II. Counterpoint and Galant Schemas
Galant Schemas – Summary
Mark Gotham
Key Takeaways
We begin with an at-a-glance summary of some important schemas, then proceed to set out each of the schemas listed one by one.
Overall Short Summary
Musical notation
Here are files in musical notation with all the schemas listed on this page:
These files provide a set of schemas, with the constituent parts set out as prototypically as is possible in musical notation: that is, with melody and figured bass lines, along with (in the first file’s case) chords in a middle part realizing those figures. Musical notation is obviously useful, though really, schemas are prototypes that exist apart from any specific realization, so the more abstract representations in tables and the like are better in some ways. That’s why you’ll see them set out in this fashion here and in other literature on this topic.
Summarizing table
| Name | When | Meter | Harmony (figures) | ||
|---|---|---|---|---|---|
| Romanesca | Opening | do–sol–do–do [latex]{\hat1-\hat5-\hat1-\hat1}[/latex] |
do–ti–la–mi [latex]{\hat1-\hat7-\hat6-\hat3}[/latex] |
S W S W | 5-6-5-6 |
| Do-Re-Mi | Opening | do–re–mi [latex]{\hat1-\hat2-\hat3}[/latex] |
do–ti–do [latex]{\hat1-\hat7-\hat1}[/latex] |
S W S | 5-6-5 |
| Sol-Fa-Mi | Opening | sol–fa–fa–mi [latex]{\hat5-\hat4-\hat4-\hat3}[/latex] |
do–re–ti–do [latex]{\hat1-\hat2-\hat7-\hat1}[/latex] |
W S W S | 5-5-6/5-5 |
| Meyer | Opening | do–ti–fa–mi [latex]{\hat1-\hat7-\hat4-\hat3}[/latex] |
do–re–ti–do [latex]{\hat1-\hat2-\hat7-\hat1}[/latex] |
W S W S | 5-6/4/3-6/5-5 |
| Aprile | Opening | do–ti–re–do [latex]{\hat1-\hat7-\hat2-\hat1}[/latex] |
do–re–ti–do [latex]{\hat1-\hat2-\hat7-\hat1}[/latex] |
S W S W | 5-6/4/3-6/5-5 |
| Jupiter | Opening | do–re–fa–mi [latex]{\hat1-\hat2-\hat4-\hat3}[/latex] |
do–ti–sol–do [latex]{\hat1-\hat7-\hat5-\hat1}[/latex] |
S W S W | 5-6-5-5 |
| Pastorella | Opening | mi–re–fa–mi [latex]{\hat3-\hat2-\hat4-\hat3}[/latex] |
do–sol–sol–do [latex]{\hat1-\hat5-\hat5-\hat1}[/latex] |
S W S W | 5-5-7-5 |
| Prinner | Answer Process Transition |
la–sol–fa–mi [latex]{\hat6-\hat5-\hat4-\hat3}[/latex] |
fa–mi–re–do [latex]{\hat4-\hat3-\hat2-\hat1}[/latex] |
S W S W | 5-6-7-6-5 |
| Modulating Prinner | Answer Process Transition |
mi–re–do–ti [latex]{\hat3-\hat2-\hat1-\hat7}[/latex] |
do–ti–la–sol [latex]{\hat8-\hat7-\hat6-\hat5}[/latex] |
S W S W | 5-6-7-♯6-5 |
| Fonte | Answer Process Transition |
sol–fa–fa–mi [latex]{\hat5-\hat4-\hat4-\hat3}[/latex] |
di–re–ti–do [latex]{\uparrow\hat1-\hat2-\hat7-\hat1}[/latex] |
W S W S | 6/5-5-6/5-5 |
| Monte | Answer Process Transition |
do–te–la–re–do–ti [latex]{\hat1-\downarrow\hat7-\hat6-\hat2-\hat1-\hat7}[/latex] |
mi–fa–fi–sol [latex]{\hat3-\hat4-\uparrow\hat4-\hat5}[/latex] |
W S W S | 6-5-6-5 |
| Ponte | Answer Process Transition |
sol–ti–re [latex]{\hat5-\hat7-\hat2}[/latex] |
sol [latex]{\hat5}[/latex] |
S W S | 5-7-7 |
| Fenaroli | Pre-Cadential | fa–mi–ti–do [latex]{\hat4-\hat3-\hat7-\hat1}[/latex] |
ti–do–re–mi [latex]{\hat7-\hat1-\hat2-\hat3}[/latex] |
S W S W | 6-5-6-6 |
| Indugio | Pre-Cadential | re–fa–la–do–ti [latex]{\hat2-\hat4-\hat6-\hat1-\hat7}[/latex] |
fa–fa–fa–fi–sol [latex]{\hat4-\hat4-\hat4-\uparrow\hat4-\hat5}[/latex] |
S W S W S | 6/5-6/5-6/5-6/5-5 |
| Deceptive Cadence | Pre-Cadential | do–re–re–do [latex]{\hat1-\hat2-\hat2-\hat1}[/latex] |
mi–fa–sol–la [latex]{\hat3-\hat4-\hat5-\hat6}[/latex] |
W S W S | 6-6/5-5-5 |
| Evaded Cadence | Pre-Cadential | do–re–re–do [latex]{\hat1-\hat2-\hat2-\hat1}[/latex] |
mi–fa–sol–sol–do [latex]{\hat3-\hat4-\hat5-\hat5-\hat1}[/latex] |
W S W S | 6-6/5-5-6 |
| Passo Indietro | Pre-Cadential | ti–do [latex]{\hat7-\hat1}[/latex] |
fa–mi [latex]{\hat4-\hat3}[/latex] |
S W S W S | 6/4/2-6 |
| Comma | Pre-Cadential | fa–mi [latex]{\hat4-\hat3}[/latex] |
ti–do [latex]{\hat7-\hat1}[/latex] |
W S | 6/5-5 |
| Converging Cadence | Pre-Cadential | mi–re–do–ti [latex]{\hat3-\hat2-\hat1-\hat7}[/latex] |
mi–fa–fi–sol [latex]{\hat3-\hat4-\uparrow\hat4-\hat5}[/latex] |
W S | 6-6/5-6/5-5 |
| Cadenza Semplice | Cadence | do–re–re–do [latex]{\hat1-\hat2-\hat2-\hat1}[/latex] |
mi–fa–sol–do [latex]{\hat3-\hat4-\hat5-\hat1}[/latex] |
W S W S | 6-6/5-5-5 |
| Cadenza Composta | Cadence | do–re–mi–re–do [latex]{\hat1-\hat2-\hat3-\hat2-\hat1}[/latex] |
mi–fa–sol–sol–do [latex]{\hat3-\hat4-\hat5-\hat5-\hat1}[/latex] |
W S () S W S | 6-6/5-6/4-7-5 |
| Cadenza Doppia | Cadence | fa–mi–re–do [latex]{\hat4-\hat3-\hat2-\hat1}[/latex] |
sol–do [latex]{\hat5-\hat1}[/latex] |
S W S W S | 5-6/4-4-3-5 |
| Quiescenza | Post-Cadential | te–la–ti–do [latex]{\downarrow\hat7-\hat6-\hat7-\hat1}[/latex] |
do [latex]{\hat1}[/latex] |
W S W S | ♭7-6/4-7/4/2-5 |
Itemized List
Opening Gambits
Romanesca
| Stage | 1 | 2 | 3 | 4 |
|---|---|---|---|---|
| Meter | S | W | S | W |
| Melody | do [latex]\hat1[/latex] |
sol [latex]\hat5[/latex] |
do [latex]\hat1[/latex] |
do [latex]\hat1[/latex] |
| Bass | do [latex]\hat1[/latex] |
ti [latex]\hat7[/latex] |
la [latex]\hat6[/latex] |
mi [latex]\hat3[/latex] |
| Figures | 5 | 6 | 5 | 6 |
| Roman numerals | I | V | vi | I |
Do–Re–Mi
| Stage | 1 | 2 | 3 |
|---|---|---|---|
| Meter | S | W | S |
| Melody | do [latex]\hat1[/latex] |
re [latex]\hat2[/latex] |
mi [latex]\hat3[/latex] |
| Bass | do [latex]\hat1[/latex] |
ti [latex]\hat7[/latex] |
do [latex]\hat1[/latex] |
| Figures | 5 | 6 | 5 |
| Roman numerals | I | V | I |
Many of the schemas involve two steps that can be considered schemas on their own. These often take the form of question-answer pairs.
Here, we have the Do–Re opening part as the opening question:
| Stage | 1 | 2 |
|---|---|---|
| Meter | S | W |
| Melody | do [latex]\hat1[/latex] |
re [latex]\hat2[/latex] |
| Bass | do [latex]\hat1[/latex] |
ti [latex]\hat7[/latex] |
| Figures | 5 | 6 |
| Roman numerals | I | V |
That Do–Re is answered by the Re–Mi:
| Stage | 1 | 2 |
|---|---|---|
| Meter | W | S |
| Melody | re [latex]\hat2[/latex] |
mi [latex]\hat3[/latex] |
| Bass | ti [latex]\hat7[/latex] |
do [latex]\hat1[/latex] |
| Figures | 6 | 5 |
| Roman numerals | V | I |
The Do–Re–Mi may also appear in a four-stage version by putting those constituent parts back together. This basically involves doubling up the central stage of the three-stage version.
Sol–Fa–Mi
| Stage | 1 | 2 | 3 | 4 |
|---|---|---|---|---|
| Meter | W | S | W | S |
| Melody | sol [latex]\hat5[/latex] |
fa [latex]\hat4[/latex] |
fa [latex]\hat4[/latex] |
mi [latex]\hat3[/latex] |
| Bass | do [latex]\hat1[/latex] |
re [latex]\hat2[/latex] |
ti [latex]\hat7[/latex] |
do [latex]\hat1[/latex] |
| Figures | 5 | 5 | 6/5 | 5 |
| Roman numerals | I | ii | V | I |
Again, this comprises two parts.
Opening part (Sol–Fa):
| Stage | 1 | 2 |
|---|---|---|
| Meter | W | S |
| Melody | sol [latex]\hat5[/latex] |
fa [latex]\hat4[/latex] |
| Bass | do [latex]\hat1[/latex] |
re [latex]\hat2[/latex] |
| Figures | 5 | 5 |
| Roman numerals | I | ii |
Answering part (Fa–Mi):
| Stage | 1 | 2 |
|---|---|---|
| Meter | W | S |
| Melody | fa [latex]\hat4[/latex] |
mi [latex]\hat3[/latex] |
| Bass | ti [latex]\hat7[/latex] |
do [latex]\hat1[/latex] |
| Figures | 6 | 5 |
| Roman numerals | V | I |
This schema may also appear with the harmony slightly altered, as follows:
| Stage | 1 | 2 | 3 | 4 |
|---|---|---|---|---|
| Meter | W | S | W | S |
| Melody | sol [latex]\hat5[/latex] |
fa [latex]\hat4[/latex] |
fa [latex]\hat4[/latex] |
mi [latex]\hat3[/latex] |
| Bass | do [latex]\hat1[/latex] |
re [latex]\hat2[/latex] |
ti [latex]\hat7[/latex] |
do [latex]\hat1[/latex] |
| Figures | 5 | 6 | 6/5 | 5 |
| Roman numerals | I | vii | V | I |
Meyer
| Stage | 1 | 2 | 3 | 4 |
|---|---|---|---|---|
| Meter | W | S | W | S |
| Melody | do [latex]\hat1[/latex] |
ti [latex]\hat7[/latex] |
fa [latex]\hat4[/latex] |
mi [latex]\hat3[/latex] |
| Bass | do [latex]\hat1[/latex] |
re [latex]\hat2[/latex] |
ti [latex]\hat7[/latex] |
do [latex]\hat1[/latex] |
| Figures | 5 | 6/4/3 | 6/5 | 5 |
| Roman numerals | I | V | V | I |
Opening part:
| Stage | 1 | 2 |
|---|---|---|
| Meter | W | S |
| Melody | do [latex]\hat1[/latex] |
ti [latex]\hat7[/latex] |
| Bass | do [latex]\hat1[/latex] |
re [latex]\hat2[/latex] |
| Figures | 5 | 6,4,3 |
| Roman numerals | I | V |
Closing part:
| Stage | 1 | 2 |
|---|---|---|
| Meter | W | S |
| Melody | fa [latex]\hat4[/latex] |
mi [latex]\hat3[/latex] |
| Bass | ti [latex]\hat7[/latex] |
do [latex]\hat1[/latex] |
| Figures | 6,5 | 5 |
| Roman numerals | V | I |
Aprile
| Stage | 1 | 2 | 3 | 4 |
|---|---|---|---|---|
| Meter | S | W | S | W |
| Melody | do [latex]\hat1[/latex] |
ti [latex]\hat7[/latex] |
re [latex]\hat2[/latex] |
do [latex]\hat1[/latex] |
| Bass | do [latex]\hat1[/latex] |
re [latex]\hat2[/latex] |
ti [latex]\hat7[/latex] |
do [latex]\hat1[/latex] |
| Figures | 5 | 6,4,3 | 6,5 | 5 |
| Roman numerals | I | V | V | I |
Jupiter
| Stage | 1 | 2 | 3 | 4 |
|---|---|---|---|---|
| Meter | S | W | S | W |
| Melody | do [latex]\hat1[/latex] |
re [latex]\hat2[/latex] |
fa [latex]\hat4[/latex] |
mi [latex]\hat3[/latex] |
| Bass | do [latex]\hat1[/latex] |
ti [latex]\hat7[/latex] |
sol [latex]\hat5[/latex] |
do [latex]\hat1[/latex] |
| Figures | 5 | 6 | 5 | 5 |
| Roman numerals | I | V | V | I |
Pastorella
| Stage | 1 | 2 | 3 | 4 |
|---|---|---|---|---|
| Meter | S | W | S | W |
| Melody | mi [latex]\hat3[/latex] |
re [latex]\hat2[/latex] |
fa [latex]\hat4[/latex] |
mi [latex]\hat3[/latex] |
| Bass | do [latex]\hat1[/latex] |
sol [latex]\hat5[/latex] |
sol [latex]\hat5[/latex] |
do [latex]\hat1[/latex] |
| Figures | 5 | 5 | 7 | 5 |
| Roman numerals | I | V | V | I |
Answer/Process/Transition
Prinner and Modulating Prinner
| Stage | 1 | 2 | 3 | 4 |
|---|---|---|---|---|
| Meter | S | W | S | W |
| Melody | la [latex]\hat6[/latex] |
sol [latex]\hat5[/latex] |
fa [latex]\hat4[/latex] |
mi [latex]\hat3[/latex] |
| Bass | fa [latex]\hat4[/latex] |
mi [latex]\hat3[/latex] |
re [latex]\hat2[/latex] |
do [latex]\hat1[/latex] |
| Figures | 5 | 6 | 7-6 | I |
| Roman numerals | IV | I | vii | I |
A slight variant on this inserts a root-position dominant before the final stage:
| Stage | 1 | 2 | 3 | 4 | 5 |
|---|---|---|---|---|---|
| Meter | S | W | S | W | S |
| Melody | la [latex]\hat6[/latex] |
sol [latex]\hat5[/latex] |
fa [latex]\hat4[/latex] |
fa [latex]\hat4[/latex] |
mi [latex]\hat3[/latex] |
| Bass | fa [latex]\hat4[/latex] |
mi [latex]\hat3[/latex] |
re [latex]\hat2[/latex] |
sol [latex]\hat5[/latex] |
do [latex]\hat1[/latex] |
| Figures | 5 | 6 | 7–6 | 7 | 5 |
| Roman numerals | IV | I | vii | V | I |
The Prinner can also be used to modulate from the tonic to the dominant. This variant is called the Modulating Prinner:
| Stage | 1 | 2 | 3 | 4 |
|---|---|---|---|---|
| Meter | S | W | S | W |
| Melody | mi [latex]\hat3[/latex] |
re [latex]\hat2[/latex] |
do [latex]\hat1[/latex] |
ti [latex]\hat7[/latex] |
| Bass | do [latex]\hat8[/latex] |
ti [latex]\hat7[/latex] |
la [latex]\hat6[/latex] |
sol [latex]\hat5[/latex] |
| Figures | 5 | 6 | 7-♯6 | 5 |
| Roman numerals | I | V | vii/V | V |
Again, this can come with an additional root-position dominant:
| Stage | 1 | 2 | 3 | 4 | 5 |
|---|---|---|---|---|---|
| Meter | S | W | S | W | S |
| Melody | mi [latex]\hat3[/latex] |
re [latex]\hat2[/latex] |
do [latex]\hat1[/latex] |
do [latex]\hat1[/latex] |
ti [latex]\hat7[/latex] |
| Bass | do [latex]\hat1[/latex] |
ti [latex]\hat7[/latex] |
la [latex]\hat6[/latex] |
re [latex]\hat2[/latex] |
sol [latex]\hat5[/latex] |
| Figures | 5 | 6 | 7–♯6 | 7/♯ | 5 |
| Roman numerals | I | V | vii/V | V/V | V |
Fonte
| Stage | 1 | 2 | 3 | 4 |
|---|---|---|---|---|
| Meter | W | S | W | S |
| Melody | sol [latex]\hat5[/latex] |
fa [latex]\hat4[/latex] |
fa [latex]\hat4[/latex] |
mi [latex]\hat3[/latex] |
| Bass | di [latex]\uparrow\hat1[/latex] |
re [latex]\hat2[/latex] |
ti [latex]\hat7[/latex] |
do [latex]\hat1[/latex] |
| Figures | 6/5 | 5 | 6/5 | 5 |
| Roman numerals | V/ii | ii | V | I |
The Fonte has a strong relation to the Meyer and indeed to the cycle of fifths. This effectively tonicizes the A minor key (e.g., the supertonic minor) and then a major key a tone below (the overall tonic). The modular part is just one of those tonicizations:
| Stage | 1 | 2 |
|---|---|---|
| Meter | W | S |
| Melody | fa [latex]\hat4[/latex] |
mi [latex]\hat3[/latex] |
| Bass | ti [latex]\hat7[/latex] |
do [latex]\hat1[/latex] |
| Figures | 6/5 | 5/3 |
| Roman numerals | V | I |
Monte
| Stage | 1 | 2 | 3 | 4 |
|---|---|---|---|---|
| Meter | W | S | W | S |
| Melody | do-te [latex]\hat1-\downarrow\hat7[/latex] |
la [latex]\hat6[/latex] |
re-do [latex]\hat2-\hat1[/latex] |
ti [latex]\hat7[/latex] |
| Bass | mi [latex]\hat3[/latex] |
fa [latex]\hat4[/latex] |
fi [latex]\uparrow\hat4[/latex] |
sol [latex]\hat5[/latex] |
| Figures | 6/5 | 5 | 6/5 | 5 |
| Roman numerals | V/IV | V | V/V | V |
Like the Fonte, the Monte also goes through two tonicizations with a sequential treatment of a modular half:
| Stage | 1 | 2 |
|---|---|---|
| Meter | W | S |
| Melody | sol-fa [latex]\hat5-\hat4[/latex] |
mi [latex]\hat3[/latex] |
| Bass | ti [latex]\hat7[/latex] |
do [latex]\hat1[/latex] |
| Figures | 6/5 | 5 |
| Roman numerals | V | I |
Ponte
| Stage | 1 | 2 | 3 |
|---|---|---|---|
| Meter | S | W | S |
| Melody | sol [latex]\hat5[/latex] |
ti [latex]\hat7[/latex] |
re [latex]\hat2[/latex] |
| Bass | sol [latex]\hat5[/latex] |
sol [latex]\hat5[/latex] |
sol [latex]\hat5[/latex] |
| Figures | 5 | 7 | 7 |
| Roman numerals | V | V | V |
Pre-Cadential / Incomplete Cadences
Fenaroli
| Stage | 1 | 2 | 3 | 4 |
|---|---|---|---|---|
| Meter | S | W | S | W |
| Melody | fa [latex]\hat4[/latex] |
mi [latex]\hat3[/latex] |
ti [latex]\hat7[/latex] |
do [latex]\hat1[/latex] |
| Bass | ti [latex]\hat7[/latex] |
do [latex]\hat1[/latex] |
re [latex]\hat2[/latex] |
mi [latex]\hat3[/latex] |
| Figures | 6/5 | 5 | 6/5 | 6 |
| Roman numerals | V | I | V | I |
Indugio
| Stage | 1 | 2 | 3 | 4 | 5 |
|---|---|---|---|---|---|
| Meter | S | W | S | W | S |
| Melody | re [latex]\hat2[/latex] |
fa [latex]\hat4[/latex] |
la [latex]\hat6[/latex] |
do [latex]\hat1[/latex] |
ti [latex]\hat7[/latex] |
| Bass | fa [latex]\hat4[/latex] |
fa [latex]\hat4[/latex] |
fa [latex]\hat4[/latex] |
fi [latex]\uparrow\hat4[/latex] |
sol [latex]\hat5[/latex] |
| Figures | 6/5 | 6/5 | 6/5 | 6/5 | 5 |
| Roman numerals | IV | IV | IV | V/V | V |
Deceptive Cadence
| Stage | 1 | 2 | 3 | 4 |
|---|---|---|---|---|
| Meter | W | S | W | S |
| Melody | do [latex]\hat1[/latex] |
re [latex]\hat2[/latex] |
re [latex]\hat2[/latex] |
do [latex]\hat1[/latex] |
| Bass | mi [latex]\hat3[/latex] |
fa [latex]\hat4[/latex] |
sol [latex]\hat5[/latex] |
la [latex]\hat6[/latex] |
| Figures | 6 | 6/5 | 5 | 5 |
| Roman numerals | I | ii | V | vi |
Evaded Cadence
| Stage | 1 | 2 | 3 | 4 |
|---|---|---|---|---|
| Meter | W | S | W | S |
| Melody | do [latex]\hat1[/latex] |
re [latex]\hat2[/latex] |
re [latex]\hat2[/latex] |
do [latex]\hat1[/latex] |
| Bass | mi [latex]\hat3[/latex] |
fa [latex]\hat4[/latex] |
sol [latex]\hat5[/latex] |
mi [latex]\hat3[/latex] |
| Figures | 6 | 6/5 | 5 | 6 |
| Roman numerals | I | ii | V | I |
Passo Indietro
| Stage | 1 | 2 |
|---|---|---|
| Meter | S | W |
| Melody | ti [latex]\hat7[/latex] |
do [latex]\hat1[/latex] |
| Bass | fa [latex]\hat4[/latex] |
mi [latex]\hat3[/latex] |
| Figures | 6/4/2 | 6 |
| Roman numerals | V | I |
The Passo Indietro is essentially the first two stages of a Prinner. Literally a “stepping back,” the Passo Indietro often precedes a significant cadence.
Comma
| Stage | 1 | 2 |
|---|---|---|
| Meter | W | S |
| Melody | fa [latex]\hat4[/latex] |
mi [latex]\hat3[/latex] |
| Bass | ti [latex]\hat7[/latex] |
do [latex]\hat1[/latex] |
| Figures | 6/5 | 5 |
| Roman numerals | V | I |
Converging Cadence
| Stage | 1 | 2 | 3 | 4 |
|---|---|---|---|---|
| Meter | W | S | W | S |
| Melody | mi [latex]\hat3[/latex] |
re [latex]\hat2[/latex] |
do [latex]\hat1[/latex] |
ti [latex]\hat7[/latex] |
| Bass | mi [latex]\hat3[/latex] |
fa [latex]\hat4[/latex] |
fi [latex]\uparrow\hat4[/latex] |
sol [latex]\hat5[/latex] |
| Figures | 6 | 6/5 | 6/5 | 5 |
| Roman numerals | I | ii | V/V | V |
This cadence is also known as the fa–fi–sol half cadence after the definitive bass line: [latex]\hat4-\uparrow\hat4-\hat5[/latex]. Note the correspondence between this schema and the Indugio.
Cadences and Post-Cadential
Cadenza Semplice
| Stage | 1 | 2 | 3 | 4 |
|---|---|---|---|---|
| Meter | W | S | W | S |
| Melody | do [latex]\hat1[/latex] |
re [latex]\hat2[/latex] |
re [latex]\hat2[/latex] |
do [latex]\hat1[/latex] |
| Bass | mi [latex]\hat3[/latex] |
fa [latex]\hat4[/latex] |
sol [latex]\hat5[/latex] |
do [latex]\hat1[/latex] |
| Figures | 6 | 6/5 | 5 | 5 |
| Roman numerals | I | ii | V | I |
Cadenza Composta
| Stage | 1 | 2 | 3 | 4 | 5 |
|---|---|---|---|---|---|
| Meter | W | S | S | W | S |
| Melody | do [latex]\hat1[/latex] |
re [latex]\hat2[/latex] |
mi [latex]\hat3[/latex] |
re [latex]\hat2[/latex] |
do [latex]\hat1[/latex] |
| Bass | mi [latex]\hat3[/latex] |
fa [latex]\hat4[/latex] |
sol [latex]\hat5[/latex] |
sol [latex]\hat5[/latex] |
do [latex]\hat1[/latex] |
| Figures | 6 | 6/5 | 6/4 | 7 | 5 |
| Roman numerals | I | ii | Cad. | V | I |
Cadenza Doppia
| Stage | 1 | 2 | 3 | 4 | 5 |
|---|---|---|---|---|---|
| Meter | S | W | S | W | S |
| Melody | fa [latex]\hat4[/latex] |
mi [latex]\hat3[/latex] |
re [latex]\hat2[/latex] |
re [latex]\hat2[/latex] |
do [latex]\hat1[/latex] |
| Bass | sol [latex]\hat5[/latex] |
sol [latex]\hat5[/latex] |
sol [latex]\hat5[/latex] |
sol [latex]\hat5[/latex] |
do [latex]\hat1[/latex] |
| Figures | 5 | 6/4 | 4 | 3 | 5 |
| Roman numerals | V | V | V | V | I |
Quiescenza
| Stage | 1 | 2 | 3 | 4 |
|---|---|---|---|---|
| Meter | W | S | W | S |
| Melody | te [latex]\downarrow\hat7[/latex] |
la [latex]\hat6[/latex] |
ti [latex]\hat7[/latex] |
do [latex]\hat1[/latex] |
| Bass | do [latex]\hat1[/latex] |
do [latex]\hat1[/latex] |
do [latex]\hat1[/latex] |
do [latex]\hat1[/latex] |
| Figures | ♭7 | 6/4 | 7/4/2 | 5 |
| Roman numerals | V/IV | V | V | I |
The Quiescenza is a post-cadential schema.