Like the Romanesca, the Do-Re-Mi —the term comes from Robert O. Gjerdingen— was a favourite opening schema in the galant style that also existed in several variants. The term Do-Re-Mi refers to a proposta schema often featuring a ➊–➋–➌ snippet in the melody and a ①–⑦–① snippet in the bass. This essay will explore several […]
Term coined by Robert O. Gjerdingen, after an observation by Leonard B. Meyer. In the words of Gjerdingen, “in the 1970s, Leonard B. Meyer noticed that many eighteenth-century phrases resembled the opening of the hymn tune ‘Adeste Fidelis’. Its melody, believed to date from the early eighteenth century, opens with a variant of the Do-Re-Mi
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A risposta schema (or riposta schema) is a schema that follows (‘responds to’) a proposta schema. See also proposta schema. Select Bibliography Gjerdingen, Robert O. Music in the Galant Style (New York: Oxford University Press, 2007).
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A proposta schema is a schema that begins a composition or an important section of it. See also risposta schema. Select Bibliography Gjerdingen, Robert O. Music in the Galant Style (New York: Oxford University Press, 2007).
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In this essay, I will discuss the characteristics of a voice-leading pattern that is a variant of the Leaping Monte Romanesca: the Stepwise Monte Romanesca. The term Stepwise Monte Romanesca refers to a rising sequential pattern in which each segment consists of a descending step in the bass with each subsequent segment one step higher
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In this essay, I will discuss the characteristics of a voice-leading pattern known today as the Monte Romanesca, to which I have added the adjective ‘Leaping’ to distinguish it from the stepwise version, which is dealt with in a separate essay. The term Leaping Monte Romanesca refers to a bass motion that rises a fifth
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A term coined by John A. Rice. A Corelli Long Comma is a three-part variant of the Long Comma with a 6/5 sonority above ⑥ and a 9–8 suspension (or a non-essential dissonance) above ①. Since the fifth in the 6/5 sonority –➌– acts as a suspension, it must be prepared. See also Clausulæ. See
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A term coined by Robert O. Gjerdingen. A Long Comma is a variant of the Comma where ⑥ precedes ⑦. Its usual melody is a ➍–➌ or ➎–➍–➌ snippet. In the latter case, ➎ acts as a suspension (or a non-essential dissonance) above ⑥ and must be prepared. See also Clausulæ. See also Comma. See
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A term coined by Robert O. Gjerdingen, after several 18th-century sources. A Comma is a synonym for a clausula cantizans or a ⑦–① cadence. Its usual melody is a ➎–➍–➌ or ➍–➌ snippet. See also Clausulæ. See also Long Comma. See also Corelli Long Comma. Select Bibliography Gjerdingen, Robert O. Music in the Galant Style
An octave displacement is a register switch in which a melodic line is continued an octave higher or lower than expected after a note on a strong beat, often because of a tessitura issue. Example a illustrates how two octave displacements in the upper part of bar 2 ensure that the first and last pitch
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