Schemata

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

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,

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 several techniques for extending a Fonte. While the Fonte is often composed of 2 segments, each of which consists of a ⑦–① cadence, this schema can be extended by adding an extra cadence to each segment, by equating a phrase containing multiple cadential gestures with one segment or by

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