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

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

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

Robert Gjerdingen calls a chromatically lowered sixth scale step in a major key (A♭ instead of A(♮) in C major, for instance) a hermaphrodite note, referring to Joseph Riepel (1709–1782), who seems to have associated major with masculine and minor with feminine. A hermaphrodite note is thus the sixth scale step borrowed from the parallel