Class 30 - Aldwell/Schachter 104-5 Aldwell/Schachter 107-8 110 Aldwell/Schachter 110 Aldwell/Schachter 111 Romanesca Pr i nne r Mod Prinner F o n

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Unformatted text preview: Aldwell/Schachter, 104-5 Aldwell/Schachter, 107-8, 110 Aldwell/Schachter, 110 Aldwell/Schachter, 111 Romanesca Pr i nne r Mod. Prinner F o n te Cadence Do-Re-Mi M ont e Evaded Cad. M e ye r Half Cad. Comma Clausula Vera Po nt e Cudworth Quiescenza Fenaroli Coda Sol-Fa-Mi Converg. Cad. Indugio Falling 3rds Aug. 6th Decep. Cad. Jommelli Jupiter Passo Indietro Jupiter, while the horizontal row “Prinner” shows that it can lead to more than a dozen to from Romanesca Prinner Mod. Prinner Fonte Cadence Do-Re-Mi Monte Evaded Cad. Meyer Half Cad. Comma Clausula Vera Ponte Cudworth Quiescenza Fenaroli Coda Sol-Fa-Mi Converg. Cad. Indugio Falling 3rds Aug. 6th Decep. Cad. Jommelli Jupiter Passo Indietro f igu r e 27.1 The probability of progressing from schema A to schema B Gjerdingen, 372 f igu r e 27.4 A string of schemata—il filo If higher-level schemata can give a sense of continuity to a succession of lower-level schemata, then clearly it must be possible to superimpose schemata of different dimensions: a b d c f igu r e 27.5 A string of nested and overlapping schemata In figure 27.5, schema A is not only nested within schema C but also contains schema B. These are abstract examples of complete nesting where one schema is wholly contained, or wholly contains, another schema. Simple overlaps are also possible, as where schema D begins near the end of schema C. Gjerdingen, 376 463 a ppendix a: schema prototypes The Sol-Fa- M i The Sol-Fa-Mi (see chap. 18) was often chosen for important themes. Its period of greatest currency was the 1750s through the 1790s. With its descending melody perceived as perhaps less assertive than, say, a Do-Re-Mi, the Sol-Fa-Mi was most common in movements of slow or moderate tempo, or as a “second theme” in fast movements. It was a favorite schema for Adagios in the minor mode. Open Weak y Closed Strong W ea k x x 5 3 6 5 5 3 1 2 7 Strong w 5 3 1 Central Features • Four events presented in pairs at comparable locations in the meter (e.g., across a bar line, or at mid-bar, with one, two, or four measures between the pairs). • In the melody, the descending whole step – is answered by a subsequent descent of – (a half step in major, a whole step in minor). • In the bass, the ascending step – is answered by a – ascent (or – ). • A sequence of four sonorities, usually 5/3, 5/3, 6/5/3, and 5/3. The second sonority is typically minor or diminished. Variants • The second event may have the more major-sounding sonority of 7/5/3 above or of 6/3 above . , e x . 18 .5 Boccherini, Opus 11, no. 5, mvt. 3, Minuetto, m. 1 (1771) «X X X X yx ### 3 X J X X X X «X X X X X XJ JX X 4 & XXXXXX XXXXX X XX ### 3 ¥ 4 aXaXa XaXaX a Xa XJJ JJJ ? J J 5 Sol-Fa-Mi 1 5 X Xw X XJ X x 1 X X J XX XXXX X aXa XaXa JJ J 1 A. Stamitz, Opus 11, no. 2, mvt. 1, Allegro, m. 1 (ca. 1775) e x . 18 . 4 Sol-Fa-Mi X .. X y.. X X X X X X x X X .. X b 2 X X X X X X X X X nE X X X X b2 E & X b2 ¥ X a nX X X X ¥ D ?b 2 1 1 E 5 XE prinner X X X X X X # E w jX . X XX X. XXX n E X X a XXXX X D X x. X 7 1 e x . 18 .13 Gaviniés, Opus 3, no. 5, mvt. 3b, Tempo di minuetto, m. 1 (1764) b3 @ X b8 & ? £ Xv y xX X XXX y 1 b3 X b8 XX X @X x XX 2 11 e x . 18 .1 4 Sol-Fa-Mi #X 3 7 £ XXX X xw XX 2XX b4 X X ?b X Leduc, Opus 4, no. 3, mvt. 2, Adagio, m. 1 (1771) b b 2 X X . X XXXX X X &4 y X 51 prinner Sol-Fa-Mi 1 X XX X y XX x X X X X kx X w XX X XX nX X X x X X XX XX XX XX # E XX E 2 11 3 7 Rinf. X 1 e x . 18 .15 Mozart, Symphony in G Minor (KV550), mvt. 1, Allegro, m. 1 (1788) Sol-Fa-Mi X ¥ X X X X X X Xy X bb 2 D X X ¥ X X X X X X X X X X X X X & 2 XXXXXXXX XXXX XXXX XXXX XXXX X X X X X X X X XX XXXX XXXX XXXX XX XX XXXXXXXX X¥D X¥D b2 ¥ D ¥D ?b 2 X X y 1 1 b X XX ¥ XX X X X X X X b XXXX XXXX X X X X X X X X & XXX XXXX X X X X X X X X 2 X¥ D b ¥D ?b X 5 x 1 X X X #X X X X X ¥ X X X X X X X #X X X X X X X XX X X X X XX XXXX XXXX XXXX XX X X X X XX XX XX XX x 3 v ¥D #X 7 xw X¥ D ¥¥ X 1 ...
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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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