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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 4


Example 117 : L.V. Beethoven : Piano sonata, op. 14, no 2, Andante (mm 2-3)



Example 118 : R. Schumann : Frauenliebe und -leben, op. 42, no 3 (mm 37-39)



a

 

Example 119 : C.W. Gluck : Orfeo, Act II, no 18 (mm 6-11)



a

Example 120 : F. Chopin : Polonaise, op. 71, no 3, Allegro moderato (mm 1-4)



 

Example 121 : F. Liszt : Consolation no 4 (mm 14-16)



a

Example 122 : J.S. Bach : Chromatic Fantasy and Fugue, BWV 903 (m 74)



Example 123 : J.S. Bach : Toccata, Adagio and Fugue for Organ, BWV 564, Adagio (mm 5-7)



Example 124 : J. Haydn : Symphony no 104, "London", II (mm 9-14)



Example 125 : J.S. Bach : The Well-Tempered Clavier, vol. II, Prelude no 24, BWV 893 (mm 62-64)



Example 126 : J.S. Bach : The Well-Tempered Clavier, vol. I, Prelude no 6, BWV 851 (mm 9-12)




Example 127 : J.S. Bach : The Well-Tempered Clavier, vol. I, Prelude no 10, BWV 855 (mm 9-15)




Example 128 : L.V. Beethoven : Piano sonata, op. 111, I, Maestoso (mm 11-13)



Example 129 : J. Brahms : Vier ernste Gesänge, op. 121, no 3, Grave (mm 28-30)



motif no 5