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The form of this work is defined mainly by a group of
cadential formulas. The strength of the points of definition is
greatly enhanced by the fact that each cadence offers us a new tonal
center. However, due to the exclusive use of a single set of motives
and the brevity of the piece, modulation (as it is known in the main
body of tonal music) does not occur. The larger harmonic movement
of this piece is certainly heard as a series of tonics, whose relations
to the main, beginning tonic are at least as strong as their
relations to one another. Thus, even though ↓_a_↓ appears first as iii of
↓_F_↓, it is finally established as an equal of ↓_F_↓ (in relation to ↓_d_↓)
by the occurrence of the well-prepared cadence at bar 38. Please note, however,
that ↓_a_↓'s role as something more than a transient tonic of the ↓_F_↓
scale is not too definite until the point of cadence. To emphasize these
varying levels of relationships among the tonics, we must start at the
beginning of our diagram with %2two%1 levels in the middle ground, so
that when a temporary tonic is somehow given greater status and
becomes what may be called a %2control tonic%1, this change will
appear in a consistent form. In the above analysis note that on the
highest level of tonicization the progress from i to III to v coincides
exactly with the full cadences. However, ↓_F_↓ and ↓_a_↓ are first tonicized
well before the cadences (this shows on the second level of
tonicization). The numerals of the control tonics will be
underlined.
The use of strong cadences is not the only method which can
give a temporary tonic the status of a control tonic. Another favorite
method is the clear presentation, in some new tonic, of
material (either old or new) of relatively great importance; e.g., in
the Bach Invention, the return to the original ↓_d_↓ as the control tonic
is defined by the
return of the opening statement (bar 44), rather than by a full cadence. The
presentation should be long enough so that the new tonic may be heard
as independent beyond the extent of simple tonicization. The
functions under a control tonic established in this manner need not
include a strong cadence. The music might then progress smoothly to
yet another control tonic. If the important factors of the music seem
to warrant its independence, a new control tonic might even appear as
a lower level of tonicization, below an old control tonic (see next
chapter, Schubert example).
Much music can best be analyzed in terms of series of control
tonics, the term "modulation" being reserved for a shift of the
basic tonic. No set rule can be given as to when it is advisable to
use an extra, higher level of indications in the middle area of the
analytical diagram. Any variant of the basic diagram is acceptable
just so long as it contributes to the understanding of the music under
consideration.
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It is very evident that as the complexity of harmony increases
there is usually a corresponding increase in the ambiguity of individual
harmonic functions as they relate to the whole. This is, of course,
the reason for the particular effect of late "Romantic" and "Impressionistic"
harmony, and also the source of the ultimate breakdown of functional
tonality as a meaningful system. When every harmonic function becomes
ambiguous, then something other than a tonal center (as defined by
harmonic functions) must take over as the prime cohesive force (see last
chapter). It is significant that in music of the Classical era the
more complex harmonic progressions are most often relegated to
developmental passages -- passages that depend greatly on motivic
continuity. In such instances, it is common to hear a series of tonics
which seem to relate only to their immediate surroundings. (It is
possible for even the original tonic of a developmental section to
reappear for a considerable time without its having any direct
functional relationship with its earlier presentation.) The
analysis of an extended developmental passage will show continually
added levels in the middle ground, the return to a single level being
conditioned by the reappearance of familiar, stable material in its
proper key. This traditionally happens at the point of recapitulation
in the sonata form.$$Among the numerous exceptions to the above statements are the
first movement recapitulations of Mozart's %2Sonatas in D%1, K.284c(311)
and %2in C%1, K.545. In the first of these, the recapitulation begins with
the material of the second key area, but now heard in ↓_D_↓ instead of
↓_A_↓. The recapitulation of the ↓_C_↓ sonata offers the original
opening material, but in the subdominant, ↓_F_↓.$
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Exercises for Chapter V
Analyze the following works:
From the 371 Chorales of Bach:
1. Chorale 21
2. Chorale 92
3. Chorale 200
4. Chorale 231
5. Chorale 279
From the Two-Part Inventions of Bach:
6. Invention 11, in g
7. Invention 12, in A
8. Invention 13, in a
From the Well-Tempered Clavier, First Book, Bach:
9. Fugue I, in C
10. Fugue X, in e
From the Preludes, Op.28, of Chopin:
11. Prelude 5, in D
12. Prelude 22, in g
.end