114:, features a melody with scale degree 1 to scale degree 2 in the opening pair of events and scale degree 4 to scale degree 3 in the closing. The Pastorella melody features scale degree 3 to scale degree 2 in the opening and scale degree 4 to scale degree 3 in the closing. Lastly, the Aprile melody features scale degree 1 to scale degree 7 in the opening and scale degree 2 to scale degree 1 in the closing. The bassline and harmonic function for the Meyer, Jupiter, Pastorella, and Aprile, however, are similar in that they establish tonic function going to dominant function in the opening and dominant function going to tonic function in the closing.
110:
degree 4 to scale degree 3 in the second pair. The bassline features a stepwise ascent from scale degree 1 to scale degree 2 in the first pair and another stepwise ascent from scale degree 7 to scale degree 1 in the second pair of events. This establishes a tonic function to dominant function "opening" of the harmonic progression in the first pair of events, and then a dominant function to tonic function "closing" of the phrase in the second pair. The Meyer has three related schemas: the
Jupiter, the Pastorella, and the Aprile, with their differences being in their melodies. The Jupiter, named after
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71:. The later Romanesca is a similar progression and features three variants: the leaping variant, the stepwise variant, and the galant variant, a hybrid of the previous two. Gjerdingen describes the Romanesca as an "opening gambit," meaning that the normative placement of the Romanesca would conventionally be found at the beginning of phrasal structure. A Romanesca melody usually features emphases on
336:
247:
306:
the main key, and the second of which would also contain two events centering the dominant, usually to make up a cadence. The Monte melody features two sections. Typically, the second section is a near copy of the first, but a step higher. The Monte bassline also usually features a melodic ascent. A similar concept to the Monte is the ascending tenths sequence.
279:
group of events and following it with cadential action in the main key in the second group. The Fonte melody typically features two recognizable sets, corresponding to the two groups of events. The second melodic set in a Fonte is a step lower than the first set. A concept related to the Fonte is the descending fifth
371:
features four events, with the melody featuring a descent from scale degree 4 to scale degree 3 followed by an ascent from scale degree 7 to scale degree 1. The
Fenaroli bass features a stepwise ascent from scale degrees 7 to 3. Another common Fenaroli melody is scale degree 2 to scale degree 3, then
109:
The Meyer was a popular choice among composers for themes of structural importance in a piece of music. The Meyer features four events presented in pairs of two. The melody features a first descent from scale degree 1 to scale degree 7 in the first pair of events, and then a second descent from scale
462:
The
Quiescenza was used by composers to prolong the tonic following a significant section-ending cadence. As the Quiescenza's function is to rest the music on a tonic harmony, it was also often used in the beginning of pieces to strongly establish the key center. The Quiescenza features four events,
305:
The Monte, like the Fonte, also features events grouped by two. However, unlike the Fonte, it is not uncommon to find early Montes with more than two sections. Later Montes featured mostly featured two sections, the first of which would contain two harmonic events centering around the subdominant of
278:
The Fonte features four events in two groups of two, or "dyads". The first group is a pair of harmonies in a minor key, and the second group is in a major key. Composers used the Fonte to briefly deviate from the main key of a piece, essentially tonicizing the supertonic of the main key in the first
172:
The Do-Re-Mi is another common "opening gambit." This schema features three events. Like the name suggests, a Do-Re-Mi melody features stepwise ascent from scale degree 1 to scale degree 3. In the bass, scale degree 1 to scale degree 7 to scale degree 1 is common, as well as scale degree 1 to scale
211:
The Sol-Fa-Mi is another opening gambit. Perceived as less bold than a Do-Re-Mi or a Meyer, The Sol-Fa-Mi was typically used for slow movement themes or secondary material in faster, more complex movements. The Sol-Fa-Mi is presented as a pair of dyads. The first and second events feature a melody
426:
As the Ponte serves to prolong a dominant sonority, the
Indugio is a prolongation of a predominant sonority before a half cadence. In an Indugio, the melody will often highlight scale degrees 2, 4, and 6, while the bass will emphasize scale degree 4, preparing to go to scale degree 5 for the half
239:
Gjerdingen describes the
Prinner as a "riposte" to an opening schema. A Prinner melody features some form of stepwise descent from scale degree 6 to scale degree 3, and the bassline features stepwise descent from scale degree 4 to scale degree 1. A variant of this schema exists with an optional
41:
strength and weakness of such events—as well as normative placements in the musical structure as a whole. According to
Gjerdingen, the usage of these schemata in a conventional, seamless sequence is "a hallmark of the galant style" and a consequence of the
212:
that steps down from scale degree 5 to 4 and a bass that steps up from scale degree 1 to 2. The third and fourth events feature the melody continuing to step down, this time from scale degree 4 to 3, while the bass steps up from scale degree 7 to 1.
328:
The Ponte acts as a prolongation of a dominant sonority. A Ponte melody typically emphasizes tones of the dominant or dominant seventh harmony, and the bass features repetitions of the fifth scale degree, if not an outright
463:
with the melody first descending from flat scale degree 7 to scale degree 6, and then ascending from scale degree 7 to scale degree 1. The
Quiescenza bass rests on a tonic pedal for its full duration.
173:
degree 5 to scale degree 1. These three events imply a tonic function in the first event, a dominant function in the second event, and a tonic function again in the third event. A variant called the
46:
pedagogical tradition of
Neapolitan conservatories. Galant schemata, broadly speaking, can be distinguished among opening, closing, cadential, pre-cadential, and post-cadential varieties.
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Cadential schemata include the
Cadenza Semplice (or simple cadence), Cadenza Composta (or compound cadence), and Cadenza Doppia (or double cadence).
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Other pre-cadential schemata include the deceptive cadence, the evaded cadence, the converging cadence, Passo
Indietro, and the comma.
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81:
469:
93:
37:
in psychology. Each schema has discernible internal characteristics—such as voice leading, number of events, and relative
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218:
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132:
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Schemata can be employed serially, but can also be superimposed upon one another. Highly contrapuntal works like
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extension in the third event with scale degree 5 in the bass to strengthen the finality of the musical phrase.
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originated from the 16th and 17th centuries as a common musical backdrop in a
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Composers in the galant period also favored the Prinner as a useful way to
270:. Prinners used in this manner are distinguished as modulating Prinners.
67:
for singing poetry as well as the basis for variations over a repeating
925:
376:
with the bass. A countermelody exists for the Fenaroli, as taught by
486:
404:
Fenaroli prototype where the melody creates a canon with the bass.
177:
variant features leaps down to scale degree 5 in the melody.
1055:
1053:
372:scale degree 7 to scale degree 1, which creates a
416:Fenaroli prototype with the Durante countemelody.
33:. The concept of a musical schema is based on
8:
201:The Adeste Fidelis Variant of the Do-Re-Mi.
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852:Shaffer, Kris; Gotham, Mark (2021-07-01).
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496:
439:Prototype of the Indugio with half cadence
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105:Meyer, Jupiter, Pastorella, and Aprile
798:
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489:often feature overlapping schemata.
7:
927:The Oxford history of Western music
607:5-4-3, then 5-4-3 one step higher
87:Stepwise variant of the Romanesca.
14:
99:Prototype of a leaping Romanesca.
29:, are "stock musical phrases" in
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1795:Gjerdingen, Robert O. (2020).
1746:Gjerdingen, Robert O. (2020).
1697:Gjerdingen, Robert O. (2020).
1648:Gjerdingen, Robert O. (2020).
1599:Gjerdingen, Robert O. (2020).
1550:Gjerdingen, Robert O. (2020).
1501:Gjerdingen, Robert O. (2020).
1452:Gjerdingen, Robert O. (2020).
1403:Gjerdingen, Robert O. (2020).
1354:Gjerdingen, Robert O. (2020).
1305:Gjerdingen, Robert O. (2020).
1256:Gjerdingen, Robert O. (2020).
1207:Gjerdingen, Robert O. (2020).
1158:Gjerdingen, Robert O. (2020).
1109:Gjerdingen, Robert O. (2020).
1060:Gjerdingen, Robert O. (2020).
1008:Gjerdingen, Robert O. (2020).
959:Gjerdingen, Robert O. (2020).
803:Gjerdingen, Robert O. (2020).
1:
1801:. New York, NY. p. 460.
1752:. New York, NY. p. 464.
1703:. New York, NY. p. 226.
1654:. New York, NY. p. 462.
1605:. New York, NY. p. 461.
1556:. New York, NY. p. 458.
1507:. New York, NY. p. 456.
1458:. New York, NY. p. 455.
1360:. New York, NY. p. 463.
1262:. New York, NY. p. 457.
1213:. New York, NY. p. 122.
1164:. New York, NY. p. 117.
1115:. New York, NY. p. 116.
1066:. New York, NY. p. 459.
1014:. New York, NY. p. 454.
610:7-1 then 7-1 one step higher
576:7-1, then 7-1 one step lower
573:4-3, then 4-3 one step lower
475:Prototype of the Quienscenza.
1409:. New York, NY. p. 45.
1311:. New York, NY. p. 85.
965:. New York, NY. p. 33.
150:Prototype of the Pastorella.
930:. Oxford University Press.
888:Gotham, Mark (2021-07-01).
809:. New York, NY. p. 6.
481:Superimposition of schemata
224:Prototype of the Sol-Fa-Mi.
1871:
924:Taruskin, Richard (2019).
890:"Galant Schemas – Summary"
392:Prototype of the Fenaroli.
350:Partimento § Cadences
347:
189:Prototype of the Do-Re-Mi.
1798:Music in the galant style
1749:Music in the galant style
1700:Music in the galant style
1651:Music in the galant style
1602:Music in the galant style
1553:Music in the galant style
1504:Music in the galant style
1455:Music in the galant style
1406:Music in the galant style
1357:Music in the galant style
1308:Music in the galant style
1259:Music in the galant style
1210:Music in the galant style
1161:Music in the galant style
1112:Music in the galant style
1063:Music in the galant style
1011:Music in the galant style
962:Music in the galant style
806:Music in the galant style
252:Prototype of the Prinner.
138:Prototype of the Jupiter.
26:Music in the Galant Style
162:Prototype of the Aprile.
112:Mozart's Symphony No. 41
126:Prototype of the Meyer.
905:Cite journal requires
869:Cite journal requires
695:Open: 1-2 Closed: 7-1
692:Open: 5-4 Closed: 4-3
624:Open: 1-7 Closed: 4-3
627:Open: 1-2 Closed:7-1
69:harmonic progression
553:Modulating Prinner
498:
258:Modulating Prinners
782:Rule of the Octave
497:
445:Other Pre-cadences
318:A Monte prototype.
295:A Fonte prototype.
266:from a key to its
19:, as described by
1808:978-0-19-009581-9
1759:978-0-19-009581-9
1710:978-0-19-009581-9
1661:978-0-19-009581-9
1612:978-0-19-009581-9
1563:978-0-19-009581-9
1514:978-0-19-009581-9
1465:978-0-19-009581-9
1416:978-0-19-009581-9
1367:978-0-19-009581-9
1318:978-0-19-009581-9
1269:978-0-19-009581-9
1220:978-0-19-009581-9
1171:978-0-19-009581-9
1122:978-0-19-009581-9
1073:978-0-19-009581-9
1021:978-0-19-009581-9
972:978-0-19-009581-9
937:978-0-19-060022-8
816:978-0-19-009581-9
773:
772:
740:Cadenza Composta
723:Cadenza Semplice
493:Table of schemata
378:Francesco Durante
21:Robert Gjerdingen
1862:
1835:
1834:
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1820:
1792:
1786:
1785:
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1722:
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1639:
1638:
1632:
1624:
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1590:
1589:
1583:
1575:
1547:
1541:
1540:
1534:
1526:
1498:
1492:
1491:
1485:
1477:
1449:
1443:
1442:
1436:
1428:
1400:
1394:
1393:
1387:
1379:
1351:
1345:
1344:
1338:
1330:
1302:
1296:
1295:
1289:
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1253:
1247:
1246:
1240:
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1204:
1198:
1197:
1191:
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1106:
1100:
1099:
1093:
1085:
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992:
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921:
915:
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908:
903:
901:
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872:
867:
865:
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854:"Galant Schemas"
849:
843:
842:
836:
828:
800:
511:Metric polarity
499:
472:
436:
413:
401:
389:
338:
315:
292:
249:
230:Closing Schemata
221:
198:
186:
159:
147:
135:
123:
96:
84:
50:Opening Schemata
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1809:
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1711:
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1613:
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1123:
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1103:
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1002:
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973:
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918:
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882:
868:
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851:
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846:
829:
817:
802:
801:
794:
790:
778:
757:Cadenza Doppia
650:Post-cadential
638:The Quiescenza
495:
483:
476:
473:
460:
455:
447:
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417:
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402:
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139:
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127:
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57:
52:
17:Galant Schemata
12:
11:
5:
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1866:
1858:
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907:|journal=
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871:|journal=
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718:Pre-cadential
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689:The Sol-Fa-Mi
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684:Pre-cadential
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519:The Romanesca
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188:
181:
175:Adeste Fidelis
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748:
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731:
728:
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721:
717:
714:
712:4...4-4-4#-5
711:
708:
705:
704:
700:
697:
694:
691:
688:
687:
683:
680:
677:
674:
672:The Fenaroli
671:
670:
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663:
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653:
649:
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643:
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637:
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632:
629:
626:
623:
620:
619:
615:
612:
609:
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595:
592:
589:
587:The Do-Re-Mi
586:
585:
581:
578:
575:
572:
569:
568:
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561:
558:
555:
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551:
547:
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541:
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513:
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492:
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471:
466:
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457:
453:Post-Cadences
452:
450:
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435:
430:
428:
421:
412:
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388:
383:
381:
379:
375:
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273:
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134:
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104:
95:
90:
83:
78:
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73:scale degrees
70:
66:
62:
54:
49:
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45:
40:
36:
35:schema theory
32:
28:
27:
22:
18:
1797:
1790:
1748:
1741:
1699:
1692:
1650:
1643:
1601:
1594:
1552:
1545:
1503:
1496:
1454:
1447:
1405:
1398:
1356:
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1307:
1300:
1258:
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1209:
1202:
1160:
1153:
1111:
1104:
1062:
1010:
1003:
961:
954:
926:
919:
898:cite journal
883:
862:cite journal
847:
805:
788:Bibliography
766:Strong-weak
749:Weak-strong
732:Weak-strong
715:Strong-weak
709:2...4-6-1-7
706:The Indugio
698:Weak-strong
681:Weak-strong
664:Strong-weak
647:Weak-strong
630:Weak-strong
613:Weak-strong
596:Strong-weak
579:Weak-strong
562:Strong-weak
545:Strong-weak
542:4-3-2-(5)-1
539:6-5-4-(2)-3
536:The Prinner
528:Strong-weak
484:
461:
448:
425:
366:
358:Pre-Cadences
353:
327:
304:
277:
261:
238:
210:
171:
108:
58:
31:Galant music
24:
16:
15:
1855:Musicology
1841:References
1817:1119767298
1768:1119767298
1719:1119767298
1670:1119767298
1621:1119767298
1572:1119767298
1523:1119767298
1474:1119767298
1425:1119767298
1376:1119767298
1327:1119767298
1278:1119767298
1229:1119767298
1180:1119767298
1131:1119767298
1082:1119767298
1030:1119767298
981:1119767298
946:1064401150
825:1119767298
746:3-4-5-5-1
743:1-2-3-2-1
655:The Ponte
621:The Meyer
604:The Monte
570:The Fonte
458:Quiescenza
348:See also:
44:partimento
1825:cite book
1776:cite book
1727:cite book
1678:cite book
1629:cite book
1580:cite book
1531:cite book
1482:cite book
1433:cite book
1384:cite book
1335:cite book
1286:cite book
1237:cite book
1188:cite book
1139:cite book
1090:cite book
1038:cite book
989:cite book
833:cite book
641:b7-6-7-1
207:Sol-Fa-Mi
65:minor key
61:Romanesca
55:Romanesca
1849:Category
776:See Also
769:Cadence
760:4-3-2-1
752:Cadence
735:Cadence
729:3-4-5-1
726:1-2-2-1
701:Opening
678:7-1-2-3
675:4-3-7-1
667:Closing
644:1-1-1-1
633:Opening
616:Closing
599:Opening
582:Closing
565:Closing
559:8-7-6-5
556:3-2-1-7
548:Closing
531:Opening
525:1-7-6-3
522:1-5-1-1
514:Variety
427:cadence.
369:Fenaroli
363:Fenaroli
344:Cadences
281:sequence
268:dominant
264:modulate
168:Do-Re-Mi
75:1 and 5.
505:Melody
502:Schema
422:Indugio
235:Prinner
1815:
1805:
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1119:
1080:
1070:
1028:
1018:
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969:
944:
934:
823:
813:
661:5-5-5
658:5-7-2
593:1-7-1
590:1-2-3
487:fugues
329:pedal.
39:metric
508:Bass
374:canon
324:Ponte
301:Monte
274:Fonte
1831:link
1813:OCLC
1803:ISBN
1782:link
1764:OCLC
1754:ISBN
1733:link
1715:OCLC
1705:ISBN
1684:link
1666:OCLC
1656:ISBN
1635:link
1617:OCLC
1607:ISBN
1586:link
1568:OCLC
1558:ISBN
1537:link
1519:OCLC
1509:ISBN
1488:link
1470:OCLC
1460:ISBN
1439:link
1421:OCLC
1411:ISBN
1390:link
1372:OCLC
1362:ISBN
1341:link
1323:OCLC
1313:ISBN
1292:link
1274:OCLC
1264:ISBN
1243:link
1225:OCLC
1215:ISBN
1194:link
1176:OCLC
1166:ISBN
1145:link
1127:OCLC
1117:ISBN
1096:link
1078:OCLC
1068:ISBN
1044:link
1026:OCLC
1016:ISBN
995:link
977:OCLC
967:ISBN
942:OCLC
932:ISBN
911:help
875:help
839:link
821:OCLC
811:ISBN
763:5-1
367:The
59:The
23:in
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