Schemata

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 […]

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

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

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

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

The two-part Prinner with its ➏–➎–➍–➌ melody and ④–③–②–① bass line holds great potential as a sequential progression thanks to its voice leading in parallel thirds. As can be seen in my essays The Traditional Prinner and Variants of the Prinner (Part 1), however, the presence of a third voice very often undermines that potential.

In my essay The Traditional Prinner, I explain that this schema includes a ➏–➎–➍–➌ melody above a ④–③–②–① bass. In this essay, the first of four, I will deal with variants of the Prinner. While the ➏–➎–➍–➌ melody remains intact, it is the ④–③–②–① bass line that undergoes variation or moves up to an upper

The Prinner is a widely used schema in the 17th and 18th centuries and exists in many variants. In this essay, I will deal with the Traditional Prinner. The Traditional Prinner is identified by a ④—③—②—① descent in the bass, a ➏—➎—➍—➌ descent in the upper voice (in parallel thirds with the bass) and, if

In this essay, I will deal with a schema that is a variant of the Leaping Romanesca (or Pachelbel Pattern or Pachelbel sequence), characterized by its modified and shortened end. For more information on the (regular) Leaping Romanesca see my essay The Leaping Romanesca (The Pachelbel Pattern): The Basics. The Leaping Romanesca with a modified

In this essay, I will illustrate how one can transform a schematic version of the Stepwise Romanesca into two-part settings with embellishments. My elaborations are inspired by German and Italian 18th-century repertoire and pedagogical sources. Embellishments form an essential part of composition and improvisation. Thanks to, amongst others, escape notes, neighbour notes, passing notes and