For a composer in the late 18th century, the standard for determining the tonality of a work almost depends on his own musical instrument experience, so as to avoid the difficulty and misinterpretation of choosing which key to play some musical instruments. Through his more than 6 works, Mozart likes to use tonal music between -2 sharp horns, 3 sharp horns are only used occasionally, and more than 4 are almost never used; He didn't follow Haydn and other composers of the same period, but he frequently used 4 or 5 ascending and descending signs. After choosing the main key, he usually only turns to the relational key and rarely goes far away.
Therefore, when D major is the main key, he will find that there is a D minor with strong tonal contrast, which rarely occurs in the relative key B minor, and most of the cases are in the A major and the subordinate key G major; Sometimes it will be included in the alto major F and the lower alto major B. In a work in D major, he sometimes puts some paragraphs in relational key such as C major or E major for special purposes. But some heavy modes don't seem to be too necessary for him: in a strong tonal environment, a simple alto conversion may stage a thunderbolt drama.
the main melody will determine most other tonality as a contrast. However, Mozart prefers to use several fixed keys in some specific music thoughts; And the more these subsidiary tonality are used, the more emotional atmosphere they carry. He doesn't use C major, except for a few (paragraph 17 of Tito's kindness) or C minor (unless E major is the main key); In F major, Haydn's favorite key is as rare as B major in Mozart's works; A flat minor only appears when the key is transferred.
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For Mozart, C major is the most basic key; Most of his operas are based on C or D major. Bastiane Bastiane in G major and Magic Flute in E flat major are individual phenomena. Some early operas ended in other keys; At that time, Mozart did not believe that there was a stable tonal center. C major is a mild and open tonality suitable for everyone. It may have a solemn overtone in piano concerto K.53, and it will have the frankness of Figaro's "Hua Die Will Never Fly", the gentleness of Selena's "Use this elixir" and the mystery at the end of the first act of "Magic Flute". Many of Mozart's great works are in C major; The main line is usually open and human, such as the overture to Woman's Heart, the beginning of Jupiter's symphony or piano concerto K.467；; C major is the source of countless Mozart's fascinating music ideas.
c minor has more variations but a more unified connotation: Mozart used this significant mode carefully. We may think that this is the theme of the incomplete solemn mass K.427 and the original piano concerto K.491 As early as when Mozart wrote the divine drama Bertolia Saved, he changed it to C minor for those unfortunate prayers, just as he changed the tonality of the mass K.47a (only two movements), and so did the prayer and sacrifice chorus in his future work Idomeno. In The Magic Flute, the chorus prelude of two lovers, fugue K.426 or string quintet K.546 written for double keyboards, and of course, in the unfinished mass, C minor has a stronger expression. The c minor of religious character conveys K.479a, the funeral music of the * * * aid society, and the music "Tamos, King of Egypt" No.2 accompanied by the three parts of the * * * aid society. Later, the music in C minor became the symbol of conspiracy, such as the sudden thunder after the final night of the second act of The Magic Flute. < P > In a long period of time, Mozart's C minor may convey a simple anger or frustration, such as the 12 th song of The Shepherd King and the 16 th song of The Girl Pretending to be a Gardener. The best example is the aria of volcanic eruption in Idomeno by Ai Letra. Felando's little lyric tune "Even if Betrayed, Insulted" also belongs to this category. In instrumental works, there are steel association K.491 and organ serenade K.384a But in other works, anger is more heroic and provocative, which has Mozart's originality. For example, the 22 nd song of The Emperor's Tragedy and the 22 nd paragraph of Lucio Silas bravely facing death; We can relate this feeling to piano fantasia K.475 and piano sonata K.457 As a heroic despair, it appeared in C minor at the beginning of The Magic Flute when Prince Tamino was chased by a serpent. Sometimes C minor is just a sign of melancholy. For example, in paragraph 21 of The Girl Pretending to be a Gardener, two unfortunate lost women-it is a possibility that C.P.E Bach's C minor has influenced Mozart's two slow movements in E-flat major, K.271,K.482, as well as his gentle and melancholy characteristics and symphony concerto K.364
D major is the tonality of Mozart's magnificent, triumphant and confident aristocracy, which is usually associated with trumpets and drums. In this regard, many Mozart's operas outline a very handsome royal scene, such as The Tragedy of the Emperor, Scipione's Dream, Don Juan, including the Earl's Mansion of Amaviva in The Wedding of Figaro. There is another Mozart character in D major, but it is rarely used. Its music is colorful in tune and has a meditative atmosphere. The best representative is the last religious chorus "Ode to the Eucharist" K.618 before his death.
d minor is a tonality in which human anxiety and longing are expressed in colorful ways. For example, steel association K.466, string quintet K.421, requiem mass. The overture of the drama "Saved Bertolia", Melologue No.2 in Zaid, and the missing adagio fragment in the overture of Figaro's Wedding; In Don Juan, the chief officer made a brilliant debut in the prelude and the finale of the second act; The angry aria in The Magic Flute when it appeared for the second time after midnight. Mozart liked to use F major or D major to express his tragic frustration from his childhood, and K.368a, a church music-Pity Sutra, was an example of a more mature period. In the mature period, he has used D minor carefully, only to express some special effects and the tonality is just in the relative minor of the main melody.
E flat major meant solemnity when Mozart was a composer of Napoli operas. E-flat major is used in Magic Flute and other * * * aid music (such as Symphony No.39), but it also has other uses: in some of his horn and piano concertos, the originally cheerful tunes add a layer of noble temperament; Expressing unswerving love in the shepherd king. For Mozart, the function of this key is emotional contrast, which accurately expresses a certain emotional state. < P > There is almost no E major in Mozart's instrumental works, but more in his opera works. As in Baroque period, the composers of Rococo thought E major was a peaceful tonality, inclined to pastoral music and meditation on nature: so Apollo pretended to be a shepherd when introducing himself, Zaid yearned for freedom, Ilya stared at the garden where she was going to meet her lover, and Idomeno took a grateful and affectionate glance at the calm sea. This key is also the theme of the slow movement of violin concerto in A major and piano trio K.542
E major seems to be a sign of Mozart's apology and opinion: in The Girl Pretending to Be a Gardener, Rosina asks the goddess of love not to break her heart; Amita in The Saved Bertolia begged for forgiveness for her unpatriotic behavior. Ascanio regretted that he didn't dare to approach the person he admired. Liboleiro refused the invitation to dinner that he was forced to attend and asked for forgiveness. The other two examples are apologetic and didactic: Alfonso assured his soldier friend that women's perseverance is nothing more than imagination; Salaste Luo educated Pamina, the Sun King, to be a man without revenge.
e minor is very rare in Mozart's works. The last chorus of "Saved Bertolia" started in E minor with a magnificent baroque style, and then turned to G major because of the entry of a single hymn. In an abandoned two-movement violin sonata K.3c；; The slow movements of early string quartets in G major and some church songs were in E minor, which Mozart avoided for some reasons.
F major is an optimistic and open tonality, which Mozart skillfully brought to the extreme. Many of the interesting works are experiments tried during the child prodigy period, such as the minuet of the first violin sonata K.13; The ninth paragraph of Woman's Heart has a slightly sad bass, and the second act of Magic Flute begins, which also appears in the temple scene in Idomeno. Of course, there is no F major better than paragraphs 18 and 27 of Figaro's Wedding, paragraphs 1, 6 and 13 of Don Juan and even better paragraph 25, or paragraph 2 of PaPachino and paragraph 23 of A Woman's Heart.
f minor appears in the not-so-serious elegy of Barbarina, the gardener's daughter, in The Wedding of Figaro and Alfonso's moaning aria in A Woman's Heart. We may associate it with the scene of the defeated enemy moaning and crying outside the wilderness depicted in The Saved Bertolia. The most important applications are the first act of Don Juan, the trio after the death of the chief executive and two organ suites K.594 and K.68
f sharp minor is a lofty adagio tonality in piano concerto K.488, which is Mozart's means to express pain and sadness, but it rarely appears in his later works, even though Mozart is addicted to its relative major a. There is a wonderful example in G-flat major at the end of the first act of Tito's Kindness.
G major is open tonality like f and c major. It opened the prelude to the two plays "The Wedding of Figaro" and "A Woman's Heart". In Don Juan, it conveys the passion of Zenina and Marcelo. Guglielmo persuaded Felando's aria "Why are Women so Cruel" in "Woman's Heart" to have a sense of anger hidden in humor (much less angry than Figaro's E-flat major used in similar scenes). In The Shepherd King, Eliza's appearance is introduced through G, and her more mature and charming lover's appearance is in F major. In Lido Luo Nai, the first movement of piano concerto K.453, G major shows various emotions. The same performance can be found in Violin Concerto No.4 and the art song Violet.
g minor and E flat major are two of Mozart's most distinctive and individual tonality. Amida's aria in the 25th Symphony and The Girl Pretending to Be a Gardener; "Tiger, sharpen your claws" in Zaid, the piano quartet K.478 and the middle section of Romance K.466 all show anger and excitement. In "Harem Temptation", there is a special comic character entering, when the guard Osmin climbs to the tree and sings the aria "If I find a lovely girl"; The return of G minor in the finale of Symphony No.4 implies the end of a satirical comedy. In most cases, G minor is an unparalleled means for Mozart to express melancholy and pain, such as the sad ending of the first movement of Symphony No.4; Pamina mistakenly thought that happiness was over. The aria "Ah, I Know"; At the end of the first act of Lucio Silas, Julia prayed for the dead of her father; Konstanz's sad songs, etc. Sometimes these sorrows are superficial, such as BastianBastiane No.14 or adagio in piano concerto K.456 Sometimes it is ironic, for example, the plot of pretending suicide in A Woman's Heart, and the posturing self-pity in the aria Suffering After Night. Mozart began to use G minor as early as in Op. 9. At first, he didn't put his emotions into it, but then he gradually began to be dramatic. When he was 11 years old, he successfully expressed his rage and sadness in G minor in the interlude drama Apollo and Sintes. Later, in The Emperor's Tragedy, he has been able to skillfully use this tone to express the expansion and aggravation of his sadness. In the melody of G minor, he always adopts the second and sixth tones: he enviably deduced a composition system of G minor.
There are four flat signs in A flat major, which is an advanced and avant-garde tonality for Mozart. But he often used this key, and as early as K.15dd's Andante, he used A flat to sketch the London-style symphony. In his opera, this tune is only related to the final song of the second act of "Woman's Heart", Brindisi cannon; In addition, the charming art song "In the Lonely Woods" is also in A flat major, and the particularity of this tonality can also be felt in the andante of Symphony 39.
the tonality of A major as an idyllic style was inherited by Mozart from his predecessor J.C. Bach of the same era. At first, this tone was just a mild and plain feeling for him. But when he reached maturity, he gradually found that the tonality of the three sharp horns contained aesthetic feeling and was deeply attracted, especially when the clarinet entered (A major is the first key of clarinet). Of course, there are many works, and the listener only needs to distinguish the subtle differences between the gentle and plain A major (for example, Symphony No.29) and the gentle and sweet A major (Felando's aria "Love Breeze") to feel the charm. This key often shows a magnanimous quality. When Mozart is using A major in mature period, he likes to enter it with the dominant e of the main key. The most famous example is Clarinet Concerto, as long as as one pleases knows that the music is deeply branded by Mozart.
a minor, a simple tonality without sharp sign, is the first minor that Mozart tried in his symphony works (the lost K.16a). Later, he closely associated this tune with exotic flavors, such as the Turkish March, the prelude to the last movement of the Fifth Violin Concerto and the Turkish flavor in The Harem Temples. At the same time, there are also lonely feelings such as piano sonata (K.3d), enthusiastic keyboard work K.511, the recitation "I am the winner" by Count Amaviva and the aria of gardener girl Sandrina. In these works, there seems to be telepathy with A minor, just as the latter is closely related to A major.
B-flat major is often used in Mozart's works under the dynamic movement when the actors are moving. Felando's love song "Ah, I understand that beautiful soul", elvira's hatred of Don Juan "I can't trust you"; Palmer Pachino bother to disgruntled hem is moving.