Fonte (music theory)

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Fonte ( Italian fonte 'fountain' ) describes a two-part sequence in music theory , the first part of which closes in the key of the second degree of a major key and is then repeated (varied) in this main key , i.e. one second lower. The sentence model is a prominent element of 18th century European music.

The term comes from Joseph Riepel , who introduces the sentence model in the second volume of his Beginnings for Musical Typesetting (1755) alongside the sentence models Monte and Ponte, which he describes as a common means of designing the beginning of the second recapitulation of a minuet and emphasizes it with emphasis ( Now you have to remember these dreyerley examples as long as you live and are healthy ”). Riepel's sheet music samples mostly only contain upper parts; In the following note example, a bass is added to his first example of a fonte to illustrate the implicit harmony:

\ version "2.14.2" \ header {tagline = ## f} upper = \ relative c '' {\ clef treble \ key c \ major \ time 3/4 \ tempo 4 = 120 \ set Timing.beamExceptions = # ' () \ set Timing.baseMoment = # (ly: make-moment 1/4) \ set Timing.beatStructure = # '(3) \ repeat volta 2 {c4 eg g2 f4 e8 cfdcb c4 g2 e'4 ee fis8 ag fis gd c4 ba g2. } \ repeat volta 2 {<< {g'4 e8 cis ag '\ tuplet 3/2 {f8 ed} d2 g4 d8 bgf' \ tuplet 3/2 {e8 dc} c2} \ new Staff {\ clef bass {cis , 2. ^ "D minor" db ^ "C major" c}} >> c4 c 'c b8 dcbcg f4 ed c2. }} \ score {\ new Staff = "upper" \ upper \ layout {\ context {\ Score \ remove "Metronome_mark_engraver"}} \ midi {}}

Repertoire example

Antonio Vivaldi : Violin Concerto in A minor, Op. 3 No. 6, RV  356, 1st movement, 1st solo episode , mm. 15-21:

\ new PianoStaff << \ new Staff << \ set Score.tempoHideNote = ## t \ tempo 2 = 58 \ override Staff.TimeSignature.transparent = ## t \ set Score.currentBarNumber = # 15 \ relative c '' {s4 . e8 e g16 f e8 ea g16 f e8 e bes 'g16 f e8 ea (cis,) d (f,) gd' a, cis 'd4 r8 dd f16 e d8 dg f16 e d8 da' f16 e d8 dg (b, ) c (e,) fc 'g, b' c4 r8 \ bar "||" } >> \ new Staff << \ override Staff.TimeSignature.transparent = ## t \ clef "bass" \ relative c '{s4. r8 re cis are 'cis arg cis, ara' fde f16 g a8 a, dd 'f, drd' bgrd 'bgrfb, grg' ecd e16 f g8 g, cec} >> >>

variant

If the second member articulates its variant key instead of the major major key , Riepel speaks disparagingly of a "hermaphrodite":

\ version "2.14.2" \ header {tagline = ## f} upper = \ relative c '' '{\ clef treble \ key c \ major \ time 3/4 \ tempo 4 = 120 \ override Staff.TimeSignature.transparent = ## t \ set Timing.beamExceptions = # '() \ set Timing.baseMoment = # (ly: make-moment 1/4) \ set Timing.beatStructure = #' (3) g4. f8 ed \ grace {d} c sharp2 bes'4 \ grace {g8} a2 g4 \ tuplet 3/2 {f8 ed} d4 r f4. es8 dc b2 as'4 \ grace {as8} g2 f4 \ tuplet 3/2 {es8 dc} c4 r} \ score {\ new Staff = "upper" \ upper \ layout {\ context {\ Score \ remove "Metronome_mark_engraver" }} \ midi {}}

An example of this variant can be found in: Wolfgang Amadeus Mozart , Piano Sonata in A major KV 331 , Menuetto , T. 19-27.

Sources and literature (chronological)

  • Joseph Riepel: Basic rules for tone order in general . Frankfurt and Leipzig 1755 ( online ).
  • Joseph Riepel: Explanation of the deceptive tone order . Augsburg 1765 ( online ).
  • Stefan Eckert: “So, you want to write a Minuet?” - Historical Perspectives in Teaching Theory . In: Music Theory Online 11/2 (2005) ( online ).
  • Robert Gjerdingen: Music in the Galant Style . Oxford University Press, Oxford 2007, ISBN 978-0-19-531371-0 .
  • Folker Froebe: On Synergies of Schema Theory and Theory of Levels. A Perspective from Riepel's Fonte and Monte . In: Journal of the Society for Music Theory 12/1 (2015), pp. 9–25 ( online) .

Web links

Individual evidence

  1. ↑ Riepel 1765, p. 24: “[…] the same as the Monte rises a tone - so the Fonte , as you know, rises a tone; the first term turns into the second and tertz minor , and the second term into the main tone tertz major . "
  2. ↑ See u. a. Gjerdingen 2007, chap. 4th
  3. ↑ Riepel 1755, pp. 43f.
  4. ↑ Riepel 1755, p. 103.