Galant Schemata

Fenaroli

Fenaroli

Variants

The full Durante countermelody is ➎–➍–➌–➊–➐–➎–➊–➌, with two tones for each of the four tones ➆–➀–➁–➂. Either voice may be placed in the bass. (Gjerdingen 2007, 462)

The following examples feature the countermelody reduced to its bare essentials, ➍–➌–➐–➊, and set in the bass. They resemble Ex. 16.10 in Music in the Galant Style (Gjerdingen 2007, 232).

A repeated, pre-cadential Fenaroli.

J. C. Bach, Opus 5, no. 1, mvt. 1, Allegretto, m. 56 (London, 1766)
J. C. Bach, Opus 5, no. 1, mvt. 1, Allegretto, m. 56 (London, 1766)

The Fenaroli as a riposte to an opening theme. It lacks a pedal point on ➄ but the chords in the first beat of each measure create a similar effect. An embedded Comma reinforces a pre-cadential effect.

J. C. Bach, Opus 5, no. 1, mvt. 2, Tempo di Minuetto, m. 5 (London, 1766)
J. C. Bach, Opus 5, no. 1, mvt. 2, Tempo di Minuetto, m. 5 (London, 1766)

The Fenaroli as a riposte to an opening theme. This schema is repeated in the score and features an internal pedal point on ➄.

J. C. Bach, Opus 5, no. 2, mvt. 1, Allegro di molto, m. 3 (London, 1766)
J. C. Bach, Opus 5, no. 2, mvt. 1, Allegro di molto, m. 3 (London, 1766)