Glossary

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).

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).

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

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

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

A Jommelli is a variant of a clausula cantizans (also called a ⑦–① cadence or, in Gjerdingen’s term, a Comma (Gjerdingen (2007), p. 155–157)). While ⑦ of a clausula cantizans is usually realized as a sixth chord or 6/5 chord in a variable number of parts, ⑦ of a Jommelli is set in a three-part

Horizontalizing the dissonance means that, instead of writing or playing an on-beat vertical dissonance, both notes of that interval occur successively in one voice.

A hermaphrodite note is a chromatically lowered sixth scale step in a major key (A♭ instead of A in C major, for instance). Joseph Riepel (1709–1782) seems to have associated major with masculine, minor with feminine. When discussing the Fonte, he criticizes a version in which the major segment includes a chromatically lowered sixth scale

In the second volume of his monumental Phrynis (Mytilenæus) Oder Satyrischer Componist (1677), Wolfgang Caspar Printz (1641–1717) gives the following definition: “Figura Suspirans is nothing other / than a Figura Corta, which instead of the front long note / has a pause half as long and a note equal to the other two.” “Figura suspirans