Example 3.1. Bars 1 3 a,, 6 b 9 9 a. continued. Bars. Bars b. Legend: = sixteenth-note afterbeat displacement. (etc.
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1 Chapter 620
2 Example.1 a) Handel, Concerto Grosso in in F, F, Op. Op. 6 6, No. No. 2, II: 2, II: Allegro Allegro in D (in minor D minor) a b a 1 a,, 6 b 9 9 a concertino. Violoncello. 1 6 b (etc.) Solo. Solo. Solo. (Tutti tacet) concertino Violino II. Violoncello. 7 9 Legend: = sixteenth-note afterbeat displacement. 621 continued
3 Example.1 (continued) 622 concertino. ripieno. Violoncello. concertino.. ripieno.. b) Handel, Concerto Grosso in in D minor, D minor, Op. Op. 6 No. 6, 10, No. IV: 10, Allegro IV: Allegro a a 1 7 a,, 8 40 a Viola Bassi 1 5 Tutti Overlap with notated meter Solo Legend: L EGEND : = underlying quarter-note displacement = nested eighth-note displacement
4 Example.2: Handel, Suite in F minor, Courante a a) Grouping: 1 2, 1 2, 1 (= two-bar basic segments, grouping pace, and primary periodic span) b) Reduction 4 4 Basic pace: Figural pace: Diminutions:
5 Example. 624 concertino. a) Handel, Concerto D minor Grosso Concerto, in D Allegro minor, Op. 6, No. 10, IV: Allegro grouping: 4 Solo. 4 Suppressed pedal call W S S, W S S, W S S, W S S W, b) Handel, Concerto in in Bfor for Harp Harp or or Organ, Organ, Op. 4, No. 6, II: Larghetto Op. 4, 1 7 No. 6, II. Larghetto, bars 1 7 Flauto, e Violino I con sordini. Flauto, e Violino II con sordini. Harpa [o Organo]. Quarter-note afterbeat displacement: Overlap with notated meter [ ] Violoncello, Viola allʼ88 va e e Contrabasso, pizzicati grouping: Pedal call S, S W S, S W S, S W S, S W S, S W S 1. (2.) Borderline hemiola. S Legend: indicates hidden caesura. continued
6 Example. (continued) c) c) Handel, Concerto for Harp or Organ, III: Allegro moderato 7 44 III: Allegro moderato, bars Flauto, e Violino I con sordini. Flauto, e Violino II con sordini. Harpa [o Organo]. Violoncello, Viola allʼ8 8 va e e Contrabasso, pizzicati. No displacement: Viol. s. Fl. 8 Viol. s. Fl
7 Example.4: Handel, Concerto Grosso in B, Op., No. 1, II: Largo a Half-note afterbeat displacement: Flauto I. Vordersatz Fortspinnung 2 Epilog Flauto II. 2 Oboe I. (Oboe II tacet.) 2 Solo. Fagotto I. II. 2 (Strings tacet.) Cadential hemiola 626
8 Example.5: Couperin, François Couperin, Pièces de Pièces clavecin de, Eighth clavecin, Ordre, Ordre Passacaille 8, Passacaille a) The Rondeau theme Elements that maintain the notated meter Cadential hemiola Reaching-over figures Rising thirds Principal harmonies delayed 1 * maintain notated meter III IV V 4 I But competing upbeats try to assert displacement * 627 *Reaching-over figures and upbeats cancelled out by second hemiola beat. b) Beginning of the fifth couplet Afterbeat displacement (etc.) Mouvement marqué.
9 Example.6: Handel, Suite in F minor (1720), Largo, bars 1 6 Notated and thematic downbeats establish meter Second-beat counterstresses 4 [ ] 4 Extended pedal call Second-beat counterstresses suggest shadow meter Notated meter 628
10 Example.7 a) Handel, Concerto in B for Harp or Organ, III: Allegro moderato 1 4, Flauto, e Violino I con sordini. Flauto, e Violino II con sordini. Harpa [o Organo]. Violoncello, Viola allʼ8 8 va e Contrabasso, pizzicati Allegro moderato b) Basic pace reduction = 8 8 Basic pace: Cadential hemiola. continued 629
11 Example.7 (continued) c) Handel, Concerto Grosso in E minor, Op. 6, No., I: Larghetto a 1 7 Half-note afterbeat displacement: concertino. ripieno. Viola. Violoncello. Bassi. Solo Pedal call Cadential hemiola. 60
12 Example.8 a) Handel, Concerto Grosso in G, Op. 6. No. 1, III: Adagio, bars 1 5 a Viola. Violoncello. Basso Continuo. 2. Second accent: solo entrance (= thematic downbeat) Solo First accent: pedal call. and notated downbeat Third accent: counterstress b) Bach, Partita in E minor for Clavier Allemande, bars 1 4 a Fourth-beat Second-beat Fourth-beat counterstress counterstress counterstress Stress emphasizing notated meter 61
13 62 Example.9: Handel, Concerto Grosso in B minor, Op. 6, No. 12 III: Larghetto, e piano (in E major) a) 1 20 a) 1 20 II. Violino III, e Viola. Tutti Bassi b) Basic pace reduction Basic pace alternates between:,, Second-beat passing chords
14 Example.10: Handel, Concerto Grosso in D, Op. 6, No. 5, IV: Largo (in B minor), bars 2 7 Half-note afterbeat displacement: conc. e rip Viola. Tutti Bassi Third-beat voiceleading chords = 2 2 Grouping: 6 = Cadential hemiola Basic pace:
15 Example.11: Handel, Concerto Grosso in in C C minor, Op., Op. 6, No. 6, No. 8 8 VI: VI: Allegro Allegro a) 1 8 II. conc. rip. 4 rip. Viola. 4 4 Tutti Bassi b) Basic pace reduction 4 4 Basic pace: Cadential acceleration 64 a) 1 8 b) Basic pace reduction
16 65 Example.12: Handel, Music for the Royal Fireworks, Overture, bars bars Upbeat measure = bars Shadow meter: 1 2 4, 1 (etc.) Basic pace Obbligato pace 4 4 Basic pace Obbligato pace = bars 56 59
17 66 Example.1: Handel, Suite F-minor F Courante minor, Courante a) 7 11 a) Grouping: Internal grouping: 2 + 1, 2 + 1, expanded basic segment 4/1 2 (Overlap: new phrase begins in bar 10) b) Basic pace reduction 4 4 Basic pace: Ancillary voice leading does not expand the basic pace despite sequential-expansion idiom
18 67 Example.14: Handel, F F-minor Courante Allemande a) a) b) Basic pace reduction b) Basic pace reduction ( ) Basic pace: Ancillary voice leading expands the basic pace to during sequential expansion (Basic pace resumes)
19 Example.15: Handel, Suite in in G G, (170c./17), Courante Courante a) Vordersatz Fortspinnung Epilog 4 ( ) Basic pace: Ancillary voice leading expands 1. the basic pace to during sequential expansion and helps outline cadential hemiola. 2.. cadential hemiola 68 b) Basic pace reduction
20 Example.16: Rameau, Nouvelles Suites de Pièces de Clavecin (1728) Suite in G, L égyptienne Segment 1 Segment 2 Segment ( = Vordersatz ) ( = Fortspinnung ) ( = Epilog ) Grouping: 1 2, 1 2, ( ) /1. 4-bar group reinterpreted as a -bar group Grouping: ) ) ) 69 Example.17: Handel, Suite in G minor (1720), Allegro, bars 1 8
21 Example.18: Handel, Concerto Grosso in E minor, Op. 6, 6 No. IV: Polonaise (in G major) a a) 1 5 (the first theme ) 640 Quarter-note afterbeat displacement and simulated internal upbeats concertino. ripieno. Viola. Violoncello. Bassi a a b) (the second theme ) Eighth-note afterbeat displacement and simulated internal upbeats Pedal call 6 4 Solo. 5 (etc.) (etc.) 6 4 5
22 Example.19: Gottlieb Muffat, Componimenti Musicali, Suite III Courante, bars Source for Handel s simulated upbeat figure in bars 21ff. of Polonaise 4 t 4 641
23 642 Example.20: Handel, Polonaise a) Incipit contours First theme incipit = Second theme incipit with contour inverted 1 2 a a ( = ) b) Extension of first of first theme theme incipit incipit (bars 5 b 9 a ) concertino. 4 [ Ripieno not shown]
24 64 Example.21: Handel, Polonaise a) concertino. ripieno. Viola. Violoncello. Bassi. a Eighth-note afterbeat displacements become dotted quarter-note afterbeat patterns Quarter-note afterbeat patterns resume, shifting incipit s rising third to second beat Tutti continued
25 Example.21 (continued) : Handel, Polonaise b) 29 b a Quarter-note afterbeat patterns with rising third shifted to the second beat ( 7 ) 5 644
26 (etc.) 645 b a Example.22: Handel, Polonaise, bars 6 69 Concertino. Rising thirds displaced to the second beat [ Ripieno not shown] b a Example.2: Handel, Polonaise, bars 9 15 Concertino A 2-bar group intervenes before... a repetition of bars 1 9 ( = 4 + 4) takes place over the dominant a [ Ripieno not shown]
27 Example.24: Handel, Concerto Grosso in B, Op., No. 2, IV: [Menuet] a) 1 5 Oboe I. Oboe II. Concertino. Concertino grosso. Viola. Basso Continuo. 8 [ [ ] ] Violoncello solo. b) [ ] ( ) Violoncello. Tutti. Violoncello. Tutti. 6 6 Grouping: 1 2 4, , 1 Weak measures Orchestral counterstress 646
28 Example.25: Handel, Concerto Grosso in F, Op., No. 4, II: Andante a) 1 5 Oboe solo. Viola. Basso Continuo = 8 8 Basic pace: and 6 b) 1 as a three-bar group continued
29 8 b) 1 as a three-bar group = c) 5 as a three-bar group 8 8 d) Oboe solo. Viola. Basso Continuo. 8 8 [ ] Example.25 (continued): Handel, F major Concerto, Andante
30 Example.26: Vivaldi, The Four Seasons, Op. 8 Concerto in E, Spring, I: bars Grouping: = Violino solo. Viola. Violoncello e Contrabasso Basso Continuo. [ ] 6 5
31 Violino II, e Viola. Bassi. Example.27: Handel, Organ Concerto No. 1, in F, III: Larghetto a) [ ] piano sempre (Organo tacet.) b) Time-span reduction 6 8 ( ) 6 8 ( = 1 + 2) continued 650
32 Example.27 (continued) : Handel, Organ Concerto No. 1, Larghetto c) Tonal reduction e) Alternative reading, bars 4 6 ( ( ) ) ( ) ( ) prefix d) Implications of rebarring in /8 time 8 ( ) 8 651
33 Example.28: Handel, Suite in G minor (170c./17), Gigue a) b) 12 Basic 8 pace reduction 1 5 b) Basic pace reduction ( ) Basic pace: Composite pacing: Figural pace: c) c) Contrapuntal and harmonic activation of Contrapuntal 12 8 eighth-note and harmonic activation of 12 diminutions 8 ( )
34 Example.29: Handel, Suite in G minor (170c./17), Gigue (early version) a a Mid-bar displacement: Pedal call 65 Example.0: Handel, Suite in G minor (1720), Gigue 1 2 a, pace: Basic Quarter-note displacement: Notated meter and one-bar grouping pace:
35 654 Example.1: Handel, Concerto Grosso in A minor, Minor, Op. Op. 6, 6, No. No. 4, 4, IV: IV: Allegro a) 1 5 a, Vordersatz concertino. ripieno. Viola. Violoncello. Bassi Apparent Upbeats Pedal Call Apparent upbeat measure a 6 8 b) 5 b 9 a, Fortspinnung continued
36 Example.1 (continued): : Handel, A minor Minor Concerto, Allegro c) 9 b 15 a, Epilog ( 4 ) 655
37 Example.2: François Couperin, Pièces Pièces de de clavecin, Clavecin Ordre, Ordre Rondeau: La La Favorite (Chaconne à deux à deux temps) temps) 1 4 Half-note afterbeat displacement: Gravement sans lenteur Internal Upbeats 2 Example.: J. S. Bach, Partita in E minor for Clavier, Sarabande Tonic on upbeat; change of chord at downbeat 656
38 Example.4: Handel, A Concerto minor Concerto, Grosso in Allegro A minor, Op. 6, No. 4, Allegro 1 15 a, durational reduction reduction by by Vordersatz Fortspinnung Epilog = ( ) Sequential expansion, essential at foreground level ( ) ( 9 8 Sustained bass suggests a -bar obligato pace )
39 11 Example.5: Handel, Water Music, Suite in in D, D, Hornpipe Vordersatz Fortspinnung Epilog Oboe I. Oboe II. Bassoons. Violino III. Viola. Bassi (Corno e tromba tacet.) Cadential hemiola 2 6 : (etc.) 4 : (etc.) 2 : ( ) 658
40 659 Example.6: Handel, Hornpipe, rhythmic parallelisms a) Hornpipe syncopations b)... spawn figures, which prepare... c) the characteristic motive
41 Example.7: Handel, Hornpipe, bars bars 1 11, durational reduction by 2 Durational Reduction by Vordersatz Fortspinnung * * 8 6 = 4 = ; 8 ; Basic pace:, Basic pace: 6 Sequential expansion, essential at foreground level (sequentially expanded to ) 8 9 Epilog 4 4 Pattern of expansion continues beyond sequence cadential hemiola * Figured bass = 4 660
42 661 Example.8: Handel, Hornpipe, bars 5 b 8 a Combined meters 5 b ( 6 4 ) 6 2 ( 4 ) Second-quarter-note emphasis NB: Violas in /2
43 Example.9: Handel, Concerto Grosso in E minor, Op. 6, No., I: Larghetto a a) Afterbeat displacement: concertino. ripieno. Viola. Violoncello. Bassi. Tutti. Solo. 2 Tutti. Solo Pedal call b) Durational reduction by 2 1 Afterbeat displacement: = Solo b a b a Cadential hemiola Basic pace: Cadential hemiola Tutti. Tutti. Solo = 1 4 Grouping: = = = = At a deeper level: 1 2 4/
44 Example.40: Handel, Concerto Grosso in D, Op. 6, No. 5, IV: Largo conc. e rip. Viola. Tutti Bassi. Tutti. Solo. 2 Solo. Tutti. 2 2 Violoncello solo. 2 Tutti. Pedal call Afterbeat displacement: (affects entire piece) Period 1 Phrase 1 -bar segment 2-bar segment Cadential hemiolas: (etc.) Phrase 2 -bar segment 2-bar segment Period 2 Phrase 1 -bar segment Phrase 2 2-bar segment 2-bar segment -bar segment 1 1 Solo. Tutti. Solo. Tutti
45 Example.40 (continued): : Handel, D Concerto major Concerto, in D, Largo Largo Period Phrase 1 -bar segment 2-bar segment 21 Solo. Tutti. Solo. Tutti. Violonc. Tutti Phrase 2 4-bar segment Phrase 0 Semi-cadential tag leading to V 2-bar segment -bar segment -bar segment segment Adagio. ( ) Afterbeat displacement ends, leading to implicit hemiola 664
46 Example.41: Handel, D Concerto major Concerto, Grosso in Largo D, Op. 6, No. 5, Largo Durational Durational reduction reduction by by 2 2 to to figural figural pace pace Phrase 2 -bar segment 2-bar segment Period 1 Phrase 1 -bar segment 2-bar segment Solo. Tutti Pedal call Cadential hemiola Cadential hemiola Afterbeat displacement: (entire piece) Grouping at a deeper level: / (etc.) Basic pace: (displaced), and (see Example.10) bar segment Phrase 2 2-bar segment Period 2 Phrase 1 -bar segment 2-bar segment segment Solo. Tutti Cadential hemiola continued continued b a = bars 14 b 16 a 665
47 Example.41 (continued): : Handel, D Concerto major Concerto, in D, Largo Largo Period Phrase 1 -bar segment 2-bar segment Phrase 2 4-bar segment 2-bar segment Solo. Tutti Cadential hemiola Cadential hemiola Phrase -bar segment -bar segment Semi-cadential tag leading to V (Tutti. ) ) Cadential hemiola Adagio. Afterbeat displacement ends 666
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