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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


In response to our original quest for tools with which to identify auditory and visual markers, this prefabricated material is all the more easily recognizable because it includes characteristic melodic motifs which reside, most of the time, in the bass. Already, a tool for listening and reading takes shape and may be articulated as follows:


Once a melodic motif has been recognized in the bass line, we have only to consult the little catalogue in order to infer a harmonic response, or several in some cases, and then to verify it or them. However, before proceding to a systematic examination of these motifs throughout diverse fragments from the repertoire, we must note that:

- the different harmonic formulations associated with each characteristic melodic motif are valid only as long as each melodic movement corresponds to a harmonic movement (otherwise, for example, motif no 8 involving the degrees 5-6-7-1 could be harmonized with only V - I)

for example:

could be reduced to V - I


- any substitute for I (such as VI, IV, or V of...) may appear at the end of these formulas

for example:

could be stated: IV-V-VI

- all the formulas can end with V (half cadence)

for example:

the function I may be omitted

- formulas ending with V may be extended to I

for example:

could continue to include a resolution to the tonic

- motifs nos 9 and 10 have been notated in the treble clef rather than in the bass clef because they are most often heard in an upper voice

- these formulas may appear in varied form with respect to the disposition of voices and even the quality of the chords used, on the condition that the characteristic melodic motif remains recognizable

- these formulas may be combined, overlapped, reduced, augmented...

Having made these clarifications, let us procede to illustrating the diverse formulas from the little catalogue by drawing on the immense reservoir of works in the corpus Bach-Wagner, sometimes gleaning above and beyond on the condition that a reference to the same tonal language is undeniably apparent, and by using a larger number of examples for the figures that appear with most persistance throughout the repertoire.