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
Example 364 : J.S. Bach : Toccata, Adagio and Fugue for organ, BWV 564, Adagio (mm 7-9)
Example 365 : J. Brahms : Capriccio, op. 116, no 3, Allegro passionato (end)
Motifs nos 1 and 3 combined, followed by motif no 4
Example 366 : C.P.E. Bach : Württemberg Sonata no 1, III,
Allegro assai (mm 71-92)
Motif no 20, motif no 6a in sequence, circle of fifths, motif no 3
Example 367 : R. Schumann : Symphony no 2, op. 61, II, Scherzo,
Allegro vivace (mm 1-12)
Motif no 7, motif no 3, motif no 2 (the first note of each motif always supports the same function: V of V)
Example 368: F. Mendelssohn : Violin concerto, op. 64, I, Allegro molto appassionato (mm 117-131)
Motif no 11, motif no 10, and motif no 3
Example 369 : J. Brahms : Symphony no 3, op. 90, III, Poco allegretto (mm 147-150)
Motif no 6a and motif no 2 interlaced
Example 370 : L.V. Beethoven : Piano concerto no 3, op. 37, I, Allegro con brio (mm 164-171)
Motif no 20g, motif no 9, and motif no 1
Example 371 : J. Haydn : Sting quartet, op. 76, no 4, Allegro (mm 18-22)
Motif no 10, motif no 1 and motif no 3 interlaced
Example 372 : A. Corelli : Trio sonata, op. 3, no 7 (mm 1-5)
Motif no 19, motif no 2, motif no 17
B) SEQUENCES 
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