Galant Schemas – Summary

Mark Gotham

II. Counterpoint and Galant Schemas

Galant Schemas – Summary

Mark Gotham

Key Takeaways

There are many different schemas. This chapter provides an introductory overview of the main ones along with some (brief) discussion of variants and details.

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:

- With chordal realizations: .mscz, .mxl, .pdf
- Without chords (outer voices only): .mscz, .mxl, .pdf

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]

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]

mi
[latex]\hat3[/latex]

Bass

do
[latex]\hat1[/latex]

re
[latex]\hat2[/latex]

ti
[latex]\hat7[/latex]

do
[latex]\hat1[/latex]

Figures

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

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]

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

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

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

Roman numerals

I

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]

do
[latex]\hat1[/latex]

Figures

5

7

5

Roman numerals

I

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]

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]

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]

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]

Figures

5

7

Roman numerals

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]

fi
[latex]\uparrow\hat4[/latex]

sol
[latex]\hat5[/latex]

Figures

6/5

5

Roman numerals

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]

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

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]

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

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]

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

Roman numerals

I

ii

V

I

Cadenza Composta

Stage

1

2

3

4

5

Meter

W

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]

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]

do
[latex]\hat1[/latex]

Bass

sol
[latex]\hat5[/latex]

do
[latex]\hat1[/latex]

Figures

5

6/4

4

3

5

Roman numerals

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
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Figures

♭7

6/4

7/4/2

5

Roman numerals

V/IV

V

I

The Quiescenza is a post-cadential schema.

License

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OPEN MUSIC THEORY by Mark Gotham is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License, except where otherwise noted.

Overall Short Summary

Musical notation

Summarizing table

Itemized List

Opening Gambits

Romanesca

Do–Re–Mi

Sol–Fa–Mi

Meyer

Aprile

Jupiter

Pastorella

Answer/Process/Transition

Prinner and Modulating Prinner

Fonte

Monte

Ponte

Pre-Cadential / Incomplete Cadences

Fenaroli

Indugio

Deceptive Cadence

Evaded Cadence

Passo Indietro

Comma

Converging Cadence

Cadences and Post-Cadential

Cadenza Semplice

Cadenza Composta

Cadenza Doppia

Quiescenza

License

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