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Unformatted text preview: Mozart, Piano Sonata
in C major, K. 545,
third movement (1788) Brahms, String Sextet
in G major, op. 36, ﬁrst
movement (1866) music. Or put another way, it highlights only what Locatelli has in common with RimskyKorsakov. Walther, following the lead of Andreas Werckmeister (1645–1706),3 looked at
clausulae more melodically, as was then the norm. For him, each of the four voices performed its own clausula, participating as an integral part in the “perfection” of the whole.
The soprano performed the discant clausula, the alto performed the alto clausula, the tenor
performed the tenor clausula, and the bass performed the bass clausula:4
e x . 1 1. 2 2
?2 A version of Walther’s four melodic clausulae XXE
w X E.
w E X Soprano Tenor
Bass Al t o w
w Any of these melodic clausulae could appear in the bass voice or part. Walther reserved
the term clausula perfectissima for cadences where the normal bass performed the bass
clausula ( – ). If the discant clausula ( – ) was performed by the lowest voice, he named
the resulting cadence a clausula cantizans (“a cantus- or soprano-like clausula”); if the
tenor clausula ( – ) appeared in the lowest voice, he named the resulting cadence a clausula tenorizans (“a tenor-like clausula”); and if the alto clausula ( – ) was played by the
lowest voice, he named the resulting cadence a clausula altizans (“an alto-like clausula”).
Walther’s treatise was, after all, written in the era of ﬁgured bass and partimenti. It drew
attention to speciﬁc patterns in the bass that could help a young accompanist recognize the Gjerdingen, Music in the Galant Style, 140
(after Johann Gottfried Walther, friend of J. S. Bach) ...
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