1.3 - A practice of analysis in the tonal harmonic discourse from Bach to Wagner ||
A) FORMULAS - 1. Definition of
a formula ::
2. Presentation of
the little catalogue of harmonic vocabulary ::
3. User's guide to
the little catalogue and various instructions ::
4. Examples
illustrating the little catalogue (motifs: 1, 2, 3, 4, 5, 6a, 6b, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, motifs in combination)
B) SEQUENCES - 1. Definition of a
harmonic sequence :: 2. Classifying
sequences :: 3. Melodic
formulations: characteristic motifs :: 4. The tonal
nature of the harmonic sequence :: 5.The tripartite
structure of the harmonic sequence :: 6. A
modulating sequence or not? :: 7. Diversification
of harmonic content :: 8. The harmonic
sequence as a place of subversion :: 9. Conclusion
6. A MODULATING SEQUENCE OR NOT?
The
closing formula does not always clarify all ambiguity regarding tonal
orientation. All sequences, regardless of type, can be subject to
either a non-modulating or a modulating treatment. Therefore, the problem
remains as to which perspective should be chosen in cases where a
sequence can be understood equally well in either a modulating and a
non-modulating context. To solve this problem in a pertinent manner,
several elements must be taken into consideration and only the
first of these is intrinsic to the sequence itself while the others pertain to external factors:
1.
The behavior of a modulating sequence tends toward perfect symmetry in
its reproductions both in terms of the chord structures used in the
model and in terms of the interval of progression. On the other
hand, a non-modulating sequence, bound by the vocabulary of chords
within a given key and progressing by tonal degrees, most often results
in irregular symmetry (especially in the case of several reproductions
of the model).
2. The relationship between
the key of the event preceding the sequence and the key designated by
the closing formula of the sequence; coincidence between the two keys
suggests a perspective of continuity.
3. The formal
context in which the sequence is situated. For example, a transition
section, a section of decoration, or a development section within a
sonata form favour a modulatory perspective, whereas an exposition
section or the re-exposition of thematic material suggest, rather, a
regime of stability.
4. The goal of unifying the analytical perspective for the entirety of the work.
7. DIVERSIFICATION OF HARMONIC CONTENT
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