Analysis by Key: Another Look at Modulation

I ip "-4) at
i 5
" Mdgd: V
I @
, cf. solo soprano C |
ANALYSIS BY KEY
Ex. 7 Haydn: Harmoniemesse,
Kyrie, development
Keys " (= F:l =c: W|| = g. 1< X V
I
,
Form i exp dev.
, i $ a
(111') 1
C"l Dl clc
@> t :5tltl "g r
.
= BS :111' 1)
Part of the difference between Rosen's approach and mine
from
probably
the
results
differing perspectives of a historian dealing with common
features of
stylistic
a large number of pieces, and a theorist examining fewer
greater
pieces in
detail. If I encounter a number of development sections that
or
tonicize
suggest
VI
that they are going to do so, my interest is captured by
tonal
the specific
structures that the composer creates: with Beethoven, for
root of
example,
VI
the
might be an upper neighbour to V (Op. 10, No. 2, I), a passing
between
note
the root and third of V (Op.7, I), even part of an
down
arpeggiation
to
from
IV
I
(Op.79, I). 10 For me these functional differences are of
importance,
paramount
but that does not invalidate the notion that the common key
forms a
area
stylistic link among these pieces. Sancho Panza and Jeeves
different
are very
characters, but they belong to a common literary tradition.
Interestingly enough, the specific structure found in the Haydn
forms a
Kyrie also
stylistic link among many late classical development sections,
course not as
though of
many as the tonicization, confirmed or unfulfilled, of
recent
VI. In a
article, David Beach has shown that many of Mozart's
show a
developments
downward arpeggiation from V to I through III; others
a
use III as part
descending
of
motion within a prolonged V. 1l A sharing of the perspectives of
MUSIC ANALYSIS 6: 3, 1987 297