The melodic content consists primarily of arpeggiations of the tonic triad, firmly establishing the major tonality.

Compositions that use more than a tonality are rare and generally they are cases of passing from a minor to major tonality or vice-versa.

But then in the succeeding bar the music transforms into a peaceful and harmonious mood of consolation, with the major tonality heard for the first time.

Thus Otonality and Utonality can be viewed as extensions of major and minor tonality respectively.

The solo melodies contain frequent alternations between major and minor tonalities.

However while it is most often sung in a major tonality, sometimes it can be heard in minor if the ladainha is also minor.

Mode, or the major or minor tonality in a piece often indicates happiness or sadness.

The movement ends with a split-third chord, resulting in a simultaneous major and minor tonality.

Only the last two French suites have the serenity and sunshine characteristic of major tonalities.

For the most part, the piece uses Western notions of major and minor tonality to make its emotional appeal.