A harmonic pattern, termed the V–I schema, is shown to structure most of the second-reprise openings in Bach’s binary movements. This pattern combines cross-repertoire harmonic consistency with context-dependent prolongational variability, a juxtaposition that causes intractable contradictions to emerge within Schenkerian theory. The schematic aspect to early eighteenth-century tonality suggested by this feature is expanded to include two additional second-reprise openings, the V–vi schema and the in-III opening. A staple of most Baroque composers’ harmonic vocabulary, the V–I schema declined in the later eighteenth century, incompatible with the new prevalence of rounded binary form.

中文翻译：

---

巴赫二元乐章中的第二次重演开场图式

一种被称为 V-I 模式的和声模式被证明构成了巴赫二元乐章中大多数第二次重演的开场白。这种模式将跨曲目的谐波一致性与上下文相关的延长可变性结合在一起，这种并置导致在申克理论中出现棘手的矛盾。该特征所暗示的 18 世纪早期调性的示意性方面被扩展为包括两个额外的第二重奏开场，即 V-vi 模式和 in-III 开场。作为大多数巴洛克作曲家和声词汇的主要内容，V-I 模式在 18 世纪后期衰落，与圆角二元形式的新流行不相容。