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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 11



Example 224 : J. Brahms : Violin concerto, op. 77, III, Allegro giocoso, ma non troppo vivace (mm 5-8)




Example 225 : F. Chopin : Nocturne, op. 48, no 1 (mm 14-17)




Example 226 : F. Liszt : Années de pélerinage, Première année, Vallée d'Obermann (mm 85-88)





Example 227 : J.S. Bach : The Well-Tempered Clavier, vol. II, Prelude no 9, BWV 878 (mm 25-27)




Example 228 : F. Schubert : Wanderer-Fantasy, D. 760, IV, Allegro (mm 18-19)




motif no 12