Tonality

General information

A tonality is defined as the whole of the relations - i.e., the whole of the intervals, as well melody as harmonic - between the degrees hierarchical of a scale given compared to its fundamental degree, called tonic. A tonality is thus characterized at the same time by its tonic and its mode.

Any tonality is built starting from the diatonic scale.

The tonality, it is also a means of locating an musical instrument compared to C of reference. Indeed, the instruments always do not have the same tonality. The flute, the violin or the piano are in C, i.e. when C is played, one hears really C. The trumpet in B flat (it exists in several tonalities) is an instrument in B flat and makes really hear B flat when it plays C. The horn (in F) made hear F when he plays C.

The tonality is very important because it will make it possible to transpose or transcribe the partitions in C in the tonalities of the instruments to the different tonalities. Ex: All the partitions are written in C, but there are a trumpet in B flat and a saxophone in E flat. One takes the partition intended for the trumpet and one increases it by a tone (if bémol-do=1ton). One increases because the instrument plays low than C: one thus makes play a higher tone to have the same note. For the saxophone, it will be necessary to lower the partition in C of a tone and half (C-semi bémol=1ton 1/2). One decreases because the instrument has C of reference higher than C known as " serrure". One inevitably applies the opposite principle of the increase, for the same reasons.

Some instruments and their tonality:

C: Piano, string instruments, flutes and piccolo, oboe, low trumpet in C, trombones, tuba, tuba.
D flat: old the piccolos.
D: trumpet in D.
E flat: alto saxophone and baritone, small bugle, horn in E flat, viola (small tuba), small low clarinet, tuba.
F: Horn.
Ground: Trumpet in ground.
It: Oboe de amore, trumpet in.
B flat: Soprano saxophone, tenor, tuba (euphonium and baritone), trumpet in B flat, bugle, low clarinet, tuba (bombardon).

Tonality and range

The word “tonality” can be regarded as a Synonyme with “range of the tonal system”.

For example, to say that a piece of music is written “in the range of G major ” is equivalent to “in the tonality of G major ”.

Tonality and mode

One supplements the indication of the tonality by that of the mode: the difference between the major mode and the minor mode rests precisely on the position of the tons and of the Demi-ton S in the diatonic scale. For more details on this question, to consult the article Mode.

the word “mode” having other directions in music - in particular in the modal music medieval -, certain musicologists prefer not to use this term in the tonal Système, and recommend the use of the expressions “major tonality” and “minor tonality”, or, “major range” and “minor range”. Names “mode major” and “minor mode” however very usually are used, and respectively correspond to the modes Ionian and wind, at least in interpretation that had made Saint Gregoire of it.

Relative tonality

Two relative tonalities are two different tonalities, of different modes - one major, the other minor one, therefore - and having for common point “ the same diatonic scale ”, that is to say, same the armor.

For example, major C has as a relative tonality, it minor , and reciprocally.

One will note that it tonic minor is always located “a minor third below” the tonic of the relative major tonality, like C and the in the preceding example - cf Armures and tonalities.

Homonymous tonality

Two homonymous tonalities are two tonalities of different modes - one major, the other minor one, therefore - but having “ the same tonic ”.

For example, major C has as a homonymous tonality, C minor , and reciprocally.

One will note that from the point of view of the armours, the difference is always of three deteriorations between the two tonalities.

For example, major C , virgin armor, and C minor , three flat - cf Armours and tonalities.

Various armours of the tonal system

A armor is a whole of Bémol S or Dièse S joined together at the beginning of the carried. It characterizes the tonality by indicating the constant deteriorations, and has as a function to transpose the diatonic scale natural.

Range of so major with its characteristic armor (five sharps):

As of the 15th century, the Compositeur takes the practice to gather with the key all the deteriorations constitutive of each new tonality in order to avoid overloading the partition: thus was born the armor.

the concept of principal tonality appears: it is about the tonality which begins and finishes a piece, that which corresponds to the armor. The other tonalities, crossings more or less briefly - thanks to the modulations - are called the secondary tonalities .

- When the modulation is short - momentary modulation: some notes with some measurements -, its differences with the principal tonality are indicated by accidents: Sharp S, Flat S or Natural sign S.

- When the modulation is longer - several measurements with several sentences -, armor is generally changed.

Diésées diatonic scales

August 1st

Bemolized diatonic scales

Identification of the tonality starting from the armor

The two preceding tables do not need absolutely to be learned by heart. It is completely possible to find the tonality - i.e., to find it tonic and the mode of a piece given pertaining to the tonal Système - while proceeding in three stages: research of the tonic of the major tonality, research of the tonic of the minor tonality relative, and finally, selection of the true tonality of the piece.

Research of the tonic of the major tonality

This tonic major must be found starting from the armor of the piece. Three cases can arise:

1. When the armor contains neither Dièse S nor Bémol S, it is obviously about the tonality of major C .

2. When the armor contains only sharps, it tonic major is “ a second minor above the last sharp ”. Indeed, the last sharp with the key - that which is on the right, therefore - is always the sensitive of the major tonality.

Example: two sharps with the key ( F $\ sharp$ and C $\ sharp$ ); the last sharp ( C $\ sharp$ ) is sensitive tonality of major D .

3. When the armor contains only flat, “ tonic major is it before last flat ”. Indeed, the last flat with the key - that which is on the right, therefore - is always the Sous-dominante of the major tonality, consequently, it tonic major is a perfect fourth below the last flat. However, the flat following one another the key by ascending perfect fourths, the last but one flat is precisely located a perfect fourth below the last.

Example: three flat with the key ( if $\ flat$ , semi $\ flat$ and the $\ flat$ ); the last flat ( the $\ flat$ ) is the sub-dominant of the tonality of mi $\ flat$ major - whose it tonic, semi $\ flat$ , corresponds well to the last but one flat.

Research of the tonic of the relative minor tonality

We know that it tonic of the relative minor tonality always is located “ a minor third below the tonic major ”. It is thus advisable to withdraw this interval at the tonic relative major, by holding account possibly deteriorations with the key.

Examples

- virgin Armor: major C & it minor .

- Armor with three sharps: major & the fa $\ sharp$ minor , etc

- Armor with five flat: ré $\ flat$ major & si $\ flat$ minor , etc

Selection of the true tonality of the piece

Once that the two relative tonalities are given compared to the armor, it is appropriate to indicate that which constitutes the true tonality of the piece in question.

When the part is harmonized, it is enough to find the principal agreement - the agreement of tonic -, which is usually at the beginning, and especially, at the end of the piece. It is advisable to note however that it happens that the piece finishes, not by on the agreement of tonic, but on that of the dominant one.

When the part is not harmonized - therefore, when one has only a melody -, the research of the tonic is a little less easy, but generally does not raise great difficulties: the piece generally ends in one of the three notes of the Triad of tonic - and more precisely, by the tonic itself, in the majority of the cases.

In the event of hesitation, it is necessary to seek if “ the accidental weathering of the sensitive of the minor mode ” appears or not.

Summary

relative Tonalities with diésées armours, then bemolized, accompanied by sensitive accidental by the minor mode:

See too

diatonic Scale
theoretical and technical Glossary of the elementary Western music
tonal Harmony
Interval (musical theory)
Musical theory and intonation
tonal System
the disc of the tonalities: Teaching work materializing the relationship between ranges, reinforcements and tonalities.

Simple: Tonality

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