Page:EB1911 - Volume 13.djvu/19

Rh related to the minor tonic, it also gives a curious sensation of being merely on the dominant instead of in it; and thus we find that in the few classical examples of a dominant major second subject in a minor sonata-movement the second subject either relapses into the dominant minor, as in Beethoven’s Kreutzer Sonata and the finale of Brahms’s Third Symphony, or begins in it, as in the first movement of Brahms’s Fourth Symphony.

The effect of a modulation to a related key obviously depends upon the change of meaning in the chords common to both keys, and also in the new chords introduced. Thus, in modulating to the dominant we invest the brightest chord of our first key with the finality and importance of a tonic; our original tonic chord becomes comparatively soft in its new position as subdominant; and a new dominant chord arises, surpassing in brilliance the old dominant (now tonic) as that surpassed the primary tonic. Again, in modulating to the subdominant the softest chord of the primary key becomes tonic, the old tonic is comparatively bright, and a new and softer subdominant chord appears. We have seen the peculiarities of modulation to the dominant from a minor tonic, and it follows from them that modulation from a minor tonic to the subdominant involves the beautiful effect of a momentary conversion of the primary tonic chord to major, the poetic and often dramatically ironical power of which is manifested at the conclusion of more than half the finest classical slow movements in minor keys, from Bach’s E♭ minor Prelude in the first book of the Forty-eight to the slow movement of Brahms’s G major String Quintet, Op. 111.

The effect of the remaining key-relationships involves contrasts between major and minor mode; but it is otherwise far less defined, since the primary tonic chord does not occupy a cardinal position in the second key. These key-relationships are most important from a minor tonic, as the change from minor to major is more vivid than the reverse change. The smoothest changes are those to “relative” minor, “relative” major (C to A minor; C minor to E♭); and mediant minor and submediant major (C to E minor; C minor to A♭). The change from major tonic to supertonic minor is extremely natural on a small scale, i.e. within the compass of a single melody, as may be seen in countless openings of classical sonatas. But on a large scale the identity of primary dominant with secondary subdominant confuses the harmonic perspective, and accordingly in classical music the supertonic minor appears neither in the second subjects of first movements nor as the key for middle movements. But since the key-relationships of a minor tonic are at once more obscure harmonically and more vivid in contrast, we find that the converse key-relationship of the flat 7th, though somewhat bold and archaic in effect on a small scale, has once or twice been given organic function on a large scale in classical movements of exceptionally fantastic character, of which the three great examples are the ghostly slow movement of Beethoven’s D major Trio, Op. 70, No. 1, the scherzo of his Ninth Symphony, and the finale of Brahms’s D minor Violin Sonata (where, however, the C major theme soon passes permanently into the more orthodox dominant minor).

Thus far we have the set of key-relationships universally recognized since the major and minor modes were established, a relationship based entirely on the place of the primary tonic chord in the second key. It only remains for us to protest against the orthodox description of the five related keys as being the “relative” minor or major and the dominant and subdominant with their “relative” minors or majors; a conception which expresses the fallacious assumption that keys which are related to the same key are related to one another, and which thereby implies that all keys are equally related and that classical composers were fools. It cannot be too strongly insisted that there is no foundation for key-relationship except through a tonic, and that it is through the tonic that the most distant keys have always been connected by every composer with a wide range of modulation, from Haydn to Brahms and (with due allowance for the conditions of his musical drama) Wagner.

b. Indirect Relationships.—So strong is the identity of the tonic in major and minor mode that Haydn and Mozart had no scruple in annexing, with certain reservations, the key-relationships of either as an addition to those of the other. The smoothness of Mozart’s style makes him prefer to annex the key-relationships of the tonic minor (e.g. C major to A♭, the submediant of C minor), because the primary tonic note is in the second key, although its chord is transformed. His range of thought does not allow him to use these keys otherwise than episodically; but he certainly does not treat them as chaotically remote by confining them to rapid modulations in the development-portions of his movements. They occur characteristically as beautiful purple patches before or during his second subjects. Haydn, with his mastery of rational paradox, takes every opportunity, in his later works, of using all possible indirect key-relationships in the choice of key for slow movements and for the trios of minuets. By using them thus sectionally (i.e. so as not to involve the organic connecting links necessary for the complementary keys of second subjects) he gives himself a free hand; and he rather prefers those keys which are obtained by transforming the minor relationships of a major primary key (e.g. C to A major instead of A minor). These relationships are of great brilliance and also of some remoteness of effect, since the primary tonic note, as well as its chord, disappears entirely. Haydn also obtains extreme contrasts by changing both modes (e.g. C minor to A major, as in the G minor Quartet, Op. 72, No 6, where the slow movement is in E major), and indeed there is not one key-contrast known to Beethoven and Brahms which Haydn does not use with complete sense of its meaning, though his art admits it only as a surprise.

Beethoven rationalized every step in the whole possible range of key-relationship by such harmonic means as are described in the article. Haydn’s favourite key-relationships he used for the complementary key in first movements; and he at once discovered that the use of the major mediant as complementary key to a major tonic implied at all events just as much suggestion of the submediant major in the recapitulation as would not keep the latter half of the movement for too long out of the tonic. The converse is not the case, and where Beethoven uses the submediant major as complementary key in a major first movement he does not subsequently introduce the still more remote and brilliant mediant in the recapitulation. The function of the complementary key is that of contrast and vividness, so that if the key is to be remote it is as well that it should be brilliant rather than sombre; and accordingly the easier key-relationships obtainable through transforming the tonic into minor do not appear as complementary keys until Beethoven’s latest and most subtle works, as the Quartet in B♭, Op. 130 (where we again note that the flat submediant of the exposition is temporarily answered by the flat mediant of the recapitulation).

c. Artificial Key-relationships.—Early in the history of the minor mode it was discovered that the lower tetrachord could be very effectively and naturally altered so as to resemble the upper (thus producing the scale C D♭ E♮ F, G A♭ B♮ C). This produces a flat supertonic (the chord of which is generally presented in its first inversion, and is known as the Neapolitan 6th, from its characteristic use in the works of the Neapolitan school which did so much to establish modern tonality) and its origin, as just described, often impels it to resolve on a major tonic chord. Consequently it exists in the minor mode as a phenomenon not much more artificial than the mode itself; and although the keys it thus connects are extremely remote, and the effect of their connexion very surprising, the connexion is none the less real, whether from a major or a minor tonic, and is a crucial test of a composer’s sense of key-perspective. Thus Philipp Emanuel Bach in a spirit of mere caprice puts the charming little slow movement of his D major Symphony into E♭ and obliterates all real relationship by chaotic operatic