Analysis by Key: Another Look at Modulation

F
#, o f
te n (t---V-8a' ^r 2 f 0 r i kj rJ4 7 C 0 CS
Ex. 4a Bach: WTC I, Prelude 10
ANALYSIS BY KEY
Fovev '9$t'°-__#-'- Asserts A minc)r - " r C S C J J Jw 2 ji22 FEminor u - #2 2 pedal S j
re-established
Mdgd e: iV
(mostly?
Fdgd(= a : I )
6 V I
(a:I/e: IV)
Ex. 4b
Q (9 @ (R (i) (@
2 l
9 '51 /: -- '
I
iV
(a: I
6
V
/e:1V)
It
note bl. At the same time, however, bs 30-2, with their prominent
passing
dirninished fifth from A down
note
to
A, so
D",
that the
effectively cancel
prolonged
the tonic
harmony quality
changes
of
its
the
guise, it stands revealed as the
function; dropping
subdominant
its
of E
tonic
it has been all along. The
minor
two
that, in
graphs
a
of Ex.
deeper
4
sense,
As far as it goes, Tovey's
attempt to depict
description is
these
correctevents.
understand the correct,
're-established' E
that is,
minor
as
as an
long as we
not yet the boundary of a
expected
time
focal
span
point or
filled with
centre,
the
but
Indeed it is not even the
E minor
boundary of
chord
a
as a
key, for
matrix.
specify just where in
it is
bs 30-2
difficult
the
or
key of E
impossible to
boundaries of keys are
minor
often
begins to
indistinct).
reappear (the
Tovey's interpretation is
Perhaps the
that its
greatest
exclusive
weakness of
seems to have blocked access
concentration
to
on
the
key
underlying
succession
awareness of the vast IV-V-I
difference in progression
structural
and to an
b.32 and a true tonic, say
meaning
the final
between the
chord
E
of the
chord of
Changing the key of a
piece.
prolonged
resource creating,
harmony is
as
a
it
most
were, a 'pivot
irnportant
chord' of high
compositional
the Bach Prelude, an initially
structural
tonicized
order.
chord
Often,
will
as in
to the main tonic before
begin
that
to suggest a
resolution occurs
resolution
'future'). In many (again
sonata-form projecting a
movements
sense
in
of
development continues to
major,
prolong
for
the example,
dominant
the
that is tonicized in the second
293
MUSIC ANALYSIS 6:3, 1987