Facility (musical theory of forms)

Setup ( listen ^?^/^I ) describes in music theory the change that is made within the repetition of a modulating form part so that it closes in the main key of the piece. For the purpose of tonal cohesion, this is necessary wherever a piece is supposed to close with the recapitulation of a molded part which previously ended in a secondary key, i.e. u. a. in sonata main movements .

The term was coined in this sense by Erwin Ratz . Previously, it was used in a more general sense for the formal arrangement of compositions.

“Since the theme closed on the dominant in the exposition, the trailer must now be changed so that it closes on the tonic; We call this process a facility. "

- Erwin Ratz : Introduction to the theory of musical forms , p. 34.

Ratz uses the term in analyzes of selected movements from piano sonatas by Ludwig van Beethoven , as well as in analyzes of the inventions and symphonies by Johann Sebastian Bach.

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Heinrich Christoph Koch : Attempt at a guide to composition vol. 3. Böhme, Leipzig 1793.
Erwin Ratz : Introduction to the theory of musical forms. About form principles in the inventions of J. S. Bach and their significance for Beethoven's compositional technique . Österreichischer Bundesverlag, Vienna 1951; 3rd edition Universal Edition, Vienna 1973, ISBN 3-7024-0015-X .

Individual evidence

↑ See e.g. B. Koch 1793, chap. 2: "From the connection of melodic parts to periods of small size, or from the arrangement of small pieces of sound"; ETA Hoffmann : [Review of Ludwig van Beethoven's op. 70]. In: Allgemeine Musikische Zeitung (1813), Col. 145: “Now the main theme returns in the original key, and one expects, after the usual arrangement of instrumental pieces of this kind, the return of the first part, which is now also in the case of the Entry of the second theme in the tonic remains. "

[1] See e.g. B. Koch 1793, chap. 2: "From the connection of melodic parts to periods of small size, or from the arrangement of small pieces of sound"; ETA Hoffmann : [Review of Ludwig van Beethoven's op. 70]. In: Allgemeine Musikische Zeitung (1813), Col. 145: “Now the main theme returns in the original key, and one expects, after the usual arrangement of instrumental pieces of this kind, the return of the first part, which is now also in the case of the Entry of the second theme in the tonic remains. "