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

III - A practice of analysis in the tonal harmonic discourse from Bach to Wagner

TWO CATEGORIES OF CONSTANTS

Drawing on experience "in the field" with this outline for harmonic analysis and having examined, here and there, the corpus of works from the repertoire Bach-Wagner, I was lead to identify two broad categories of constants: on one hand, formulas, on the other, sequences.

A) Formulas:

1. DEFINITION OF A FORMULA

Let us recall that the harmonic formula corresponds to a fragment of the discourse with a high rate of recurrence in the tonal repertoire, a fragment consisting of at least three functions (explicit or implicit in the case of a final unresolved dominant) which result in the unequivocal designation of a principal or secondary tonic.

2. THE LITTLE CATALOGUE