Galant Schemata in Joseph Riepel’s Baßschlüssel (1786) скачать в хорошем качестве

Galant Schemata in Joseph Riepel’s Baßschlüssel (1786)

The eighteenth-century composer and pedagogue Joseph Riepel is already well known to students of galant schemata for coining the terms Fonte, Monte, and Ponte. At his death in 1782 he left unpublished a guide for musical amateurs on how to add accompaniments to newly composed melodies. Johann Caspar Schubarth edited the guide and published it in 1786 under the title Baßschlüssel, das ist, Anleitung für Anfänger und Liebhaber der Setzkunst, die schöne Gedanken haben und zu Papier bringen, aber nur klagen, daß sie keinen Bass recht dazu zu setzen wissen (Bass Clef, that is, Guide for Beginners and Amateurs of Composition, who Have Beautiful Ideas and Put Them Down on Paper but Lament that they Do not Know how to Compose Correctly a Bass for them). Baßschlüssel is a pun. Schlüssel means not only “clef” but “key.” The book is a key that unlocks the secrets of how to compose bass lines. In an important article on Riepel’s treatise, the music theorist Stefan Eckert has pointed out that the musical examples exemplify some of the galant schemata introduced by Robert Gjerdingen and others. See “The Gesangleiter in Joseph Riepel’s Baßschlüssel (1786),” Zeitschrift der Gesellschaft für Musiktheorie 11 (2014), online at https://storage.gmth.de/zgmth/pdf/749 (Open Access). Even though Riepel had no names for many of these patterns, the examples suggest that he was aware of their existence as discrete, conventional musical utterances, and of their importance as essential elements of the musical language. Although his book appeared only two years after William Jones’s A Treatise on the Art of Music, it represents a more modern taste. Jones’s “harmonic periods” reflect the musical conventions of the first half of the eighteenth century (see my video    • The Harmonic Periods of William Jones  ); Riepel’s examples include schemata used frequently in the 1780s. This video includes Riepel's takes on the following schemata: the Galant Romanesca, the Leaping (Pachelbel) Romanesca, the Stepwise Romanesca, the Monte Romanesca, the Heartz, the Ponte, the Lully, and the Overture. Another schema, the Do-Re-Mi, is present in many of the examples as well. Most of these are the subjects of individual videos on this channel.