Tonicization
Encyclopedia
In music
, tonicization is the treatment of a pitch
other than the overall tonic
as a temporary tonic in a composition
. Tonicization is achieved through the use of the scale and harmonies
of the tonicized key
. The most common method of tonicization uses leading tones, dominant
-tonic
chord progression
s, or a combination thereof. Tonicization is an example of tonal chromaticism
. Tonicization is not very different from modulation
, because (according to Schenker),"there's no such thing as a modulation in music", because a modulation is nothing more than a long tonicization, in which the influence of the previous key is still evident.
A tonicized chord is a chord to which a secondary dominant
progresses. For example ii in V/ii. Only major and minor chords may be tonicized. Though perceptions vary as a general rule if a chord is treated as the tonic for longer than a phrase then the treatment is considered a modulation.
Similarly, to tonicize F major, the B of the C major scale must be changed to B-flat to produce the F major scale: F-G-A-B-C-D-E-F. B-flat functions here as a downward-pushing leading tone that resolves to A as the third of the F major triad.
These examples illustrate the most common altered tones used in tonicization: scale steps 7 → 8 (the traditional "leading tone," such as F → G in G major) and scale steps 4 → 3 (such as B → A in F major) in the tonicized key. Especially when briefly tonicizing more remote keys, the alteration of one or both of these scale steps may be sufficient, instead of the significant modifications needed to change an entire scale to the scale of a remote key.
; this is simply a chord that is dominant to the tonicized key and is usually one of the following: V, V7, vii (usually not in root position), or vii7 (often in root position). In musical analysis
(see diatonic function
s), a secondary dominant is notated with a slash separating the tonicized scale degree and the type of secondary dominant chord used. For example, if the original tonic is C Major and a tonicization of F Major (the subdominant and 4th scale degree of C Major) is desired, one could use the V7 chord of F Major (which is C7) as a secondary dominant to approach F. In this case, one could notate the secondary dominant chord with a slash like so: "V7/IV" . If the vii7 of F (E7) is used instead of the V7 chord, the notation would like this: "vii7/IV" . Note that three of the secondary dominant chords mentioned (V7, vii, and vii7) include both the leading tones on scale steps 7 and 4 in the tonicized key.
Longer tonicizations may include other secondary chords, such as a subdominant
or the tonic triad borrowed from the tonicized key. Generally the secondary dominant resolves to the tonicized tonic triad, but occasionally this is not necessary to achieve tonicization. Such tonicization without actually sounding the destination tonic is especially common when using a half cadence
or deceptive cadence progression. For example, if the overall tonic is C major, a Phrygian cadence moving from F major to E major, as well as a deceptive cadence that moves D minor to E7 to F major, could be heard as tonicizing A minor. (Depending on the context, the use of E major here could also be described simply as a "borrowed" or "altered chord," rather than a tonicization.)
For further details on the varieties of harmonic progressions that can be used to move between keys, see modulation
.
Music
Music is an art form whose medium is sound and silence. Its common elements are pitch , rhythm , dynamics, and the sonic qualities of timbre and texture...
, tonicization is the treatment of a pitch
Pitch (music)
Pitch is an auditory perceptual property that allows the ordering of sounds on a frequency-related scale.Pitches are compared as "higher" and "lower" in the sense associated with musical melodies,...
other than the overall tonic
Tonic (music)
In music, the tonic is the first scale degree of the diatonic scale and the tonal center or final resolution tone. The triad formed on the tonic note, the tonic chord, is thus the most significant chord...
as a temporary tonic in a composition
Musical composition
Musical composition can refer to an original piece of music, the structure of a musical piece, or the process of creating a new piece of music. People who practice composition are called composers.- Musical compositions :...
. Tonicization is achieved through the use of the scale and harmonies
Harmony
In music, harmony is the use of simultaneous pitches , or chords. The study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. Harmony is often said to refer to the "vertical" aspect of music, as distinguished from melodic...
of the tonicized key
Key (music)
In music theory, the term key is used in many different and sometimes contradictory ways. A common use is to speak of music as being "in" a specific key, such as in the key of C major or in the key of F-sharp. Sometimes the terms "major" or "minor" are appended, as in the key of A minor or in the...
. The most common method of tonicization uses leading tones, dominant
Dominant (music)
In music, the dominant is the fifth scale degree of the diatonic scale, called "dominant" because it is next in importance to the tonic,and a dominant chord is any chord built upon that pitch, using the notes of the same diatonic scale...
-tonic
Tonic (music)
In music, the tonic is the first scale degree of the diatonic scale and the tonal center or final resolution tone. The triad formed on the tonic note, the tonic chord, is thus the most significant chord...
chord progression
Chord progression
A chord progression is a series of musical chords, or chord changes that "aims for a definite goal" of establishing a tonality founded on a key, root or tonic chord. In other words, the succession of root relationships...
s, or a combination thereof. Tonicization is an example of tonal chromaticism
Chromaticism
Chromaticism is a compositional technique interspersing the primary diatonic pitches and chords with other pitches of the chromatic scale. Chromaticism is in contrast or addition to tonality or diatonicism...
. Tonicization is not very different from modulation
Modulation (music)
In music, modulation is most commonly the act or process of changing from one key to another. This may or may not be accompanied by a change in key signature. Modulations articulate or create the structure or form of many pieces, as well as add interest...
, because (according to Schenker),"there's no such thing as a modulation in music", because a modulation is nothing more than a long tonicization, in which the influence of the previous key is still evident.
A tonicized chord is a chord to which a secondary dominant
Secondary dominant
Secondary dominant is an analytical label for a specific harmonic device, prevalent in the tonal idiom of Western music beginning in the common practice period...
progresses. For example ii in V/ii. Only major and minor chords may be tonicized. Though perceptions vary as a general rule if a chord is treated as the tonic for longer than a phrase then the treatment is considered a modulation.
Change of scale
To achieve a change of tonic, the notes that define a key (that is, the scale) must be changed. For example, the C major scale consists of the notes C-D-E-F-G-A-B-C. If a tonicization of G major is desired, F must change to F-sharp to fit into the G major scale: G-A-B-C-D-E-F-G. Thus, to tonicize G major, F-sharp (as the leading tone to G) is used in place of the F-natural of the original tonic C major scale.Similarly, to tonicize F major, the B of the C major scale must be changed to B-flat to produce the F major scale: F-G-A-B-C-D-E-F. B-flat functions here as a downward-pushing leading tone that resolves to A as the third of the F major triad.
These examples illustrate the most common altered tones used in tonicization: scale steps 7 → 8 (the traditional "leading tone," such as F → G in G major) and scale steps 4 → 3 (such as B → A in F major) in the tonicized key. Especially when briefly tonicizing more remote keys, the alteration of one or both of these scale steps may be sufficient, instead of the significant modifications needed to change an entire scale to the scale of a remote key.
Use of secondary harmonies
Introducing altered tones melodically often produces only a weak feeling of tonicization. Stronger tonicizations are frequently achieved by borrowing not only pitches from the tonicized key, but also chords (known as "secondary chords" or "secondary harmonies"). The most common such chord is the secondary dominantSecondary dominant
Secondary dominant is an analytical label for a specific harmonic device, prevalent in the tonal idiom of Western music beginning in the common practice period...
; this is simply a chord that is dominant to the tonicized key and is usually one of the following: V, V7, vii (usually not in root position), or vii7 (often in root position). In musical analysis
Musical analysis
Musical analysis is the attempt to answer the question how does this music work?. The method employed to answer this question, and indeed exactly what is meant by the question, differs from analyst to analyst, and according to the purpose of the analysis. According to Ian Bent , analysis is "an...
(see diatonic function
Diatonic function
In tonal music theory, a diatonic function is the specific, recognized role of each of the 7 notes and their chords in relation to the diatonic key...
s), a secondary dominant is notated with a slash separating the tonicized scale degree and the type of secondary dominant chord used. For example, if the original tonic is C Major and a tonicization of F Major (the subdominant and 4th scale degree of C Major) is desired, one could use the V7 chord of F Major (which is C7) as a secondary dominant to approach F. In this case, one could notate the secondary dominant chord with a slash like so: "V7/IV" . If the vii7 of F (E7) is used instead of the V7 chord, the notation would like this: "vii7/IV" . Note that three of the secondary dominant chords mentioned (V7, vii, and vii7) include both the leading tones on scale steps 7 and 4 in the tonicized key.
Longer tonicizations may include other secondary chords, such as a subdominant
Subdominant
In music, the subdominant is the technical name for the fourth tonal degree of the diatonic scale. It is so called because it is the same distance "below" the tonic as the dominant is above the tonic - in other words, the tonic is the dominant of the subdominant. It is also the note immediately...
or the tonic triad borrowed from the tonicized key. Generally the secondary dominant resolves to the tonicized tonic triad, but occasionally this is not necessary to achieve tonicization. Such tonicization without actually sounding the destination tonic is especially common when using a half cadence
Cadence (music)
In Western musical theory, a cadence is, "a melodic or harmonic configuration that creates a sense of repose or resolution [finality or pause]." A harmonic cadence is a progression of two chords that concludes a phrase, section, or piece of music...
or deceptive cadence progression. For example, if the overall tonic is C major, a Phrygian cadence moving from F major to E major, as well as a deceptive cadence that moves D minor to E7 to F major, could be heard as tonicizing A minor. (Depending on the context, the use of E major here could also be described simply as a "borrowed" or "altered chord," rather than a tonicization.)
For further details on the varieties of harmonic progressions that can be used to move between keys, see modulation
Modulation (music)
In music, modulation is most commonly the act or process of changing from one key to another. This may or may not be accompanied by a change in key signature. Modulations articulate or create the structure or form of many pieces, as well as add interest...
.