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
Motif no 4
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Example 117 : L.V. Beethoven : Piano sonata, op. 14, no 2, Andante (mm 2-3)

Example 118 : R. Schumann : Frauenliebe und -leben, op. 42, no 3 (mm 37-39)


Example 119 : C.W. Gluck : Orfeo, Act II, no 18 (mm 6-11)

Example 120 : F. Chopin : Polonaise, op. 71, no 3, Allegro moderato (mm 1-4)

Example 121 : F. Liszt : Consolation no 4 (mm 14-16)


Example 122 : J.S. Bach : Chromatic Fantasy and Fugue, BWV 903 (m 74)

Example 123 : J.S. Bach : Toccata, Adagio and Fugue for Organ, BWV 564, Adagio (mm 5-7)

Example 124 : J. Haydn : Symphony no 104, "London", II (mm 9-14)

Example 125 : J.S. Bach : The Well-Tempered Clavier, vol. II, Prelude no 24, BWV 893 (mm 62-64)


Example 126 : J.S. Bach : The Well-Tempered Clavier, vol. I, Prelude no 6, BWV 851 (mm 9-12)

Example 127 : J.S. Bach : The Well-Tempered Clavier, vol. I, Prelude no 10, BWV 855 (mm 9-15)


Example 128 : L.V. Beethoven : Piano sonata, op. 111, I, Maestoso (mm 11-13)

Example 129 : J. Brahms : Vier ernste Gesänge, op. 121, no 3, Grave (mm 28-30)

motif no 5
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