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

Harmonic modality cannot be viewed as a mere 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.