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PART 1 - 1.1 - Genesis of the analytical model :: 1.2 - Description of the analytical model :: 1.3 - A practice of analysis in the tonal harmonic discourse from Bach to Wagner :: 1.4 - By way of a general conclusion


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

4. EXAMPLES ILLUSTRATING THE LITTLE CATALOGUE

Motif no 3

Example 108 : J.S. Bach : The Well-Tempered Clavier, vol. I, Fugue no 22, BWV 867 (mm 72-75)


Example 109 : F. Schubert : Symphony no 5, D. 485, Allegro (mm 13-16)


Example 110 : F. Schubert : An die Musik, op. 88, no 4 (mm 17-19)


Example 111 : J. Haydn : Trio for violin, cello, and piano in F major, no 23 (mm 5-8)


Example 112 : C.W. Gluck : Alceste, Act I, no 2, Moderato (mm 12-15)


Example 113 : R. Wagner : Das Rheingold, Act I, Scene 4, Langsam


Example 114 : F. Chopin : Waltz, op. 34, no 2, Lento (mm 80-84)


Example 115 : W.A. Mozart : String quartet, K. 421, IV, Allegro ma non troppo (mm 13-16)



Example 116 : J. Brahms : "O wüsst' ich doch den Weg zurück", op. 63, no 8 (mm 1-5)



motif no 4