For a composer in the late18th century, the standard for determining the tonality of his works depends almost entirely on his own musical instrument experience, which avoids the difficulty and misinterpretation of choosing which key to play for some musical instruments. Through his more than 600 works, Mozart likes to use tonal music between 0 and 2 sharp corners, 3 sharp corners are only used occasionally, and more than 4 are almost never used; He did not follow Haydn and other composers of his time, but he frequently used four or five symbols of rising and falling. After selecting the primary key, he usually only turns to the relational key and rarely goes far.
Therefore, when in D major, he will find that there is a strong tonal contrast in D minor, which rarely appears in the relative B minor, mostly in A major and subordinate G major; Sometimes it is included in alto F and alto B. In a work in D major, he sometimes puts some paragraphs in the relative key of C major or E major for special purposes. However, some re-modes are not necessary for him: in an emphatic environment, a simple midrange conversion may stage a thunderbolt drama.
The main melody will determine most other tonality as a contrast. However, Mozart prefers to use several fixed key signature in some specific musical thoughts; And the more these subsidiary tonality are used, the more emotional atmosphere they carry. He doesn't have to flat in C major, except in a few cases (paragraph 17 of Tito's kindness) or flat in C minor (unless E major is the keynote); In F major, Haydn's favorite key is as rare as B major in Mozart's works; A flat minor only appears during tuning.
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For Mozart, C major is the most basic key; Most of his operas are based on C major or D major. Bastian in G major and magic flute in E flat major are individual phenomena. Some early operas ended in other keys; Mozart didn't believe in a stable tonal center at that time. C major is a mild and open tonality, which is suitable for everyone. It may have the solemn overtone in piano concerto K.503, the frankness of Figaro's Hua Die Will Never Fly, the tenderness of Selena's "Use this elixir" and the mystery at the end of the first act of Magic Flute. Many of Mozart's great works are in C major; The main line is usually open and humanized, such as the overture of Women's Heart, the beginning of Jupiter Symphony or piano concerto K.467; ; C major is the source of countless Mozart's fascinating musical thoughts.
There are more variations in C minor, but there is a more unified connotation: Mozart used this meaningful mode carefully. We may think that this is the theme of the incomplete solemn mass K.427 and the original piano concerto K.49 1. As early as when Mozart wrote Bertau Leah's Salvation, he changed C minor for those unfortunate prayers, just as he changed the tonality of Mass K.47a (only two movements), and he will write Idomeno later. In the magic flute, the chorus prelude of two lovers is fugue K.426 or string quintet K.546 written for double keyboard. Of course, in the unfinished mass, C minor is more expressive. The religious character in C minor conveys the masonic funeral music K.479a, and the music "Tamos, King of Egypt" No.2 accompanied by the masonic trilogy is released. Later, music in C minor became a symbol of conspiracy, such as the thunder that suddenly sounded after the last night of the second act of The Magic Flute.
For a long time, Mozart's C minor may convey a simple anger or frustration, such as the song of the shepherd king 12 and the song of the girl pretending to be a gardener 16. The best example is Letra's aria "Orestes and Ayers" erupting from the volcano in Idomeno. Felando's little lyric "Even if betrayed, insulted" also belongs to this category. Among the instrumental works, there are K.49 1 by Steel Association and K.384a by Organ Serenade, but in other works, anger is more heroic and inflammatory, with Mozart's originality. For example, the tragedy of the emperor, the 22nd song, Lucio Silas bravely facing death, the 22nd paragraph; We can associate this feeling with piano fantasia K.475 and piano sonata K.457 as a heroic despair, which appeared in C minor at the beginning of the magic flute, when Prince Tamino was chased by a big snake. Sometimes C minor is just a sign of melancholy, such as two unhappy women in paragraph 2 1 of The Girl Pretending to be a Gardener-one possibility is that C.P.E Bach's C minor influenced Mozart's two steel couplets K.27 1, K.482' s gentle and melancholy features in slow motion and K.364 ..
D major is the tonality of Mozart's majestic, victorious troops or heroes and extremely confident aristocrats. It is usually associated with trumpets and drums. In this regard, many of Mozart's operas outline a very handsome royal scene, such as The Emperor's Tragedy, Scipio's Dream, Don Juan, including The Marriage of Figaro, the Earl's House of Amaviva. There is also a Mozart figure in D major, but it is rarely used. Its musical tunes are rich and colorful, with a meditative atmosphere. The best representative is his last religious chorus "Ode to the Eucharist" K.6 18.
D minor is a tonality in which human anxiety and desire are expressed in colorful ways. For example, steel association K.466, string quintet K.42 1, requiem mass. The overture of the drama Save Bertau Leah, No.2 in Zaid, the missing adagio in the overture of Figaro's Wedding; In Don Juan, the first mate made a wonderful appearance in the prelude and finale of the second act. The angry aria in The Magic Flute when it appeared for the second time after midnight. Mozart likes to express his tragic frustration in F major or D major since he was a child, and K.368a, The Church Music-Compassion Classic, is an example in a relatively mature period. In the mature period, he has carefully used D minor, only to express some special effects and the tonality is just in the relative minor of the main theme.
When Mozart was a composer of opera in Naples, E flat major meant solemnity. E flat major is used for magic flute and other masonic music (such as Symphony No.39), but it also has other uses: in some of his horn and piano concertos, the original cheerful tunes add a layer of noble temperament; Expressing unswerving love in The Shepherd King. The effect of this piece of music on Mozart is emotional contrast, which accurately expresses a certain emotional state.
Buildings in E major can hardly be found in Mozart's instrumental works, but more in his opera works. Like the Baroque period, composers in Rococo period thought that E major was a kind of peaceful tonality, inclined to pastoral music and meditation on nature: so Apollo pretended to be a shepherd when introducing himself, Zaid yearned for freedom, Ilya stared at the garden where she was going to meet her lover, and Idomeno took a grateful and affectionate look at the calm sea. This key is also the theme of the slow movement of violin concerto in A major and piano trio K.542
E major seems to be a sign of Mozart's apology and opinion: in The Girl Pretending to Be a Gardener, Lin Xiawei asks Cupid not to break her heart; Amita in The Saved Bertolia begged forgiveness for her unpatriotic behavior. Ascanio regretted that he dared not approach the person he admired. Leigh Bolero refused the invitation to the dinner he was forced to attend and asked for forgiveness. The other two examples are apologetic and instructive: Alfonso assured his soldier friend that a woman's perseverance is just imagination; Salaste Rowe taught Pamina, the king of the sun, to be a man without revenge.
E minor is very rare in Mozart's works. The last chorus of "Saved Bertolia" started in E minor with a magnificent baroque style, and later turned to G major because of the entrance of a hymn. In an abandoned two-movement violin sonata K.300c; ; The slow movement of early string quartets in G major and some church songs was E minor, which Mozart avoided for some reasons.
F major is an optimistic and open tonality, which Mozart easily brought to the extreme. Many interesting works are experiments tried during the child prodigy period, such as the minuet of the first violin sonata K. 13; The ninth paragraph of Woman's Heart has a slightly sad bass, and the second act of Magic Flute begins, which also appears in the temple scene in Idomeno. Of course, there is nothing better in F major than paragraphs 18 and 27 of Figaro's Wedding, paragraphs 1 6 and 13 of Don Juan, and even paragraph 25, or paragraph 20 of Pablo Paccino and paragraph 23 of Women's Heart.
F minor appears in the less serious Elegy of the Gardener's Daughter Barbarina, The Wedding of Figaro, and Alfonso's Mourning Aria in a Woman's Heart. We may associate it with the scene of the defeated enemy moaning and crying outside the wilderness depicted in "Saved Bertolia". The most important applications are the first scene of Don Juan, the trio after the death of the Chief Executive and two organ suites K.594 and K.608
In piano concerto K.488, F sharp minor is a sublime adagio tonality, which is Mozart's means to express pain and sadness, but it rarely appears in his later works. Although Mozart is addicted to its relative major A, there is a wonderful example of G flat major at the end of the first act of Tito's Kindness.
G major is an open tonality like F and C major. The prelude of two plays, The Wedding of Figaro and A Woman's Heart, was opened. In Don Juan, the passion of Zenina and Marcelo is conveyed. Guillermo convinced Felando's aria "Why are Women So Cruel" in "Woman's Heart", and there was a sense of anger hidden in humor (much less anger than Figaro used in E-flat major in similar scenes). In The Shepherd King, Irina Kaptelova's appearance was introduced through G, and her more mature and charming lover appeared in F major. In Lido Luo Nai, the first movement of piano concerto K.453 in G major shows various emotions. The same performance can also be found in Violin Concerto No.4 and the art song Violet.
G minor and E flat major are Mozart's two most distinctive and individual tonality. Amitabha arias in the 25th symphony and girls posing as gardeners; "Tiger, Sharpen Your Paws" in Zaid, the middle section of piano quartet K.478 and romantic K.466 all reveal anger and excitement. In Temptation of Harem, a special cartoon character enters, when Osmin, the guard, climbs a tree and sings an aria "If I Find a Lovely Girl"; The return of G minor in the finale of the 40th Symphony implies the end of a satirical comedy. G minor is Mozart's unparalleled means of expressing melancholy and pain in most cases, such as the sad ending of the first movement of the fortieth symphony; Pamina mistakenly thought that happiness was over. Aria "Ah, I know"; At the end of the first act of Lucio Silas, Julia prayed for her dead father; Konstanz's elegy, etc. These sorrows are sometimes superficial, such as Bastiane BastianeNo. 14 or the adagio movement in piano concerto K.456, and sometimes ironic, such as the plot of pretending to commit suicide in a woman's heart and self-pity in a painful aria after dark. Mozart began to use G minor as early as in Op. 9. At first, he didn't put his feelings into it, and then he gradually began to be dramatic. 1 1 years old, he successfully expressed his rage and sadness in g minor in the interlude Apollo and Sintes. Later, in The Emperor's Tragedy, he was able to skillfully use this tone to express the expansion and aggravation of his sadness. In the melody of G minor, he always uses the second and sixth notes: he enviably interprets a composition system of G minor.
There are four flat signs in A flat major, which is an advanced avant-garde tonality for Mozart. But he often used this key, and as early as K. 15dd, he used a flat note to sketch a London-style symphony. In his opera, this piece is only related to the last song of the second act of "Woman's Heart", "The Cannon of Brindisi"; In addition, the charming art song "In the Lonely Woods" is also in A flat major, and the particularity of this tonality can also be felt in the andante of the 39th symphony.
The tonality of A major as an idyllic style was inherited by Mozart from his predecessor Bach. At first, this tone was just a gentle and plain feeling for him. But in the mature period, he gradually found that the tonality of the three sharp corners contained aesthetic feeling and was deeply attracted, especially when the clarinet entered (A major is the first key of clarinet). Of course, there are many works, and the listener can feel the charm only by distinguishing the subtle differences between the gentle and plain A major (such as the 29th Symphony) and the gentle and sweet A major (Felando's aria "The Love Breeze"). This key often shows a magnanimous quality. When Mozart used the mature A major, he liked to enter with the dominant e of the main melody. The most famous example is the clarinet concerto. As long as everyone knows it, this piece is deeply branded by Mozart.
A minor, a simple tonality without sharp horn, is the first minor (lost K. 16a) that Mozart tried in his symphony works. Later, he closely linked this piece with exotic flavor, such as the Turkish March, the prelude to the last movement of the fifth violin concerto and the Turkish flavor in the harem temple. At the same time, there are also lonely feelings such as piano sonata (K.300d), enthusiastic keyboard works K.5 1 1, the recitation of "I am the winner" by Count Amawiwa, and the aria of gardener Sandra. In these works, it seems that there is telepathy with a minor, just as the latter is closely related to a major.
B flat major is often used in Mozart's works under the dynamic movement when the actors move. Felando's love song "Ah, I know that beautiful soul", elvira's hatred for Don Juan "I can't trust you"; Paccino al Jefferson disgruntled hem is moving when singing; Plus the Rondo in the hunting grounds is also in this key. This kind of tune also symbolizes liveliness and wit, such as Don Juan's seductive aria "Get drunk". Many Mozart's works in B flat major have similar wisdom and energy.
B flat minor first appeared in minuet K.8, and then even Prayer K. 125 and String QuartetNo. 16 appeared, but five flat tones are too many for any composer. So it is rarely used.
B minor appears in some instrumental works as a foil to D major to achieve a more tonal effect, such as Mass k. 186h. In his opera works, the chorus of lovers after the Magic Flute wins and loses is in B minor before it, in order to make it more nervous after the sacred and solemn comedy ending. In the third act of harem escape, Pedro serenade in My Country in B minor is very implicit, although it was quickly replaced by D major.
It must be emphasized here that for composers in Mozart's era, determining the tonality of a work is not based on a whim, but needs to be determined through the comparison of tonality characteristics and musical structure orchestration. Mozart can travel boldly and creatively in the tonal world-in Figaro, he set the extended finale of his second act as semitone (E flat major), which is proudly independent of the whole opera with D major as the main key. When he needs to describe a particular emotion at a particular moment in detail, although he can't always make the music jump to his favorite tune, he can always find a substitute that can last for a long time, and he will certainly be able to adapt to the tonality of the player's actual performance ability. Some tonality that he can use most freely can be found in a long recitation or a short aria at any time. Only Mozart's contribution to "tonal character" is enough to make him go down in history. In ...