Glossary

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 […]

In the second volume of his monumental Phrynis (Mytilenæus) Oder Satyrischer Componist (1677), Wolfgang Caspar Printz (1641–1717) gives the following definition: “Figura Corta consists of three fast notes / of which one is as long as the other two combined.” “Figura Corta besteht aus dreyen geschwinden Noten / deren doch ein so lang ist /

Clausula cantizans = ⑦–① cadence Clausula altizans = ⑤/④–③ cadence Clausula tenorizans = ②–① cadence Clausula basizans (or bassizans) = ⑤–① cadence Treatises up to and including the first half of the 18th century mostly considered cadences from a melodic and polyphonic point of view. Instead of seeing a cadence in terms of a chord

A Neapolitan sixth chord is a chord on ④ with a minor third and a minor sixth. It typically occurs in minor, although you may occasionally encounter it in major as well. In both modes, the sixth doesn’t belong to the scale but is a chromatically lowered version of ➋, giving its specific flavour to

Gjerdingen argues that “the fluid mixing and matching of schemata would seem to exemplify perfectly the ars combinatoria [or ‘art of combinations’] … this was a philosophical tradition cited by Riepel and other eighteenth-century musicians” (Gjerdingen, 2007: 99 & 115). Select Bibliography Gjerdingen, Robert O. Music in the Galant Style (New York: Oxford University Press,

A term of Robert O. Gjerdingen. A descending melodic sixth or a descending stepwise melodic progression from ➋ to ➍ as an ornament of ➍, after which the latter steps down to ➌. The High ➋ Drop is often used in the context of a Prinner. Gjerdingen has labelled this ornamental gesture the High ➋

We speak of complementary rhythm (in a two-part setting) when two parts alternate a rhythmic motive so that a regular rhythmic pattern emerges.

A direct octave occurs when two voices move in the same direction, the upper voice leaping, and produce a vertical octave. This voice leading is normally considered a (soft) error, although composers did accept it under certain conditions, for instance by including a suspension in an inner voice at the moment of the direct octave.

A direct fifth occurs when two voices move in the same direction, the upper voice leaping, and produce a vertical fifth. This voice leading is normally considered a (soft) error, although composers did accept it under certain conditions, for instance by including a suspension in an inner voice at the moment of the direct fifth.

In his influencial Abhandlung von der Fuge (1753), Friedrich Wilhelm Marpurg (1718–1795) uses the expression per arsin et thesin “to refer to the entrance of a theme (usually a fugue subject) with displaced accents, former strong beats becoming weak and vice versa” (Walker, Arsis, thesis). (Marpurg was a German author, music critic, music theorist and