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While J.S. Bach in his instrumental and orchestral suites would often place every movement in the same key (see, for example, the solo cello Suites, BWV 1007-1012 or the equally homotonal A minor solo flute partita BWV 1013), in a work like his St Matthew Passion he felt able to 'progress' from an E minor start to an ending in C minor, and his Mass in B minor actually ends in D major.