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 ILLUSTRATNG THE LITTLE CATALOGUE
Motif no 17
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From
the perspective of H.S.U. division, we are led to grant an exclusively
ornamental status to the perfect minor chord that may appear above the
second note (sub-tonic) of motif no 17.
Example 286 : J.S. Bach : Partita no 6 in E minor, BWV 830, no 4, Air (mm 1-2)
Example 287 : A Corelli : Concerto grosso, op. 6, no 8 (mm 1-8)
Example 288 : T.A. Vitali : Chaconne, Moderato (mm 1-4)
Example 289 : J.S. Bach : Chromatic Fantasy and Fugue, BWV 903 (mm 70-71)
Example 290 : J.S. Bach : Brandenburg concerto no 3, II, BWV 1047, Adagio
Here the phrygian half cadence is reduced to its minimal formulation:
Example 291 : A. Corelli : Trio sonata, op. 3, no 7 (mm 1-5)
Example 292 : J. Pachelbel : Chaconne in F minor, Theme (mm 1-8)
Example 293 : R. Schumann : Frauenliebe und -leben, op. 42, no 8 (mm 1-4)
Example 294 : J. Haydn : Piano sonata, Hob. XVI:26, I, Allegro moderato (mm 10-14)
Example 295 : F. Schubert : Die schöne Müllerin, op. 25, no 8 (mm 12-15)
motif no 18 
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