Welcome :: Glossary :: About / Contact us :: Thanks / Credits :: Website plan

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


1.2 - Description of the analytical model || 1. The generative pair and a related issue: the Neapolitan sixth :: 2. The fundamental structure :: 3.The discrete grouping unit :: 4. The mechanism of substitution :: 5. The mechanism of interpolation :: 6.The mechanism of deviation :: 7. Some rules of the game concerning H.S.U. division :: 8. Application to two texts

8. APPLICATION TO TWO TEXTS

Exemple 34 : J.S. Bach : The Well-Tempered Clavier, vol. I, prelude no 1, BWV 846



Note that measures 24 to 27 of this prelude could have constituted an independent H.S.U. which would contain exclusively the function V and which would overlap with the preceding H.S.U.. It is true that if we seek a uniform analytical perspective, we would tend to choose a division into two overlapping H.S.U.'s in measures 20 to 24 and 24 to 27 since in the context of the whole piece the H.S.U.'s are usually four measures long. The dominant pedal could, however, tempt us to justify a rupture in this organizational pattern. Admittedly, the isorhythmic nature of the text makes its division more problematic at times and therefore often allows for more than one possible interpretation.

H.S.U. DIVISION:

Example 35


Example 36


Example 37


Example 38


Example 39


Example 40


Example 41


Example 42


Let us recall that division into H.S.U.'s isolates units which have independant meaning and a specifically tonal autonomy and which, therefore, result in the unequivocal designation of a tonic. It is not necessary, then, to conduct a formal analysis where we must consult the organizational parameters of the musical discourse and where, in the case of this prelude, we would need to take into account not only the relationships of successive tonalities but also the relative importance of the the cadential gestures such as those in measures 10-11, 18-19, and 31-32.

SECOND TEXT: ALBUMBLÄTTER BY SCHUMANN