Wow, thanks!
The same melody is repeated, but the accompaniment is in Cm key. The opposite pattern as yours; the modulation to the dominant key.
As for the chronological order, it certainly involves a modulation to the dominant key. However, in terms of the actual composition process, the process might be the reverse. I speculate that the melody was originally composed in the key of C minor, and then later adapted as the intro, with the F minor key assigned afterward.
The last phrase “F-G-F-E♭-C” alone evoke me the sense of “re-mi-re-do-la” in Cm more strongly than “la-ti-la-so-mi” in Fm, from my experience. especially taking into account that it’s the finishing part of the intro.
In both cases, the melody fits more to either of the two keys; and it can be observed roughly by how stable kernels / shells are assigned to the important notes. I think it would be ideal if a melody fits perfectly to both keys, making it indiscernible which key the melody originally aims at.
Pentatonic scales do have the potential to get re-tonalitized.
Now I think it wouldn’t be surprising if composers from the early 20th century like Debussy, Bartok or Ravel already tried this method, for both the pentatonic scales and polytonality are keywords of that era.
