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#OBSCURE MUSIC KEYS HOW TO#

By using the secondary dominant, he expanded the harmonic range of the composition by introducing chromaticism. In Mozart’s music a harmonic progression from tonic chord (I) to dominant chord (V) will often pass through the dominant of the dominant (V-of-V): from I to V-of-V to V. Secondary dominant chords by their nature contain a note that is chromatic to the basic key. If the key is C, the dominant is G and the secondary dominant is D. A secondary dominant is a chord related to the dominant specifically, it is the dominant of the dominant. A characteristic device of Mozart, for example, is his frequent use of secondary dominants to intensify harmonic movement.

Mozart, too, derived much of the drive of his harmonic style from a constant use of chromaticism. Bach, for example, in a striking passage at the end of the “Crucifixus” of the Mass in B Minor, lent poignance to the verbal description of the burial of Christ by the musical device of a sudden modulation from B minor to a sharply contrasting new key, G major, that contained notes chromatic to the basic key. The capacity of chromatic tones to add harmonic colour, expressiveness, and interest was apparent to composers from the beginnings of standard harmonic practice. Actually, although these outlines remained the general framework in which composers worked, they frequently diverged from it to some extent, particularly in their use of chromatic notes (notes outside the scale of the basic key of the composition) and chromatic chords (chords containing chromatic notes).

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#OBSCURE MUSIC KEYS HOW TO#

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