Free tonality

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Free tonality describes a tonality that does not feel tied to the system of major-minor tonality , but on the other hand cannot yet be described as purely atonal . The transitions from tonality to complete atonality are fluid.

At the end of the 19th century, chromatics and increasingly complex chords led to the dissolution of traditional tonality. It became more difficult to classify sounds as a functionally harmonious sequence , both from the auditory impression and in the analysis of a score .

At Schönberg

The term free tonality is used e.g. B. applied to a creative period of Arnold Schönberg , which represents a transition phase between his late romantic tonal early works and the  free atonality practiced from op . These include the 1st Chamber Symphony and the 2nd String Quartet, which at the time led to controversial reactions from the audience and critics. Although these works are still assigned to a major or minor key in the usual sense, their musical structure shows a substantial detachment from key fixations.

At Hindemith

While Schoenberg from conventional tonality through the intermediate stages of the "free tonality" and "free atonality" to "strict atonality" of twelve-tone music evolved, his "main adversary" kept Paul Hindemith firmly to the tonality and put in his instruction in music theory a tonal system, which is no longer based on the traditional major and minor keys, but on relationships within the chromatic scale. The importance Hindemith attached to his system is shown by the fact that he “glorified” it in a work based on the Well-Tempered Clavier ( Ludus tonalis ). In purely formal terms, Hindemith's free tonality is expressed in the absence of any preliminary drawing in his scores.

In jazz

In jazz , the term free tonality is also used in the description and analysis of modern forms of play, such as that of free jazz , in which the tonality dissolves without this leading to pure atonality. On the other hand, authors there emphasize the roots of various dissolutions in early forms of jazz such as swing and New Orleans .

Individual evidence

  1. ↑ Werner Sobotzik: Artur Schnabel and the basic questions of musical interpretation practice . BoD - Books on Demand, 2005, ISBN 978-3-8334-3021-3 , pp. 16–.
  2. ↑ Hermann Maletz: Passion? New music: from sounds, sounds and signs to jazz and pop . LIT Verlag Münster, 2011, ISBN 978-3-643-11398-6 , pp. 11–.
  3. ^ Lol Henderson, Lee Stacey: Encyclopedia of Music in the 20th Century . Routledge, January 27, 2014, ISBN 978-1-135-92946-6 , pp. 422-.
  4. ↑ Joachim-Ernst Berendt, Günther Huesmann: Das Jazzbuch: Continued by Günther Huesmann . Fischer E-Books, October 5, 2009, ISBN 978-3-10-400006-0 , p. 81.