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II. Counterpoint and Galant Schemas
Galant Schemas – Summary

### Core Idea

There are many different schemas. This chapter provides an introductory overview of the main ones along with some (brief) discussion of variants and details. We begin with an at-a-glance summary of some important schemas, then proceed to set out each of the schemas listed one by one.

### Explanation

There are many different schemas. This chapter provides an introductory overview of the main ones along with some (brief) discussion of variants and details.

We begin with an at-a-glance summary of some important schemas, then proceed to set out each of the schemas listed one by one.

Overall Short Summary

Musical notation

Here are files in musical notation with all the schemas listed on this page:

With chordal realizations: .mscz.mscz), .mxl.mxl), .pdf.pdf)

Without chords (outer voices only): .mscz.mscz), .mxl.mxl), .pdf.pdf)

These files provide a set of schemas, with the constituent parts set out as prototypically as is possible in musical notation: that is, with melody and figured bass lines, along with (in the first file's case) chords in a middle part realizing those figures. Musical notation is obviously useful, though really, schemas are prototypes that exist apart from any specific realization, so the more abstract representations in tables and the like are better in some ways. That's why you'll see them set out in this fashion here and in other literature on this topic.

Summarizing table

Itemized List

Opening Gambits

Romanesca

Stage

1

2

3

4

Meter

S

W

S

W

Melody

do

\hat1

sol

\hat5

do

\hat1

do

\hat1

Bass

do

\hat1

ti

\hat7

la

\hat6

mi

\hat3

Figures

5

6

5

6

Roman numerals

I

V

vi

I

Do–Re–Mi

Stage

1

2

3

Meter

S

W

S

Melody

do

\hat1

re

\hat2

mi

\hat3

Bass

do

\hat1

ti

\hat7

do

\hat1

Figures

5

6

5

Roman numerals

I

V

I

Many of the schemas involve two steps that can be considered schemas on their own. These often take the form of question-answer pairs.

Here, we have the Do–Re opening part as the opening question:

Stage

1

2

Meter

S

W

Melody

do

\hat1

re

\hat2

Bass

do

\hat1

ti

\hat7

Figures

5

6

Roman numerals

I

V

That Do–Re is answered by the Re–Mi:

Stage

1

2

Meter

W

S

Melody

re

\hat2

mi

\hat3

Bass

ti

\hat7

do

\hat1

Figures

6

5

Roman numerals

V

I

The Do–Re–Mi may also appear in a four-stage version by putting those constituent parts back together. This basically involves doubling up the central stage of the three-stage version.

Sol–Fa–Mi

Stage

1

2

3

4

Meter

W

S

W

S

Melody

sol

\hat5

fa

\hat4

fa

\hat4

mi

\hat3

Bass

do

\hat1

re

\hat2

ti

\hat7

do

\hat1

Figures

5

5

6/5

5

Roman numerals

I

ii

V

I

Again, this comprises two parts.

Opening part (Sol–Fa):

Stage

1

2

Meter

W

S

Melody

sol

\hat5

fa

\hat4

Bass

do

\hat1

re

\hat2

Figures

5

5

Roman numerals

I

ii

Answering part (Fa–Mi):

Stage

1

2

Meter

W

S

Melody

fa

\hat4

mi

\hat3

Bass

ti

\hat7

do

\hat1

Figures

6

5

Roman numerals

V

I

This schema may also appear with the harmony slightly altered, as follows:

Stage

1

2

3

4

Meter

W

S

W

S

Melody

sol

\hat5

fa

\hat4

fa

\hat4

mi

\hat3

Bass

do

\hat1

re

\hat2

ti

\hat7

do

\hat1

Figures

5

6

6/5

5

Roman numerals

I

vii

V

I

Meyer

Stage

1

2

3

4

Meter

W

S

W

S

Melody

do

\hat1

ti

\hat7

fa

\hat4

mi

\hat3

Bass

do

\hat1

re

\hat2

ti

\hat7

do

\hat1

Figures

5

6/4/3

6/5

5

Roman numerals

I

V

V

I

Opening part:

Stage

1

2

Meter

W

S

Melody

do

\hat1

ti

\hat7

Bass

do

\hat1

re

\hat2

Figures

5

6,4,3

Roman numerals

I

V

Closing part:

Stage

1

2

Meter

W

S

Melody

fa

\hat4

mi

\hat3

Bass

ti

\hat7

do

\hat1

Figures

6,5

5

Roman numerals

V

I

Aprile

Stage

1

2

3

4

Meter

S

W

S

W

Melody

do

\hat1

ti

\hat7

re

\hat2

do

\hat1

Bass

do

\hat1

re

\hat2

ti

\hat7

do

\hat1

Figures

5

6,4,3

6,5

5

Roman numerals

I

V

V

I

Jupiter

Stage

1

2

3

4

Meter

S

W

S

W

Melody

do

\hat1

re

\hat2

fa

\hat4

mi

\hat3

Bass

do

\hat1

ti

\hat7

sol

\hat5

do

\hat1

Figures

5

6

5

5

Roman numerals

I

V

V

I

Pastorella

Stage

1

2

3

4

Meter

S

W

S

W

Melody

mi

\hat3

re

\hat2

fa

\hat4

mi

\hat3

Bass

do

\hat1

sol

\hat5

sol

\hat5

do

\hat1

Figures

5

5

7

5

Roman numerals

I

V

V

I

Answer/Process/Transition

Prinner and Modulating Prinner

Stage

1

2

3

4

Meter

S

W

S

W

Melody

la

\hat6

sol

\hat5

fa

\hat4

mi

\hat3

Bass

fa

\hat4

mi

\hat3

re

\hat2

do

\hat1

Figures

5

6

7-6

I

Roman numerals

IV

I

vii

I

A slight variant on this inserts a root-position dominant before the final stage:

Stage

1

2

3

4

5

Meter

S

W

S

W

S

Melody

la

\hat6

sol

\hat5

fa

\hat4

fa

\hat4

mi

\hat3

Bass

fa

\hat4

mi

\hat3

re

\hat2

sol

\hat5

do

\hat1

Figures

5

6

7–6

7

5

Roman numerals

IV

I

vii

V

I

The Prinner can also be used to modulate from the tonic to the dominant. This variant is called the Modulating Prinner:

Stage

1

2

3

4

Meter

S

W

S

W

Melody

mi

\hat3

re

\hat2

do

\hat1

ti

\hat7

Bass

do

\hat8

ti

\hat7

la

\hat6

sol

\hat5

Figures

5

6

7-♯6

5

Roman numerals

I

V

vii/V

V

Again, this can come with an additional root-position dominant:

Stage

1

2

3

4

5

Meter

S

W

S

W

S

Melody

mi

\hat3

re

\hat2

do

\hat1

do

\hat1

ti

\hat7

Bass

do

\hat1

ti

\hat7

la

\hat6

re

\hat2

sol

\hat5

Figures

5

6

7–♯6

7/♯

5

Roman numerals

I

V

vii/V

V/V

V

Fonte

Stage

1

2

3

4

Meter

W

S

W

S

Melody

sol

\hat5

fa

\hat4

fa

\hat4

mi

\hat3

Bass

di

\uparrow\hat1

re

\hat2

ti

\hat7

do

\hat1

Figures

6/5

5

6/5

5

Roman numerals

V/ii

ii

V

I

The Fonte has a strong relation to the Meyer and indeed to the cycle of fifths. This effectively tonicizes the A minor key (e.g., the supertonic minor) and then a major key a tone below (the overall tonic). The modular part is just one of those tonicizations:

Stage

1

2

Meter

W

S

Melody

fa

\hat4

mi

\hat3

Bass

ti

\hat7

do

\hat1

Figures

6/5

5/3

Roman numerals

V

I

Monte

Stage

1

2

3

4

Meter

W

S

W

S

Melody

do-te

\hat1-\downarrow\hat7

la

\hat6

re-do

\hat2-\hat1

ti

\hat7

Bass

mi

\hat3

fa

\hat4

fi

\uparrow\hat4

sol

\hat5

Figures

6/5

5

6/5

5

Roman numerals

V/IV

V

V/V

V

Like the Fonte, the Monte also goes through two tonicizations with a sequential treatment of a modular half:

Stage

1

2

Meter

W

S

Melody

sol-fa

\hat5-\hat4

mi

\hat3

Bass

ti

\hat7

do

\hat1

Figures

6/5

5

Roman numerals

V

I

Ponte

Stag

### Key Quote

Musical notation is obviously useful, though really, schemas are prototypes that exist apart from any specific realization, so the more abstract representations in tables and the like are better in some ways.

### Key Terminology

Roman numerals figured bass realizing doubling harmony schema answer meter form set

### Related Links

.mscz.mxl.pdf.mscz.mxl.pdf
Source: https://viva.pressbooks.pub/openmusictheory/chapter/galant-schemas-summary/
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