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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




Characterized by contrapuntal imitation and varied in multiple ways, motif no 20 takes shape by repeating:

- either a principle or secondary tonal couple  V -I 

(motifs no 20a to 20f illustrate a few possible formulations among many)

- or a plagal couple IV - I, more rarely II - I or N - I

(motif no 20g)

Example 342 : L.V. Beethoven : Piano sonata, op. 2, no 1, II (mm 2-4)




Example 343 : R. Schumann : Kinderszenen, Der Dichter spricht, op. 15, no 13 (mm 1-4)




Example 344 : J. Haydn : Piano sonata, Hob. XVI:35 (mm 5-8)




 

Example 345 : F. Schubert : String quartet, D. 173, I (mm 1-4)




Example 346 : F. Mendelssohn : Songs without words, op. 85, no 4 (mm 1-4)




Example 347 : F. Mendelssohn : Songs without words, op. 67, no 2 (mm 20-22)




Example 348 : F. Lachner : Lied for soprano, horn, and piano, Frauenliebe und -leben (mm 25-29)




Example 349 : F. Chopin : Piano sonata no 3, op. 58, I (mm 6-8)




Example 350 : L.V. Beethoven : Piano sonata, op. 110, I (mm 13-17)




Example 351 : J. Haydn : Piano sonata, Hob. XVI:18, II, Moderato (mm 43-46)




Example 352 : J. Haydn : Piano sonata, Hob. XVI:48, I (mm 22-26)




Example 353 : F. Chopin : Nocturne, op. 72, no 1 (mm 1-5)




Example 354 : L.V. Beethoven : Piano sonata, op. 14, no 2, II (mm 1-2)




Example 355 : W.A. Mozart : Piano sonata, K. 333 (315e), III (mm 120-123)




Example 356 : L.V. Beethoven : String quartet, op. 18, no 6, II, Adagio ma non troppo (mm 1-4)




Example 357 : R. Schumann : Arabeske, op. 18 (mm 1-9)




Example 358 : R. Schumann : Carnaval, op. 9, no 1, Préambule (mm 3-6)




Example 359 : J.S. Bach : The Well-Tempered Clavier, vol. II, Prelude no 13, BWV 882 (mm 45-57)




Example 360 : J.S. Bach : Sonata for flute and keyboard, BWV 1030, III, Presto (mm 104-106)




 

Example 361 : W.A. Mozart : Piano sonata, K. 330, III (mm 13-16)




Example 362 : J. Haydn : Piano sonata, Hob. XVI:20, III (mm 104-109)




Example 363 : J.P. Rameau : Le temple de la gloire, Gavotte (mm 1-4)




 

Motifs in combination