Rosalie (music)
Rosalie , Vetter Michel or Schusterfleck are derogatory names for the one or more tonal or real (ascending) sequencing of a multi-bar melody section (usually including the accompanying voices) by one note at a time. The names appeared around 1750 and testify to how much the gradually increasing sequences, which were so popular in the first half of the 18th century, were perceived as trite.
The name Rosalie goes back to the Italian folk song Rosalia mia cara , in which the sequencing in question is exemplary:
The second name is reminiscent of the folk song Cousin Michel was there last night , the middle section of which contains a Rosalie:
The word Schusterfleck was used by Joseph Riepel in various parts of his beginnings for musical typesetting . His first example of this is as follows:
Even Beethoven referred in this way to waltz by Anton Diabelli , of his Op Variations. 120 is based. He should have specifically meant this passage:
swell
- Rosalie . In: Wilibald Gurlitt , Hans Heinrich Eggebrecht (Hrsg.): Riemann Musiklexikon (subject part) . B. Schott's Sons, Mainz 1967, p. 819 .
- Rosalie . In: Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 7: Randhartinger - Stewart. Updated special edition. Herder, Freiburg im Breisgau a. a. 1987, ISBN 3-451-20948-9 , pp. 130 f.
- Ludwig van Beethoven : Letter to Anton Diabelli, Vienna, around July 20, 1825 ( online ).
- Joseph Riepel : De Rhythmopoeia or from the Tactordnung . Regensburg and Vienna 1752.
- Joseph Riepel : Basic rules for tone order in general . Frankfurt and Leipzig 1755.