(This essay also discusses the High ➏ Drop.) Term by Robert O. Gjerdingen. A Converging cadence, which is a type of half cadence, “is so named by virtue of the way its two outer voices move toward each other, converging on the dominant” (Gjerdingen (2007), p. 159). The Two-Part Converging Cadence A Converging cadence can

Term coined by Robert O. Gjerdingen. In the words of Gjerdingen, referring to the first movement of Keyboard Sonata in C major KV545 by Mozart: “The endings of the first and second halves of a famous Mozart keyboard sonata present the two most common variants of the Final Fall… The first is the more galant,

In this essay, I will explore the paired Do-Re-Mi —the term also comes from Robert O. Gjerdingen, which was another favourite opening schema in the galant style that also existed in several variants. The term paired Do-Re-Mi —a variant of the (‘regular’) Do-Re-Mi— refers to a proposta schema that, due to the addition of an

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

Term coined by Robert O. Gjerdingen, after an observation by Leonard B. Meyer. In the words of Gjerdingen, “in the 1970s, Leonard B. Meyer noticed that many eighteenth-century phrases resembled the opening of the hymn tune ‘Adeste Fidelis’. Its melody, believed to date from the early eighteenth century, opens with a variant of the Do-Re-Mi

A risposta schema (or riposta schema) is a schema that follows (‘responds to’) a proposta schema. See also proposta schema. Select Bibliography Gjerdingen, Robert O. Music in the Galant Style (New York: Oxford University Press, 2007).

A proposta schema is a schema that begins a composition or an important section of it. See also risposta schema. Select Bibliography Gjerdingen, Robert O. Music in the Galant Style (New York: Oxford University Press, 2007).

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

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