E. X w w. cl ausul ae. Clausula formalis perfectissima

Transcription

1 11 cl asl ae the L atin ter chosen by ediea l writers to describe the perceied sense of closre and finality broght abot by certain elodic figres was clasla (pl. claslae; a close, conclsion, or end). 1 In tie, this sense was transferred to forlae inoling two contrapntal oices, and then ch later to forlaic sccessions of ltioice chords. The exaple below shows a for-oice forla that Johann Gottfried Walther ( ), organist at Weiar, aestro to the yong Prince Johann rnst, and friend of J. S. Bach, described in 1708 as a clasla foralis perfectissia what is coonly described today as a perfect athentic cadence. Perfectissia inites translation as ost perfect, bt the intended eaning was nearer to ost coplete, referring to the degree of closre. Hence the title of the exaple cold be rendered as a close in the ost coplete for. ex Walther, Praecepta der sicalischen Coposition (rfrt, 1708)? Clasla foralis perfectissia w w w. w w w w 19

2 10 sic in the galant style Generations of nineteenth- and twentieth-centry sic stdents hae learned abot sical phrase endings cadences fro textbooks on harony. This chord-centered iew of sical articlation was flly appropriate to the ais of general sical edcation in the Roantic age, bt it is too coarse-grained for an esoteric, cortly art like galant sic. Or pt another way, it highlights only what Locatelli has in coon with Risky- Korsako. Walther, following the lead of Andreas Werckeister ( ), looked at claslae ore elodically, as was then the nor. For hi, each of the for oices perfored its own clasla, participating as an integral part in the perfection of the whole. The soprano perfored the discant clasla, the alto perfored the alto clasla, the tenor perfored the tenor clasla, and the bass perfored the bass clasla: ex. 11. A ersion of Walther s for elodic claslae? w 7 1. w Soprano. 1 w w w w Tenor Bass Alto 1 Any of these elodic claslae cold appear in the bass oice or part. Walther resered the ter clasla perfectissia for cadences where the noral bass perfored the bass clasla ( 1). If the discant clasla (7 1) was perfored by the lowest oice, he naed the reslting cadence a clasla cantizans ( a cants- or soprano-like clasla ); if the tenor clasla ( 1) appeared in the lowest oice, he naed the reslting cadence a clasla tenorizans ( a tenor-like clasla ); and if the alto clasla ( ) was played by the lowest oice, he naed the reslting cadence a clasla altizans ( an alto-like clasla ). Walther s treatise was, after all, written in the era of figred bass and partienti. It drew attention to specific patterns in the bass that cold help a yong accopanist recognize the intended type of clasla. The conceit that for oices had for roles defining for categories of claslae a taxonoy neatly aligned with the then prealent notions of for eleents or for hors confors to eighteenth-centry practice qite well except in the case of the alto. Walther s alto clasla ( ) was not coon as a bass and was not een the ost coon alto part in a coplete cadence. Mch ore freqent was, as shown aboe in y adaptation of Walther s exaple (ex. 11.), the descending second fa i ( ). Walther and the seenteenth-centry sorces that he drew pon in writing his treatise ay hae been relctant to initiate a clasla fro a dissonant tone. Galant coposers did not share their scrples, at least not to the sae degree.

3 Chapter 11 claslae 11 In this chapter I present the galant ersions of Walther s claslae, going beyond the siple bass forlae to specify the seeral sbspecies that had significance to eighteenthcentry sicians and their adiences. As with the other galant scheata, each type of clasla cold be described as a pas de dex of bass and elody. The chapter is organized according to the different oeents of the bass. I begin with claslae perfectissiae ( 1 in the bass), and then proceed with clasla cantizans of a rising half step in the bass (7 1), claslae tenorizans of a falling whole-step in the bass ( 1), and claslae altizans of a falling half step in the bass (, a whole step in the inor ode). Within each section, the finer distinctions inole different oeents of the elody. Soe specific cobinations or co-articlations of bass and elody had coonly sed naes in the eighteenth centry or earlier, while others were naed by later scholars and sicians. I hae naed additional types that, perhaps becase they were biqitos in galant sic, were not considered noteworthy at the tie bt are nonetheless essential for nderstanding galant sical discorse. Thogh I do not exhast the possibilities of this ars cobinatoria, the reslting bestiary of sbtly differentiated claslae ay neertheless tax soe readers patience. The reaining chapters will be intelligible withot a knowledge of these fine distinctions, bt the iportance of recognizing the any shades of articlation in galant sic cannot be oerestiated. The 1 Claslae: Claslae perfectissiae (the ost coplete types of closes) The prototypical, standard clasla in galant sic had a bass that rose fro to to before falling to 1. In Naples they called this direct 1 close a cadenza seplice, a siple ending or basic fall the Italian root of cadenza eans both to fall and to terinate. If was repeated an octae lower before contining to 1, the clasla was called cadenza coposta, a copond ending inoling the addition of a cadential 6/ or / chord. Here are two instantiations in two different eters: ex. 11. The standard galant clasla in its siple and copond fors? Siple D D Copond 6 6 In describing difficlties that arise when we seek to stdy iproised arts in the past, the theater historian Doenico Pietropaolo points ot that while or descriptie langage

4 1 sic in the galant style is siilar to that of earlier periods of history,... or artistic fors and or cltral contexts are different, and so we risk being preented fro nderstanding earlier instances of the phenoenon by the words that apparently best eqip s to grasp its essence. 6 Sch a word is cadence. Since the id-nineteenth centry, each ostensibly fixed type of cadence has been taght as a chord progression with a descriptie title intended to grasp its essence (e.g., perfect, iperfect, deceptie, plagal, Phyrgian, and so forth). The delicate interactions of galant basses and elodies, howeer, were not fixed and go well beyond siple ascriptions of an essence. In the following discssions, a cadence is ths ore properly nderstood as an instance of bass-elody co-articlation. And if, as sggested, one iews sch a co-articlation as a sical pas de dex, it is worth noting that the danser of the bass and the dansese of the elody ight also work eqally well with other partners. That is, their cobination is not essential, and each part alone is still eaningfl. In place of ore accrate bt cbersoe and tedios circloctions I will still eploy the word cadence, bt nderstood with the caeats st entioned. In galant sic, the standard bass claslae were sed contless ties in eery conceiable eter, tepo, style, and genre. They were paired, as entioned, with elodies that, althogh qite dierse in strctre and coplexity, were generally expected to close on the keynote, ❶. One proinent class of cadential elodies featred a ❸ ❷ ❶ or i re do descent. A typical exaple occrs in a sall keyboard work by Ciarosa: ex. 11. Ciarosa, Sonata C0, Allegretto,. 1 (ca. 1780s)? a J a J { J { J do-re-i i-re-do p He presents a Do-Re-Mi thee with a pacing of two beats per stage, and then closes, at a faster pace, with a Mi-Re-Do elody fitted aboe the seplice bass. At the qarter-note pacing, the ❸ ❷ ❶ ending is obios. Aong the sbsidiary patterns at an eighth-note pacing are descending thirds, ❸ ❶ and ❷ ❼, as well as ascending seconds, ❶ ❷ and ❼ ❶, all of which are significant elodic gestres. en at a sixteenth-note pacing, the initiation of a rapid descending scale fro a dissonant tone (the grace note F, which is perfored as a sixteenth note) aboe the bass s is worth noting for later reference.

5 Chapter 11 claslae 1 For coparison, exaple 11. shows the ery first cadence written by a fie-year-old Mozart (as transcribed by his father Leopold; see ex..1 for the fll context). If we think of Ciarosa s sixteenth notes ❸ ❷ ❶ ❼ as a decoration, or to se the galant ter, a diintion, of the eighth notes ❷ ❼, then we see that Mozart applied the sae diintion to the preios two eighth notes, ❸ ❶. For his bass, in place of Ciarosa s cadenza seplice, Mozart chose to eploy what the Neapolitan aestro Nicola Sala tered a cadenza lnga ( long cadence ; see ex for a fller discssion). The point of this coparison is to deonstrate that in galant practice the coposer and perforer retained a degree of freedo to ix and atch stock basses, elodies, and diintions, een in the case of highly stereotyped claslae. ex. 11. Mozart, KV1a,. (1761; age )? { x o Mi-re-Do J If a coposer opted for the cadenza coposta two s, with the second one an octae lower it was still possible to eploy the ❸ ❷ ❶ elody, thogh ❸ wold often be shifted to align with the bass s first as in this inet by iolinist Pierre Gainiés ( ): { ex Gainiés, Ops, no., t., Tepo di Minetto,. 9 (176) 9 b b? b b 8 8. p «.. Mi-Re-Do Mi-Re-Do.

6 1 sic in the galant style In this exaple we see the Mi-Re-Do descending at two different pacings. A direct ❸ ❷ ❶ descent with ❸ placed oer the first, and ❷ oer the second, begins in easre 1 on consectie eighth notes. A broader, indirect ❸ ❷ ❶ descent occrs on the downbeats of the last three easres (. 0 ). The prealence of cadences with theses prototypical bass claslae and stepwise descending elodies ade the easily recognizable and highly predictable, which in trn allowed coposers to sbect the to extensie elaboration and ariation with little loss of coprehensibility. In a Parisian trio by Johann Schobert, for instance, we see a flrry of thirty-second-note figrations, a trilled ❷ oer both s, and the sbstittion of 1 for the noral, bt the nderlying cadence is still qite siilar to that of Gainiés: ex Schobert, Ops 6, no. 1, t. 1, Andante,. 6 (ca ) 6 b? b x «n p «i-re-do Notice that Schobert, like Gainiés, began his cadential passage with a weaker articlation (shown nder a dotted brace). These 7-to-1 soprano claslae will be discssed later in the chapter. In particlar, a connection will be sggested between the older cadenza doppia and this newer cobination of a soprano clasla with a following bass clasla. Melodic descents were clearly the nor aboe the standard bass, and the ❸ ❷ ❶ close was often only the terination of a longer descent. A stly poplar aria by Antonio Salieri (170 18; see ex. 11.8), later chosen by Mozart as the thee for a set of keyboard ariations (177), closes with a Prinner that Salieri incorporates into a final cadence. The elodic descent stretches fro ❻ down to ❶. That broad descent was not, howeer, in a fixed relationship with the bass. In Mozart s last ariation on Salieri s thee (see ex. 11.9), he retains the broad ❻ ❺ dyad of the Prinner bt accelerates the reaining descent so that the ariation reaches ❶ and sonds ❶ ❼ ❶ where Salieri s thee sonded ❸ ❷ ❶. At the close, a Prinner-like alto part and a 1 tenor part oin in presenting all for of Walther s claslae, thogh the pper oices artflly delay arriing at their destinations for half a beat.

7 Chapter 11 claslae 1 ex Salieri, La fiera di Venezia, Mio caro Adone, Andante,. 1 (177) 1 z prinner. y. z descending hexachord y..? «x Mi-Re-Do ex Mozart, Var. on a thee by Salieri (KV00e), Var. 6, Allegretto,. 1 (177) 1 z descending hexachord y x prinner z y { z y x k a J This cobination of a soprano s ❶ ❼ ❶ with a tenor s 1 was heir to a long contrapntal tradition. The sae pairing is clearly eident in an Adagio oeent fro a string qartet by Ligi Boccherini (17 180; see ex ), where a tenor-like 1 in the second iolin is paired with ❸ ❷ ❶ ❼ ❶ in the first iolin). In Walther s ters, the first iolin plays a clasla cantizans, the second iolin a clasla tenorizans, and the ioloncello a clasla perfectissia. Boccherini aoids the sal dissonance oer (cf. Salieri s aria, ex. 11.8) and instead arpeggiates tones of the local harony (., beat 1). Descending thirds oer were alost as coon as descending scales.

8 16 sic in the galant style ex Boccherini, String Qintet, Ops 11, no. 1, t., Adagio non tanto,., (1771) 10 b b b? b b b { «n k a do-si-do Versions of this type of Do-Si-Do cadence (to se a odern solfège), a faorite for slow oeents, cold also be presented with only hints of the descending inner oice, as in a cadence fro an Andante for keyboard by J. C. Bach (17 178). In coon with other cadences, it has a dissonance aboe (the grace note G at the start of easre 6 in relation to the iplied bass Ab): ex J. C. Bach, Ops 1, no. 6, t., Andante,. (Paris, 177 7) b b b a a. k. do-si-do { a? b b b a a a The ost faos of galant cadences was identified by the nglish sicologist Charles Cdworth ( ). It ses the standard bass in connction with a elodic descent throgh the fll octae fro a high ❶ to the final ❶. In Cdworth s words, it was so typical of the age that one can refer to it siply as the galant cadence. In the book at hand, which incldes so any other arieties of thoroghly galant cadences, Cdworth s designation wold be confsing. So in honor of his contribtions to, and any wise words abot, the stdy of galant sic, I will call it the Cdworth cadence. Here is the odel cadence as presented in his article for The Monthly Msical Record: 7

9 Chapter 11 claslae 17 e x Cdworth s cadence galante (199) cdworth? { zyx J k. J. Many featres of the Cdworth cadence hae already been discssed, sch as its initiation of a rapid scalar descent fro a dissonance (❼) oer in the bass, its coordination of the elodic ❸ ❷ oer the two s in the copond bass (the cadential 6/ ), and (thogh not in Cdworth s own exaple) the freqent se of a trill on ❷. So it is closely related to the other types of standard cadences. Bt the salience of the elody rising to the high ❶ before hrtling down to the final ❶ was sch that a Cdworth cadence tended to sere as a ain cadence placed at the end of an entire oeent or at least a large section. Becase neros instances of the Cdworth cadence will be fond throghot this book, it is nnecessary to proide ore exaples here. Bt it ay be sefl to highlight soe special cases. Like other cadences, the Cdworth cadence can be nested within a larger progression, as in the exaple below by Tartini (ex. 11.1). A descending scale ❺ ❹ ❸ ❷ ❶ is both interrpted and then copleted by the Cdworth cadence. The dotted brace indicates the weaker initial articlation that Tartini s passage shares with those of Gainiés and Schobert presented earlier. ex Tartini, Ops 6, no., t. 1, Adagio,. 17 (Paris, ca. 178) cdworth 17? y x { z y x ««p { {

10 18 sic in the galant style When sed in the inor ode, the Cdworth cadence will sond the lowered seenth scale degree in the elodic descent oer in the bass, followed by the raised seenth degree in an inner oice oer the last in the bass, as in this passage by Baldassare Galppi ( ) (., 1st iolin F, nd iolin F): 1 ex Galppi, Concerto a qattro in Bb Maor, t. 1, Grae sostento,. 1 (ca. 170s) b b? b b z { k J k {zyx cdworth Here the initial, weaker articlation shown nder the dotted brace is a clasla tenorizans or tenor clasla (to be discssed later in the chapter). Two frther ariants of the Cdworth cadence depend on perforance practice and are ths difficlt to specify with confidence in any indiidal passage. The first of these sally occrs in a aor-ode oeent after a odlation to the doinant key. As shown in exaple 11.1 by Ciarosa, a Cdworth cadence in the local key of Bb ses the lowered seenth degree (Ab) in place of the expected A : ex Ciarosa, Sonata C7, Andantino,. 11 (ca. 1780s) 11 b b b? b b b cdworth b { z yx n

11 Chapter 11 claslae 19 ighteenth-centry anscripts were dashed off at great speed and conseqently abond in errors of eery kind. So it is possible that perforers wold play the raised seenth degree ot of habit. Yet any clean, carefl anscripts and prints do see to indicate the lowered seenth degree, which cold be described as a Mixolydian ariant, as an effect of the global key (b aor in ex. 11.1) on the local context, or as a tonicization of the sbdoinant. Another explanation wold be that since any of these Mixolydian Cdworth cadences approach the seenth degree fro below (F to Ab in the exaple), sicians inoked the rle that a note aboe la shold be fa, which wold reslt in the lowered seenth. Siilar qestions cold be raised abot the following cadence, again by Ciarosa: ex ? Ciarosa, Sonata C, Allegretto,. 1 (ca. 1780s?)? { cdworth zy x n J Only the descent fro ❻ to ❶ is notated, bt it is possible that perforers conditioned by other siilar cadences wold add a ❼ (either raised or lowered) as an iproised appoggiatra to ❻. The ❼ in the noral Cdworth cadence is, after all, ost coonly notated as a grace note. On hearing a standard bass, listeners cold proect specific expectations abot its otcoe, and those expectations were a resorce pon which coposers cold draw. As early as 160, the philosopher Francis Bacon had rearked, Is not the trope of sic, to aoid or slide fro the close or cadence, coon with the trope of rhetoric of deceiing expectation? 8 The rhetorical se of isdirection or digression is iportant in galant sical discorse. A ariety of eighteenth-centry ters referred to these nexpected otcoes eaded cadence, aoided cadence, feigned cadence, deceptie cadence, the deceit, and so on. Perhaps the best known today is the deceptie cadence, which featres a standard bass that, rather than falling fro to 1, contines to rise to 6. The deceit, or trick as it was soeties called in Italian (inganno), was particlarly well chosen since it balanced, against the learned expectation for the bass to fall fro to 1, the eqally strongly learned expectation for stepwise oeent to contine. The deceptie cadence was taght throgh partienti, and the two exaples below by the renowned Neapolitan

12 10 sic in the galant style aestros Carlo Cotacci (ca ) 9 and Nicola Sala, 10 show that essentially the sae bass and figres were sed in both the aor and the inor odes: ex Cotacci, fro a partiento in C inor,. 7 (Naples)?b b 7 deceptie 6 n 6 n b 6 6 coplete o! U U D ex Sala, fro a partiento in D aor,. 9 (Naples)? 9 deceptie coplete o! 6 U w Other departres fro expectation fell nder the rbrics of aoided or eaded cadences, ters that were sed interchangeably. A second partiento by Cotacci shows how a cadence ending on in the bass, rather than 1, eaded fll closre and, like the deceptie cadence, reqired a second, sccessfl attept at cadencing (y exclaation point arks the point of easion): 11 ex Cotacci, fro a partiento in inor,. 7 (Naples)? 7 eaded coplete! U D asions were especially coon in the elody. The cadence by J. C. Bach presented earlier (ex ) was actally his second attept to coplete the elodic ❶ ❼ ❶.

13 Chapter 11 claslae 11 His first attept (ex. 11.0) eered away fro the final ❶ at the last oent, coing within a sixteenth note of sonding the goal before leaping p to ❺. ex J. C. Bach, Ops 1, no. 6, t., Andante,. (Paris, 177 7) b b b eaded { y! { a. k coplete. a? b b b a a a a a a In an Andantino by Ciarosa (ex. 11.1), the sae techniqe is sed, bt with the effect of forcing a preatre restarting of the phrase. His Roanesca bass concldes as expected, bt his elody reaches fll closre only on the second attept. Properly speaking, an entire passage like Ciarosa s first Roanesca (. 1 ) is not eaded. Rather, a crcial oent of easion affects or eory of the whole passage, which we then often characterize etonyically as eaded. ex Ciarosa, Sonata C7, Andantino,. 1 (ca. 1780s) 1 b b b. eaded coplete J. J b!. J. J b? b b b Siilarly, deceptie cadences are only deceptie at a gien oent. Up to that oent they are sally perceied as noral cadences. In soe cases the sense of easion can be alost entirely retrospectie. For instance, the first Mi-Re-Do cadence shown at the beginning of this chapter (ex. 11.) sees far less closed when one hears its larger context (see ex. 11.). In easre, the failre to dwell long enogh on the first cadential ❶, perfored staccato, sees in retrospect to lanch a digression and then a restateent, 1 with the properly dilatory and satisfying close coing finally in easre.

14 1 sic in the galant style ex. 11. Ciarosa, Sonata C0, Allegretto,. 1 (ca. 1780s) a J a J! Ẋ Ẋ..... a J a J.? { Ẋ Ẋ Ẋ Ẋ Ẋ Ẋ Ẋ { 1 eaded coplete In the corse of the centry, as oeents becae eer longer, so did cadences. While the Cdworth cadence reained a staple of saller oeents, it was not easily enlarged. Its characteristic descending rsh of notes wold hae lost ch of its ipact had the cadence been stretched ot and hence slowed down. What took its place in longer oeents what I call the Grand cadence borrows fro the Cdworth cadence its point of initiation on high ❶ and the general descent toward the final ❶, bt is in other respects a separate type. Oer the of the standard bass (whether siple or copond ), the Grand cadence places a ❶ ❻ ❺ descent in the elody, as can be heard in the following exaple by Cleenti, which closes an episode in b aor: ex. 11. Cleenti, Ops, no., t., Allegretto,. 109 (1780) 109 b b? b b n grand cadence b b b «z y The grandest of Grand cadences inoled repetitions engendered by the techniqes of deception or easion st discssed. An excerpt fro a string qintet by Dittersdorf presents a first stateent of a Grand cadence that ends with the deceptie bass and a elodic descent only as far as ❸. Upon repetition, of corse, Dittersdorf proides the expected coplete closre:

15 Chapter 11 claslae 1 ex. 11. Dittersdorf, String Qintet (K. 190), no. 6, t. 1,. 1 (1789) n k 1 1 grand cadence... Deceptie z y Perhaps the liit in aoidance or easion wold siply be to stop a cadence short of its goal to leae it half finished. Half cadences wold then be described as those that stop on the penltiate bass tone,, coonly with an appoggiatra in the elody ending on either ❷ or ❼. Yet half cadences see not to hae been perceied as deceptions or tricks. They had their own featres and created their own expectations. In a inet by Pasqali, for exaple, a half cadence ends the first half of the oeent: x grand cadence... coplete z y y x n k? o ex. 11. Pasqali, Ops 1, no., t., Menet,. 7 (London, 17) half cadence 8 a {? 8 { 7 Notice that, in relation to the standard cadence, the half cadence is shifted etrically forward so that, rather than 1, falls on a downbeat (the sixteenth notes in the bass of easre 8 lead back to D aor the first tie and to inor the second tie). That is, althogh the half cadence has long been described as deriing its effect fro an incoplete haronic pattern, the difference in etrical scansion ay be eqally iportant. Later in the centry it becae fashionable for a half cadence to hae a trill on ❸. As shown in exaple 11.6 by Pietro Nardini (17 179), soe fors of the half cadence no longer relied on the standard bass bt leaped directly fro 1 to.

16 1 sic in the galant style ex Nardini, Ops, no., t., Allegro,. 1 (ca. 1769) 1? half cadence «J The last of the claslae perfectissiae to discss, and the ost Italian of the all, featred the standard bass nder an obstinate and nchanging ❶ and ❸ in the elody or the inner parts. This cadence was ost often played twice, with a deceptie ending the first tie and the expected ending the second. The exaple below by the Neapolitan coposer anele Barbella ( ) appeared in a London print (176) of six iolin sonatas, fie of whose final oeents carry sbtitles All Italiana, Alla Venetiana, Alla Napolitana, All Inglese, and Alla Francese that sggest a sical tor of ropean styles. The oeent containing the cadence in qestion was the one depicting his hoe city of Naples, and Barbella gae it the frther description Sl fare di Plcinella, which I take to ean in the anner of Plcinella. Thogh Plcinella did not refer exclsiely to the cadence, the connection with this stock coic character of the coedia dell arte sees apt. The Plcinella cadence ignores the strictres of conentional conterpoint and instead reels in the free interplay between the oing bass and the static pper parts: ex Barbella, Six Solos, no., t., Presto,. 6 (London, 176) 6 b b 8? b b 8 plcinella... Deceptie plcinella... coplete «Ẋ. «. «. «. «. «o Nardini was sically related to Barbella throgh connections with the iolin school of aestro Tartini at Pada. To show that the Plcinella cadence was sed beyond Naples,

17 Chapter 11 claslae 1 I present exaple 11.8, fro Nardini s Ops iolin sonatas, belieed written in northern Italy or Astria. Nardini sets a deceptie Plcinella twice with scintillating haronic clashes, exectes a cadenza-like solo that toches the high A and begins the descent of the hexachord (. 0) before initiating a Cdworth cadence. He gies that Cdworth cadence a deceptie bass and an eaded elody (. ), which leads to a aried repeat of the sall cadenza. Nardini finally closes with a coplete and ephatic Cdworth cadence in the lower register. ex Nardini, Ops, no., t., Allegro,. (1769)? o o n «{. 6 6? z! y x. { 0 z plcinella... Deceptie y y y y y x z y x cdworth 6 6 prinner plcinella... deceptie y y y cdworth The 7 1 Claslae: Claslae cantizans (closes characteristic of a soprano) In 1797 Vincenzo Manfredini ( ) wrote that cadence signifies a close or state of repose... [that can] sere not only to end an entire coposition bt also to close off a sical phrase or period, it being the case that sic, like erbal discorse, has its phrases, its periods, its pnctation arks of eery sort, its digressions, etc. 1 Manfredini was expressing a widespread notion. Alexander Malcol ( ) had ade the sae points early in the centry when he declared that by a close or cadence is eant a terinating or bringing a Melody to a Period or Rest, after which it begins and sets ot anew, which is like the finishing of soe distinct Prpose in an Oration. 1 In the spirit of these siiles one

18 16 sic in the galant style ight liken the coplete cadence to a period at the end of a sentence, and the half cadence to a colon or qestion ark. For the weaker articlation afforded by a coa I sggest the ild close in this brief exaple by Mozart (see chap. 16 for the entire oeent): ex Mozart, Sonata in C Maor (KV), t. 1, Allegro,. (1788) p coa y «x The 7 1 ascent in the bass and the coordinated descent of ❺ ❹ ❸ (or st ❹ ❸) in the elody create a sall inflection that, like a coa, sets off a syntactical nit fro what will coe next. It its larger context, Mozart s Coa fored the end of a Prinner. It cold eqally well hae fored any nit in a Monte, the second, aor-ode nit of a Fonte, or the close of a Meyer, Jpiter, or Pastorella. Bt the Coa was not liited to foring a coponent of larger scheata. It cold also stand on its own. I first read Manfredini s siile that sic, like erbal discorse, has... its pnctation arks dring a isit to the Milan Conseratory Library in 00. It propted y selection of coa, colon, and period as reasonable analoges for the cadence-types discssed aboe (colon = half cadence, period = coplete cadence). Two years later, in reading a discssion of cadences by Manfredini s conteporary Francesco Galeazzi (see chap. 9), I was both srprised and heartened to see nearly the sae words applied to the sae cadences. Galeazzi, who hiself had read Manfredini, proposed a graded series of for cadence-types ranging fro the ery weak to the ery strong, each related (where possible) to a ark of pnctation: The first [type A, a elodic easion] has no analoge in [erbal] discorse; the second [type B, a Coa] has the effect of coas [irgole] and seres to distingish the clases [clasole]; the third [type C, a half cadence] has the effect of a seicolon or colon, distingishing the phrases; the last [type D, a coplete cadence] distingishes the sentences and has the effect of a period. 1 Galeazzi proided a elodic exaple, in the style of Riepel, and arked the for grades of cadences with the letters A, B, C, and D. As shown in exaple 11.0, type B the

19 Chapter 11 claslae 17 Coa obiosly has the ❺ ❹ ❸ elody. One can infer the 7 1 Coa bass (or Long Coa bass, see below) fro Galeazzi s coent that his type B has the cadential fndaental bass (presably V I or II V I) bt does not hae it in the basso contino, eaning the actal bass: ex Galeazzi, leenti teorico-pratici di sica..., ol., ex. 19 (Roe, 1796) 1 7 c. J a a C «D B y x o p D A Coa wold often precede stronger cadences. In the Adagio oeent that begins the fifth of Nardini s Ops iolin sonatas, a Coa (with the High ❷ Drop) occrs st before the final cadence: ex Nardini, Ops, no., t. 1, Adagio,. 1 (ca. 1769) x «? 1 coa p i-re-do o This was a ery coon practice, and seeral exaples of Coas preceding stronger cadences hae already appeared earlier in this chapter (e.g., exx. 6, 7, 1, and 1; for exx. 7, 1, and 1 the Coa is arked with a horizontal dotted brace). A featre worth noting in Nardini s treatent of the Mi-Re-Do cadence is the placing of 6 before. Nardini was

20 18 sic in the galant style a deoted stdent of Tartini, and that soewhat nsal bass was a cliché in the works of Tartini and his school at Pada. In the opening oeent of his forth sonata fro this set, Nardini placed a ariant of the Coa twice before his final cadence. I ter this ariant the Long Coa, and it featres a rise in the bass atching the ❺ ❹ ❸ fall in the elody: ex. 11. Nardini, Ops, no., t. 1, Adagio,. 1 (ca. 1769) 1. y x.? L. C. yx.. long coa o p o «p i-re-do The Long Coa soeties sered as an intensification of the noral Coa. In an Andante oeent by Castrcci, the second half of the oeent begins with a Roanesca that dissoles into two Coas. Then a Long Coa, with a dissonance between 6 in the bass and ❺ in the elody, leads back to the oerall key of F aor:.. ex. 11. Castrcci, Ops, no., t. 1, Andante,. (London, 17) Roanesca coa coa long coa y yx y y x x b «... «a a ««a? b n n 7 b 6 6 b b a a J J p o p p o p Johann Friedrich Dabe (ca ), an eighteenth-centry sician and writer who worked in Stttgart and Vienna, took note of a pairing of chords that, althogh soe-

21 Chapter 11 claslae 19 what frowned pon in the past, had becoe tterly essential. 16 Dabe was referring to a 7 1 clasla cantizans coon in the repertory at Stttgart, where he sered as second flte nder senior chapel aster Niccolò Joelli ( ), who was aong the ost brilliant prodcts of the Neapolitan conseratories. The following passage fro Joelli s opera Deofoonte shows his fondness for this relatie of the Coa, which I call the Joelli in his honor: ex. 11. Joelli, Deofoonte, act, scene 10,. 1 (Stttgart, 176)? a. k a. K a. K a. K oelli oelli cdworth { zy x z y z y! Che fa - - to Che fa to cr - del! p p o! The two stateents of the Joelli precede a Cdworth cadence that is dobly sfggite (It., fled or eaded ), to se Dabe s ter, by the deceptie ending in the bass and the easie leap p to G in the soprano. There is, of corse, ch ore that follows this excerpt, and I present the coplete aria in chapter. Two final species of claslae cantizans ight with eqal stification hae been introdced along with half cadences. One of the, the Conerging cadence, is so naed by irte of the way its two oter oices oe toward each other, conerging on the doinant chord. Its bass shares any featres with the half cadence, its core elody shares the interallic pattern of the Prinner, and its ending is eqialent to the Coa. A siplified ersion is shown in exaple 11.. A typical exaple of the Conerging cadence appears at the end of the orchestral introdction to Glck s faos aria Che farò senza ridice? (176; ex. 11.6). Glck begins his short ritornello with a Meyer, whose second half closes with a Prinner. He treats the Conerging cadence s elodic oes fro ❸ to ❷ and fro ❶ to ❼ as opportnities for appoggiatras. As st entioned, one cold easily interpret the for ain elodic tones of Glck s Conerging cadence as part of a odlating Prinner ❻ ❺ ❹ ❸ in the key of G aor. As discssed in chapter, the sal Italian solfeggio wold hae been the sae for both interpretations, la sol fa i. The ascending chroatic bass is siilarly bialent, with the final seitone F G being both in C aor and 7 1 in G aor.

22 160 sic in the galant style ex. 11. A siplified Conerging cadence conerging {? ex Glck, Che farò senza ridice?. 1 (176) 1 eyer { z prinner y.. n J x conerging {? k Again, in an eighteenth-centry context, both interpretations wold hae the sae solfeggio i fa. Becase a Conerging cadence sets p the possibility for a odlation to the doinant key bt does not garantee that odlation, I will ark its scale degrees in the context of the original key ( instead of 7 1). This faors one eaning bt in no way excldes the other. In Glck s aria, iediately after this Conerging cadence Orfeo begins to sing in the key of C aor. The Conerging cadence was an exceedingly poplar schea and deeloped seeral sbtypes with characteristic featres. Dabe, writing abot nsal cadences, proided the thoroghbass shown in exaple 11.7, which spells ot the startling clash of a diinished octae between the bass and soprano parts (y realization in saller noteheads):

23 Chapter 11 claslae 161 ex Dabe, General-Bass in drey Accorden (176)? x D n 6 w w conerging ( n ) n w The noral conerging elody is dobled a third higher to descend ❺ ❹ ❸ ❷, a descent shared with any half cadences. Holding ❹ while the bass ascends fro to cases the striking dissonance and cross relation of ❹ against, a diinished octae. Gien the nber of passages in which this occrs, it is likely that the effect was intentional. As to the thoroghbass at the oent of the dissonance, it is either a isprint for or an intrsion of Dabe s own pecliar theory of harony (ore on this later). A fastidios coposer like J. C. Bach cold choose to aoid the direct clash by inserting into the elody a discreet rest (shown in brackets, ex. 11.8), althogh the ipression of a cross relation reains rather strong: ex J. C. Bach, Ops 1, no. 6, t., Andante,. 1 (Paris, 177 7) 1 b b b? b b b n { n n z y x[ a ] a J a J n n Referring to his thoroghbass exaples of the clashing Conerging cadence and the Joelli schea, Dabe rearked, Nowadays these last two passages are considered well known and coon, despite the fact that they were seldo regarded as legitiate in past ties, in particlar when the twele odes were still poplar. Now they are tterly essential

24 16 sic in the galant style and appear in all categories of coposition. They hae proen their worth. Therefore, beginners st know the. 17 Soe presentations of the Conerging cadence featre an analoge of the High ❷ Drop. As was discssed in chapter, the High ❷ Drop is a fall fro ❷ to ❹ ❸, and it signals an approaching close. The sae syllables re fa i cold be applied to a descent fro ❻ to ❶ ❼, a High ❻ Drop as shown in the following two, florid exaples: ex Ciarosa, Sonata in C (C6), Allegro,. 9 (ca. 1780s) 9? 8 y x { z 8 J conerging ex Cleenti, Ops, no., t., Presto,. 118 (ca. 1780s) b b b? b b b J a a J a z J x { n conerging n Johann Joachi Qantz ( ), in his treatise on playing the flte (17; see chap. 8), entions that this descending ❻-to-❶ pattern occrs ery freqently before caesras. 18 Regarding the Conerging cadence, the aboe two exaples closely atch Qantz s precepts for decorating a plain High ❻ Drop. Ciarosa s cadence, exaple 11.9, confors to Qantz s dict that six notes proceeding by step ay be sed to fill ot

25 Chapter 11 claslae 16 this interal, 19 interal eaning the drop fro ❻ to ❶. Another of Qantz s recoendations for ebellishing the High ❻ Drop descending by thirds 0 describes exaple 11.0 by Cleenti. My final species of clasla cantizans was eployed to introdce a cadenza. The ost coon for contrasts a sstained ❶ in the elody against a rising scale with raised forth degree in the bass. When the bass reaches, etered tie ceases and the soloist begins to exteporize. entally, with a trill on ❷, the soloist will signal his or her readiness to retrn to etered tie, and the accopanist will proceed as if conclding a standard cadence. In an exaple fro 177 by Locatelli, a iolin irtoso, the cadenza for iolin solo was written ot. I hae placed in parentheses the obligatory 6/ chord, soething that was self-eident at the tie: ex Locatelli, Ops 6, no. 11, t. 1, Adagio,. 7 (177) b b? b b nb n. «n k 6 ( ) cadenza { { A siilar exaple by Gioanni Battista Viotti (17 18) fro alost fifty years later shows the stability and contining tility of this tradition. Following the Conergingcadence bass, the brara passagework is here left to the perforer s discretion: ex. 11. Viotti, Ops, no. 1, t., Adagio,. 0 (ca. 178) 0? J ( ) 6 cadenza «U. a a

26 16 sic in the galant style The 1 Claslae: Claslae tenorizans (closes characteristic of a tenor) For the edieal onks and clerics who established the precepts of conterpoint, a descending step to the final tone of a Gregorian chant was so prealent a closing gestre that it wold hae been srprising had they not sed this gestre as a point of reference. By their rles, if one oice sang the chant and descended a step at the close, the conterpointing oice shold copleent that gestre by ascending a step. If the chant descended by a whole tone, the conterpointing oice shold ascend by a seitone, and ice ersa. The oice holding the long tones of the chant was called the tenor (Lat., to hold ), the conterpointing oice singing apart fro the tenor was called the discant (Lat., sing apart ), and their coordinated oeents established the discant-tenor fraework that is at the heart of centries of polyphony. By the eighteenth centry, the discant-tenor fraework had becoe a elody-bass fraework. Claslae that still featred a descending step at the close fell nder Walther s rbric of claslae tenorizans, which is to say sall closes that behae in the anner of the old discant-tenor fraework. If the bass descends a whole step and the elody ascends a half step, the reslt was a clasla era 1 or tre close, as in this exaple fro a qartet by Galppi (see chap. 1 for the coplete oeent): ex. 11. Galppi, Concerto a qattro in Bb Maor, t. 1, Grae sostento,. (ca. 170s) b b? b b n K k clasla era z { Galppi was in charge of all sic at Saint Mark s basilica in Venice, and his predecessors in that illstrios position inclded asters of Renaissance conterpoint like Willaert, Rore, and Zarlino. For the, the aboe cadence wold hae been a C-cadence, as the scale-degree arkings indicate. Bt by Galppi s tie the eaning of the cadence had altered, and it was sed to close on a doinant chord within a larger tonic key. Ths while the aboe Clasla Vera represents a oent s pase and focs on the C-aor chord, it shares with the half and Conerging cadences its balance between two closely related hexa-

27 Chapter 11 claslae 16 chords or keys tonic and doinant, or the natral and hard systes. A -to-1 bass is the local and older eaning, a 6-to- bass the global and newer eaning. The other type of discant-tenor cadence wold occr when the tenor descended by a half step and the discant ascended by a whole step. The reslt is a for of the Clasla Vera better known today as a Phrygian cadence, by reference to the older type of scale that featred a half step between and 1. Like the standard Clasla Vera, the Phrygian cadence has a dal focs, locally on the octae to which the oices expand, and globally on the key in which that octae is the doinant. Both the Clasla Vera and its Phrygian ariant can be seen in the excerpt below by Drante (ex. 11.). Modern ears find it ery difficlt to hear the C chord at the end of Drante exaple as a keynote, so I hae arked the scale degrees of the Phrygian cadence in ters of the global key of F inor, and in particlar as inoling the two lower bass tones of the Phrygian tetrachord. ex. 11. Drante, Stdio no.,. 7 (Naples, 177) b b b a b n b b n 7? b b b clasla era { phrygian xy «a b k b b p o phrygian tetrachord The stepwise descent of the bass throgh a Phrygian tetrachord, with the pper oice descending in parallel a tenth higher, was often sed as a inor-ode analoge of the odlating Prinner. In the case of Drante s passage, een thogh his Phrygian cadence ends with a C-aor chord (which odern ears will likely hear as the doinant chord in the key of F inor), he sets the ensing phrases in the key of C inor. Again, the tonal plasticity of the galant scheata was great, especially earlier in the centry. If the discant oice of the Phrygian cadence, st before ascending to the octae, is chroatically raised a half step, its distance fro the bass becoes an agented sixth, which is the nae for the third type of clasla tenorizans. A partiento by Drante s stdent Fedele Fenaroli ( ) proides a good coparison between the Agented Sixth ariant of the Phrygian cadence and, in the relatie aor key (Bb), the noral Clasla Vera.

28 166 sic in the galant style ex. 11. Fenaroli, Partienti, book, no.,. 1 (ca. 1770s) b b y x y w w 1 8? b b b b { w n w? b b w w w 7 6 w 6 n b n w w b k ag. 6th o clas. era incoplete D incoplete The different sets of scale degrees indicated for the Agented Sixth and the Clasla Vera reslt fro a odern, single-key-center perspectie. In the eighteenth centry these two cadences are identical in all bt the size of their sixth and the choice of which oice will oe a seitone in expanding to the octae. All the tenor claslae Clasla Vera, Phrygian cadence, and Agented Sixth had siilar fnctions and, as the aboe exaples by Drante and Fenaroli testify, were treated as analoges of one another. Fenaroli s bass also indicates a standard cadence at the end of each line. In realizing these cadences, I chose the incoplete for where the elody ends on ❸ rather than ❶. Harony books typically label sch cadences iperfect, an nfortnately literal translation of the Latin iperfecta ( incoplete, nfinished ).

29 Chapter 11 claslae 167 The Claslae: Claslae altizans (closes characteristic of an alto) A descent in the bass fro to often preceded a stronger cadence. A deflection downward before reersing into the pward stepwise ascent of the standard bass sees to hae been a preferred strategy. The thee by Salieri shown earlier (ex. 11.8) presented the first two stages of a Prinner, with its bass, before lanching into a final Mi-Re-Do cadence. Haydn sed the sae strategy in the thee of his set of ariations presented in chapter 10. If the pward thrst of the cadential bass signified forward, goal-directed otion, the descent cold by contrast see a step backward, what I ter a Passo Indietro (It., a step to the rear ). The ost strongly characterized for of the Passo Indietro carried the pair of thoroghbass figres 6// and 6/, sally shortened to / and 6. In a siciliana for flte, iolin, and thoroghbass by Qantz, we can see the Passo Indietro preceding each of three attepts at a coplete cadence. Flte and then iolin first try to close separately, bt their way sees blocked by the so-called Neapolitan sixth (Db, arked as b6 in the thoroghbass). Their third, cobined attept ltiately scceeds after sronting a deceptie cadence: ex Qantz, Trio Sonata in G inor, t., Siciliana,. (ca. 170s) b b flte 1. b 8 b.! n. a a b J. J { n J. D. b b 1 8 a. a a. b iolin.! n J. nn b k n. b n? b b 6 6 b 6 b6 b n b 6 b 1 8 J J J J J J n 6 n b. D.. o passo indietro Mi-Re-do passo indietro Mi-Re-do Mi-Re-do... Decep. passo indietro coplete Fro Walther s point of iew, at the end of this passage the elody-bass fraework proides the ost coplete close or clasla perfectissia while the discant-tenor fraework (here, flte-iolin) proides a siltaneos Clasla Vera or clasla tenorizans.

30 168 sic in the galant style Still More Claslae For its final cadence, the inet by Sois (ex..) eployed a rhythic ariation on the standard cadence. In place of two easres that wold norally scan 1 1 Sois wrote a passage that scans 1 1 1, an effect known as heiola (fro the Greek word for the ratio :). Heiola cadences occr only in triple eters and predoinantly in the first half of the centry. Only the standard cadence sees to hae been refitted to the heiola scansion. As ore and ore techniqes were explored to extend, eade, aoid, elde, and generally pt off the closre of a strong cadence at the end of an iportant sical section, coposers risked confsing their adiences. The Cdworth cadence had been a reliable ce of the end of a aor section, bt the addition of sall codas and cadential echoes cold nderine its finality. Whether for this or for other reasons, galant coposers drew instead pon a final, nadorned elodic fall to sere as a sical stop sign. The endings of the first and second hales of a faos Mozart keyboard sonata present the two ost coon ariants of the Final Fall (ex. 11.7; see chap. 6 for the whole oeent). The first is the ore galant, and inoles a fall fro ❸ to ❶ (in the local tonic, here G aor). The second, which closes the second half of this oeent, falls an octae fro ❶ to ❶ in C aor. Nineteenth-centry sicians appear to hae faored the octae ersion of the Final Fall, and it can be heard at the end of any Roantic concert works for piano. ex Mozart, Sonata KV, t. 1, Allegro,. 7 8,. 7 7 (1788)? 7? 7 Final Fall Final Fall { { { {

31 Chapter 11 claslae 169 In chapter 7, the discssion of the Monte Roanesca taght by Mozart to Thoas Attwood ade ention of a cadenza doppia or doble cadence. The siple, copond (see ex. 11.), and doble cadences were the three types expressly naed and taght to stdents of partienti (see also appendix B, ex. B.1). xaple 11.8 shows the two standard fors of the Cadenza Doppia, the first one the basic type and the second one characterized by the addition of a doinant seenth (F). ex The Cadenza Doppia, plain and with the doinant seenth Cadenza doppia 1 Cadenza doppia w 7 w w w w w Historically, this cadence was old een in the eighteenth centry, retained largely for pedagogical or sacred works. Generally resered for the final cadence, the Cadenza Doppia ade an appearance at the end of alost eery partiento. This eant that as the stdent worked his or her way throgh a large collection of partienti, the Cadenza Doppia wold be played oer and oer again. By dint of repetition each of its oices becae ebleatic of cadencing, and traces of those oices can be fond in any of the lighter galant claslae. If one takes the soprano and alto oices fro a ersion of the Cadenza Doppia with the doinant seenth and reoes its pedal-point bass, one can replicate the soprano-bass cobination of a Coa followed by a Mi-Re-Do cadence with the standard bass (ex. 11.9). Seeral exaples of this type were shown earlier in exaples 11.6, 7, and 1. ex Hoologies between the Cadenza Doppia and ore galant claslae Cadenza doppia coa coplete x x w w p w w w p Walther s for categories of claslae, which recognize the partly independent eanings and histories of the indiidal oices, were differentiated only by the final two tones in the bass. The sbcategories shown in this chapter were soeties differentiated by how the bass arried at those final two tones. The Coa and Long Coa, for exaple, differ in haing 7 1 and basses, respectiely. Sala ade a distinction between the coon types of standard cadences and what he tered a long cadence (cadenza lnga). 1

32 170 sic in the galant style ex Sala, the Long cadence (ca. 1790s)? w w w w w o w Sala s Long cadence featres two falling thirds in the bass 1 6 that precede the clasla perfectissia. Cadences that follow a Roanesca will hae a bass whose downbeats fall on 1 6 before the penltiate doinant chord. Indeed, the ordering of Paisiello s partienti in a 178 print sggests that this aestro took the Roanesca as a point of departre for ore odern phrases that ephasized the falling thirds in the bass:? 1 p. ex Paisiello, Regole, arios partienti (St. Petersbrg, 178)? b b roanesca coplete b 1 p. 6? 1 p.? 1 p. 1 7? b p w.. w w w. n roanesca... o roanesca o o o o k k k.. coplete J. k p k prinner conerging coa passo indietro clas. era coplete k clas. era

33 Chapter 11 claslae 171 xaple 11.1 aligns fie phrases fro fie of Paisiello s partienti, with all bt the last sering as opening gabits. His first exaple presents an obios Roanesca with Prinner riposte, bt his later exaples oe strongly toward the Falling Thirds schea. Notice also that in the later exaples he begins to ary the types of cadences that follow the Falling Thirds, ths stretching ot and redirecting the expected close. It wold see, fro the eidence of these excerpts, that Paisiello s collection of partienti not only inclcated the any scheata of galant practice, bt also presented the in a general historical progression fro older anners toward newer ones. The partiento tradition represented an intense nonerbal for of instrction originally intended for poor boys learning a trade. The well-to-do aater desired soething ore literate, concise, and easily digested. Dabe s treatise was directed toward this latter adience, and its title (translated) of Thoroghbass in Three Chords presages the sort of handy how-to book that wold becoe a iddle-class staple. In his treatise he proides a concise table of cadences to coer all the ways sitable for odlating fro G aor to D aor, its doinant. There is considerable oerlap between Dabe s Twele Ways to odlate and the cadences discssed in this chapter. In the table presented on the following page (ex. 11.), I hae annotated Dabe s chart to bring ot the correspondences aong Dabe s exaples, Walther s claslae, and the arios cadences discssed throghot this chapter. Dabe considered his first ten ways natral and the last two artificial (they introdce a note, G, foreign to either key). He proided only basses for these cadences, and I fond it difficlt to proide realizations of the that respected his thoroghbass figres while still being characteristic of the galant style in Stttgart. His treatise was written to show that three basic chords cold sere for any sical sitation. That is a gross siplification and explains why there is soething artificial abot all his exaples. Withot belaboring the details, perhaps the point can be ade ost siply by noting that, as qoted in chapter (ex..1), the Neapolitan aestro Saerio Valente recoended sing the odlating Prinner for a departre to the fifth of a key in the aor ode. 6 Sch is the sical sitation for each of Dabe s twele ways. Yet not one of the takes Valente s path of least resistance. That is, not one of his exaples allows the bass to descend stepwise fro G to D (the bass of a odlating Prinner). Thogh the specifics of Dabe s theory (rather than the reglarities of galant practice) see to hae constrained his creation of exaples, his table nonetheless coers the clasale of all for of Walther s oice-types, and it toches pon any of the special claslae described earlier in this chapter. Vincenzo Manfredini was entioned earlier for haing copared arios strengths of sical claslae with different types of pnctation (see the discssion of the claslae cantizans). Like Dabe, Manfredini was a professional sician who chose to write for an aater adience. In 1797 he issed a second edition of his Regole aroniche [Rles of Harony]. In it he igorosly prooted the sae three basic chords described by Dabe (see y chap. 0) as the answer to all qestions of harony and odlation. 7 One of his