The Romanesca
The Leaping Romanesca (The Pachelbel Pattern): The Basics
Which Type of (Leaping) Romanesca?
The Leaping Romanesca in Two Parts: Consonant Realizations With The Upper Voice Starting on ❸
The Leaping Romanesca in Two Parts: Consonant Realizations With The Upper Voice Starting on ❶
The Leaping Romanesca in Two Parts: Dissonant Realizations With a Suspension Chain Starting on ❸
Isn’t a Vertical Sixth Always a Consonance?
The Leaping Romanesca in Two Parts: Dissonant Realizations With a Suspension Chain Starting on ❶
The Leaping Romanesca in Three Parts: Consonant Realizations With The Upper Voice Starting on ❸
Can One Omit the Fifth From a Triad?
The Leaping Romanesca in Three Parts: Consonant Realizations With The Upper Voice Starting on ❶
The Leaping Romanesca in Three Parts: Dissonant Realizations With One Suspension Chain Starting on ❶
Why Do We Speak of 9–8 Suspensions and Not of 2–1 Suspensions?
The Leaping Romanesca in Three Parts: Dissonant Realizations With Two Suspension Chains
The Leaping Romanesca in Minor
A Leaping Romanesca Realized With One Suspension Chain Starting on ❶ and Bariolage
The Leaping Romanesca: Two-Part Embellishment (Part 1)
Embellishing Schemata
With Repeated Notes
With Escape Notes
With Repeated Notes and Escape Notes
With Upper Neighbour Notes
With a Double Neighbour
With Lower Neighbour And Escape Notes
With Arpeggiation (Compound Line)
With Neighbour Notes and Arpeggiation
With Passing Notes
With Passing Notes and Arpeggiation
Starting With a Rest
Making The Segmentation More Prominent
The Leaping Romanesca: Two-Part Embellishment (Part 2)
Temporary Key Changes
Shouldn’t a Diminished Fifth Be Prepared?
What Is a Fonte?
What Is a Fonte-Romanesca?
Embellishing The Suspension Chains With Repeated Notes
Embellishing The Suspension Chains With Arpeggiation/Compound Line
Embellishing The Suspension Chains With Incomplete Neighbour Notes
Embellishing The Suspension Chains With Escape Notes
Embellishing The Suspension Chains With Anticipations
Embellishing The Embellishments
Making The Segmentation More Prominent
The Leaping Romanesca: Embellishing Three-Part Settings
Embellishing One or Both Upper Voices
What Is a Dactyl?
What Is an Anapaest?
Embellishing the Bass
Embellishing the Bass and One or Both Upper Voices
Bariolage
What Is a Partimento Diminuito?
Introducing New Harmonies
The Leaping Romanesca Set with Stretto
What Is Stretto?
Two-Part Stretto at the Octave
Two-Part Stretto sine Pausa
Two-Part Stretto per Arsin et Thesin
Three-Part Stretto at the Octave
Three-Part Stretto sine Pausa
The Leaping Romanesca with a Modified and Shortened End
The Leaping Romanesca with a Modified and Shortened End in Major
The Leaping Romanesca with a Modified and Shortened End in Minor
The Stepwise Romanesca: The Basics
The Leaping Romanesca Vs the Stepwise Romanesca
The Stepwise Romanesca in Two Parts: Consonant Realizations
The Stepwise Romanesca in Two Parts: Realizations With Suspensions
The Stepwise Romanesca in Three Parts: Consonant Realizations
What Is a Direct Fifth?
The Stepwise Romanesca in Three Parts: Realizations With Suspensions Only During the Even Stages
The Stepwise Romanesca in Three Parts: Realizations With Suspension Chain
Temporary Key Changes
The Stepwise Romanesca in Minor
The Stepwise Romanesca: Two-Part Embellishment
Embellishing The Melody That Steps Down With Repeated Notes (Quarter Notes)
Embellishing The Melody That Steps Down With Escape Notes/Incomplete Neighbour Notes (Quarter Notes)
Embellishing The Melody That Steps Down With Arpeggiation/Compound Melody/Consonant Leaps (Quarter Notes)
What Is a Voice Overlap?
Embellishing The Melody That Steps Down With (Complete) Neighbour Notes (Eighth Notes)
Embellishing The Melody That Steps Down With Passing Notes (Eighth Notes)
Embellishing The Melody That Steps Down With Running Eighth Notes
Embellishing The Melody That Steps Down Using Stretto
Embellishing The Leaping Melody With Quarter Notes
Embellishing The Leaping Melody With (Running) Eighth Notes
Embellishing Both Voices Using Complementary Rhythm
What Is Complementary Rhythm?
Embellishing Both Voices With Freer Rhythms
The Prinner
The High ➋ Drop
The Prinner Without 7–6 Suspension
The Prinner With a Stationary Line Throughout
Variants of the Prinner (Part 1)
The Top Voice of the “18th-century Prinner”
The Prinner Without 7–6 Suspension
The Prinner With a Stationary Line Throughout
The Prinner With a ④–③–②–⑤–① Bass Line
➎ Above ②
The Prinner With a ④–③–②–⑦–① Bass Line
The Prinner With a ④–③–⑦–① Bass Line
The Prinner With a ③–④–⑤–① Bass Line
The Prinner With a ④–①–⑤–① Bass Line
The Prinner With a ④–①–⑤–⑥ Bass Line
The Prinner With a ④–①–⑦–① Bass Line
The Prinner With a ①–①–⑦–① Bass Line
The Prinner With a ①–①–②–⑦–① Bass Line
The Prinner With a ①–①–②–⑤–① Bass Line
The Prinner With a ①–①–⑤–① Bass Line
Variants of the Prinner (Part 2): Sequential Prinners
Circle-of-Fifths Prinners
The Circle-of-Fifths Prinner With a ④–⑦–③–⑥–②–⑤–① Bass Line
The Circle-of-Fifths Prinner With a ④–③–⑥–②–⑤–① Bass Line
The Circle-of-Fifths Prinner With a ④–②–③–①–②–⑦–① Bass Line
The Circle-of-Fifths Prinner With a Shifted ④–③–②–① Bass Line and 2–3 Suspensions
The Circle-of-Fifths Prinner With a Shifted ④–③–②–① Bass Line and 2–6 Suspensions
The Circle-of-Fifths Prinner With a ①–②–⑦–①–⑥–⑦–① Bass Line and 2–3 Suspensions
The Circle-of-Fifths Prinner With a ④–②–⑦–①–⑥–⑦–① Bass Line and 2–3 Suspensions
Circle-of-Fifths Prinners With a Nod to an Embedded Fonte
The Prinner With 7–6 Suspensions (The 7–6 Fauxbourdon Prinner)
The Prinner Set With Sixth Chords (The Fauxbourdon Prinner)
Variants of the Prinner (Part 3)
The Modulating Prinner
The Incomplete Prinner
The Canonic Prinner
The Prinner With a Nod to an Embedded Fonte
The Prinner With a Nod to an Embedded Meyer
Variants of the Prinner (Part 4): The Stabat Mater Prinner
Where Does the Name Stabat Mater Prinner Come From?
What’s in a Name?
Voice Leading
As an Imperfect ⑤–① Cadence or Broken Cadence
As a Perfect ⑤–① Cadence or Broken Cadence (Extended SMP)
As a Half Cadence (Extended SMP)
Combinations of a Romanesca and a Prinner
The Do-Re-Mi
Do-Re-Mi in the Melody/Do-Si-Do in the Bass
Do-Re-Mi in the Melody/Do-Si-Do in the Bass with a Suspension
Do-Re-Mi in the Melody/Do-Sol-Do in the Bass
Do-Re-Mi in the Melody/Do-Fa&Sol-Do in the Bass
Do-Re-Mi in the Bass/Do-Si-Do in the Melody
Do-Re-Mi in the Bass/Mi-Fa-Sol in the Melody
Paired Do-Re-Mi in the Melody/Do-Si…Si-Do in the Bass
Paired Do-Re-Mi in the Melody/Do-Sol…Sol-Do in the Bass
The Chromatic Paired Do-Re-Mi
Changing-Note Schemata
Term and Interpretation
The Meyer with a ①–②…⑦–① Bass Line
The Metrically Shifted Meyer with a ①–②…⑦–① Bass Line
The Meyer with a ①–②…⑤–① Bass Line
The Meyer with a ①–⑤…⑤–① Bass Line
The Meyer with a ①–⑤…⑦–① Bass Line
The Meyer with a ①–②…⑤–⑥ Bass Line
Term and Interpretation
The Aprile with a ①–②…⑦–① Bass Line
The Aprile with a ①–②…⑤–① Bass Line
The Aprile with a ①–②…④–③ Bass Line (Jupiter)
The Aprile with a ①–⑤…⑤–① Bass Line
The Aprile with a ①–⑤…⑤–(④–)③ Bass Line
The Aprile with a ①–⑤…⑦–① Bass Line
The Aprile with a ③–④…④–③ Bass Line
The Aprile Treble Line Used as a Bass Line
Term and Interpretation
The Pastorella with a ①–⑤…⑤–① Bass Line
The Pastorella with a ①–⑤…⑦–① Bass Line
The Pastorella with a Pedal Point on ①
Term and Interpretation
The Jupiter with a ①–⑤…⑤–① Bass Line
The Jupiter with a ①–④–⑤–① Bass Line
The Jupiter with a ③–④–⑤–① Bass Line
The Jupiter with a ③–④–⑤–⑥ Bass Line
The Jupiter Treble Repurposed as the Bass Line of an Aprile
The Fonte
Term and Interpretation
Can a Fonte Occur in a Minor Key?
The Fonte With a ⑦–① Bass Line in Both Segments
With a ➎–➍–➌ Melody in Both Segments
With ⑦ in Both Segments Set With ➏(♭)
With ⑤ Inserted in Between ⑦ and ①
The Fonte With a (⑤–)④–③ Bass Line in Both Segments
The Fonte With a ⑤–① Bass Line in Both Segments
With ⑦ Inserted in Between ⑤ and ①
The Fonte With a Chromatic Alteration: The Chromatic Fonte
The Fonte With a Chromatic Alteration: The Fonte With the Hermaphrodite Note
The Fonte With a Metric Shift
The Chromatic Fonte With a Metric Shift and the Hermaphrodite Note
Each Segment Consists of Two Different Cadences
Each Segment Consists of a Musical Phrase
The Fonte That Finishes in the Dominant Key
The Fonte That Starts in the Dominant Minor Key and Finishes in the Subdominant (Major) Key
The Borrowed Fonte
The Monte
Term and Interpretation
The Two-Part Monte
Other Types of Cadences
What Is a Neapolitan Sixth Chord?
The Three-Part Monte
The Four-Part Monte
The Five-Part Monte
The Minor-Key Monte Ending in v
The Major-Key Monte Ending in v
The (♭VI–)♭vii–i Monte
The IV–I Monte
The Borrowed Monte
The Monte Romanesca
Term and Interpretation
Mode and Structure
The Bass of a Leaping Monte Romanesca
Realizing this Bass
Reflections On Terminology
The Two-Part Leaping Monte Romanesca
The Two-Part Leaping Monte Romanesca with Tonicization
The Two-and-a-Half-Part Leaping Monte Romanesca
The Three-Part Leaping Monte Romanesca
Structural Use
Term and Interpretation
Mode and Structure
The Bass of a Stepwise Monte Romanesca
Realizing this Bass
The Two-Part Stepwise Monte Romanesca
The Two-Part Stepwise Monte Romanesca with Tonicization
The Two-and-a-Half-Part Stepwise Monte Romanesca
The Three-Part Stepwise Monte Romanesca
The Quiescenza
Term and Interpretation
Structural Use
The Quiescenza With ➎–➏–➐–➊
The Quiescenza With ➎–(♭➐–)➏–➐–➊
The Quiescenza With ➊–(♭➐–)➏–➐–➊
The Quiescenza With ➊–♭➐–➏–➐–➊
The Quiescenza With ➊–➐–♭➐–➏–➐–➊
The Hermaphrodite Quiescenza
The Quiescenza-Ponte
The Indugio
Term and Interpretation
The Indugio Set with a 6(/5) Chord
The Indugio Starting with a Triad
The Indugio Set with a Neapolitan Sixth Chord
The Indugio (Part 2): The Circular Indugio
Features of the Circular Indugio
The Circular Indugio with Pedal Points on ➊ and ➋
The Interrupted Circular Indugio
The Metrically Shifted Circular Indugio
The essays above are the result of my research project A Database Of Schemata As a Starting Point For Historically Informed Improvisation and Composition conducted at the Royal Conservatoire Antwerp (AP Hogeschool). See also my research page.
