Class 22 presentation 2011 - each time writing down only...

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Unformatted text preview: each time writing down only the melody. Here is the version most frequently cited today:3 e x . 4 .1 Riepel, a Fonte melody (1755) X . bX X X J 3 &4 X. XXE XX X J XXE Riepel’s many treatises provide few basses because for knowledgeable devotees of ex. 4. Tritto, a galant music—his2 expected Fonte bass (ca. 1790s) audience—the basses could be imagined from the melodic context. The laconic minoccasionally completely nonverbal Italian collections of difficult and o r major partimenti basses were written by and for professionals. Riepel’s readership was heavily X X #X X X X 2 ?2 52 [6] 7 7 E. 1 ¯ ( n) X XXXX [6] 7 XXE 71 61 e x . 4 .3 Riepel, a Fonte with both melody and bass (1765) minor zy X . bX X J 3 &4 #X X X 3 ?4 1 x 7 major ¯ x z yx X X X X X. X X X wX X X X X J X E E XXX ¥ ¥ xw X 7 1 7 7 1 The Fonte The Fonte (see chap. 4) served to digress from, and then return to, a main key. It was used throughout the eighteenth century, being especially common immediately after the double bar in minuets or other short movements. In concertos, arias, and other long works, large Fontes often function as digressive episodes. Minor W e ak x 6 3 7 Major Strong W e ak w 5 3 1 x One step lower 6 3 7 S tr o n g w 5 3 1 Central Features • Four events presented as two pairs or dyads. The Fonte’s first half is in the minor mode while the second half is in the major mode one step lower. • In the melody, a short scalewise descent that ends – , often – – – . Occasionally the melody arpeggiates the local dominant chord. • In the bass, ascents from leading tones to local tonics, that is, – . Other possible basses involve typical cadential moves like – or – . • Two pairs of sonorities: each pair concludes with a relatively stable 5/3 preceded by a more unstable or dissonant 6/3, 6/5/3, or 7/5/3. Variants • A type with the normal melody in the bass and what would be the normal bass in the melody. • A rare, three-part type with the first two parts in the minor mode and the third in the major mode. ex. 4.4 Gasparini, Il Bajazet, act 2, scene 4, aria of Tamerlano (Venice, 1719) ## 3 X #X X & 8{{ ## 3 jjX & 8{{X X j ? ## 3 8 X X J #X . #7 X X X j X nX XJJ {{ # # nXó, X J non ad X. X. major - X. or - o, al - X. 1 X X J - v ol - 5 X jj XX X z w al - tro 7 jjX XXJ XXX j yx z X. X. 1 XXj JJX nó, non ap - prezzo, nó ## X X X & ## &XXX jjj ? minor y - X. 5 bel X x tr a X 1 w - X ta 1 te e x . 4 .5 Porpora, Sonate XII, no. 7, mvt. 4, Allegro, m. 26 (Vienna, 1754) X # kX X X X X x X. X. X J XJ XX X Xb XX XXX # XXX X b XXxXw X X X a XX X. J XX {X j X X XXX # X X X a X #X X a #X X a X J X { X j X X 1 minor b3{ &8 26 3 ?b 8 { 31 b & 5 X aJ 5 7 X X XXX «x X X X X X X X X XXx w X XXX X X X JX XX J Xk j X« X j XX X X XX X X X a X b@ ? X 5 major XX X j X 5 aX J 7 X@ J 1 e x . 4 .6 Pasquali, Opus 1, no. 2, mvt. 3, Menuet, m. 9 (London, 1744) minor 9 nX X X X X. X. X. X. . X X ## 3 & 8{{ ## 3 #X ? 8{{ nX J z major X X nX X X. X. X. X. . j 7 1 j# X71 X X X X XX X J J XXX a X X XX aJ y xw z y xw Riepel, the hermaphrodite Fonte (1755) minor X . X XX j# E b X 3JX &4 x z major y xw jE X X z X XXX X ¥ X . X X X jE b; JX £ x h ex. 4.8 = hermaphrodite tone E X XXX X ¥ £ Gluck, Trio Sonatas, no. 5, mvt. 1, Andante, m. 9 (London, 1746) XXX jnX X X bb 4 J b 4{{ & bX X bb 4 a a ?b 4 { { 7 minor major 71 £ 71£ XXX X £ a XXX jX X X X X X X a XX J X Xj X j XXX X X X a X X X a b; X X a X X X zyx 7 h ex. 4.9 yxw j X w zyx = hermaphrodite tone w ...
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This note was uploaded on 01/02/2012 for the course MUSIC 2101 at Cornell University (Engineering School).

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