The second group of schemata
After the openings (Romanesca, Do-Re-Mi, Meyer) and the reply (Prinner), the galant vocabulary has schemata for the middle of pieces (after the double bar of a binary form, or at the start of the development), for prolonging a function and for preparing the cadence. All the examples are in C major.
Sequences after the double bar
Monte ("ascent")
- Two pairs rising by step: bass 7–1 | 7–1 a tone higher (E–F | F♯–G), melody 5–4–3 | 5–4–3 a tone higher.
- Chords: C7/E – F | D7/F♯ – G, that is V7/IV – IV – V7/V – V. It is the galant version of the ascending 5–6 progression and pushes toward the dominant: ideal for raising the energy.
- Listening example: it is very frequent in the second sections of Haydn and Mozart minuets.
Fonte ("fountain", descends)
- Two pairs descending by step: first a pair in minor that tonicizes the ii, then the same pair in major on the tonic. Bass ♯7–1 | 7–1 a tone lower (C♯–D | B–C), melody 4–3 | 4–3 of each local key (G–F | F–E).
- Chords: A7/C♯ – Dm | G7/B – C, that is V6/5/ii – ii – V6/5 – I.
- The minor→major color makes it melancholy and then reassuring; it is found at the start of the second part of countless eighteenth-century binary forms.
Ponte ("bridge")
- The bass stays on the dominant (pedal or repeated notes G–G–G), the melody outlines the dominant or seventh chord (5–7–2, G–B–D, with F).
- Function: to hold the V harmony in suspense before the return of the tonic, for example before the recapitulation in a sonata (the "dominant pedal" of the retransition).
Tonic prolongation
Quiescenza ("quiet")
- Tonic pedal in the bass (C–C–C–C); above it, the melody ♭7–6–7–1 (B♭–A–B–C), with chords C7 – F/C – G7/C – C (in practice I7 – IV6/4 – vii°7 or V7 over pedal – I).
- It is used after a cadence as a closing that lets the tonic "rest", and also at the beginning of pieces to assert the key. It is the formula of the codas of countless Classical overtures and symphonies.
Pre-cadential schemata
Fenaroli
- Bass 7–1–2–3 (B–C–D–E), melody 4–3–7–1 (F–E–B–C), often repeated twice.
- Chords: V6/5 – I – V4/3 – I6. The alternative form of the melody (2–3 … 7–1) creates a canon with the bass; Gjerdingen links the countermelody to Francesco Durante.
Indugio ("lingering")
- The bass stays on 4 (F–F–F) while the melody rises in thirds 2–4–6–1 (D–F–A–C), then the bass moves to ♯4–5 (F♯–G) for the half cadence.
- Chords: ii6/5 or prolonged IV – V6/5/V – V. It creates a playful anticipation before the cadence.
Converging cadence
- The bass rises chromatically 4–♯4–5 (F–F♯–G) while the melody descends: the voices converge on the dominant. It is the standard half cadence before a second theme or a pause (medial caesura).
The cadences
| Cadence | Bass | Melody | Notes |
|---|---|---|---|
| Simple | 3–4–5–1 | 1–2–2–1 | chords I6 – IV (or ii6) – V – I |
| Compound | 3–4–5–5–1 | 1–2–3–2–1 | with the cadential six-four and a suspension on the V |
| Double | 5–1 (prolonged V) | 4–3–2–1 | double dissonance on the V, typical of the endings of Durante and the early eighteenth century |
A complete phrase built with schemata
- mm. 1–4: Romanesca (opening)
- mm. 5–8: Prinner (reply) → simple cadence
- after the double bar: Fonte (2 + 2 bars) → Monte (2 + 2) → Ponte (2)
- final bars: Indugio → compound cadence → Quiescenza.
It is the map of an entire galant minuet.
Exercise for a producer
- Program the Fonte (A7/C♯ – Dm – G7/B – C) as a 4-bar intro of a pop track: hear the "minor that opens into major" effect.
- Use the Monte (C7/E – F – D7/F♯ – G) as a pre-chorus: the stepwise rise is a natural build toward the chorus.
- End the track with a Quiescenza over a tonic pedal (C7 – F/C – G7/C – C) on piano or organ.
Related topics
Galant schemata 1: openings and replies, Pedal point and ostinato, Harmonic sequences, Secondary dominants, Cadences, Minuet and trio.