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.