Thanks!

I also found a questionable case from Debussy, “Les collines d’Anacapri”:

from 0:30 the main phrase starts. It in the key of B. The phrase consists of B, C♯, D♯, F♯, G♯, A♯; the Omitted-4 B major scale.

from 2:13 the melody appears again, but the left hand plays D♮. The area is very much modal so I cannot clarify the key, but considering that D♯ is replaced with D♮, it’s B melodic minor. So kinda seen as retonalitization to parallel minor key.

The phrase contains D♯ in the later part. In this case, Debussy avoid clashing by using chromaticism. The left hand goes crazily chromatic obviously just before when D♯ and D would clash😂

I believe that the pentatonic-ish-ness (though it’s just omitted-4, not really pentatonic) contributes to blurring the major key qualities from the outset, making it easier to switch the accompaniment to parallel minor in the middle section as a result.

Wow, thanks!

Sonni :

The same melody is repeated, but the accompaniment is in Cm key. The opposite pattern as yours; the modulation to the dominant key.

As for the chronological order, it certainly involves a modulation to the dominant key. However, in terms of the actual composition process, the process might be the reverse. I speculate that the melody was originally composed in the key of C minor, and then later adapted as the intro, with the F minor key assigned afterward.
The last phrase “F-G-F-E♭-C” alone evoke me the sense of “re-mi-re-do-la” in Cm more strongly than “la-ti-la-so-mi” in Fm, from my experience. especially taking into account that it’s the finishing part of the intro.

In both cases, the melody fits more to either of the two keys; and it can be observed roughly by how stable kernels / shells are assigned to the important notes. I think it would be ideal if a melody fits perfectly to both keys, making it indiscernible which key the melody originally aims at.

Pentatonic scales do have the potential to get re-tonalitized.
Now I think it wouldn’t be surprising if composers from the early 20th century like Debussy, Bartok or Ravel already tried this method, for both the pentatonic scales and polytonality are keywords of that era.

• This reply was modified 1 year, 3 months ago by yuta.