Professional Documents
Culture Documents
* * *
Cadences
Simple Cadences in Two Voices. . . . . . . . . . . . . . . . . . . . . 3
Simple Cadences in ree Voices . . . . . . . . . . . . . . . . . . . .4
Simple Cadences in Four Voices . . . . . . . . . . . . . . . . . . . . 5
* * *
Rules of the Octave
(Non-Sequential Stepwise Bass Harmonizations)
Overview: Rules of the Octave . . . . . . . . . . . . . . . . . . . . .1 8
* * *
Sequences
Stepwise Bass: Parallel 6/3 Chords. . . . . . . . . . . . . . . . . .25
Stepwise Bass: 5-6 & 7-6 Sequences. . . . . . . . . . . . . . . . 26
Stepwise Bass: Syncopated Bass in Two Voices . . . . . . . . 27
Stepwise Bass: Syncopated Bass (with 6 Chords). . . . . . .28
Stepwise Bass: Syncopated Bass (with 6/5 Chords). . . . . 29
Stepwise Bass: Ascending Sequences . . . . . . . . . . . . . . . .30
Stepwise Bass: Ascending "Leapfrog" Sequences. . . . . . . 31
* * *
Appendices
Common Modulation Strategies . . . . . . . . . . . . . . . . 39-40
Alphabetical List of Schemata . . . . . . . . . . . . . . . . . . 41 -45
Select Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . 46-47
oroughbass Abbreviations and the Figures to Add
e most common gures are in bold boxes.
2
Simple Cadences in Two Voices
, etc. Upper voices are indicated with 1, 2, etc.
, 2o
Bass scale degrees are indicated with 1o
"Simple" means "only consonances." Consonant intervals are unison, 3, perfect 5, 6, and 8.
e unison, perfect 5, and 8 are perfect consonances; 3 and 6 are imperfect consonances.
A simple cadence in two voices requires the tenor and discant clausulae.
Clausulae are stereotypical melodic segments used to make various kinds of cadences.
e tenor clausula (TC) uses the degrees 3 2 1, and is always colored green here.
e discant clausula (DC) uses the degrees 1 7 1, and is always colored red here.
Clausulae maintain their names regardless of which voice they are placed in.
For example, the discant clausula could be placed in the top, middle, or lowest voice.
Traditionally the three pitches in clausulae are named Ultima (ULT), Penultima (PEN),
and Antepenultima (ANT), meaning "last," "2nd-to-last," and "3rd-to-last," respectively.
with inverted voices:
discant clausula tenor clausula
1 7 1 3 2 1
˙˙ ˙˙
major
keys & C ˙˙ ˙
˙
w
w
ww
1o
7o 1o
C: 3o
2o 1o
discant clausula
tenor clausula
ANT PEN ULT ANT PEN ULT
ü .
In minor-key cadences, the seventh degree must be chromatically raised to make a leading tone: po
with inverted voices:
discant clausula tenor clausula
1 #7 1 3 2 1
minor
& C ˙˙ #˙ w ˙˙ #˙˙ ww
keys
˙ w 1o
po
ü 1o
a: 3o
2o 1o
discant clausula
tenor clausula
ANT PEN ULT ANT PEN ULT
3 2 1 1 2 3
˙˙ ˙˙ ˙ ˙˙ w
& ˙˙ ˙˙ w ww & ˙˙ ˙˙ w
w
w
w
C: 3o
2o 1o
with inverted voices: 2o
1o 3o
with inverted voices:
3 2 3 1 2 1
˙˙ ˙˙ w ˙ ˙˙
& ˙˙ ˙˙ w
w
w & ˙˙ ˙˙ w ww
w
3o
2o 3o
2o
1o 1o
{
with inverted upper voices:
octave spacing third spacing
˙˙ ˙˙ w
& ˙˙ ˙
˙
w
w
w
major 3 5 3
8 3 8 8 3 8
˙ ˙
keys
? ˙
3 5 3
w ˙ w
C: 1o
5o
1o
1o
5o
1o
In minor-key cadences, the seventh degree must be chromatically raised to make a leading tone.
{
Accidentals in thoroughbass refer to a third above the bass (i.e. here G becomes G#).
& ˙˙ #˙ w ˙˙ #˙˙ w
w
˙ w
minor
8 # 8 3 5 3
?
keys 8 # 8
˙ ˙
3 5 3
˙ w ˙ w
a: 1o
5o
1o
{
ese names are used even when the composition is for one or more instruments (not singers).
In practice, composers usually preferred not to end a piece with the fth in the top voice.
third spacing fth spacing
˙˙˙ ˙˙ w
octave spacing
˙˙ ˙˙˙ w w
& ˙˙˙ ˙˙
˙
w
w
w ˙ w
w ˙ w
major 8 3 8 3 5 3 5 8 5
5 8 5 8 3 8 3 5 3
˙ ˙ ˙
keys
? ˙
3 5 3 5 8 5 8 3 8
w ˙ w ˙ w
C: 1o
5o
1o
1o
5o
1o
1o
5o
1o
{
In minor-key cadences, the seventh degree must be chromatically raised to make a leading tone.
Accidentals in thoroughbass refer to a third above the bass (i.e. here G becomes G#).
˙ w ˙ w ˙ w
a: 1o
5o
1o
1o
5o
1o
1o
5o
1o
ANT PEN ULT ANT PEN ULT ANT PEN ULT
In practice, baroque composers saved time in two ways: (1 ) rather than indicate the order of the upper voices via
the gures (as above), composer would simply write the gures from highest to lowest and let the player
"realize" the spacing as desired; (2) composers would abbreviate gures. Learn the abbreviations by using the
tables on page two. For instance, if 8/5/3 were written, the player could realize this in the octave, third, or fth
spacing. But the 5/3 chord was so common that if nothing was written, the player assumed a 5/3 chord and
realized the gure in as many or as few voices as required by the situation at hand.
{
three voices four voices
& w w w
w w
w w
w w
could be
8 3 8 3 5
realized as: 3 8 5 8 3
? w
3 5 8
w w w w w
1 __ 7 1 3 2 1
˙
& C Œ̇ œ œ̇ œ w œ ˙œ œ ww
Œ
major
keys
w __
1o
7o 1o
C: 3o
2o
1o
"syncopated" discant clausula
tenor clausula
ANT PEN ULT ANT PEN ULT
A syncopatio has 3 parts: (1 ) consonant preparation, (2) dissonant "clash," and (3) consonant resolution.
After Giovanni Artusi (c.1 540-1 61 3), the tied ("delayed") voice is the patient, the moving voice the agent.
In a cadence, the discant clausula is always the patient, while the tenor clausula is always the agent.
Memory aid: the patient is passive (tied); the agent is active (it moves to make the dissonant "clash").
e terms supersyncopatio and subsyncopatio refer to the position of the patient voice (above or below).
Œ̇ œ œ̇ w ˙ œ ˙œ ww
&C œ
w Œ
œ
thoroughbass gures: 6 7 6 8 3 2 3 1
Here are the same eight two-voice cadences as on page three, but with syncopatio dissonances.
Sometimes a dash between two thoroughbass gures indicates the resolution of a syncopatio.
˙ œ ˙œ œ ˙ œ ˙œ œ ˙˙
& C Œ̇ œ œ̇ œ ˙˙ Œ & Œ˙ œ œ̇ œ ˙˙ Œ̇
6 7 6 8 3 2 3 1 8 7 6 6 1 2 3 3
˙ œ ˙œ œ ˙˙
& Œ̇ œ œ̇ œ ˙˙ Œ & Œ˙ œ œ̇ œ ˙˙ Œ̇
œ ˙œ œ ˙
6 7 6 6 3 2 3 3 8 7 6 8 1 2 3 1
{
is compound cadence has a 5/4-chord at PEN. e dissonant 4 in a 5/4 chord must always be prepared.
major keys minor keys
octave spacing third spacing octave spacing third spacing
Œ̇ œ œ̇ œ w ˙ œ ˙œ œ w
w Œ œ œ̇ w
&c w Œ ˙ #œ w
w Œ̇ œ ˙œ #œ w
?c ˙ e ˙ ˙e ˙ e w ˙e ˙ e w ˙e ˙ e w
5 5 5 5
e w
$ 4 3 $ 4 3 $ 4 # $ 4 #
3o 5o
C: 1o 1o
3o 5o
a: 1o 1o
{
major keys minor keys
octave spacing third spacing octave spacing third spacing
˙ œ ˙œ œ w
& Œ̇ œ œ̇ œ w
w Œ
w Œ œ œ̇ #œ w ˙ w
Œ̇ œ œ #œ w
˙ w
? ˙e œœ w ˙e œ œ w ˙e œ œ w ˙e œ œ w
6 6 6 6
$ 5 3 $ 5 3 $ 5 # $ 5 #
C: 1o 3o 4o 5o 1o
3o 4o 5o 1o
a: 1o
{
major keys minor keys
octave spacing third spacing octave spacing third spacing
& Œ œœ œœ œœ w Œ œœ œœ œœ w
w Œ œ œ #œ w Œ œœ œœ #œœ w
w
w œ œ œ w
? ˙ e ˙ ˙ e ˙ e w ˙ e ˙ e w ˙ e ˙ e w
6 5 6 5 6 5 6 5
e w
$ 4 3 $ 4 3 $ 4 # $ 4 #
3o 5o
C: 1o 1o
3o 5o
a: 1o 1o
{
major keys
octave spacing third spacing fth spacing
?c ˙ e ˙ ˙ e ˙ ˙ e ˙
$ 5 5 5
e e e
4 3 $ 4 3 $ 4 3
w w w
3o 5o
C: 1o 1o
{
minor keys
octave spacing third spacing fth spacing
˙˙ ˙œ #œ w ˙˙˙ ˙˙œ w
w
& ˙˙˙ œ̇ #œ w
w
w ˙ ˙ w
w #œ w
˙
˙ e ˙ e ˙ e ˙ e ˙ e ˙ e
5 5 5
?
$ 4 # $ 4 # $ 4 #
w w w
3o 5o
a: 1o 1o
{
major keys
œ
octave spacing third spacing fth spacing
˙˙˙ œœ œœœ
˙˙ w w
w
& c ˙˙˙ œœ œœ w
w ˙ œœœ œœœ w
w w
œ œ w
?c ˙ e œ œ ˙ e œ ˙ e œ
6 6 6
5
œ 5
œ 5
w w w
alternate bassline
C: 1o 3o 4o 5o 1o
6 6 6
?c ˙ œ œ ˙ œ œ ˙ œ œ
6 5 6 5 6 5
w w w
C: 3o
5o
4o 1o
{
minor keys
œ
octave spacing third spacing fth spacing
˙˙ œœœ #œœœ w ˙˙˙ œœ #œœœ w
w
& ˙˙˙ œœ #œœ w
w
w ˙ w
w w
œ œ
˙ e œ œ ˙ e œ œ ˙ e œ œ
6 6 6
?
5 # 5 # 5 #
w w w
5o
alternate bassline
a: 1o
3o 4o
1o
6 6 6
? ˙ œ œ œ œ œ œ
6 5 # 6 5 # 6 6 5 #
w ˙ w ˙ w
a: 3o
4o
5o 1o
{
major keys
octave spacing fth spacing
˙˙˙ œœœ œœ w
third spacing
˙˙ œœ œœ w w
& c ˙˙˙ œœ œœ
œ œ
w
w
w ˙ œ œ w
w œ w
?c ˙ e ˙ ˙ e ˙ e ˙ e ˙ e
6 5 6 5 6 5
e
$ 4 3 $ 4 3 $ 4 3
w w w
C: 1o 5o
3o 1o
œœœ œœ œœœ œœ
parallel fths can be avoided thus:
w
w
œ œ w
{
ough the 4 is a dissonance, it may enter
unprepared in a 6/4 chord, but not in a 5/4 chord.
e œ œ e œ œ e
4 3 4 3 4 3
w w w
{
C: 1o
4o 5o 1o
minor keys
octave spacing third spacing fth spacing
˙˙ œœ #œœ w ˙˙˙ œœœ œœ w
w
& ˙˙˙ œœ #œœ
œ œ
w
w
w ˙ œ œ w
w #œ w
˙ e ˙ e ˙ e ˙ e ˙ e ˙ œ
6 6 5 6 5
?
5 $ 4 # $ 4 #
$ 4 #
w w w
a: 1o 5o
3o 1o
Perfect 5ths may move to dim. 5ths.
But dim. 5ths are a dissonance and need
{
to resolve to a third. us, dim. 5ths
do not usually progress to perfect 5ths,
but this is nevertheless allowable if
(1 ) it is not in the outer voices and
œœ œœœ œœ #œœ w w
w
& œœœ œœœ œœœ #œœ w
w œ œ œ w
w #œ w
œ w
6 6 5 6 6 5 6 6 5
?
4 #
œ œ ˙ e œ œ ˙ e œ œ ˙ e
4 # 4 #
w w w
a: 5o
1o 4o 1o
{
Memory aid: one voice always has the "syncopated" DC preceded by an extra 7: 7 1 1 7 1.
& c œœ œœ œ̇ œ w
w
w #œ œœ œ̇ #œ w #œœ œœ ˙œ #œ w
w
œ w
?c œ œ ˙ w œœ˙
5 5 5 5
e e w
œœ ˙ œœ ˙
e w e w
4 3 4 3 # 4 # # 4 #
C: 5o 1o
5o 1o
a: 5o 1o
5o 1o
simple + compound
?c w 4 w4
6 5 6 5 6 5 6 5
E E
w w
E E
4 3 4 3 # 4 4 # # 4 4 #
w w
alternate basslines
w w
C: 5o 1o
a: 5o 1o
?c œ œ œ œ w œœœ œ w
6 6 6 6
œœ œ œ w œœ œ œ w
5 5 # 5 # # 5 #
C: 5o 1o
4o 5o 1o
a: 5o 1o
4o 5o 1o
?c œ œ œ œ w œœœ œ w
6 6 6 6
œœ œ œ w œœ œ œ w
6 5 6 5 # 6 5 # # 6 5 #
C: 5o3o 4o 5o 1o
a: 5o 3o 4o 5o 1o
{
Here the rst pitch of the TC is changed, making a 7 chord. e nal bassline below is also slightly different.
œœ œœ ˙œ œ w
& c œœ œœ œ̇ œ w
w
w #œœ œœ œ̇ #œ w
w #œœ œœ ˙œ #œ w
w
?c œ œ ˙ w œœ˙
7 5 7 5 7 5 7 5
e e w
œœ ˙ œœ ˙
e w e w
4 3 4 3 # 4 # # 4 #
C: 5o 1o
5o 1o
a: 5o 1o
5o 1o
?c w 4 w4
7 6 5 7 6 5 7 6 5 7 6 5
E E
w w
E E
4 3 4 3 # 4 4 # # 4 4 #
w w w w
alternate basslines
C: 5o 1o
a: 5o 1o
?c œ œ œ œ w œœœ œ w
7 6 7 6 7 6 7 6
œœ œ œ w œœ œ œ w
5 5 # 5 # # 5 #
C: 5o 1o
4o 5o 1o
a: 5o 1o
4o 5o 1o
? c œ œ œ5 œ w œ œ œ5 œ w
7 6 7 6 7 6 7 6
œœ œ œ w œœ œ œ w
# 5 # # # 5
C: 5o 6o 4o 5o 1o
a: 5o 6o 4o 5o 1o
{
To save space, only major-key versions are shown here. Don't forget to use #7 in minor.
major keys
fth spacing octave spacing
œœ œœœ ˙˙œ w
third spacing
œœœ œœœ ˙˙œ œ w w
& c œœœ œœœ œ̇˙ œ w
w
w
w
w œ œ w
?c œ œ ˙ œ œ ˙ œ œ ˙
5 5 5
4 3 4 3 4 3
w w w
C: 5o 1o
5o 1o
alternate bassline
simple + compound
?c w w w
6 5 6 5 6 5
4 4 3 4 4 3 4 4 3
w w w
{
C: 5o 1o
e same as above, but starting with a 7 instead of 5/3.
œœ œœ ˙œ œ w wœ œœ ˙œ w
w
& œwœ œœ œ̇ œ w
w
w w w
w œ œ w
? œ ˙ œ ˙ œ ˙
5 5 5
7 4 3 7 4 3 7 4 3
œ w œ w œ w
alternate bassline
C: 5o 5o
1o 1o
? w w w
7 6 5 7 6 5 7 6 5
w w w
4 4 3 4 4 3 4 4 3
{
5o 1o
Variant with a 6/5-chord.
? œ œ œ œ œ œ œ œ œ œ
6 6 6
œ œ
5 5 5
w w w
{
C: 5o 6o 4o 5o 1o
œœ œœœ œœœ œœ
Mores variants with 6/5-chords.
œœœ œœœ œœœ œœœ w w
w
& œœœ œœœ œœœ œœœ w
w
w
w
w œ œ w
œ
œ œ œ
œ œ œ5 œ œ œ 5œ œ
6 6 6
? 5
w w w
alternate bassline
C: 5o 1o 4o 5o 1o
6 6
? œ œ œ œ œ œ œ œ œ œ œ œ
6
6 5 6 5 6 5
w w w
C: 5o 3o 4o 5o 1o
{
Form 1 : any cadence ending with 6o
in the bass (i.e. a "deceptive" cadence)
major keys minor keys
œœ œœ ˙œ œ ww
& c œœ œœ œ̇ œ w #œ œœ œ̇ #œ w #œœ œœ ˙œ #œ ww
w œ 6 w
? c œ œ6 œ5 œ w œ œ6 œ5 œ w
6 6 6
œœœ œ w œœœ œ w
# 6 5 # # 6 5
#
{
C: 5o3o 4o 5o 6o
5o 6o
a: 5o 3o 4o 5o 6o
5o 6o
3o
Form 2: any cadence ending with 5o in the bass
w
major keys
œœ œœ ˙œ œ w
minor keys
& œœ œœ œ̇ œ w
w w #œ œœ œ̇ #œ w
w #œœ œœ ˙œ #œ w
œ
? œ œ œ5 œ œ œ œ5 œ
6 6 6 6 6
w w œ œ œ œ
œœ œœ
6 6 # # # # 6
w w
5 5
œ œ œ œ
alternate bassline
C: 5o1o4o5o 3o
a: 5o 1o 4o 5o 3o
? ˙ ˙
6 6 6 6 6 6 6 6 6 6
4 5
˙ w
6 4 5
˙ w
6
˙
# 4
˙
5 Ä 6
w ˙
# 4 5
˙
Ä 6
w
C: 5o 4o 3o
a: 5o 4o 3o
{
Form 3: DC resolves to n7 (often 4 in new key), modulating down a fth (see arrow): motivo di cadenza.
#œœ œœ œ̇ nœ œœ œœ ˙œ œ w
w
&
w
7 6 5 6 5
? w # 4 4 3 7 4 4 3
w
G: 5o C: 5o 1o
{
In the rst evaded double cadence given below, all three voices can be inverted,making 6 combinations total.
is is called triple invertible counterpoint. green = TC (agent); red = DC (patient); blue = alto clausula (auxiliary)
œ œ
& œ œ ˙œ œ ww ˙œ œ ˙˙ w
œ̇ œ œ̇ œ w
w
w
? ˙
6 6 6 6 4 5 4
˙ w œ œ6 ˙7
7 4 5 4 6 5 2 3 2 6
œ œ œ œ w w
{
C: 5o 4o 3o
7o 1o
7o 1o
4o 3o
2o 1o
œ̇ œ ˙ w
& œœ œœ œ̇ œ w
˙
w
w
œ̇ œ œ̇ œ w
w
? ˙7
6 6 6 6 4 5 4
˙ w œ œ6 ˙7
4 5 4 6 5 2 3 2 6
œ œ œ œ w w
C: 5o 4o 3o
7o 1o
7o 1o
4o 3o
2o 1o
{
e exible alto clausula is added, plus a new variant with toniziation. Minor-key versions are not shown.
œœ œœœ œœœ œœ ww
Form 1 : any cadence ending with 6o
in the bass (i.e. a "deceptive" cadence)
C: 5o 3o 4o 5o 6o
alternate bassline
with tonicization of 6o
:
w w w
6 6 6
? c œ œ #œ #œ œ œ #œ #œ œ œ #œ #œ
6 6 6
6 5 5 6 5 5 6 5 5
{
C: 5o 3o
a: uo
ü po
ü 1o
& œ œ œ œ œ nœ œœ œœ œœ œœ œ œ œ œœ œ œ
œ œ œ œœ œœ œœ b œ œœ œœ
6
œ œ #œ #œ œl
6 y 6
œ9
5 6 6
œ œ œ
6
œ
# 6 5 5 5 n 6
œ #œ #œ
# 6 5 5
? œ
9 6 9
œ œ œ
5 b
{
G: 5o 3o C: 6o 7o 1o
3o F: 6o 7o 1o
e: uo
ü po
ü 1o 3o a: uo ü po
ü 1o 3o
œœ œœœ œœœ œœ ww
Form 2: any cadence ending with 3o in the bass
? œ œ œ œœ œ œ œœ w œ œ 5œ œ œ w
6 6 6 6 6
w œ
5 6 5
C: 5o 6o 4o 5o 3o
{
Form 3: DC resolves to n7 (actually 4 in new key), modulating down a fth (see arrow): motivo di cadenza.
#œwœ œœ œ̇ nœ œœ œœ ˙œ œ w
& w w
w
6 5
w
7 6 5
? w # 4 4 § 7 4 4 3
w
{
G: 5o C: 5o 1o
Form 4: DC moves to #1, which becomes #7 (leading tone) in the key a step higher (see arrow)
4 6 4 6 4 6 4 6
2 3 2 3
˙˙
2 3 2 3
˙˙ ˙˙ w ˙˙
& c ˙˙ w w ˙ ˙˙ w ˙˙ w
w
{
w ˙ w
5 6 5 6 5 6 5 6
˙˙ ˙˙ w
2 3 2 3 2 2 3
˙ ˙˙
3
& c ˙˙ ˙
w
w
w ˙
˙
˙
˙
w
w
˙˙ w
w
4 5 4 5 4 5 4 5
?c Œ œ œ œ w
2 3 2 3
Œ œœœ w Œ œ œ #œ w Œ œ œ #œ w
2 3 2 3
{
C: 1o
7o 1o
a: 1o
po
ü 1o
2o
With a tenor clausula in the bass: 3o 1o
Œ̇ œ œ̇ œ w ˙ œ œ̇ w Œ̇ œ œ̇ #œ w ˙ œ œ̇
& œ w #œ w
w
w Œ w Œ
? ˙ ˙
6 7 6 6 7 6 6 7 ´ 6 7 ´
˙ w ˙ w ˙ ˙ w ˙ ˙ w
C: 3o
2o
1o
a: 3o
2o
1o
{
2o
With another tenor clausula in the bass: 1o 3o . Notice that the third spacing ends with a
dim. 5 moving to perfect 5, which is allowable if it involves a middle voice.
˙ œ œ̇ œ w w
& Œ̇ œ œ̇ œ w w Œ œ œ̇ #œ w œ œ̇ w
w Œ w Œ̇ #œ
˙
? ˙ w w
6 7 6 6 7 6 6 7 ´ 6 7 ´
˙ ˙ ˙ ˙ ˙ w ˙ ˙ w
C: 1o 2o
3o a: 1o 2o
3o
In this compendium, clausulae have been identi ed via scale degrees. is works most of the time.
{
But there is another TC/DC pair—the "mi-cadence"—that ends on 5o in the bass (solfège syllable "mi"
in hexachordal solmization). Here the TC ends with a half step (F-E) and the DC with a whole step (D-E).
When conceived in terms of the major/minor system, a mi-cadence is equivalent to a half cadence.
Œ œ œ̇ œ w
& œ œ #w œ œ
Œ œ œ̇ œ #w
w
? œ œ ˙ w mi œ œ ˙7 6 w#
7 6 #
mi
a: 1o po
l uo
o l 5o
Discant clausula in the bass. To avoid parallel 5ths, the upper voices are not always invertible.
major keys
4 6 4 6 4 6
2 3 2 3 2 3
˙˙ ˙˙ ˙˙ w ˙˙˙ ˙˙ w
w
& c ˙˙˙ w
w ˙ ˙ w
w ˙ w
{
˙ w
5 6 5 6 5 6
œ̇˙ œ
2 2 3
˙˙˙ w
2 3 3
˙˙ ˙œ̇ œ w w
& c ˙˙˙ œ̇˙ œ w
w
w ˙ w
w w
4 6 4 6 4 6
?c Œ œ œ
2 5 2 5 2 5
œ w Œ œ œ œ w Œ œ œ œ w
C: 1o
7o 1o
{
2o
With a tenor clausula in the bass: 3o 1o . Notice that in a 7-6 suspension, one usually avoids
adding 5 to the 7 (i.e. double 3 or 8 instead). is progression is much easier in three voices than four.
Œ ˙
Œ œ œ̇ œ w ˙˙ œ ˙˙œ œ w
w œ ˙˙œ œ w
ww
& ˙ ˙ w
w w Œ̇
˙
? ˙ ˙ ˙
6 7 6 7 6 7
˙ ˙ ˙
6 6 6
w w w
C: 3o
2o
1o
{
2o
3o
. Dim.5-perf.5 is allowable if involving a middle voice.
Œ̇
With another tenor clausula in the bass: 1o
Œ œ œ̇ œ ˙ œ ˙˙œ w
& ˙˙ ˙
w
w ˙ œ ˙˙œ œ w
ww Œ̇ œ ww
w
? ˙ w w w
7 6
˙ ˙ ˙
7 6 6 7 6 6 6
˙ ˙
{
C: 1o
2o
3o
a: 1o po
l
o uo
l 5o
But the TC (indeed, any agent voice in a syncopatio) may also move to a different consonance after the
dissonant "clash" at the PEN position, but before the ULT position, like when the TC leaps to 5o on beat
four, as shown below. But this creates ambiguity regarding the clausulae. Is the green voice a tenor or a
bass clausula? It has 2o 1o
at the PEN position, like a tenor clausula, but it also ends with 5o , like a bass
clausula. Ultimately, it doesn't matter what we call it if we recognize the underlying contrapuntal
processes: clausulae.
"active" tenor clausula or bass clausula?
œ
3 2 5 1
Œ̇ œ œ œœ w ˙ œ œœ œ ww
& œ w Œ
3o
2o
5o 1o
"active" tenor clausula or bass clausula?
ANT PEN ULT ANT PEN ULT
However, theories that track root motion (e.g. Roman numerals and function theory) draw a largely arbitrary
distinction between the "active" and "static" tenor clausulae shown above. For example, why should the two
chords at the arrows below be analyzed differently, when the overall voice-leading patterns are so similar? e
reason is that, if you are working within a theory that assumes that (1 ) all chords have roots (even dissonant
ones), and that (2) root motion between chords is syntactically meaningful, then you must analyze these two
chords differently. But if you emphasize the underlying contrapuntal similarities in the clausulae, then you can
view these two progressions as quite similar. roughout the seventeenth century and up until around 1 750,
very few musicians thought in terms of chordal roots as we understand them today. Rather, these ideas
{
emerged in the early 1 8th century and rst gained widespread adoption in the second half of the 1 8th century.
Œ œ œ̇ w Œ œ œ̇ w
& ˙˙ œ w ˙˙ œ
˙ w ˙ w
w
? ˙ ˙ ˙ œ œ
w w
Roman numerals: I6 vii7 6 I I6 ii7 V7 I
T6
 /4
Ä 3 T T6
 Sp7 D7 T
Function theory:
major keys
ascending either/or descending 6
œ œ œ œ œ œ œ œ
4
?c œ œ œ
5 6 6 5 6 5 6 6 5 5 6 ´ 5 6 6 5
œ œ
2
œ œ œ
C(I): 1o
2o 3o 4o 5o 6o 7o 1o
1o
7o 6o 5o 4o 3o 2o 1o
G(V): 2o 1o
minor keys
œ <n>œ <n>œ
ascending either/or descending 6
œ
5 5 Ä
? œ #œ #œ
5 ´ 6 5 6 6 6 5 5 6 6 6 ´ 5
œ
# # 2
œ œ œ œ œ œ œ œ
a: 1o
2o 3o 4o 5o uo
ü po
ü 1o
1o
po
l
o uo
l 5o 4o 3o 2o 1o
major keys
ascending descending
6 ´ 6 6
œ œ
6
œ œ
4
œ œ
5 4 6 6 5 6 5 5 6 5 4 6 4 5
œ œ
5
?c œ œ œ
3
œ œ
3 5 3
œ œ
2
œ
C(I): 1o
2o 3o 4o 5o 6o 7o 1o
1o
7o 6o 5o 4o 3o 2o 1o
G(V): 2o 1o
minor keys
ascending descending
´ ´ 6 ´
œ œ nœ nœ
4 Ä 4
œ #œ #œ
6 6 4 5
?
5 6 5 6 5 5 6 6 5
œ
3 3
œ œ
5 5 3 # 2
œ œ
#
œ œ œ œ
a: 1o
2o 3o 4o 5o uo
ü po
ü 1o
1o
po
l
o uo
l 5o 4o 3o 2o 1o
major keys
ascending
œ œœ
third spacing
œœ œ œ œœ œœ œœ œœ #œœ
descending
œœ œ œ œœ œœ œœ
&c œ œ œ œ œ
{
octave spacing 6
œ œœ œ
& c œœ œœ œœ œœ œœ œ
œ œ
œ
œ
œ
œ #œ œœ œœ œœ œœ œ
œ
?c œ
5 6 6
œ
5
œ
5
œ
6
œ5 œ
5
œ
5
œ6 œ´ œ
5 4
nœ
6 6 5
œ œ
2
œ œ œ
C(I): 1o
2o 3o 4o 5o 6o 7o 1o
1o
7o 6o 5o 4o 3o 2o 1o
G(V): 2o 1o
descending
To avoid parallel perfect fths in the octave spacing, 6o
can take an augmented sixth (a dissonance). See the asterisk.
minor keys
ascending
œ œœ <#>œœ œ
descending
œ œœ œ œœ œœ œ œœ œ
third spacing
& œœ #œ œœ œœ œœ
*
{
œ #œ #œ #œ #œ
6
octave spacing [# ] 6
œ #œ #œ
5 ´ 6 5 5 6 5 5 6 ´ 5 6 ´ 5
?
5 2
œ œ
#
œ œ œ œ œ œ
a: 1o
2o 3o 4o 5o uo
ü po
ü 1o
1o
po
l
o uo
l 5o 4o 3o 2o 1o
major keys
ascending
˙ œ œ̇ œ ẇ ˙ Œ̇ œ œ̇ #œ ẇ ˙ <#>ẇ ˙
third spacing descending
œ̇ #œ ˙ ẇ ˙
c
& Œ ˙ œ̇ œ ˙˙
{
octave spacing
˙
& c Œ̇ œ œ̇ œ ẇ ˙ <#> ˙
œ œ̇ ẇ ẇ œ̇ #œ ˙˙ ẇ ˙ œ̇ œ ˙
Œ̇ #œ ˙
˙6 ˙ ˙ ˙6
4
˙ ˙ ˙7
4
˙ n˙2 ˙
2
?c ˙ ˙ ˙
7 6 6 7 ´ ´ 6 7 6
˙ ˙ ˙
C(I): 1o
2o 3o 4o 5o 6o 7o 1o
1o
7o 6o 5o 4o 3o 2o 1o
/0 Ä
2
G(V): 1o
2o 3o 4o /4o 3o 0 2o 1o
Notice the parallel perfect 5ths in the ascending version. At least they are not between the outer voices!
minor keys
ascending
third spacing descending
˙˙ ˙˙ Œ œ œ̇ œ ˙˙ ˙˙ ˙˙ ˙˙ œ̇ œ ˙ ˙ ˙˙
œ̇ #œ ˙˙
{
& Œ̇ œ œ̇ #œ #˙ #˙ #˙
octave spacing
& Œ˙ œ œ̇ #œ ˙˙ ˙˙ # œ œ̇ œ ˙˙ ˙˙
par. perf. 5ths
˙ ˙˙
˙ œ̇ œ #˙˙ #˙˙ ˙˙ œ̇ #œ ˙
˙
Œ̇
4
#˙ ˙ ˙2 n˙6 n˙7
Ä
? #˙
7 ´ 6 # 7 6 6 6 # 6 7 ´
˙ ˙ ˙ ˙ ˙
2
˙ ˙ ˙ ˙ ˙
a: 1o
2o 3o 4o 5o uo
ü po
ü 1o
po
1o l
o uo
l 5o 4o 3o 2o 1o
c œœ œœ œœœ œ œœœ œœ œœ
& œ œ œ œ œ œ œ
other spacings
œ œœ œœ œœ œœ œœ œœ œœ #œœ œœ œœ œœ œœ
{
œœ œœœ œœœ
6
& c œœ œ œ œ œ œ œ œ œ œ œ œ
6
œœ œœ œ
& c œœœ œœ
œ
œœ
œ
œœ
œ œœ
œ
œ
œ œ
œœ
œ
œœ
œ œ #œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œ œ œ6 œ œ œ6 œ´ œ
4
?c œ œ nœ
6 6 5 6 6 6
œ œ œ œ
2
œ
C(I): 1o
2o 3o 4o 5o 6o 7o 1o
1o
7o 6o 5o 4o 3o 2o 1o
G(V): 2o 1o
minor keys
œœ <#>œœ œœ
ascending descending
œ œœ œœœ œœœ
& œœ #œœœ œœ
œ
œœ #œœœ œœ
œ œ #œ #œœœ œœ #œœ
œ œ
œœ
œ
other spacings
œœ <#>œœ œœ
{
œœ
6
œ <#>œ6 œ
& œœœ #œœ œœ œœœ #œœ œœ œœ œœ œœ œœ œ #œœ #œœ œœ #œœ œœ
œ œ œ œ œ œ œ œ œ œ
œ #œ #œ œ œ nœ6 n(´)œ
Ä
?
´ 6 # 6 6 # 6 ´
œ
5
œ œ œ œ
2
œ œ œ œ
a: 1o
2o 3o 4o 5o uo
ü po
ü 1o
1o
po
l
o uo
l 5o 4o 3o 2o 1o
major keys
œœœ œœœ
descending
œœœ œœ œœ œœ œœœ œœœ œœœ œœ #œœœ œœ œœ œœœ œœ œœœ
ascending
& c œ œ œ œ œ
other spacings
œœ œœ œœ œœ
{
œ œœ œœœ œœ œœ œœ œ œœ œœ œœ œœ œœ
& c œœ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ
minor keys
{
& œœœ #œœœ œœ
œ œœœ #œœœ œœ
œ
œœ
œ
œœ
œ
œœ
œ œœ œœ #œœœ
#œ #œœœ œœ #œœ
œ œ
œœ
œ
œ #œ #œ œ œ nœ nœ
4 6 6 # 6 6 6 4 # Ä 6 4
? œ œ œ
3 5 5 3 2 3
œ œ œ œ œ œ
a: 1o
2o 3o 4o 5o uo
ü po
ü 1o
1o
po
l
o uo
l 5o 4o 3o 2o 1o
?
œ œ œ œ œ œ œ œ œ œ
œ œ œ #œ #œ œ
C: 5o 6o 7o 1o
2o 3o 4o 5o a: 5o uo
ü po
ü 1o
2o 3o 4o 5o
major keys
˙
ascending descending
˙˙˙ ˙˙˙ ˙˙˙ ˙˙ w
w w
w ˙˙˙ ˙˙˙ w
w
w
& c w w
other spacings
{
˙ ˙ ˙˙ ˙˙˙ w w ˙˙ ˙ w
& c ˙˙ ˙˙ ˙ w
w w
w ˙ ˙˙ w
w
minor keys
˙
ascending descending
˙ ˙#˙˙ ˙˙˙ w w ˙˙˙ ˙#˙˙ ˙˙˙ ˙˙˙
& c ˙˙ ˙˙ #w
w #w
w
other spacings
{
& c ˙˙˙ #˙˙˙ ˙˙
˙ ˙˙˙ #w
w
w #w
w
w
˙˙
˙ #˙˙˙ ˙˙
˙
˙˙
˙
˙ w ˙ ˙
3
˙ ˙ ˙
5 2 3
˙ ˙ ˙ ˙
a: 1o
2o 3o 4o 5o 5o 4o 3o 2o 3o 1o
www.derekremes.com 23 Version: May 3, 2021
Advanced Rule of the Octave in Four Voices
(Lower Half )
lower half lower half
? œ œ œ œ œ œ œ œ œ œ
œ œ œ #œ #œ œ
C: 5o 6o 7o 1o
2o 3o 4o 5o a: 5o uo
ü po
ü 1o
2o 3o 4o 5o
˙˙˙ ˙˙˙ ˙˙ ˙˙
ascending
#˙˙˙ n˙˙˙ ˙˙
descending
c ˙ ˙ ˙˙
& ˙ ˙
other spacings
˙˙*
{
˙ ˙˙˙ ˙˙ ˙˙˙ ˙˙˙ ˙˙
& c ˙˙ #˙ n˙ ˙
˙˙
˙
& c ˙˙˙ ˙˙
˙ #˙˙˙ ˙˙
˙
˙˙
˙ n˙˙˙ ˙˙˙ ˙˙˙
´
6 6 6
?c ˙
4
5
˙
3
˙ ˙ ˙ ˙ ˙ ˙
C(I): 1o
7o 6o 5o 5o
6o 7o 1o
G(V): 3o 2o 1o
*f2 instead of c2 avoids parallel fths.
minor keys
descending
˙ ˙˙˙ ˙ ˙
ascending
#˙˙˙ ˙˙˙ ˙˙
& c ˙˙ #˙˙ #˙˙ ˙
˙˙
˙
other spacings
{
& c ˙˙˙ ˙˙ ˙ #˙˙˙ #˙˙˙ ˙˙ ˙˙
#˙˙
˙˙
*
˙ ˙ ˙ ˙
& c ˙˙˙ ˙˙
# ˙˙˙ #˙˙ #˙˙ ˙˙
˙˙˙ ˙˙˙
˙ ˙ ˙ ˙
´ 6
4 6 5
?c
6 # #
3
˙ n˙ n˙ ˙ ˙ #˙ #˙ ˙
a: 1o
po
l uo
l 5o 5o uo
ü po
ü 1o
*d2 instead of a1 avoids parallel fths.
www.derekremes.com 24 Version: May 3, 2021
Stepwise Bass: Parallel 6/3 Chords
Fauxbourdon refers to a series of 6/3 chords whose bass moves in stepwise motion.
In order to avoid parallel fths between the upper voices, the 6 has to be in the top voice.
Parallel 6/3 chord are usually realized in three voices, since the voice-leading is simpler than in four.
{
major keys ree voices
œœ œœ
ascending
œœ œœ
descending
œœ œœ œœ œœ œœ œœ
& c œœ œœ œœ œœ œœ œ
œ
œ œ6 œ6 œ œ œ6 œ6 œ
?c œ œ œ
6 6 6 6 6 6 6 6
œ œ œ œ œ
C: 1o 2o 3o 4o 5o 6o 7o 1o 1o 7o 6o 5o 4o 3o 2o 1o
{
minor keys
ascending descending
œœ œœ œœ œœ œœ œœ œœ œœ
& c œœ #œœ œœ œœ œœ œœ #œœ œ
œ
?c
´ 6 6
œ œ #œ #œ
6 6 6
œ œ nœ6 nœ6 œ
6 6
œ
6 ´
œ œ œ œ œ œ
a: 1o 2o 3o 4o 5o uo
ü po
ü 1o 1o po
l uo
l 5o 4o 3o 2o 1o
In four voices, a ller-voice (green) is added that must move in a zig-zag to avoid parallels.
e ller voice alternates between doubling the bass and the sixth of each chord.
{
major keys Four voices
œœ œœ
ascending
œœ œœ
descending
œœ œœ œœ œœ œœ œœ
& c œœœ œœ
œ
œœ
œ œ œ œ œ œ œ œ œ œ œ
œœ
œ
œœ
œ
œœ
œ
œ œ œ6 œ œ œ6 œ œ
?c œ œ œ
6 6 6 6 6 6 6 6 6 6
œ œ œ œ œ
{
Fn (see arrow) avoids a tritone leap in the tenor (c1 -f#1 ),
but also creates an augmented second in the bass (fn-g#).
minor keys
descending
œœ œœ
ascending
œ œ œ œ œ œ œ œ
augmented 2
www.derekremes.com 25 Version: May 3, 2021
Stepwise Bass: Ascending 5-6 & Descending 7-6 Sequences
An ascending stepwise bass can also be harmonized by a 5-6 sequence.
e 7-6 is the analogue for descending stepwise basslines.
As in fauxbourdon, the voice leading is simpler in three voices than in four.
{
ree voices
major keys descending
˙ ˙ œ œ̇ œ ˙˙ œ̇ ˙ ˙ œ œ̇ ˙ œ œ̇ ˙ œ œ̇ ˙
ascending
c ˙ œ œ̇ ˙ ˙ œ œ̇ ˙ œ˙
& œ̇ ˙ ˙
˙ ˙ ˙ ˙ ˙ ˙ 7˙ 6 7˙ 6 7˙ 6 7 6 7 6
?c ˙ ˙ ˙ ˙
5 6 5 6 5 6 5 6 5 6 5 6 5 6 5 6 7 6
˙ ˙ ˙
C: 1o 2o 3o 4o 5o 6o 7o 1o 1o 7o 6o 5o 4o 3o 2o 1o
{
minor keys descending
˙ ˙ œ œ̇ œ ˙˙ œ̇ ˙ ˙ œ œ̇ ˙ œ œ̇ ˙
ascending
&c ˙
œ̇ ˙ œ œ̇ ˙ ˙ œ œ̇ ˙ ˙ œ œ̇ #œ ˙˙
?c ˙ #˙ #˙ ˙ ˙5 6 n˙7 6 n˙7 6 7˙ 6 ˙7 6 7 6 7 ´
5 6 5 6 5 6 5 6 5 6 5 6 5 6
˙ ˙ ˙ ˙ ˙ ˙ ˙
a: 1o 2o 3o 4o 5o uo
ü po
ü 1o 1o po
l uo
l 5o 4o 3o 2o 1o
˙ #œ nœ #œ nœ ˙
Lament-Bass (descending chromatic tetrachord):
1o po
ü po
l uo
ü uo
l 5o
{
major keys descending
˙ œ œ̇ ˙ ˙ œ œ̇ œ ˙˙ œ̇ ˙ ˙ œ œ̇ ˙ ˙ œ œ̇ ˙ ˙ œ œ̇ ˙˙
ascending
˙
& c œ̇ ˙ œ œ̇ ˙ œ
?c ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
5 6 5 6 5 6 5 6 5 6 5 6 5 6 5 6 7 6 7 6 7 6 7 6 7 6 7 6
˙ ˙
C: 1o 2o 3o 4o 5o 6o 7o 1o 1o 7o 6o 5o 4o 3o 2o 1o
{
minor keys descending
˙
˙ ˙ œ ˙ œ̇ ˙ ˙ œ œ̇ ˙ ˙ œ œ̇ ˙ ˙ œ œ̇ ˙˙
ascending
& c œ̇ ˙ ˙ œ œ̇ ˙ œ œ̇ ˙ œ œ̇ #œ
?c
5 6 5 6 5 6 5 6
#˙
5 6 5 6
˙ #˙
5 6
˙ ˙5 6 n˙7 6 n˙7 6 ˙7 6 ˙7 6 7 6 7 ´
˙ ˙ ˙ ˙ ˙ ˙ ˙
a: 1o 2o 3o 4o 5o uo
ü po
ü 1o 1o po
l uo
l 5o 4o 3o 2o 1o
{
with "static" agent voice (blue)
major keys
˙ ˙ ˙ ˙ Œ ˙ œ œ˙ œ œ˙ œ œ
& ˙ ˙ ˙ ˙ œ˙
˙ œ
2 3
œ ˙ œ œ˙ œ œœ˙
2 3 2 3 2 3 2 3 2 3
? Œ
7 6 7 6 7 6 7 6 7 6 7 6
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
C: 1o 7o 6o 5o 4o 3o 2o 1o C: 1o 2o 1o 7o 6o 5o 4o 3o
{
with "active" agent voice (blue)
˙ œœ œœœœ œœ œ œ˙
compare this version with the falling fth sequence
& œ œ Œ ˙ œ œ˙ œ œ˙ œ œ
œ˙
˙ œ œ ˙ œ œ ˙ œœ œœœœ œœ œ œ˙
2 6 2 6 2 6 2 6 2 6 2 6
? Œ ˙ œ œœ˙
7 3 7 3 7 3 7 3 7 3 7 3
œ œ
{
minor keys with "static" agent voice (blue)
& ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
Œ ˙ œ œ˙ œ œ
˙ œ œœ˙
? Œ ˙ œ œ˙ œ œ˙ œ œœ
2 3 2 3 2 3 2 3 2 3 2 3 7 6 7 6 7 6 7 6 7 6 7 6
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
a: 1o 7o 6o 5o 4o 3o 2o 1o
a: 1o 2o 1o 7o 6o 5o 4o 3o
{
with "active" agent voice (blue)
˙ œ œ œ œ œ œ œ œ œ #œ ˙
7 3 7 3 7 3 7 3 7 3 7 3
˙ œ œ
www.derekremes.com 27 Version: May 3, 2021
Stepwise Bass: Syncopated-Bass Sequence (with 6/3 Chords)
e 4/2 sequence is one of the most common sequences of the baroque period.
It is important to know that the bass voice is the patient in the syncopatio.
{
major keys ree voices
third spacing octave spacing
c ˙˙ œ̇ œ œ̇ œ œ̇ œ œ̇ œ œ̇ œ œ̇ œ ˙ ˙ œ̇ œ œ
& ˙ ˙ œ̇ œ̇ œ œ̇ œ œ̇ œ œ̇ œ ˙˙
˙ ˙ 2 œ 2œ 6˙ 42 6œ 42œ 6˙ 42 6 42 6
4 6 4 6 4 6 4 6 4 6 4 6 4 6 4
?c Œ
2
œ œ
2
˙
2
œ œ
2
˙ œ œœ˙
2 2
Œ œ œœ˙
C: 1o 7o 6o 5o 4o 3o 2o1o
{
minor keys
octave spacing
˙ œ̇ œ œ
third spacing
œ̇ œ œ̇ œ œ̇ œ œ̇ œ œ
& c ˙˙ #œ̇ #œ̇ #œ ˙˙ ˙ œ̇ œ̇ œ œ̇ œ #œ̇ œ #œ̇ #œ ˙˙
4 6 4 6 4 6 4 6 Ä 6 Ä ´ 4 6 4 6 4 6 4 6 Ä 6 Ä ´
?c Œ ˙ œ œ ˙ œ œ ˙ œ œ Œ ˙ œ œ ˙ œ œ˙ œ œ œ˙
2 2 2 2 2 2 2 2 2 2 2 2
œ˙
a(i): 1o po
l uo
l 5o 4o 3o 2o 1o
C(VI): 4o 3o 2o
{
Four voices
major keys
c ˙ ˙
& ˙ œ œ œ œ œ œ œ œœ œœ œœ œœœ ˙˙ œ œ œ œ œœ œ œœ œœ ˙
œ
˙ ˙
4 6 4 6 4
œ œ œ œ ˙ œ 2œ ˙ 2 œ 2œ
4 6 4 6 4 6 4 6 4 6 4 6 6 4 6 4 6 4 6
˙ œ 2œ ˙ 2 œ
2 2
?c Œ
2 2 2 2 2
œœ˙ Œ œ˙
C: 1o 7o 6o 5o 4o 3o 2o1o
{
minor key
[ e third and fth
octave spacing third spacing spacings are not shown.]
& c ˙˙˙ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœœ œœ œœ ˙˙ ˙˙ œœœ œœ œœ œœ œœ œœ œœ œœ #œ œ #œœ #œœœ ˙˙˙
˙ œ œ œ œ œ œ œ œœ œœ
4 6 4 6 4 6
œ œœ˙ œ
˙ œ œ ˙ œ œ ˙ œ œ2 ˙
2 2 2 4 6 4 6 4 6 4 6 4 6 4 6 4 6 Ä 6 Ä ´
?c Œ œ œ ˙ œ œ˙ œ
2 2 2 2 2 2 2 2
œ˙ Œ œ œ˙
a(i): 1o po
l uo
l 5o 4o 3o 2o 1o
C(VI): 4o 3o 2o
www.derekremes.com 28 Version: May 3, 2021
Stepwise Bass: Syncopated-Bass Sequence (with 6/5 Chords)
e 4/2 sequence is one of the most common sequences of the baroque period.
Both the bass and the red voice are syncopated in alternation with one another.
{
Four voices
major keys
œ
fth spacing
{
octave spacing
& ˙˙˙ œœ œœ œœ œ œ œ œ œ œ œ
œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœœ ˙˙
œ ˙
˙
4 6
œ œ
4 6 4 6 4 6
˙
4 6 4
œ œ ˙ œ œ2 œ6 ˙
2 5
? Œ
2 5 2 5 2 5 2 5
{
minor keys
œ œ˙
a(i): 1o po
l uo
l 5o 4o 3o 2o 1o
C(VI): 4o 3o 2o
{
octave spacing
˙˙ œœ œœ œœ œ œ œ œ œ œ œ
& ˙ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ #œœœ ˙˙˙
#œ
? Œ ˙
4 6 4 6
œ œ ˙
4 6 4 6 Ä 6 Ä ´
œ œ ˙
2 2 2 2 2 2
œ œ œ ˙
{
in parallel thirds or sixths. For reasons of space, minor-key versions are not shown.
œ œœ
˙˙ œœ œœ ˙˙ œœ œœ ˙˙ œœ œœ ˙˙ œœ œœ ˙˙ œœ œ w
major keys
& Ó ˙˙ œœ w
w
w w w
9 8 9 8 9 8 9 8 9 8 6
? w w w w
4 3 4 3 4 3 4 3 4 3
w
{
œ
˙ œ œœ ˙˙ œ œœ ˙˙ œœ œœ ˙˙ œœ œœ ˙˙ œœ œ œw œ œ œ w
with inverted voices
˙ w
& Ó ˙ ˙ œ œ
w w w
9 8 9 8 6
w
9 8
? w w
9 8 9 8
w
4 3 4 3
w
4 3 4 3 4 3
{
with 9/7-8/6 syncopatio chain
œ ẇ ˙
major keys
& Ó ˙ œ ˙ w
˙ ˙˙ œœ œœ ˙˙ œœ œœ ˙˙ œœ œœ ˙˙ œœ œ ˙ œœ œ w
w w w
9 8 9 8
w
9 8 9 8 9 8 6
? w w w
7 6 7 6
w
7 6 7 6 7 6
{
œ
˙ œ œœ ˙˙ œ œœ ˙˙ œœ œœ ˙˙ œœ œœ ˙˙ œœ œ ẇ ˙
with inverted voices
w
& Ó ˙˙ ˙ œ œ
w
w w
9 8 9 8 9 8 9 8 9 8
w
6
? w w w
7 6 7 6 7 6 7 6 7 6
w w
{
another variant with 7-6 suspensions
œ œ œ œ ẇ œ œ ẇ œ œ w
& Ów ˙ ẇ œ
œ ẇ œ ẇ œ ẇ w
w w w w
? w w
7 6 7 6 7 6 7 6 7 6 7 6
w w
{
with inverted voices
ẇ œ
& w ˙ ẇ œ œ ẇ œ œ ẇ œ œ ẇ œ œ ẇ œ œ œ w
w
Ó
w w
7 6
w
7 6
w
? w w
7 6
w w
7 6 7 6 7 6
{
e inverted versions do not occur as often, because the two upper voices end up quite far apart.
w
major keys
Ó̇ ˙˙ ˙˙ ˙˙ ˙˙ w
& Ó ∑˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙
w w w w
? w w
9 8 9 8 9 8 9 8 9 8 9 8
w w
{
minor keys
& Ó ∑˙
Ó ˙˙ ˙˙ ˙˙ #˙˙ w
w
˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙
?
9 8 9 8 9 8
w
9 8
w
9 8
#9w 8
w
w w w w
{
with 7-6 syncopatio chain
Ó̇ œ̇ ˙ ˙ œ̇ œ ẇ œ œ w
œ ˙˙ œ̇ œ ˙˙ œ̇ œ ˙ œ̇ œ ˙
major keys
∑˙ w
& Ó
7 6 5 7 6 5 7 6 5
w
7 6 5
w
7 6 5
w
7 6 5
w
? w w w w
{
˙ œ̇ œ ẇ œ œ w
minor keys
& Ó ∑˙
Ó̇ œ̇ ˙
œ ˙˙ œ̇ œ ˙˙ œ̇ œ ˙ œ̇ œ ˙ w
?
7 6 5 7 6 5 7 6 5 7
w
6 5
w
7 6 5
#w
7 6 5
w
w w w w
{
ree voices
major keys
œœ œœ œœ œœ
third spacing fth spacing
œ œ œ
& c œ œ œœ œ œ œ ˙ œœ œœ ˙˙
T T
?c œ œ œ œ
6 6
œœ 6œ ˙ œ 6œ œ 6œ 6
œ ˙ œ œ ˙
C: 1o 6o 7o 5o 2o 7o 1o
{
minor keys
third spacing fth spacing
œœ œœ œœ œœ
& c œœ œœ œœ œœ œ œ ˙ œœ œœ ˙˙
T T
?c œ œ œ œ œœ œ ˙ œ œ6 œ œ6
6 6 6 6
#œ ˙ œ #œ ˙
a: 1o 6o 7o 5o 2o po
ü 1o
Yet another three-voice version would arise by omitting the tenor voice, leaving only red and green voices below.
{
Four voices
major keys
œœ œœœ œœ œ
octave spacing
œœœ œœœ œœ œœ
fth spacing
œœ œœ œœ œœ
third spacing
c œ œ œ œ œœ œœ œœœ ˙˙
& œœœœ œœ œœ œœœ œœ
˙˙ œ ˙˙˙ œ ˙
œ T œ 6œ œ 6œ T 6 œ 6œ œ 6œ T
œ œ œ œ
œ œœ ˙˙
6 6 6 6
?c œœ ˙ œœ ˙
{
minor keys
octave spacing
œœ œœœ œœ œ
third spacing fth spacing
œœœ œœœ œœ œœ
& c œœœ œœœ œœœ œœœ œœ œœ ˙˙ œ œ œœœ œœ
œ œ œœ œœ œœœ ˙˙
œ ˙˙˙ œ ˙
T œ œœ œ T œ œœ œ T
?c œ œ œ œ
6 6 6 6 6 6 6 6 6
œœ œ ˙ œ #œ ˙ œ #œ ˙
#œ ˙
{
ree voices
major keys
fth spacing
œœ œœ œœ œœ
third spacing
œ œ
& c œ œ œœ œœ œ œ ˙ œœ œœ ˙˙
œ T œ 5œ œ 5œ T
?c œ œ œ
6 6 6 6 6 6
5 5
œœ œ ˙ 5
œ œ ˙
5
œ ˙
C: 1o 6o 7o 5o 2o 7o 1o
{
minor keys
third spacing fth spacing
œœ œœ œœ œœ
& œœ œœ œœ œœ œ œ ˙ œœ œœ ˙˙
T T
? œ œ œ œ œ œ œ œ
6 6 6 6 6 6
œœ œ ˙
5 5 5 5 5 5
#œ ˙ œ #œ ˙
a: 1o 6o 7o 5o 2o po
ü 1o
{
Four voices
major keys
octave spacing
third spacing
œœœ œœœ œœ œœ
fth spacing œœ œœ œœ œ
œ œ œ œ œ œœ
& c œœ œœ œœœ œœœ œ œ œœœ œœœ ˙˙ œœ œœ ˙˙
œœ œœ ˙˙ ˙ œ œ˙
T T T
œ œ 5œ œ 5œ œ 5œ œ 5œ
6 6 6 6 6 6 6 6 6
?c œ
5
œ œ
5
œœ œ ˙
5 5 5
œ˙ œ œ ˙ œ œ˙
{
minor keys
œœ œœ œœ œ
third spacing fth spacing octave spacing
œœœ œœœ œœ œœ
& œœœ œœœ œœœ œœœ œœ œœ ˙˙ œ œ œœœ œœœ ˙˙ œ œ œ œœ œœ œœ ˙˙
œ œ ˙
˙
6 6 T 6 6 6 T 6 6 6 T 6
? œ œœ œ œœ œ ˙ œ œœ œ œ œœ œ
5 5 5 5 5 5 5 5 5
#œ ˙ œ #œ ˙ œ #œ ˙
{
ree voices
major keys minor key
œ nœ nœ œ œ
octave spacing third spacing octave spacing third spacing
3 œœ œœ œœ œ œ
& 2 œœ œœ œœ œ œ œ œ œ œœ œ œ œ œ œ œ
œ
œœ nœœ nœœ nœ nœ
œ œ œœ
œ œ œ
œ œ œ œ œ
? 23 œ œ œ œ œ œ œ œ œ œ œ
œ œ
œ œ œ œ
œ œ
C: 1o 5o 6o 3o 4o 1o
{
Four voices
major keys
fth spacing
œœ œœ œ œ
octave spacing third spacing
3 œœ œœœ œœ œœ œ œ
& 2 œœœ œœœ œœ œœ œ œœ œ œ œ œœ œœ
œ œ œœ œœ œœœ œœ
œ
œ œ œœ œ
? 23 œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
œ œ œ
{
minor keys
octave spacing third spacing fth spacing
œœ œœœ œœ œœ œ œ œ
& œœœ nœœ nœœ œœ œœ œœ œ nœœœ nœœœ œœœ œœ œœ nœ nœ œœ œœ œœ
œ œ œ œ œ œ
œ
? œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
œ œ œ
œ
a: 1o 5o 6o 3o 4o 1o
{
Syncopatio dissonances can be added by holding over (1 ) the blue voice, or (2) the blue and red voices.
blue voice held (4-3 suspension): blue and red voices held (6/4-5/3 suspension):
3œ œœ œœ œœ œœ œœ œœ œ œ œ œ
& 2 œœ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œ œ œ œ œ œœ œ œœ œœ
œ œ œ4
6 5 9 8 6 5 9 8 6 5
œ œ œ
4 3 9 8 4 3 9 8 4 3
? 23 œ œ
3 4 3 4 3 4 3 4 3
œ œ œ œ
{
sequenced up by step Four voices
major keys
œœ <#>œœœ œ œ œ œœ œœœ <#>œœœ œœœ <#>œœœ œœœ œœœ œœœ œœœ œœœ
fth spacing octave spacing
{
œœ <#>œœ œœ <#>œœ œœ nœœ œœ n œœ œœ
third spacing
œ œ œ œ
& œœ œ œ œ œ œ œ
? œ œ œ œ œ œ œ œ
œ œ
(# ) (# )
sequenced up by third
{
major keys
œ
œœ œœœ œœœ œœœ œœœ
œœœ œœ œœœ œœœ œœœ œœœ œœ
fth spacing octave spacing third spacing
3
& 2 œœœ œœœ œœœ œœœ œœœ œœœ œ
œ
œ œ œ œ œ
? 23 œ œ œ œ œ œ œ œ
œ œ
œ œ œ
C: 1o 4o 3o 6o 5o 1o
{
œœ ## œœœ œœ
sequenced up by third (modulating), with leaps of an augmented 2 in the red voice
œ œ œ œ
œ œ œ
F: 5o 1o a: 5o 1o C: 5o 1o e: 5o 1o G: 5o 1o b: 5o 1o
{
Four voices
(1) only 5/3 chords
œœ œœœ œœ œœ
octave spacing
œœœ œœœ œœ œœ
fth spacing
œœ œœ œœ
third spacing
œ œ œœ œœ œœœ ˙˙
& c œœ œœœ œœ œœ ˙˙ œœ
œœœ œœœ ˙˙ œ ˙
T œ œ˙ T ˙ T
?c œ œœœ œœœ
œœœ œ œ œœ˙ œ œœ˙
œ˙
C: 1o4o7o3o 2o 5o 1o
{
(2) 5/3 chord + 7 chord
œœ œœœ œœ œœ
octave spacing
œœœ œœœ œœ œœ
fth spacing
œœ œœ
third spacing
œ œœ œœœ œœœ ˙˙
& œœ œœ œœ œœ
œœœ œœœ ˙˙ œœ œœ œœ ˙˙
œœ˙ ˙
T 7 ˙ T T
? œœ œœ
7
œ œ 7œ 7
œ œ 7œ 7
œ œ˙ œ œœ˙ œ œœ˙
C: 1o4o 7o3o 2o 5o 1o
{
(3) 7 chord + 5/3 chord
œœ œœ œœ œœ
octave spacing
œœœ œœœ œœ œœ
third spacing fth spacing
œ œ œ œœ œ
& œœ œœ œœœ œœœ œ œ œœœ œœœ ˙˙ œœ œœ ˙˙
œœ œœœ ˙˙ ˙ œ œ˙
œ ˙
T T T
œ 7
? œ œœ
7 7
œ 7œ œ 7 7
œ 7œ œ 7 7
œ œ˙ œ œ œ˙ œ œ œ˙
C: 1o 4o7o 3o 2o 5o 1o
{
(4) only 7 chords
œœ œœ œœ œœ
octave spacing
œœœ œœœ œœ œœ
third spacing fth spacing
œ œ œ œ œ œ
& œœ œœ œœœ œœœ
œœœ œœœ ˙˙ œ œ œœ œœ ˙
œ œ ˙˙
œœœ œœœ ˙˙
˙
T ˙
œ 7œ 7œ 7 T 7 7 œ 7œ 7œ 7 T 7 7
? œ œ œ œ
7 7 7 7 7
œ œ˙ œ œ œ˙ œ œ œ˙
C: 1o 4o 7o 3o 2o 5o 1o
{
ree voices
˙ ˙
octave spacing
˙ ˙ ˙ ˙ ˙ ˙
third spacing
& ˙˙ ˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
˙
˙ ˙
? ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
C: 1o 5o 2o 6o 3o 7o 4o 1o
{
is sequence has a typical three-voice solution with 4-3 syncopatio dissonances.
third spacing octave spacing
& Œ œ œ œ œ œœ œœ œ œ œœ Œ œœ œ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ
? ˙
4
˙
3 4
˙
3
˙
4 3 4
˙
3
˙
4 3 4
˙
3
˙
4 3 4
˙
3
˙
C: 1o 5o 2o 6o 3o
e upper voices of this sequence often appear on their own, sometimes as a canon:
& Œ œ œ œ œ œœ œœ œœ œ œœ Ó Œ œœ
Œ œ œ œœ œœ œœ œœ œœ œœ
Ó Œ œ œ œ
6 7 3 2 6 7 3 3 2 6 7 3 2 6
{
Four voices
˙˙ ˙˙ ˙˙ ˙˙
octave spacing
˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙
third spacing
{
C: 1o 5o 2o 6o 3o 7o 4o 1o
fth spacing
{
practice, any chord can be taken as the start of a key. us, one function of the omnibus sequence is to
modulate quickly to distantly related keys.
enharmonic
{
respelling
b˙ nẇ b˙
& ẇ
w w nbẇ
w b˙ nbẇ
w b˙ #n#ẇ #ẇ
w n˙ #n w n˙
#ẇ n˙ #ẇ n˙
w w
? b˙ b˙ n˙ b˙ #˙ n˙ #˙ n˙ ˙ n˙ #˙ ˙
˙ b˙ n˙ b˙
7 4 6 m m n n m 7 f 6 7 7 4 6 7
§ x 4 4 4 b g 2 f # # 2 4
x
enharmonic
respelling
{
bass syncopation
double cadence
˙˙ #ẇ ˙ ˙˙ #˙˙ w
&c Ó w
˙ ˙
Ä
˙ ˙
6 7 7
w
2
?c Ó ˙
#
C(I): 1o G(V): 4o 3o 2o 5o 1o
{
modulation down a fth via motivo di cadenza (see p. 1 3)
˙˙ ẇ ˙ ˙˙ ˙˙ ˙ ˙˙ w
& Ó b˙ w
˙ ˙ ˙7
4
b˙ ˙2
4
˙
6 6 7
˙
2
? Ó w
C(I): 1o F(IV): 4o 3o 2o 5o 1o
{
evaded double cadence double cadence
& ˙˙ ˙ b˙ ˙˙ ˙˙ w˙ w
˙ ẇ ˙ w
7 6 5 6
? w ˙ w
m
˙
4 4 ! 5
˙ ˙ b˙ ˙
C(I): 5o F(IV): 5o 1o 4o 5o 1o
{
modulation up a second (see page 1 4)
˙ #˙ ˙˙ #˙ w
& ˙˙ ˙ ẇ
˙
˙ ẇ w
˙#
7 6 5 Ä 6 7 7
? w ˙3 ˙2 ˙ ˙ w
4 4
˙
C(I): 5o d(ii): 4o 3o 2o 5o 1o
˙ œ ˙œ ˙œ
& Œ œ œ̇ œ œ ˙œ œ b˙œ œ œœ
œ œ
6
œ
b
œ9 6 6
#œ
b
œ
9 6 n b
? Œ œ #œ œ œ œ
5 5
œ
C(I): 5o 6o 7o 1o 3o
a(vi): uüo po
ü 1o 3o
F(IV): 6o 7o 1o
{
Comma
˙
4 3
˙ œ5 œ
4 3
˙
& C
6 6
?C
5 5
˙ ˙ ˙ ˙
C: 7o 1o 7o 1o
{
Complete Cadence
œ5 œ
4 3
œ
2
œ
1
w
&C
6 5
?C œ œ œ
6 6 4 3
œ w
C: 3o 4o 5o 5o 1o
{
Converging Cadence
2 1 7
œœ4 œœ
3 2
&C œ œ ˙ ˙˙
˙ ˙
6
?C œ #œ œ #œ
6 5 6 7
C(I): 4o to
ü 5o C(I): 4o to
ü 5o
G(V): 7o 1o G(V): 7o 1o
œ œ œ7 œ6 œ5 œ4 3
1
2 1
œ œ w
&C
6 5
?C œ œ œ
6 6 4 3
œ w
C: 3o 4o 5o 5o 1o
{
Do-Re-Mi
˙
1 2 2 3
&C ˙ ˙ ˙
?C ˙ ˙ ˙
˙
C: 1o 5o 5o 1o
{
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Banchieri, Adriano. 1 605. L’ Organo Suonarino. Venice: Ricciardo Amadino. Editions with several modifications in 1 611 and 1 622 (the latter reprinted in 1 638). Translated
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Bianciardi, Francesco. 1 607. Breve regola per imparar a sonare sopra il Basso con ogni sorte d’ istrumento. Siena.
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