Abstract

Most analysts consider a song either to be in a single key or to exhibit competition or ambiguity among multiple possible keys. This article proposes an alternative in which two keys combine to create a coherent, stable tonality. I adapt Robert Bailey’s concept of the “double-tonic complex” to demonstrate that in many rock songs, relative major and minor keys coexist with neither superior to the other and no conflict between them. These songs are not quite in two keys at once, but rather each component key represents a different incarnation of a single, more abstract tonality encompassing them both. The prolonged generative tonic of such a structure is a four-note sonority built from the union of the two tonic triads; this sonority often—but not always—appears as a surface chord at structurally important moments.

中文翻译：

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摇滚音乐中的双音调复合体

摘要

大多数分析家认为一首歌要么在一个键中，要么在多个可能的键之间表现出竞争性或歧义性。本文提出了一种替代方案，其中两个键组合在一起以创建连贯，稳定的音调。我采用罗伯特·贝利（Robert Bailey）的“双声复合体”的概念来证明，在许多摇滚歌曲中，相对的主音键和次音键既不存在优势，又不存在冲突。这些歌曲不是同时位于两个键中，而是每个组成键代表着包含它们的单个更抽象音调的不同化身。这种结构的延长的生成滋补是从两个滋补三联体的结合中建立的四音感。这种声音通常（但不总是）在结构上重要的时刻表现为表面和弦。