Class 32 - The Ponte The Ponte(see chap 14 was a “bridge” built on the repetition or extension of the dominant triad or seventh chord In

Info iconThis preview shows page 1. Sign up to view the full content.

View Full Document Right Arrow Icon
This is the end of the preview. Sign up to access the rest of the document.

Unformatted text preview: The Ponte The Ponte (see chap. 14) was a “bridge” built on the repetition or extension of the dominant triad or seventh chord. In minuets, this bridge was placed immediately after the double bar and connected the just-cadenced “second” key with a return to the original tonic key. More generally, in the latter half of the eighteenth century the Ponte was part of various delaying t actics employed to heighten expectation prior to an important entry or return. Strong 5 3 7 5 3 7 5 3 e tc . Central Features • Several events that may be extended until a stable return to the tonic harmony offers some degree of closure. • In the melody, scales and arpeggios focused on the tones of the dominant seventh chord: , , , and . The contour is generally rising. • In the bass, repetitions of or even a pedal point on . • A sequence of sonorities emphasizing the dominant triad or seventh chord, sometimes in alternation with forms of the tonic chord in metrically weaker positions. Variants • A type with a descending stepwise melody –––. ex. 14.2 3E &4 9 E 3 ?4 X C: 5 G: 1 X Riepel’s prototype of the Ponte melody with a likely bass ponte X XXXX X XXXX x E X 5 1 E v X E 5 1 Gjerdingen, 198 w X XX X 5 He then expands this phrase through a combination of extensions, repetitions, variations, and insertions: e x . 1 4 . 23 The student’s expanded Ponte 3 E X X X XX X X X X &4 9 y{v X X . XX X X X & 15 v v XX X X X XX X X v v w {u XXX v fenaroli Measures 9 and 10 are unchanged from the model (cf. ex. 14.22). Measure 11 extends the upward motion of measure 10 and leads back to a repetition of measure 10 in measure 12. A further upward extension in measure 13 leads to a half cadence in measure 14. After a brief rest, the student begins anew with a Fenaroli-type Ponte like those he had developed in his first Ponte exercises. He repeats measures 15–16 in measures 17–18 and then closes with the exact High Drop that ended his model. The expansion and extension remain in C major, not G major. X XX ¥ = path of the model ponte X X . XX X X X w{ u v v Gjerdingen, 207 xw jE X X e x . 1 4 .33 Pugnani, Opus 8, no. 3, mvt. 3, Amoroso, m. 17 (ca. 1771–74) ## 3 & 4{ ## 3 ? 4{ 17 y {E 5 X XX E w X. j X .X X X E X . X XX X X E w 5 5 5 5 x vy x X. X v j XXE X XX X X { XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX X X XX XX XX XX XX X 5 5 Gjerdingen, 213 X 5 Opening Middle ( Processual) Closing Dynamic Fonte, Monte, Half, Romanesca, Ponte, Modulating Converging, and Do-Re-Mi, Prinner (bass Evaded Sol-Fa-Mi starts on 1) Cadences Static Simple, Meyer, Do- Regular Prinner Compound, and Re:Re-Mi, (bass starts on 4), Double Sol-Fa:Fa-Mi Fenaroli Cadences, Quiescenza ...
View Full Document

This note was uploaded on 01/02/2012 for the course MUSIC 2101 at Cornell University (Engineering School).

Ask a homework question - tutors are online