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 […]
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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The Monte is a schema widely used in the 17th and 18th centuries and exists in many variants, some of which are discussed in this essay. For the schema’s characteristics see my essay The Monte: The Basics. I will explore five variants of the Monte in this essay: the minor-key Monte ending in v, the
The Monte is a widely used schema in the 17th and 18th centuries and exists in many variants. In this essay, I will focus on the schema’s characteristics. Just as a Fonte, a Monte is a sequential schema in which each segment constitutes a cadence, often a ⑦–① cadence or clausula cantizans as well. However,
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I have already explored the voice-leading pattern that Robert Gjerdingen calls a Prinner to some extend in four essays (The Traditional Prinner, Variants of the Prinner (Part 1), Variants of the Prinner (Part 2): Sequential Prinners and Variants of the Prinner (Part 3)). To that series I will add another essay, although from a structural
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The Fontes we saw until now all finish in the main (major) key. However, there are types of Fontes that relate to another key than the main key. In this essay, I will explore three types of Fonte that do not relate to main (major) key: the Fonte that finishes in the dominant key, the
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In this essay, I will explore how the Fonte can be extended. While the Fonte is often composed of two segments, each of which consists of a ⑦–① cadence, this schema can be extended by adding an extra cadence to each segment or even by equating a musical phrase containing multiple cadential gestures with one
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The Fonte is a widely used schema in the 17th and 18th centuries and exists in many variants. In this essay, I will focus on the schema’s characteristics. The Fonte is essentially a descending sequential pattern with 2 segments, each segment constituting a ⑦–① cadence with a ➍–➌ melody. Segment 1 is written in the minor key
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The Prinner is an incredibly versatile voice-leading pattern. I have already devoted three essays to this schema (The Traditional Prinner, Variants of the Prinner (Part 1) and Variants of the Prinner (Part 2): Sequential Prinners) but there is still much more to say about it. In this essay, the third of four, I will deal
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