Tonality

Question 1

Tonality features of No.1 ‘On Wenlock Edge’

Answer 1

B. 1-6-Region of Eb moving to tonality ‘on’, rather than in, G (NB chords here are built on G, C and D)
B. 6-16-G pentatonic, closing on Eb7 (with Db in bass). Some bitonality with Ab melody in bass at b. 11
B. 21-31-G pentatonic - Eb7
B. 34-43-Unstable area: starts and finishes on Eb7 with chromatically descending first inversion chord in between
B. 45-55-Descending first inversion chords now heard a semitone higher
B. 58-68-G pentatonic with bitonal Ab bass: ‘Uricon’ harmonised with whole tone chord (b. 68 (beat 3))
B. 69-77-Shifts to G pentatonic, closing with open 5ths chord

Question 2

Tonality features of No.3 ‘Is My Team Ploughing?’

Answer 2

B. 1-9-D dorian
B. 9-19-D minor, chromatic progressions lead to G# half-diminished before voice closes on A
B. 19-22-D dorian, with added G in bass
B. 23-27-D dorian
B. 27-37-D minor, as in 9-19
B. 37-38-D dorian
B. 39-44-D dorian - F minor
B. 45-55-Indeterminate, but moves towards E
B. 56-62-D dorian

Question 3

Tonality features of No.5 ‘Bredon Hill’

Answer 3

B. 1-24-G, but with prominent A11 chord
B. 24-35-G pentatonic, broadening of G mixolydian and G aeolian
B. 35-38-A11
B. 39-48-As before, with slight variation in harmonic scheme
B. 48-51-A11
B. 52-66-Bb in voice, supported by C11 moving to Eb7 before closing on B7d, bringing a return to the original atmosphere
B. 66-78-B7d -> A11
B. 79-83-A11
B. 84-92-Thinning out Ab11, bringing bitonal elements into play
B. 92-100-G minor -> Bb minor, with chromatic alterations
B. 100-113-G minor -> Bb minor with bitonal support and prominent tolling pedal G
B. 114-135-Tonality as for stanza 1, but with harmonic framework extended
B. 136-146-A11, with monotone G for final vocal entry

Question 4

Examples for Wider Listening for Williams’ Tonality