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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


The closing formula does not always clarify all ambiguity regarding tonal orientation. All sequences, regardless of type, can be subject to either a non-modulating or a modulating treatment. Therefore, the problem remains as to which perspective should be chosen in cases where a sequence can be understood equally well in either a modulating and a non-modulating context. To solve this problem in a pertinent manner, several elements must be taken into consideration and only the first of these is intrinsic to the sequence itself while the others pertain to external factors:

1. The behavior of a modulating sequence tends toward perfect symmetry in its reproductions both in terms of the chord structures used in the model and in terms of the interval of progression. On the other hand, a non-modulating sequence, bound by the vocabulary of chords within a given key and progressing by tonal degrees, most often results in irregular symmetry (especially in the case of several reproductions of the model).

2. The relationship between the key of the event preceding the sequence and the key designated by the closing formula of the sequence; coincidence between the two keys suggests a perspective of continuity.

3. The formal context in which the sequence is situated. For example, a transition section, a section of decoration, or a development section within a sonata form favour a modulatory perspective, whereas an exposition section or the re-exposition of thematic material suggest, rather, a regime of stability.

4. The goal of unifying the analytical perspective for the entirety of the work.