4.5 - Compléments sur l'harmonisation du chromatisme
Partie 1
0:00 : présentation d'un autre aspect de l'harmonisation du chromatisme ;
3:40 : les enchaînements de septièmes de dominante entre elles, toutes à l'état fondamental ou par succession 6 5 barré - +4 ;
18:10 : étude de l'enchaînement en ré ;
29:50 : analyse du sujet de la fugue en ré mineur du 2ème livre du clavier bien tempéré et de son chromatisme harmonisé par les septièmes de dominante ;
50:30 : La notion de "divertissement" et de développement.
Partie 2
Reprise des exemples de Purcell, du choral "herzliebster Jesu", de Haendel.
0:00 : Purcell ;
10:53 : un autre extrait de "Herzliebster Jesu" ;
25:40 : Haendel.
Partie 3
Récapitulatif et conclusion : le chromatisme réduit à la sous-dominante, une harmonisation distincte de celle du "passus duriusculus".
Partie 1
%%piano2+2CDN
[V:C] "E"x "A/C#"x | "A/C#"x "D"x | "D"x "G/B"x | "G/B"x "C"x |]
[V:D] "V"x "I"x | "V"x "I"x | "V"x "I"x | "V"x "I"x |]
[V:S] !red!!r>(!^G !r>)!A | A ^F | !red!!r>(!^F !r>)!G | G E |]
[V:A] E E | E D | D D | D C |]
[V:T] B, A, | A, A, | A, G, | G, G, |]
[V:B] E, ^C, | !red!!r>(!^C, !r>)!D, | D, B,, | !red!!r>(!B,, !r>)!C, |]
[V:N] x "_6"x | "_6"x x | x "_6"x | "_6"x x |]
%%piano2+2CDN
[V:C] "E"x "A/C#"x | "A/C#"x "D"x | "D"x "G/B"x | "G/B"x "C"x |]
[V:D] "V"x "I"x | "V"x "I"x | "V"x "I"x | "V"x "I"x |]
[V:S] !red!!r>(!^G !r>)!A | A/!orange!!o>(!=G/ !o>)!^F | !red!!r>(!^F !r>)!G | G/!orange!!o>(!=F/ !o>)!E |]
[V:A] E E | E D | D D | D C |]
[V:T] B, A, | A, A, | A, G, | G, G, |]
[V:B] E,/!orange!!o>(!D,/ !o>)!^C, | !red!!r>(!^C, !r>)!D, | D,/!orange!!o>(!=C,/ !o>)!B,, | !red!!r>(!B,, !r>)!C, |]
[V:N] x/"_+4"x/ "_6"x | "_6"x/"_6""_5/"x/ x | x/"_+4"x/ "_6"x | "_6"x/"_6""_5/"x/ x |]
%%piano2+2CN
[V:C] "E"x | "A/C#"x | "D"x | "G/B"x | "C"x |]
[V:S] !red!!r>(!^G | !r>)!A/!orange!!o>(!=G/ | !o>)!!red!!r>(!^F | !r>)!G/!orange!!o>(!=F/ | !o>)!E |]
[V:A] E | E | D | D | C |]
[V:T] B, | A, | A, | G, | G, |]
[V:B] E,/!orange!!o>(!D,/ | !o>)!!red!!r>(!^C, | !r>)!D,/!orange!!o>(!=C,/ | !o>)!!red!!r>(!B,, | !r>)!C, |]
[V:N] x/"_+4"x/ | "_6"x/"_6""_5/"x/ | x/"_+4"x/ | "_6"x/"_6""_5/"x/ | x |]
%%piano2+2CN
[V:C] "E7/D"x | "A7/C#"x | "D7/C"x | "G7/B"x | "C"x |]
[V:S] !red!!n>(!^G | !n>)!!orange!!o>(!=G | !o>)!!red!!n>(!^F | !n>)!!orange!!o>(!=F | !o>)!E |]
[V:A] E | E | D | D | C |]
[V:T] B, | A, | A, | G, | G, |]
[V:B] !orange!!o>(!D, | !o>)!!red!!n>(!^C, | !n>)!!orange!!o>(!=C, | !o>)!!red!!r>(!B,, | !r>)!C, |]
[V:N] "_+4"x | "_6""_5/"x | "_+4"x | "_6""_5/"x | x |]
%%piano2+2CN
K:Dm
[V:C] "Dm"x | "A/C#"x "D7/C"x | "G7/B"x "C7/Bb"x | "V"x |]
[V:S] F | G ^F | =F E | x |]
[V:A] !blue!D | E D | D C | x |]
[V:T] A, | A, A, | G, G, | x, |]
[V:B] !blue!D, | ^C, =C, | =B,, _B,, | A,, |]
[V:N] x | "_6""_5/"x "_+4"x | "_6""_5/"x x | "_#"x |]
%%piano2+2CDN
K:Dm
[V:C] "Dm"x | "A/C#"x "D7/C"x | "G/B"x "Gm/Bb"x | "A"x |]
[V:D] "I"x | "V"x "V/IV"x | "IV"x "-"x | "V"x |]
[V:S] F | G ^F | G G | E |]
[V:A] !blue!D | E D | D D | ^C |]
[V:T] A, | A, A, | G, G, | !blue!A, |]
[V:B] !blue!D, | ^C, =C, | =B,, _B,, | !blue!A,, |]
[V:N] x | "_6""_5/"x "_+4"x | "_6"x x | "_#"x |]
La parenthèse du jour, le sujet de la fugue chez Bach. Comment peut-on varier le motif ?
L:1/4
K:Dm
"I"D F "V"A/d/ ^c/=c/ | =B/_B/ "5"A/G/ -G/F/ E/A/ "I"[DF] |
L:1/4
K:Dm
"I"D//E//F// E//F//G// F//G//A// G//A//B// "V"A/d/ ^c/=c/ | =B/_B/ "5"A/G/ -G/F/ E/A/ "I"[DF] |
L:1/4
K:Dm
"I"D//E//F// G//F//E// F//G//A// B//A//G// "V"A/d/ ^c/=c/ | =B/_B/ "5"A/G/ -G/F/ E/A/ "I"[DF] |
Sujet de la fugue en Ré mineur de Bach, mesure 11 :
L:1/8
Q:1/4=40
%%score{S | (T B) }
K:Dm
[V:S] Ad !red!^c=c !red!=B_B | !red!A z |
[V:T] F,3/2G,/ z/G,/!red!^F, z/=F,/!red!E, | z/_E,/D, |
[V:B] D,/C,/B,, A,,3/2D,/ G,,3/2C,/ | F,,3/2B,,/ |
L'abaissement de la sensible à la basse donne un triton soit une quarte augmentée.
Partie 2
Exemple de Purcell
K:Gm
%%score (B N)
[V:B] F,, "I"G,/ | ^F, =F,/ | =E, _E,/ | "V"D, B,,/ | C,/ D, | G,, z/ ||
[V:N] x x/ | "_6""_5/"x "_+4"x/ | "_6"x "_-"x/ | "_7""_+"x "_6"x/ | "_6""_5"x/ "_6""_4"x/ "_#"x/ | "_5"x x/ ||
Harmonisation au clavecin :
K:Gm
%%piano2+2N
[V:S] x D/ | D D/ | C G/ | ^F G/ | G/ G/ ^F/ | G z/ ||
[V:A] z B,/ | C =B,/ | C C/ | C D/ | E/ D/ D/ | D z/ ||
[V:T] x G,/ | A, G,/ | G, G,/ | A, G,/ | A,/ B,/ A,/ | _B, z/ ||
[V:B] F,, G,/ | ^F, =F,/ | =E, _E,/ | D, B,,/ | C,/ D, | [G,,G,] z/ ||
[V:N] x x/ | "_6""_5/"x "_+4"x/ | "_6"x "_-"x/ | "_7""_+"x "_6"x/ | "_6""_5"x/ "_6""_4"x/ "_#"x/ | "_5"x x/ ||
Choral de Bach : HERZUEBSTER JESU
L:1/4
Q:1/4=60
%%pianoD
K:Bb
[V:D] x | x2 "I"x2 | "IV"x2 "V"x "V/V"x | "V"x2 "I"x |
[V:KG] A | B c d/c/ B | e e d _d/c/ | c2 !fermata!B |
[V:KF] z | z2 B, _A, | G, _G, F, =E, | F,2 !invertedfermata!B,, |
L:1/4
Q:1/4=60
%%piano2+2D
K:Bb
[V:D] x | x2 "I"x2 | "IV"x2 "V"x "V/V"x | "V"x2 "I"x |
[V:S] A | B c d/c/ B | e e d _d/c/ | c2 !fermata!B |
[V:A] z | z2 B F | G/A/ B B B | B/A/ F |
[V:T] z | z2 F/E/ D/C/ | B, B,/C/ D/B,/ G | F3/2 E/ D |
[V:B] z | z2 B, _A, | G, _G, F, =E, | F,2 !invertedfermata!B,, |
Exemple de Haendel :
"I"A, | ^G, =G, | ^F, =F, | "V""_#"E, ||
"I"A, "V/IV"=G, | "IV""_6"^F, "_#6""_4""_3"=F, | "V""_#"E, ||
Q:1/1=50
%%piano2+2CD
[V:C] "Am"x | "C#°7/G"x | "D"x | "B7b5/F"x | "Am/E"x | "E"x ||
[V:D] "I"x | "VII/IV"x | "IV"x | "II"x | "V"x | "V"x ||
[V:S] c | ^c | !blue!d | ^d | !blue!e | !blue!e ||
[V:A] E | E | !blue!D | !blue!A | A | ^G ||
[V:T] !blue!A, | _B, | A, | !blue!A,/ B,/ | C | B, ||
[V:B] !blue!A, | =G, | ^F, | =F, | !blue!E, | !blue!E, ||
Partie 3
Rappels en do majeur, la quarte et sixte de passage :
Q:1/1=50
%%piano3+1CDN
[V:C] "C"x | "G/D"x | "C/E"x |]
[V:D] "I"x | "V"x | "I"x |]
[V:S] !blue!c | !red!!r>(!B | !blue!!r>)!c |]
[V:A] G | G | G |]
[V:T] E | !blue!D | !blue!C |]
[V:B] !blue!C, | !blue!D, | E, |]
[V:N] x | "_6""_4"x | "_6"x |]
Q:1/1=50
%%piano2+2CDN
[V:C] "C"x | "F/A"x | "C/G"x | "F"x | "G"x | "C"x |]
[V:D] "I"x | "IV"x | "I"x | "IV"x | "V"x | "I"x |]
[V:S] E | !blue!F | E | !blue!F | D | !blue!C |]
[V:A] !blue!C | C | C | C | !red!!n>(!B, | !n>)!G, |]
[V:T] G, | !blue!F, | !blue!G, | A, | !blue!G, | E, |]
[V:B] !blue!C, | A,, | !blue!G,, | !blue!F,, | !blue!G,, | !blue!C, |]
[V:N] x | "_6"x | "_6""_4"x | "_5"x | x | x |]
Q:1/1=50
%%piano2+2CDN
[V:C] "C"x | "F/A"x | "C/G"x | "Dm7/F"x | "G"x | "C"x |]
[V:D] "I"x | "IV"x | "I"x | "II"x | "V"x | "I"x |]
[V:S] E | !blue!F | E | !green!D | D | !blue!C |]
[V:A] !blue!C | C | C | C | !red!!n>(!B, | !n>)!G, |]
[V:T] G, | !blue!F, | !blue!G, | A, | !blue!G, | E, |]
[V:B] !blue!C, | A,, | !blue!G,, | F,, | !blue!G,, | !blue!C, |]
[V:N] x | "_6"x | "_6""_4"x | "_6""_5"x | x | x |]
Q:1/1=50
%%piano2+2CDN
[V:C] "C"x | "F/A"x | "C/G"x | "D7/F#"x | "G"x | "C"x |]
[V:D] "I"x | "IV"x | "I"x | "V7/V"x | "V"x | "I"x |]
[V:S] E | !blue!F | E | !green!D | D | !blue!C |]
[V:A] !blue!C | C | C | C | !red!!n>(!B, | !n>)!G, |]
[V:T] G, | !blue!F, | !blue!G, | A, | !blue!G, | E, |]
[V:B] !blue!C, | A,, | !blue!G,, | !green!^F,, | !blue!G,, | !blue!C, |]
[V:N] x | "_6"x | "_6""_4"x | "_6""_5/"x | x | x |]
La quarte et sixte de passage a une vocation faible alors que la quarte et sixte de cadence avec sa double appiogiature à une vocation forte.
La quarte et sixte de cadence :
Q:1/1=50
%%piano2+2CDN
[V:C] "G"x | "G7"x | "C"x |]
[V:D] "V"x | "V7"x | "I"x |]
[V:S] E | D | !blue!C |]
[V:A] C | !red!!n>(!B, | !n>)!G, |]
[V:T] !blue!G, | !blue!G,/!orange!!o>(!F,/ | !o>)!E, |]
[V:B] !blue!G,, | !blue!G,, | !blue!C, |]
[V:N] "_6""_4"x | "_5""_3"x | x |]
Chez Bach on va trouver :
%%piano2+2CDN
[V:C] "G"x | "D7/F#"x | "G"x/ "G7"x/ | "C"x |]
[V:D] "V"x | "V7/V"x | "V"x/ "V7"x/ | "I"x |]
[V:S] E | D | D | !blue!C |]
[V:A] C | C | !red!!n>(!B, | !n>)!G, |]
[V:T] !blue!G, | A, | !blue!G,/!orange!!o>(!F,/ | !o>)!E, |]
[V:B] !blue!G,, | ^F,, | !blue!G,, | !blue!C, |]
[V:N] "_6""_4"x | "_6""_5/"x | x/ "_7""_+"x/ | x |]
%%piano2+2CDN
[V:C] "G"x | "F#°7"x/ "D7/F#"x/ | "G"x/ "G7"x/ | "C"x |]
[V:D] "V"x | "VII/V"x/ "V/V"x/ | "V"x/ "V7"x/ | "I"x |]
[V:S] E | _E/ D/ | D | !blue!C |]
[V:A] C | C | !red!!n>(!B, | !n>)!G, |]
[V:T] !blue!G, | A, | !blue!G,/!orange!!o>(!F,/ | !o>)!E, |]
[V:B] !blue!G,, | ^F,, | !blue!G,, | !blue!C, |]
[V:N] "_6""_4"x | "_7/"x/ "_6""_5/"x/ | x/ "_7""_+"x/ | x |]
Connaissons bien la descente chromatique de la tonique à la dominante.
L:1/2
%%piano2+2CDN
[V:C] "C"x "C7/Bb"x | "F/A"x "F/Ab"x | "C/G"x "F#°7"x/ "D7/F#"x/ | "G"x "G7"x | "C"x2 |]
[V:D] "I"x "V/IV"x | "IV"x "IV"x | "I"x "VII/V"x/ "V7/V"x/ | "V"x "V7"x | "I"x2 |]
[V:S] E E | !blue!F !blue!F | E _E/ D/ | D2 | !blue!C2 |]
[V:A] !blue!C C | C C | C C | C !red!!n>(!B, | !n>)!G,2 |]
[V:T] G, G, | !blue!F, !blue!F, | !blue!G, A, | !blue!G,3/2 !orange!!o>(!F,/ | !o>)!E,2 |]
[V:B] !blue!C, _B,, | A,, _A,, | !blue!G,, ^F,, | !blue!G,,2 | !blue!C,2 |]
[V:N] x "_+4"x | "_6"x "_-"x | "_6""_4"x "_7/"x/ "_6""_5/"x/ | "_4"x "_3"x/ "_7""_+"x/ | x2 |]
Avec l'échange Ténor Soprano :
L:1/2
%%piano2+2CDN
[V:C] "C"x "C7/Bb"x | "F/A"x "F/Ab"x | "C/G"x "F#°7"x/ "D7/F#"x/ | "G"x "G7"x | "C"x2 |]
[V:D] "I"x "V/IV"x | "IV"x "IV"x | "I"x "VII/V"x/ "V7/V"x/ | "V"x "V7"x | "I"x2 |]
[V:S] G G | !blue!F !blue!F | !blue!G A | !blue!G3/2 !orange!!o>(!F/ | !o>)!E2 |]
[V:A] !blue!C C | C C | C C | C !red!!n>(!B, | !n>)!G,2 |]
[V:T] E, E, | !blue!F, !blue!F, | E, _E,/ D,/ | D,2 | !blue!C,2 |]
[V:B] !blue!C, _B,, | A,, _A,, | !blue!G,, ^F,, | !blue!G,,2 | !blue!C,,2 |]
[V:N] x "_+4"x | "_6"x "_-"x | "_6""_4"x "_7/"x/ "_6""_5/"x/ | "_4"x "_3"x/ "_7""_+"x/ | x2 |]
