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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 ILLUSTRATNG THE LITTLE CATALOGUE

Motif no 17


 

From the perspective of H.S.U. division, we are led to grant an exclusively ornamental status to the perfect minor chord that may appear above the second note (sub-tonic) of motif no 17.

Example 286 : J.S. Bach : Partita no 6 in E minor, BWV 830, no 4, Air (mm 1-2)




Example 287 : A Corelli : Concerto grosso, op. 6, no 8 (mm 1-8)




Example 288 : T.A. Vitali : Chaconne, Moderato (mm 1-4)




Example 289 : J.S. Bach : Chromatic Fantasy and Fugue, BWV 903 (mm 70-71)




Example 290 : J.S. Bach : Brandenburg concerto no 3, II, BWV 1047, Adagio
Here the phrygian half cadence is reduced to its minimal formulation:




Example 291 : A. Corelli : Trio sonata, op. 3, no 7 (mm 1-5)




Example 292 : J. Pachelbel : Chaconne in F minor, Theme (mm 1-8)




Example 293 : R. Schumann : Frauenliebe und -leben, op. 42, no 8 (mm 1-4)




Example 294 : J. Haydn : Piano sonata, Hob. XVI:26, I, Allegro moderato (mm 10-14)




Example 295 : F. Schubert : Die schöne Müllerin, op. 25, no 8 (mm 12-15)




motif no 18