chord, is thus the most significant chord...
, rather than merely a change to a different mode
Musical mode
In the theory of Western music since the ninth century, mode generally refers to a type of scale. This usage, still the most common in recent years, reflects a tradition dating to the middle ages, itself inspired by the theory of ancient Greek music.The word encompasses several additional...
: Mahler's 2nd Symphony
Symphony No. 2 (Mahler)
The Symphony No. 2 by Gustav Mahler, known as the Resurrection, was written between 1888 and 1894, and first performed in 1895. Apart from the Eighth Symphony, this symphony was Mahler's most popular and successful work during his lifetime. It is his first major work that would eventually mark his...
(1888–94), for example, which moves from a C minor start to an E-flat major conclusion, exhibits 'progressive tonality'—whereas Beethoven's 5th Symphony (1804–08), which begins in C minor and ends in C major, does not. A work which ends in the key in which it began may be described as exhibiting 'concentric tonality'. The terms 'progressive' and 'concentric' were both introduced into musicology
Musicology
Musicology is the scholarly study of music. The word is used in narrow, broad and intermediate senses. In the narrow sense, musicology is confined to the music history of Western culture...
by Dika Newlin
Dika Newlin
Dika Newlin was a pianist, professor, musicologist, composer and punk rock singer. She received a Ph.D from Columbia University at the age of 22. She was one of the last living students of Arnold Schoenberg, a Schoenberg scholar and a professor at Virginia Commonwealth University in Richmond from...
.
In instrumental and orchestral music, progressive tonality is a development of the later 19th-century, and no doubt reflects the increasingly programmatic and narrative orientation of 'late Romantic' music. Thus it occurs in five of the symphonies of Mahler
Gustav Mahler
Gustav Mahler was a late-Romantic Austrian composer and one of the leading conductors of his generation. He was born in the village of Kalischt, Bohemia, in what was then Austria-Hungary, now Kaliště in the Czech Republic...
, but never at all in the symphonies of his predecessors Brahms or Bruckner. As Mahler's 7th Symphony
Symphony No. 7 (Mahler)
Gustav Mahler's Seventh Symphony was written in 1904-05, with repeated revisions to the scoring. It is sometimes referred to by the title Song of the Night , though this title was not Mahler's own and he disapproved of it. Although the symphony is often described as being in the key of 'E minor,'...
shows, 'progressive tonality' may occur within an individual movement (the work's first movement 'progresses' from an implied B minor to an explicit E major) as well as across an entire multi-movement design (the symphony ends with a C major finale).
It was in vocal music, with its explicit and verbally defined narrative and programmatic allegiances, that 'progressive tonality' began to be explored. While Bach
Bạch
Bạch is a Vietnamese surname. The name is transliterated as Bai in Chinese and Baek, in Korean.Bach is the anglicized variation of the surname Bạch.-Notable people with the surname Bạch:* Bạch Liêu...
in his instrumental and orchestral suites would often place every movement in the same key (see, for example, the solo cello
Cello
The cello is a bowed string instrument with four strings tuned in perfect fifths. It is a member of the violin family of musical instruments, which also includes the violin, viola, and double bass. Old forms of the instrument in the Baroque era are baryton and viol .A person who plays a cello is...
Suites, BWV 1007-1012 or the equally homotonal
Homotonal
Homotonal is a technical musical term pertaining to the tonal structure of multi-movement compositions. It was introduced into musicology by Hans Keller...
A minor solo flute partita
Partita
Partita was originally the name for a single instrumental piece of music , but Johann Kuhnau and later German composers used it for collections of musical pieces, as a synonym for suite.Johann Sebastian Bach wrote two sets of Partitas for different instruments...
BWV 1013), in a work like his St. Matthew Passion he felt able to 'progress' from an E minor start to an ending in C minor, and his B Minor Mass actually ends in D major. Nor, after the establishment of opera
Opera
Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. Opera incorporates many of the elements of spoken theatre, such as acting, scenery, and costumes and sometimes includes dance...
, did composers feel compelled to end even individual operatic acts and scenes in the starting key. Single operatic 'numbers' which (usually for some discernible dramatic and expressive purpose) fail to return to their original tonics can also be found—while in the quartets, symphonies and sonatas of the time such a practise was exceedingly uncommon.
As in his symphonies, Mahler took the idea of 'progressive tonality' in the song cycle to an extreme of refinement: each of his four Lieder eines fahrenden Gesellen
Lieder eines fahrenden Gesellen
Lieder eines fahrenden Gesellen is Gustav Mahler's first song cycle. While he had previously written other lieder, they were grouped by source of text or time of composition as opposed to common theme...
ends in a key other than its original tonic. The four songs 'progress' as follows: (1) D minor to G minor; (2) D major to F-sharp major; (3) D minor to E-flat minor; (4) E minor to F minor.
For musical analysts of a Schenkerian
Schenkerian analysis
Schenkerian analysis is a method of musical analysis of tonal music based on the theories of Heinrich Schenker. The goal of a Schenkerian analysis is to interpret the underlying structure of a tonal work. The theory's basic tenets can be viewed as a way of defining tonality in music...
orientation, progressive tonality presents a challenge. Heinrich Schenker
Heinrich Schenker
Heinrich Schenker was a music theorist, best known for his approach to musical analysis, now usually called Schenkerian analysis....
's concept of the 'background' Ursatz (fundamental structure), rooted as it is in a metaphysically elaborated appreciation of the acoustic resonance of a single tone, inclines towards a severely monotonal approach to musical structure: either the opening or the closing key of a progressive tonal structure will frequently not be considered to be a true tonic. By contrast, Graham George
Graham George
Graham Elias George was a Canadian composer, music theorist, organist, choir conductor, and music educator of English birth. An associate of the Canadian Music Centre, his compositional output consists largely of choral works written in the 20th-century Anglican style. He also wrote three ballets,...
developed a theory of 'interlocking tonal structures', in which two tonal 'axes' could coexist, with the second emerging after the first was established, and persisting after it was abandoned. Later generations of Schenkerians, following Harald Krebs have begun to identify "background conglomerates" in works that permanently change tonics: in this approach, two fundamental structures (Ursätze) are held to be present in the background of such works, one of them being the so-called elided fundamental structure (Ursatz).
In British post-World War II
World War II
World War II, or the Second World War , was a global conflict lasting from 1939 to 1945, involving most of the world's nations—including all of the great powers—eventually forming two opposing military alliances: the Allies and the Axis...
musicology, 'progressive tonality' was sometimes contrasted with 'regressive tonality' (e.g. in the analytic and critical writings of Hans Keller
Hans Keller
Hans Keller was an influential Austrian-born British musician and writer who made significant contributions to musicology and music criticism, as well as being an insightful commentator on such disparate fields as psychoanalysis and football...
). The distinction was not one of chronological or stylistic 'advancedness', but rather a means of distinguishing between tonal motions that could either be reckoned as 'up' or 'down' around a circle of fifths
Circle of fifths
In music theory, the circle of fifths shows the relationships among the 12 tones of the chromatic scale, their corresponding key signatures, and the associated major and minor keys...
construed as intersecting with the original tonic. By this measure, Mahler's 4th Symphony
Symphony No. 4 (Mahler)
The Symphony No. 4 by Gustav Mahler was written between 1899 and 1901, though it incorporates a song originally written in 1892. The song, "Das himmlische Leben", presents a child's vision of Heaven. It is sung by a soprano in the work's fourth and last movement...
would exhibit 'progressive tonality' (it begins in G and ends in E, three fifths 'higher')—while the same composer's 5th Symphony
Symphony No. 5 (Mahler)
The Symphony No. 5 in C sharp minor by Gustav Mahler was composed in 1901 and 1902, mostly during the summer months at Mahler's cottage at Maiernigg. Among its most distinctive features are the funereal trumpet solo that opens the work and the frequently performed Adagietto.The musical canvas and...
would display 'regressive tonality' (it begins in C# and ends in D, five fifths 'lower').
The same period showed a quickening of interest in 'progressive tonality' as displayed in the music of Carl Nielsen
Carl Nielsen
Carl August Nielsen , , widely recognised as Denmark's greatest composer, was also a conductor and a violinist. Brought up by poor but musically talented parents on the island of Funen, he demonstrated his musical abilities at an early age...
, in which it plays a particularly significant role. In Nielsen's Fourth Symphony
Symphony No. 4 (Nielsen)
Symphony No. 4 "The Inextinguishable", Op. 29, FS 76, by Danish composer Carl Nielsen, was completed in 1916. Composed against the backdrop of the First World War, this symphony is among the most dramatic that Nielsen wrote, featuring a "battle" between two sets of timpani.-Origin:Danish Composer...
, for example, the initial tonal focus of D minor (clashing with C) issues at the end of the work in a firm E major. In the two-movement Fifth Symphony
Symphony No. 5 (Nielsen)
Symphony No. 5, Op. 50, FS 97 is a symphony composed by Carl Nielsen in Denmark between 1920 and 1922. It was first performed in Copenhagen on 24 January 1922 with the composer conducting. It is one of the two of Nielsen's six symphonies lacking a subtitle....
, more radical in this regard, the first movement begins in F and rises by fifths to a conclusion in G, while the second begins on B, with an opposing pull to F, and while tending towards A major works round instead, by a similar tritone opposition, to a triumphant close in E flat. The tonal workings of these symphonies were analysed with particular clarity by the British composer and writer Robert Simpson
Robert Simpson (composer)
Robert Simpson was an English composer and long-serving BBC producer and broadcaster.He is best known for his orchestral and chamber music , and for his writings on the music of Beethoven, Bruckner, Nielsen and Sibelius. He studied composition under Herbert Howells...
in his book Carl Nielsen, Symphonist (first edition 1952), which gave the whole conception of 'progressive tonality' something like popular currency in the English-speaking world; and similar principles, partly derived from Nielsen, infuse the tonal workings of Simpson's own early symphonies and quartets.
A significant earlier example of the use of 'progressive tonality' by a British composer is the First Symphony (The Gothic)
Symphony No. 1 (Havergal Brian)
The Symphony No. 1 in D minor by Havergal Brian was composed between 1919 and 1927, and partly owes its notoriety to being perhaps the largest symphony ever composed...
by Havergal Brian
Havergal Brian
Havergal Brian , was a British classical composer.Brian acquired a legendary status at the time of his rediscovery in the 1950s and 1960s for the many symphonies he had managed to write. By the end of his life he had completed 32, an unusually large number for any composer since Haydn or Mozart...
. This huge six-movement, two-part work begins with a sonata
Sonata
Sonata , in music, literally means a piece played as opposed to a cantata , a piece sung. The term, being vague, naturally evolved through the history of music, designating a variety of forms prior to the Classical era...
movement in D minor whose second-subject area is initially D-flat, becoming C-sharp; this moves to E in the matching portion of the recapitulation. This is a harbinger of E's later importance. Part I of the symphony closes in D major (end of movement 3), and Part II begins there, but during movement 4 the tonality shifts to E major, which for the remainder of Part II is opposed by its relative minor C-sharp until the unequivocal E major of the final a cappella
A cappella
A cappella music is specifically solo or group singing without instrumental sound, or a piece intended to be performed in this way. It is the opposite of cantata, which is accompanied singing. A cappella was originally intended to differentiate between Renaissance polyphony and Baroque concertato...
bars.
One notable comment about this subject was made by the American 20th century composer Charles Ives
Charles Ives
Charles Edward Ives was an American modernist composer. He is one of the first American composers of international renown, though Ives' music was largely ignored during his life, and many of his works went unperformed for many years. Over time, Ives came to be regarded as an "American Original"...
. Looking back at the conservative musical establishment who would often insist a musical piece had to eventually return to its original key, Ives drew an analogy and stated to the effect that this made as much sense as being born and dying in the same place.