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 5

Example 130 : L.V. Beethoven : Piano sonata, op. 1, no 1, I (mm 31-43)

Example 131 : F. Schubert : Schwanengesang, D. 957, no 8, Der Atlas (mm 30-32)

Example 132 : J.S. Bach : Toccata, Adagio and Fugue in C major for Organ, BWV 564, Adagio (mm 1-4)

Example 133 : J. Haydn : Trio for violin, cello, and piano, Hob.XV:06, II, Tempo di menuetto (mm 4-8)

Example 134 : J.S. Bach : The Well-Tempered Clavier, vol. I, Prelude no 3, BWV 848 (mm 1-7)

Example 135 : W.A. Mozart : Piano sonata, K. 545, I (mm 5-8)

Example 136 : P.I. Tchaikovsky : Variations on a Rococo Theme, op. 33, Moderato (mm 1-4)

Example 137 : R. Schumann : Der arme Peter, op. 53, no 3b (mm 33-35)

Example 138 : F. Liszt : Harmonies poétiques et religieuses, no 3 (mm 340-343)

Example 139 : G.F. Handel : Let thy Hand be strengthened, Anthem no 2, HWV 259, I (mm 35-37)

Example 140 : J.S. Bach : The Well-Tempered Clavier, vol. I, Prelude no 14, BWV 859 (mm 1-10)

First review measures 2-3 of the preceding example (140).

Example 141 : J. Haydn : String quartet, op. 74, no 3, Largo (mm 5-10)

Example 142 : L.V. Beethoven : Piano sonata, op. 28, I (mm 40-55)

motif no 6a