12. IV.
Hupka ^† :

2. Prälude: Tonarten; ob E^m–H^m; E^m, G^d, H^m, D^d, A^m. Nebennoten-Konstruktionen nach unten, nach oben, also weder 2, 3-teilig, sondern Terzen-Aufbau; ¹ Quart im Motiv als Quint; über
I–VI–IV–II
V;
Modul. durch Umdeutung, hierauf Erhöhung, d–dis–e; Erhöhung gilt {15} also nicht einer II. in D, nicht einer I. in E, Vorsicht geboten!

April 12, [1913]
Hupka ^† :

Prelude No. 2: keys; whether E minor-B minor; E minor, G major, B minor, D major, A minor. Neighbor-note constructions, below and above, thus in neither two nor three sections, but constructed by [rising harmonic] thirds; ¹ the fourth in the motive as a fifth; on
I–VI–IV–II
V;
Modulation as the result of harmonic re-interpretation, and [once D major has been reached,] D rising to Dě, rising to E; thus signifying {15} not II in D, not I in E – caution necessary!

12. IV.
Hupka ^† :

2. Prälude: Tonarten; ob E^m–H^m; E^m, G^d, H^m, D^d, A^m. Nebennoten-Konstruktionen nach unten, nach oben, also weder 2, 3-teilig, sondern Terzen-Aufbau; ¹ Quart im Motiv als Quint; über
I–VI–IV–II
V;
Modul. durch Umdeutung, hierauf Erhöhung, d–dis–e; Erhöhung gilt {15} also nicht einer II. in D, nicht einer I. in E, Vorsicht geboten!

April 12, [1913]
Hupka ^† :

Prelude No. 2: keys; whether E minor-B minor; E minor, G major, B minor, D major, A minor. Neighbor-note constructions, below and above, thus in neither two nor three sections, but constructed by [rising harmonic] thirds; ¹ the fourth in the motive as a fifth; on
I–VI–IV–II
V;
Modulation as the result of harmonic re-interpretation, and [once D major has been reached,] D rising to Dě, rising to E; thus signifying {15} not II in D, not I in E – caution necessary!