Open Music Theory

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Galant schemata – summary

Openings (presentations)

The following schemata tend to appear at the opening of themes, often as the framework for a presentation phrase in a sentence.

*Note: though these schemata are presented in major mode, most of these can be converted directly to minor mode.

The Meyer

stage: 1 2 3 4
melody: do ti fa mi
bass: do re ti do
         
thoroughbass: 5/3 4/3 6/5 5/3
Roman numerals: I V V I
functions: T D D T

The Jupiter

stage: 1 2 3 4
melody: do re fa mi
bass: do ti ti do
         
thoroughbass: 5/3 6/5 6/5 5/3
Roman numerals: I V V I
functions: T D D T

or

stage: 1 2 3 4
melody: do re fa mi
bass: do sol sol do
         
thoroughbass: 5/3 7 7 5/3
Roman numerals: I V V I
functions: T D D T

The Aprile

stage: 1 2 3 4
melody: do ti re do
bass: do re ti do
         
thoroughbass: 5/3 4/3 6/5 5/3
Roman numerals: I V V I
functions: T D D T

The Pastorella

stage: 1 2 3 4
melody: mi re fa mi
bass: do sol sol do
         
thoroughbass: 5/3 7 7 5/3
Roman numerals: I V V I
functions: T D D T

The Do–Re–Mi

Though common in a three-stage version, this four-stage version is more typical when employed in a presentation phrase.

stage: 1 2 3 4
melody: do re re mi
bass: do ti ti do
         
thoroughbass: 5/3 6/5 6/5 5/3
Roman numerals: I V V I
functions: T D D T

(Root-position dominant chords may also be used.)

Sol–Fa–Mi

stage: 1 2 3 4
melody: sol fa fa mi
bass: do re ti do
         
thoroughbass: 5/3 5/3 6/5 5/3
Roman numerals: I II V I
functions: T S D T

or

stage: 1 2 3 4
melody: sol fa fa mi
bass: do re ti do
         
thoroughbass: 5/3 6/3 6/5 5/3
Roman numerals: I VII V I
functions: T D D T

The Romanesca

stage: 1 2 3 4
melody: sol sol do sol
bass: do ti la mi
         
thoroughbass: 5/3 6/3 5/3 6/3
Roman numerals: I V VI I
functions: T D Tx T

The melody of this schema is quite flexible. The bass/harmony are the more definitive elements. Also note that, in contrast to the other “presentation” schemata, this schema is far more common in slower movements.

Continuing schemata

The Prinner

stage: 1 2 3 4
melody: la sol fa mi
bass: fa mi re do
         
thoroughbass: 5/3 6/3 7–6/3 5/3
Roman numerals: IV I VII I
functions: S T D T

or

stage: 1 2 3 4 5
melody: la sol fa fa mi
bass: fa mi re sol do
           
thoroughbass: 5/3 6/3 7–6/3 7 5/3
Roman numerals: IV I VII V I
functions: S T D D T

The Modulating Prinner

This schema modulates from the tonic to the dominant. It is a common continuation phrase for a modulating sentence. It is also a common framework for a tutti passage that begins the transition module of a sonata/symphony movement.

stage: 1 2 3 4
melody: mi re do ti
bass: do ti la sol
         
thoroughbass: 5/3 6/3 7–#6/3 5/3
Roman numerals: I V VII/V V

or

stage: 1 2 3 4 5
melody: mi re do do ti
bass: do ti la re sol
           
thoroughbass: 5/3 6/3 7–#6/3 7/# 5/3
Roman numerals: I V VII/V V/V V

The Passo Indietro

stage: 1 2    
melody: la sol    
bass: fa mi    
         
thoroughbass: 5/3 6/3    
Roman numerals: IV I    
functions: S T    

This is essentially the first two stages of a Prinner. The latter two stages are often elided (cut away) in order to make room for a cadence pattern.

Like the Prinner, the Passo Indietro has a “modulating version” (the first two stages of the Modulating Prinner).

stage: 1 2    
melody: mi re    
bass: do ti    
         
thoroughbass: 5/3 6/3    
Roman numerals: I V    

Cadences

The Simple PAC

stage: 1 2
melody: re do
bass: sol do
     
thoroughbass: (7) 5/3
Roman numerals: V I
functions: D T

The Simple IAC

stage: 1 2
melody: fa mi
bass: sol do
     
thoroughbass: 7 5/3
Roman numerals: V I
functions: D T

The fa–fi–sol HC

This is a common approach to a half cadence, especially at the end of a sonata movement’s transition (TR) module. The definitive element is the bass line: fa–fi–sol. The re–do–ti melody is common, and the most active of the possibilities that fit the harmonies. See Mozart’s K. 545, I., mm. 10–11, and K. 333, I., mm. 17–18, for examples.

stage: 1 2 3
melody: re do ti
bass: fa fi sol
       
thoroughbass: 6/3 6/5 (7)
Roman numerals: II V/V V
functions: S S D

The Compound PAC

stage: 1 2 3
melody: mi re do
bass: sol sol do
       
thoroughbass: (8)/6/4 (7) 5/3
Roman numerals: Cad. V I
functions: D D T

The Compound IAC

stage: 1 2 3
melody: sol fa mi
bass: sol sol do
       
thoroughbass: 8/6/4 7 5/3
Roman numerals: Cad. V I
functions: D D T

The Compound HC

stage: 1 2
melody: mi re
bass: sol sol
     
thoroughbass: 6/4 5/3
Roman numerals: Cad. V
functions: D D

(The Compound HC can be approached by any S chord, or even the end of the tonic prolongational zone.)

There are, of course, more cadence patterns than these, but these are the most straightforward for framing an improvisation, or a simple model composition. See Classical cadence types for more details about standard cadential patterns.