Fifth rise sequence

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The term Quint increase sequence is generally suitable for sequences whose members each have a fifth ascending or a fourth be displaced downward, in the music theory but in particular on a sentence model , its bass proceeds alternately in ascending fifths and falling fourths. Since the sequence model as a rule, a containing such progression (quint increase or fourth case), a displacement interval is obtained for the sequence of members each having a second upward.

\ new Staff {\ override Score.TimeSignature.stencil = ## f \ override Score.BarLine.stencil = ## f \ clef bass \ time 6/2 {\ [\ tweak NoteHead.color #blue \ tweak Stem.color # blue c2 ^ "displacement interval" g \ tweak NoteHead.color #blue \ tweak Stem.color #blue d \] aeb}}

The bass notes of this sequence classified by Fedele Fenaroli (1730–1818) as “ movimento principale ” (German “ main progression ”) can be harmonized with the third and fifth. In contrast to the sequence of fifths, this is only possible with ladder tones in major from I. to III. Level possible, as there would be a diminished fifth above the next VII level, which here is out of the ordinary. In the minor key, the diminished triad occurs in the third chord with an ascending fifth sequence from the 1st degree, which is why the model is not used there.

\ version "2.14.2" \ header {tagline = ## f} upper = \ relative c '' {\ override Score.TimeSignature.stencil = ## f% \ override Score.BarLine.break-visibility = # all-invisible \ clef treble \ key c \ major \ time 2/2 \ tempo 2 = 60 << {<gce> 2 <gbd> <adf> <ace> <beg> <bd \ tweak NoteHead.color #red \ tweak Stem. color #red f>} \ bar "||" >>} lower = \ relative c {\ clef bass \ key c \ major c2 g 'da' e \ tweak NoteHead.color #red \ tweak Stem.color #red b '\ bar "||" } \ addlyrics {IV II VI III VII} \ score {\ new PianoStaff << \ new Staff = "upper" \ upper \ new Staff = "lower" \ lower >> \ layout {\ context {\ Score \ remove "Metronome_mark_engraver "}} \ midi {}}

However, if you also use tones that are not part of the ladder, this sentence model also offers possibilities for modulation in more distant tones:

\ version "2.14.2" \ header {tagline = ## f} upper = \ relative c '' {\ override Score.TimeSignature.stencil = ## f% \ override Score.BarLine.break-visibility = # all-invisible \ clef treble \ key c \ major \ time 2/2 \ tempo 2 = 60 << {<gce> 2 <gbd> <adf> <ace> <beg> <bd fis> 4 <fis bd> <gb cis> <f sharp a sharp c sharp> <d f sharp b> 2} \ bar "||" >>} lower = \ relative c {\ clef bass \ key c \ major c2 ^ "C major" g 'da' e ^ "B minor" b 'e, 4 f sharp b, 2 \ bar "||" } \ addlyrics {IV II VI III} \ addlyrics {_ _ _ _ IV I} \ score {\ new PianoStaff << \ new Staff = "upper" \ upper \ new Staff = "lower" \ lower >> \ layout { \ context {\ Score \ remove "Metronome_mark_engraver"}} \ midi {}}

In this way Robert Schumann modulates at the beginning of the second part of the Minore II section of his Arabesque op. 18 from F major to E minor.

In what is probably the most common realization in the music of the 17th and 18th centuries, sequenced fifths upwards, a fourth lead appears above each bass note , with the two upper voices together forming a canon in the lower fourth or upper fifth:

\ version "2.14.2" \ header {tagline = ## f} upper = \ relative c '' {\ override Score.TimeSignature.stencil = ## f% \ override Score.BarLine.break-visibility = # all-invisible \ clef treble \ key c \ major \ time 2/2 \ tempo 2 = 60 << {g4 c ~ cbad ~ dcbe ~} \\ {r2 d, 4 g ~ gfea ~ ag} >>} lower = \ relative c {\ clef bass \ key c \ major c2 g 'da' e} \ score {\ new PianoStaff << \ new Staff = "upper" \ upper \ new Staff = "lower" \ lower \ new FiguredBass {\ figuremode {r2 <4> 4 <3> <4> <3> <4> <3> <4> <3>}} >> \ layout {\ context {\ Score \ remove "Metronome_mark_engraver"}} \ midi {}}

A quint rise sequence designed in this way can be found e.g. B. in the opening bars of the Prelude in C major ( BWV  924) by Johann Sebastian Bach , in the choir Surely, He hath borne our griefs (T. 19-21) from Georg Friedrich Handel's oratorio Messiah ( HWV  56) or in the second movement ( T. 60–64) of the Symphony No. 104 by Joseph Haydn .

Other names

In Anglo-Saxon music theory, Robert Gjerdingen coined the term “ Monte Romanesca ” for the model , because like the Romanesca it begins with step I – V , but then rises (like a Monte ) instead of falling. In German-speaking countries, the term “ quint-quart counter-step ” is also used, but this is also used by some authors for the quint- case sequence.

Sources and literature (chronological)

  • Fedele Fenaroli: Cours complet d'harmonie et de haute composition . Launer, Paris undated ( online ).
  • Alexandre-Étienne Choron , Vincenzo Fiocchi: Principes d'accompagnement des écoles d'Italie. Janet et Cotelle, Paris 1804 ( online ).
  • Ulrich Kaiser : ear training. Sentence theory, improvisation, hearing analysis. Bärenreiter, Kassel 1998, vol. 1 ( basic course ) ISBN 3-7618-1159-4 , vol. 2 ( advanced course ) ISBN 3-7618-1160-8 .
  • Robert Gjerdingen: Music in the Galant Style. Oxford University Press , Oxford 2007, ISBN 978-0-19-531371-0 .
  • Folker Froebe: "A simple and orderly progression of tones from which various fugues, themes and passages can be elicited". The concept of "phantasia simplex" in Mauritius Vogt and its meaning for the joint technique around 1700. In: Journal of the Society for Music Theory. 5 / 2-3, 2008, pp. 195-247 ( online ).
  • Heinz Acker: Modulation theory. Exercises, analyzes, literature examples. Bärenreiter, Kassel 2009, ISBN 9783761821268 .
  • Ludwig Holtmeier , Johannes Menke, Felix Diergarten: Solfeggi, Bassi e Fughe. Georg Friedrich Handel's exercises in sentence theory. Florian Noetzel Verlag, Wilhelmshaven 2013, ISBN 978-3-7959-0906-2 .
  • Johannes Menke : Counterpoint II: The music of the baroque . Laaber-Verlag, Laaber 2017, ISBN 978-3-89007-826-7 .

Web links

Individual evidence

  1. ↑ z. B. Ludwig van Beethoven , Piano Sonata in C major, Op. 2 No. 3 , 1st movement, mm. 27–39.
  2. ↑ See e.g. B. Kaiser 1998, Vol. 1, pp. 190-196.
  3. ↑ Fenaroli, p. 88; Fenaroli also counts among those “movimenti principali” the step-wise upward sequenced fourth rise ( Monte ), the third downward sequenced fourth fall ( Romanesca ) and the step-wise downward sequenced fourth rise (fifth case sequence).
  4. ↑ Choron / Fiocchi 1804, p. 31: "[...] il ne peut avoir lieu que dans le mode Majeur, et doit se terminer sur la troisième du Ton."
  5. ↑ Cf. Acker 2009, p. 389.
  6. ↑ Gjerdingen 2007, p. 99.
  7. ↑ See e.g. B. Holtmeier / Menke / Diergarten 2013, p. 100.
  8. ↑ See e.g. B. Froebe 2008, p. 207.