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¶

The Jupiter¶

or

The Aprile¶

The Pastorella¶

The Do–Re–Mi¶

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

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

Sol–Fa–Mi¶

or

The Romanesca¶

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¶

or

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.

or

The Passo Indietro¶

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).

Cadences¶

The Simple PAC¶

The Simple IAC¶

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.

The Compound PAC¶

The Compound IAC¶

The Compound HC¶

(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.