Evasion
Evasion referred to in the music theory since the beginning of the 18th century the transition from one key to another. Around 1850, the previously ambiguous term modulation was also narrowed to this meaning, so that both terms became synonymous. Towards the end of the 19th century, the term evasion was in turn narrowed and since then has meant temporarily leaving a dominant key without the other key being fixed by means of a cadence .
Heinrich Christoph Koch
At the beginning of the 19th century Heinrich Christoph Koch differentiated between accidental, continuous and formal evasions.
Random evasion
A coincidental evasion occurs when a melody that exclusively uses ladder-specific tones is accompanied by an accompaniment that (also) uses material from one or more other keys. In the following example, the notes d and c in the melody are interpreted on the one hand as the 2nd and 1st degree in the dominant key of C major (a), on the other hand by the leading tone g sharp and the a in the accompaniment as the 4th and 3rd degree in A minor (b):
Continuous evasion
A continuous evasion occurs when a new key is indicated by its characteristic tone (in the case of sharps the 7th degree (leading tone), in the case of Be keys the 4th degree; marked in red in the examples) in the melody, however, a cadence only takes place after returning to the original key (c) or in a further key (d; the bass part added to the example is for illustration):
In addition, it should be noted in the "transition to another key by means of continuous deviations [...] that different types of transposition are very often used at the same time". B. express as Monte (e) or Fonte (f):
![\ version "2.14.2" \ header {tagline = ## f} upper = \ relative c '' {\ override Score.TimeSignature.stencil = ## f \ clef treble \ key c \ major \ time 4/4 \ tempo 4 = 80 << {\ mark "e)" c4 c4. bes16 [a bes8 bes] a4 d4. c16 [b! c8 c] b4} \\ {c, 4 r e2 ^ "F major" f4 r f sharp2 ^ "G major" g4 \ bar "||"} >>} \ score {\ new Staff = "upper" \ upper \ layout {\ context {\ Score \ remove "Metronome_mark_engraver" \ remove "Bar_number_engraver"}} \ midi {}}](https://upload.wikimedia.org/score/f/b/fb59oe6fldnoqlrv81cjylmrcmvjoqu/fb59oe6f.png)
Formal evasion
If a new key is either confirmed by the formation of a conclusion in the same or otherwise expanded, Koch speaks of a formal evasion .
For example, in bar 18 of the first movement of the Sonatina in G minor, D 408 by Franz Schubert, the parallel key in B flat major is reached and retained for a longer period of time.
Sources and literature (chronological)
- Johann David Heinichen : The general bass in the composition. Dresden 1728 ( online ).
- Heinrich Christoph Koch: An attempt at a guide to composition. Vol. 2; Adam Friedrich Böhme, Leipzig 1787 ( online ).
- Heinrich Christoph Koch: Musical Lexicon. Johann André, Offenbach am Main 1802 ( online ).
- Heinrich Christoph Koch: Concise concise dictionary of music. Johann Friedrich Hartknoch, Leipzig 1807 ( online ).
- Christoph von Blumröder: Modulatio / Modulation. In: Concise dictionary of musical terminology . Vol. 4, ed. by Hans Heinrich Eggebrecht and Albrecht Riethmüller , editor-in-chief Markus Bandur, Steiner, Stuttgart 1983 ( online ).
- Stephan Zirwes: From tone to tone. The deviation in the music theory writings of the 18th century. Bärenreiter, Kassel u. a. 2018, ISBN 978-3-7618-7177-5 .
Individual evidence
- ↑ See e.g. B. Heinichen 1728, p. 761.
- ↑ See Von Blumröder 1983, p. 14 f.
- ↑ See Koch 1787, p. 188; Koch 1802, col. 202; Koch 1807, p. 43.
- ↑ Koch 1802, Col. 855f.
- ↑ Koch 1082, Col. 208.
- ↑ "... if one [...] goes into another [key], and either closes a period in it, or at least stays in it for some time ..." Koch 1802, Col. 203f.