ABSTRACT
The traditional metaphorical source for tonal relations is the solar system, where positions are determined relative to a central unifying element. In this chapter, the author proposes to position triadic harmonies in relation to neither a diatonic system nor a tonal center, but rather to other triadic harmonies on the basis of the number of pitch-classes that they share, and more generally on the efficiency of the voice leading between them. The passage perfectly exemplifies the ideal of voice-leading efficiency: each harmonic transition is effected by a single semi-tonal displacement. Attention is directed not toward the third-relation between the harmonies, but toward the double semitonal displacement. Once F major is secured at m. 80, the tonal region of the dominant is prolonged through the remainder of the exposition and well into the development. Amid tonally indeterminate triadic progressions exhibiting efficient voice leading, Schubert’s sonata establishes diatonic collections, articulates cadences, and prolongs tonics by conventional means.
