Homotonal


Homotonal is a technical musical term pertaining to the tonal structure of multi-movement compositions. It was introduced into musicology by Hans Keller. According to Keller's definition and usage, a multi-movement composition is 'homotonal' if all of its movements have the same tonic.
'Homotonality' is by no means uncommon in compositions of the Baroque era: many Baroque multi-movement works based on dance-forms manifest the same tonic—and even the same mode – throughout. Thus, for example, J.S. Bach's solo violin partita BWV 1004 is homotonal ', as is his solo flute partita BWV 1013 '. Similarly, Vivaldi's sonata for oboe and continuo RV53 is homotonal '. Homotonality is even encountered in some Baroque concertos: examples include Vivaldi's Cello Concertos RV401 ' and RV416 ', and Jean-Marie Leclair's Violin Concerto Op.7 No 1 '.
With the Classical era, however, the situation changes. Outside of two-movement works, classical-era homotonality is relatively rare: a classical work in three movements will normally move to a different tonic for its middle movement, and a classical work in four movements will normally have at least one of its middle movements in a key other than the original tonic.
The classical composer most closely associated with the homotonal principle is Joseph Haydn.
Keller himself was keen to emphasise that different classical composers showed differing degrees of interest in homotonal structure:
Keller's coinage and concept have not become standard among musicologists. Musicologist William Drabkin, for example, asked the question "doesn't 'homotonality' sound a trifle queer?"
The term 'homotonality' should not be confused with 'monotonality'.

Examples

Examples of 'homotonal' works from the classical era and afterwards are:

1750s

1760s

1770s

1780s

1790s

After 1800

After 1900