Sicilienne from the Second Sonatine, opus 59 n. 2: harmonic vectors and harmonic modality

Abstract

Harmonic modality cannot be viewed merely as imitation, at another scale, of usual
tonal progressions. The usage of harmonic vectors allows the identification of some
important characteristics of Charles Koechlin’s modal style. Statistic comparisons
between the Siciliennes of Koechlin’s Second Sonatine, of Fauré’s Pelléas et
Mélisande and of J.-S. Bach’s Suite in B flat major for flute and harpsichord validate
the idea of a modality closely linked with harmony.