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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 6b



Example 171 : J.S. Bach : The Well-Tempered Clavier, vol. I, Prelude no 5, BWV 850 (mm 1-3)



Example 172 : J. Brahms : Symphony no 2, op. 73, II, Adagio non troppo (mm 15-17)



See also example 220, measures 89-90.

Example 173 : A. Vivaldi : The Seasons, Summer, II (mm 1-3)




Example 174 : L.V. Beethoven : Concerto for violin in D major, op. 61, I (mm 330-351)




Example 175 : F. Mendelssohn : Songs Without Words, op. 19, no 1 (mm 1-3)



a

Example 176 : C.P.E. Bach : Württemberg Sonata no 4, II (mm 6-11)




Example 177 : F. Schubert : Schwanengesang, D. 957, no 14, Die Taubenpost (mm 1-3)



Example 178 : W.A. Mozart : Concerto for clarinet, K. 622, III, Rondo (mm 226-230)




motif no 7