A leapfrog, a term coined by Gjerdingen, is a contrapuntal technique typically involving two upper voices above a bass. Consider the following realisation of the fourth verset in G major by the Bolognese counterpoint master Stanislao Mattei (1750–1825). (For more information on Mattei and his pedagogy see Partimento Practice: As you can see, the middle […]
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This essay is the fourth and last of a series devoted to changing-note schemata, a type of dichotomous schema with a treble and/or a bass whose melodic shape look like a gruppetto or a musical turn (~). In this essay, I will discuss the schema that Robert O. Gjerdingen has labelled the Jupiter. A Jupiter
This essay is the third of a series devoted to changing-note schemata, a type of dichotomous schema with a treble and/or a bass whose melodic shape look like a gruppetto or a musical turn (~). In this essay, I will discuss the schema that Robert O. Gjerdingen has labelled the Pastorella. A Pastorella is a
This essay is the second of a series devoted to changing-note schemata, a type of dichotomous schema with a treble and/or a bass whose melodic shape look like a gruppetto or a musical turn (~). In this essay, I will discuss the schema that Robert O. Gjerdingen has labelled the Aprile, after the Neapolitan-trained soprano
This essay is the first of a series devoted to changing-note schemata, a type of dichotomous schema with a treble and/or a bass whose melodic shape look like a gruppetto or a musical turn (~). In this essay, I will discuss the schema that Robert O. Gjerdingen has labelled the Meyer, after Leonard B. Meyer
A dichotomous schema consists consists of a question segment and an answer segment. The question segment has a harmonically and melodically open ending, while the answer segment has a (rather) closed ending. Examples of dichotomous schemata are: the paired Do-Re-Mi, the Meyer, the Aprile and the Pastorella.
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The Italian expression colla parte means ‘with the part’ and is used in music mainly for an instrumental part that doubles (almost literally) a vocal part.
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Changing notes or double neighbour notes are two consecutive neighbour notes between which the chord factor is absent. There are two versions: Both versions are characterized by the following intervallic pattern: a step, a third (between the neighbour notes) and again a step. See also neighbour note.
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In my essay The Indugio (Part 1), I explain that an Indugio —a term by Gjerdingen— is essentially a pedal point on ④, set with a sixth chord or a 6/5 chord used to delay the conclusion of a cadence. In this essay, I address a variant that Gjerdingen also discusses but didn’t give an
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A term of Robert O. Gjerdingen, named after the comic character of the commedia dell’arte. The Pulcinella exists in two versions. The (Complete) Pulcinella The (complete) Pulcinella is a cadential gesture with a ③–④–⑤–① snippet in the bass that ignores the usual sixth chord or 6/5 chord on ④. Instead, the bass of a Pulcinella
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