Progressive tonality is the music 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 or tonality. In this connection 'different key' means a different tonic, rather than merely a change to a different mode (see: Picardy third and List of major/minor compositions): Gustav Mahler's Second Symphony (1888–94), for example, which moves from a C minor start to an E-flat major conclusion, exhibits 'progressive tonality'—whereas Ludwig van Beethoven's Fifth 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 her book Bruckner, Mahler, Schoenberg (1947).[1][2]
^Gordon Cameron Sly, ed. (2009). Keys to the Drama: Nine Perspectives on Sonata Forms, p.67. ISBN 9780754694601.
^William Kinderman and Harald Krebs, eds. (1996). The Second Practice of Nineteenth-Century Tonality, p.9. ISBN 9780803227248.
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Progressivetonality is the music compositional practice whereby a piece of music does not finish in the key in which it began, but instead 'progresses'...
Tonality is the arrangement of pitches and/or chords of a musical work in a hierarchy of perceived relations, stabilities, attractions, and directionality...
Grieg, but he soon developed his own style, first experimenting with progressivetonality and later diverging even more radically from the standards of composition...
limit was finally reached during the Late Romantic period where progressivetonality is demonstrated in the works of composers such as Gustav Mahler....
Mahler's music. A technical device much used by Mahler is that of "progressivetonality", which Deryck Cooke describes as "the procedure of resolving a symphonic...
of the second subject group and coda. Romantic works even exhibit progressivetonality in sonata form: for example, the second movement 'Quasi-Faust' from...
[sic] mein Schatz". In this song cycle, Mahler extensively uses progressivetonality. Each of the four songs ends in a different key: (1) D minor to G...
the influence of Gustav Mahler in his ambitious orchestration and progressivetonality. A Germanophile – the text of the Psalms in his fourth symphony is...
musical forms. The Symphony is also one of the first to make use of progressivetonality, beginning and ending in the radically different keys of D minor...
of the harmonic unity within a piece is achieved." Homotonality Progressivetonality Prolongation Schenkerian analysis Schoenberg, Arnold (1969). Leonard...
defining characteristic is the consistent focus on slow tempos, and minor tonality with much use of dissonance (especially in the form of the tritone), employing...
for being the first symphony in history that employed the use of progressivetonality. Charles Gounod's Symphony No. 3 in C major was sketched between...
be best known as the author of A Theory of Evolving Tonality (1932) and advocate of progressive equal temperaments; Yasser wrote music in 19 equal temperament...
(music) Privileged pattern Process music Program music Progressive music Progressivetonality Projected set Prolation Prolation canon Prolongation Promenade...
Baroque (c. 1600 – c. 1750) – Period characterized by the development of tonality and a greater emphasis on contrast and ornamentation in music. Genres like...
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