Tonality and modality in the harpsichord compositions of d’Anglebert: elements for a harmonic analysis.

Abstract

D’Anglebert’s compositions belong to a moment of transition between modality and
tonality. the paper examines successively the point of view of the xvii
th century
theoricians on tonality, the tonalities utilised by d’Anglebert, the key signatures, the
scales, the cadences and the harmonic progressions