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26. VI.
Hupka
†
: über Modulation durch Umdeutung, durch
fortlaufende Umdeutung in fernere Tonarten;
Tonikalisierungen nach Modellen: V–I, VII–I, V–VI; über
Terzschritte, vgl. Em. Bach: Schluß-Kapitel, Generalbaß: III–I,
VI–I.
1
© Transcription Robert Kosovsky, ed. Ian Bent, 2007, 2022-23
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June 26,
[1913]
Hupka
†
: About modulation by way of
re-interpretation, by means of successive
re-interpretation
[modulating] to remoter keys;
tonicizations according to models: V–I, VII–I, V–VI; on
steps of the third, cf. C. P. E. Bach: final chapter,
thoroughbass: III–I, VI–I.
1
© Translation Ian Bent, 2022-23
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26. VI.
Hupka
†
: über Modulation durch Umdeutung, durch
fortlaufende Umdeutung in fernere Tonarten;
Tonikalisierungen nach Modellen: V–I, VII–I, V–VI; über
Terzschritte, vgl. Em. Bach: Schluß-Kapitel, Generalbaß: III–I,
VI–I.
1
© Transcription Robert Kosovsky, ed. Ian Bent, 2007, 2022-23
|
June 26,
[1913]
Hupka
†
: About modulation by way of
re-interpretation, by means of successive
re-interpretation
[modulating] to remoter keys;
tonicizations according to models: V–I, VII–I, V–VI; on
steps of the third, cf. C. P. E. Bach: final chapter,
thoroughbass: III–I, VI–I.
1
© Translation Ian Bent, 2022-23
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Footnotes
1 At this point,
Hupka had not yet embarked on thoroughbass theory, or indeed on counterpoint
theory. He had completed a course in harmonic theory with “Stufen-Studien” in
December 1912 and January 1913, and then done some studies of form. — The
reference here is clearly to C. P. E. Bach,
Essay on the True Art of Playing Keyboard
Instruments, Eng. transl. William J.
Mitchell (New York: W. W. Norton; London: Cassell, 1949;
London: Eulenburg, 1974). The final chapter of the thoroughbass
section, is chapter XXI, pp. 310–11 "The Five-Four
Chord," which is presumably what Schenker
intends.
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