Homotonal (same-tonality) is a technical musical term that describes the tonal structure of multi-movement compositions. It was introduced into musicology by Hans Keller. According to Keller's definition and usage, a multi-movement composition is 'homotonal' if all of its movements have the same tonic (keynote).
'Homotonality' is common in compositions of the Baroque era: many Baroque multi-movement works based on dance-forms manifest the same tonic—and even the same mode (major or minor) – throughout. Thus, for example, J.S. Bach's solo violin partita BWV 1004 is homotonal [all movements in D minor], as is his solo flute partita BWV 1013 [all movements in A minor]. Similarly, Vivaldi's sonata for oboe and continuo RV53 (n.d.) is homotonal [all movements in C minor]. Homotonality is even encountered in some Baroque concertos: examples include Vivaldi's Cello Concertos RV401 (n.d.) [all movements in C minor] and RV416 (n.d.) [all movements in G minor], as well as the second concerto of his most famous work The Four Seasons ("Summer" RV315) (1725) [all movements also in G minor], and Jean-Marie Leclair's Violin Concerto Op.7 No 1 (1737) [all movements in D minor].
With the Classical era, however, the situation changes. Outside of two-movement works (which, classically speaking, will maintain the same tonic for both movements and will thus be homotonal by definition), classical-era homotonality is relatively rare: a classical work in three movements will normally move to a different tonic for its middle movement, and a classical work in four movements will normally have at least one of its middle movements in a key other than the original tonic.
The classical composer most closely associated with the homotonal principle is Joseph Haydn.
Keller himself was keen to emphasise that different classical composers showed differing degrees of interest in homotonal structure:
Keller's coinage and concept have not become standard among musicologists. Musicologist William Drabkin, for example, asked the question "doesn't 'homotonality' sound a trifle queer?"
The term 'homotonality' (referring to the manifest retention of a tonic) should not be confused with 'monotonality' (the theoretical position according to which a tonal structure has only one 'real' tonic, and all modulation is superficial or illusory).
Examples
Examples of 'homotonal' works (in more than two movements) from the classical era and afterwards are:
1750s
The Toy Symphony [all movements in G major]
Haydn's Symphony No. 37 (c. 1758) [all movements in C major or C minor]
1760s
Haydn's Symphony No. 4 (1757–60) [all movements in D major or D minor]
Haydn's Symphony No. 19 (1757–61) [all movements in D major or D minor]
Haydn's Symphony No. 17 (1760–61) [all movements in F major or F minor]
Haydn's Piano Trio Hob. XV/1 (1761) [all movements in G minor]
Haydn's Symphony No. 25 (1761–63) [all movements in C major]
Haydn's Symphony No. 12 (1763) [all movements in E major or E minor]
Haydn's Symphony No. 33 (1763–65) [all movements in C major or C minor]
Haydn's Symphony No. 21 (1764) [all movements in A major]
Haydn's Symphony No. 22 'The Philosopher' (1764) [all movements in E-flat major]
Haydn's Symphony No. 34 (1765) [all movements in D minor or D major]
The Symphony K. 16a 'Odense' (attributed spuriously to Mozart, 1765?) [all movements in A minor or A major] Mozart's Sonata in C major for keyboard four-hands, K. 19d (perhaps spurious, 1765?) [all movements in C major] Haydn's Piano Trio Hob. XV/37 (1766) [all movements in F major] Haydn's Piano Trio Hob. XV/38 (1766) [all movements in B-flat major] Haydn's Piano Trio Hob. XV/C1 (1766) [all movements in C major] Haydn's Piano Trio Hob. XIV/6 (1767) [all movements in G major or G minor] Haydn's Symphony No. 49 'La Passione' (1768) [all movements in F minor] Haydn's Symphony No. 59 'Fire' (c. 1768) [all movements in A major or A minor]