Cadences
Cadenza Semplice/Simple Cadence in First, Second and Third Positions
Cadenza Composta/Compound Cadence in First, Second and Third Positions
Cadenza Doppia/Double Cadence in First, Second and Third Positions
Which Position?
The Rule of the Octave
The Rule of the Octave in Major According to Fenaroli
Complete RO in First Position
Ascending RO in First Position
How to Build Up the Ascending RO in First Position?
Descending RO in First Position
How to Build Up the Descending RO in First Position?
Complete RO in Second Position
Complete RO in Third Position
The Rule of the Octave in Minor According to Fenaroli
Complete RO in First Position
Ascending RO in First Position
How to Build Up the Ascending RO in First Position?
Alternative Sonority on ⑦
Descending RO in First Position
How to Build Up the Descending RO in First Position?
Alternative Sonority on ④
Complete RO in Second Position
Complete RO in Third Position
The Rule of the Octave in Three Parts
Ascending RO
About Active Scale Steps
Descending RO
The Rule of the Octave: Alternative Settings
Ascending Alternatives in Major
Shouldn’t a Seventh be Prepared?
Ascending Alternatives in Minor
Descending Alternatives in Major
Descending Alternatives in Minor
When the Rule of the Octave Does Not Apply
Concerning ⑥: ①–(⑦–)⑥–④/③/②
Concerning ⑥: ⑤–⑥–④/③
Concerning ④: ①/③/⑥–④–③
Concerning ④: ①/③/⑥–④–①
Suspensions
Suspensions in the Upper Voice(s)
A Triad With a 4–3 Suspension
A Triad With a 9–8 Suspension
A Triad With a 9–8/4–3 Suspension
A Sixth Chord With a 7–6 Suspension
A 6/5 Chord With a 7–6 Suspension
Postponing the Dissonance
Suspension on ①
Suspension on ④
Suspension on ⑤ in Major
Suspension on ⑤ in Minor
Suspension on ⑥ in Minor
Moti del Basso
Diatonic Moti del Basso that Rise Stepwise
5–6
(8–)7–6
(10–)9–8
(10–)9–8 With Leapfrog
(10/8–)9/7–8/6
Diatonic Moti del Basso that Descend Stepwise
Stepwise Romanesca (Alternative for the Descending RO)
7–6
5–6/4+/2–6
What is a Fonte-Romanesca?
5–6 With Chromatics
(5–)6/4+/2–6(/5) (bass suspensions)
Moti del Basso That Rise Chromatically: ③=>⑥ (aka Monte)
Moti del Basso That Rise Chromatically: ⑤=>① in Minor
Moti del Basso That Descend Chromatically (aka Laments): (6–)7–6 in Minor
Moti del Basso That Descend Chromatically (aka Laments): 6–6
Moti del Basso That Descend Chromatically (aka Laments): The Morte
Second Up Third Down
Third Down Second Up
Third Up Second Down
Fourth Down Second Up (aka Romanesca)
Fourth Up Third Down (aka Monte Principale)
Fourth Up Fifth Down (aka Descending Circle of Fifths)
Fifth Up Fourth Down (aka Monte Romanesca)
Fifth Down Fourth Up (aka Descending Circle of Fifths)
Sixth Up Fifth Down
The essays above are the result of my research project A Database Of Schemata As a Starting Point For Historically Informed Improvisation and Composition conducted at the Royal Conservatoire Antwerp (AP Hogeschool). See also my research page.
