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 14

Motif no 14 refers to a gesture centred around the tonic axis that oscillates between the dominant pole (V) on one hand and the "anti-dominant" pole (IV) on the other [to borrow Donald Tovey's expression, cited by Goldman: p.70, 1965]

Example 259 : W.A. Mozart : Ein Musikalischer Spass (A Musical Joke) for strings and horns, K. 522, I, Allegro (mm 1-11)

Example 260 : F. Chopin : Prelude, op. 28, no 10 (end)

Example 261 : F. Chopin : Nocturne, op. 37, no 1 (mm 41-44)

Example 262 : F. Chopin : Mazurka, op. 17, no 1 (mm 1-4)

Example 263 : R. Wagner : Das Rheingold, Scene 2 (mm 1-4)

Example 264 : L.V. Beethoven : Symphony no 3, op. 55, Adagio assai (mm 7-8)

Example 265 : R. Schumann : Symphonic Etudes, op. 13, no 9, Presto (mm 33-36)

Example 266 : F. Lachner : Lied for soprano, horn, and piano, Frauenliebe und -leben (mm 40-47)

Example 267 : L.V. Beethoven : Piano sonata, op. 49, no 1, I (mm 1-7)

Example 268 : J. Haydn : Sonata Hob. XVI:26, I, Allegro moderato (mm 10-15)

For motif no 14 , see also example 4 and example 13 (last two measures).

motif no 15