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.