Appendix A. Strength of metric position. Line toward next core melody tone. Scale degree in the melody. Sonority, in intervals above the bass

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1 Aendi A Schema Protot y es the convenience of reresenting music rotot y es in standard music notation has no doubt made the ractice common. Yet standard music notation oversecifies a rototye s constituent features. The Romanesca is a case in oint. The schema Romanesca, that is, a mental reresentation of a category of galant musical utterances, is likely in no articular key, may or may not have a articular meter, robably includes no articular figurations or articulations, may be quite general as to the sacing of the voices, their timbres, and so on. All that useful indeterminacy would vanish were the schema to be resented as a small chorale in whole notes, robably in the key of C maor with a 4/4 meter. To avoid that kind of false secificity, I will reresent schema rototyes in a more abstract form. On the following ages you will find rototyes of the schemata resented in the revious chaters. Each schema s individual events are shown as gray lozenges containing a bundle of features. For illustration, imagine an initial event in which the keynote tyically occurs in both the melody and the bass: Strength of metric osition Scale degree in the melody Scale degree in the bass u Line toward net core melody tone Sonority, in intervals above the bass Line toward net core bass tone The imortant musical features meter, melody, bass, harmony, contour together shae an event, which in turn can form art of one or more schemata. The above event, for instance, could begin or end several different schemata. Each of the following ages will summarize one of the schemata introduced in revious chaters. 4

2 44 music in the galant style The Romanesca The Romanesca (see cha. 2) was used rimarily as an oening gambit. Its eriod of greatest currency was the 1720s and 170s, though it remained an otion throughout the century. As the first schema for an Adagio, the galant Romanesca was so common as to be almost a cliché during the first half of the century. ❶ ❺ ❶ ❶ 1 7 Four equally saced events, with the first beginning on a metrically strong osition, usually a downbeat. In the melody, an emhasis on ❶ and ❺ (the articular contour and order are variable). In the bass, an initial stewise descent from 1, with the odd-numbered tones suorting / sonorities and the even-numbered tones / sonorities. A sequence of four triads with roots (and mode) on 1 (maor), 7 (maor), (minor), and (maor). A leaing tye, in which the bass alternately leas down a fourth and stes u a second, all with / sonorities (the fourth of which was minor). This was the seventeenth-century norm. A stewise tye, in which the bass descends entirely by ste, with alternating / and / sonorities.

3 aendi a: schema rototyes 4 The Prinner The Prinner (see cha. ) was often used as the rioste or answer to an oening gambit. Its eriod of greatest currency was the 1720s to the 1770s, though it remained an otion throughout the century. The resence of a Prinner rioste is one of the best indications of a musical style grounded in the Italian galant. z m y 7- k v Four events resented either with equal sacing, with an etended third stage, or in matching airs. In the melody, an emhasis on the stewise descent ❻ ❺ ❹ ❸ (to effect a stronger cadence, a high ❷ is often inserted before the final ❸). In the bass, an emhasis on the stewise descent (to effect a stronger cadence, a is often inserted before the final 1). A sequence of chords in /, /, /, and / ositions. The third stage is often dissonant, while stages one, two, and four are consonant and in the same mode. A tye with a canon on ❻ ❺ ❹ ❸ in melody and bass. There is usually a edal oint on 1, with ❹ ❸ in the one art sounding against ❻ ❺ in the other. A recadential tye, in which often only the first two stages aear before a standard cadence. See the Passo Indietro, cha. 11. A circle-of-fifths tye, in which every other core tone in the bass matches the schema.

4 4 music in the galant style The Fonte The Fonte (see cha. 4) served to digress from, and then return to, a main key. It was used throughout the eighteenth century, being esecially common immediately after the double bar in minuets or other short movements. In concertos, arias, and other long works, large Fontes often function as digressive eisodes. Minor Maor One ste lower Four events resented as two airs or dyads. The Fonte s first half is in the minor mode while the second half is in the maor mode one ste lower. In the melody, a short scalewise descent that ends ❹ ❸, often ❻ ❺ ❹ ❸. Occasionally the melody areggiates the local dominant chord. In the bass, ascents from leading tones to local tonics, that is, 7 1. Other ossible basses involve tyical cadential moves like 1 or 2 1. Two airs of sonorities: each air concludes with a relatively stable / receded by a more unstable or dissonant /, //, or 7//. A tye with the normal melody in the bass and what would be the normal bass in the melody. A rare, three-art tye with the first two arts in the minor mode and the third in the maor mode.

5 aendi a: schema rototyes 47 The Do-Re-Mi The Do-Re-Mi (see cha. ) was one of the most frequent oening gambits in galant music. It was used in every decade and in every genre. It often had its normal bass art in the uer voice and its melody in the bass. The ease with which it could be thus inverted made it a favorite schema for movements in which the bass begins with an imitation of the melody, a rocedure esecially common early in the eighteenth century. u v Three events equally saced, or occasionally resented with an etended first stage. In brisk temos, each event will likely fall on a downbeat. In the melody, an emhasis on the stewise ascent ❶ ❷ ❸. may include chromatic assing tones. In the bass, an emhasis on (sometimes substitutes for 7) A sequence of chords in /, /, and / ositions. Delaying the bass descent from 1 to 7 creates a dissonance during the second stage. An Adeste Fidelis tye with a melody featuring leas down to and u from ❺. A two-art, Do-Re... Re-Mi tye.

6 48 music in the galant style The Monte The Monte (see cha. 7) was the referred schema for an ascending sequence. In the earlier eighteenth century, Montes of three or more sections could effect relatively distant modulations. In the later eighteenth century, Montes usually had only two sections that highlighted the subdominant and dominant keys, often in advance of an imortant cadence. y One ste higher y Two or more main sections, with each succeeding section one ste higher. In the melody, an overall rise, with local descents that comlement the ascending leading tones in the bass. In the bass, consecutive chromatic ascents from leading tones to local tonics. In the diatonic variant, the bass rises similarly but without the chromatic semitones. A sequence of two or more airs of sonorities where // recedes /. The mode of the stable / sonority often cannot be redicted. Etensions of the rising IV-to-V sequence to VI or even to VII and I. Diatonic tyes featuring the... interval attern. A Princiale tye with all / sonorities and a bass that alternately leas u a fourth, then down a third. A Romanesca tye with an u-a-fifth, down-a-fourth bass and characteristic 4 susensions.

7 aendi a: schema rototyes 49 The Meyer The Meyer (see cha. 9) was often chosen for imortant themes. Its eriod of greatest currency was the 170s through the 1780s. In earlier, shorter eamles, the core melodic tones constitute a maor fraction of the erceived melody. In later, longer eamles, the two aired events constitute brief moments of unctuation amid a rofusion of decorative melodic figures. Oen Closed u { k Four events resented in airs at comarable locations in the meter (e.g., across a bar line, or at mid-bar, with one, two, or four measures between the airs). In the melody, the descending semitone ❶ ❼ is answered by a subsequent descent ❹ ❸ (in the tyical Italian solfeggio both dyads are fa miin maor). In the bass, the ascending ste 1 2 is answered by a 7 1 ascent (or 1). A sequence of four sonorities, usually /, /, //, and /. The first and last seem stable while the middle two seem unstable. The ❶ ❼ may be higher or lower in itch than the ❹ ❸. The related Juiter schema has a ❶ ❷ ❹ ❸ melody, sharing its oening dyad with the Do-Re-Mi and its closing dyad with the Meyer. The related Pastorella schema has a ❸ ❷ ❹ ❸ melody, also sharing its closing dyad with the Meyer. The related Arile schema has a ❶ ❼ ❷ ❶ melody, sharing its oening dyad with the Meyer.

8 } 40 music in the galant style The Quiescenza The Quiescenza (see cha. 1) marks a short eriod of quiescence following an imortant cadence at the end of an imortant section. As a framing device, it could also aear as an oening gambit (usually not reeated), though this usage was less common. The Quiescenza s eriod of greatest currency was the 170s to the 1790s, and it was esecially favored in music written for Vienna or Paris. b ❼ b 7 ❻ 4 n ❼ n 7 2 ❶ } Four events, with the whole schema usually layed twice in succession. In the melody, the descending semitone b❼ ❻ is answered by the ascending semitone ❼ ❶ (in the tyical Italian solfeggio, fa miis answered by mi fa). In the bass, a edal oint on 1, or a figuration that reiterates 1. A sequence of four sonorities, usually b7/, /4, 7/4/2, and /. The first seems unstable in relation to the second, while the third sonority seems highly unstable in relation to the last, tonic sonority. A diatonic tye with a rising ❺ ❻ ❼ ❶ melody. A rare tye that resents two Prinners over a tonic edal.

9 aendi a: schema rototyes 41 The Ponte The Ponte (see cha. 14) was a bridge built on the reetition or etension of the dominant triad or seventh chord. In minuets, this bridge was laced immediately after the double bar and connected the ust-cadenced second key with a return to the original tonic key. More generally, in the latter half of the eighteenth century the Ponte was art of various delaying tactics emloyed to heighten eectation rior to an imortant entry or return. 7 7 etc. Several events that may be etended until a stable return to the tonic harmony offers some degree of closure. In the melody, scales and areggios focused on the tones of the dominant seventh chord: ❺, ❼, ❷, and ❹. The contour is generally rising. In the bass, reetitions of or even a edal oint on. A sequence of sonorities emhasizing the dominant triad or seventh chord, sometimes in alternation with forms of the tonic chord in metrically weaker ositions. A tye with a descending stewise melody ❺ ❹ ❸ ❷.

10 42 music in the galant style The Fenaroli The Fenaroli (see cha. 1), usually reeated, was most often introduced following a modulation to the dominant key. In the nineteenth-century sense, it was thus one of the earliest tyes of second theme, though it was too rocessive to meet the Romantic eectations for a true theme. A Fenaroli could be initiated on either event one or event two, so a given event could be metrically weak or strong deending on the choice of starting oint. } ❹ ❸ ❼ ❶ } Four events, equally saced, with the whole schema usually reeated. The bass features 7 1 2, which is mi fa re mi in a galant solfeggio. The other voice is more variable. Sometimes ❹ ❸ ❼ ❶ is matched against the bass s At other times a ❷ ❸ ❼ ❶ melody creates a canon with the bass. An uer or internal edal oint on is also common. A sequence of four sonorities, usually //, /, /, and, /. The ending on a / sonority contributes to the schema s lack of finality. The full Durante countermelody is ❺ ❹ ❸ ❶ ❼ ❺ ❶ ❸, with two tones for each of the four tones Either voice may be laced in the bass. The attern may be relaced by 7 1 4, thus emhasizing the semitones in the maor mode and enabling a canon with the ❹ ❸ ❼ ❶ countermelody.

11 aendi a: schema rototyes 4 The Sol-Fa-Mi The Sol-Fa-Mi (see cha. 18) was often chosen for imortant themes. Its eriod of greatest currency was the 170s through the 1790s. With its descending melody erceived as erhas less assertive than, say, a Do-Re-Mi, the Sol-Fa-Mi was most common in movements of slow or moderate temo, or as a second theme in fast movements. It was a favorite schema for Adagios in the minor mode. Oen Closed y k Four events resented in airs at comarable locations in the meter (e.g., across a bar line, or at mid-bar, with one, two, or four measures between the airs). In the melody, the descending whole ste ❺ ❹ is answered by a subsequent descent of ❹ ❸ (a half ste in maor, a whole ste in minor). In the bass, the ascending ste 1 2 is answered by a 7 1 ascent (or 1). A sequence of four sonorities, usually /, /, //, and /. The second sonority is tyically minor or diminished. The second event may have the more maor-sounding sonority of 7// above, or of / above 2.

12 44 music in the galant style The Indugio The Indugio (It., tarrying or lingering ; see cha. 20) served as a teasing delay of the aroach to a Converging cadence. Uncommon in the first half of the eighteenth century, it quickly became a cliché in the second half. For comositions in the maor mode, the Indugio allowed, as does the Fonte, the insertion of a brief assage in the minor mode. Often associated with this darkening are storm and stress syncoations. v... m m m # m z u { Several events, leading u to a Converging cadence in most instances. The air of oen lozenges above, with the three dots of ellisis, indicates an oen-ended reetition of the oening sonority or figuration. The bass features iterations of 4 leading to, often with an inflection to #4 ust rior to. The melody usually emhasizes ❷, ❹, and ❻, with frequent aroaches to these tones from below by way of chromatic leading tones. A rolongation of the // sonority above 4 in the bass, ending with a / sonority on that is otionally the dominant of the main key or the tonic of the new key. A more diatonic tye without the bass s #4. A assing-/4 tye with a more active bass that asses stewise u and down between 4 and. When assing through, a /4 sonority hels to maintain iterations on 1, which may act as an internal edal oint.

1. A 16 bar period based on the extended tenorclausula.

1. A 16 bar period based on the extended tenorclausula. 2012 Reinier Malieaard: Recomosing Van Hemel s Fantasia Piece : Valse viennoise or breaking lines As we saw in Piece 2 from Fantasia of Oscar van Hemel (1892 1981) clausulae as the tenor clausula define