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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 8



Example 197 : G.F. Handel : Messiah, no 23, "Surely, He Hath Borne Our Griefs" (mm 3-5)




Example 198 : J.S. Bach : Cantata BWV 60, "O Ewigkeit, du Donnerwort", final choral




 

Example 199 : G.F. Handel : Messiah, no 24, "Surely, He Hath Borne Our Griefs" (mm 3-4)




Example 200 : F. Mendelssohn : Songs Without Words, op. 19, no 2 (mm 48-56)




Example 201 : J.S. Bach : Little Preludes, BWV 924, I (mm 3-7)




Example 202 : R. Schumann : Novelette, op. 21, no 6, Allegro Scherzando (mm 41-57)




Example 203 : F. Schubert : String quartet no 14, D. 810, Death and the Maiden, I, Allegro (mm 89-97)




Example 204 : W.A. Mozart : Fantasy, K. 475 (mm 128-131)




motif no 9