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Marpurg's Galant Cadence

This video is based primarily on the scholarship of David Lodewyckx. What he calls "Marpurg's Galant Cadence" (or alternatively "the Marpurg Cadence") is characterized by an upper part that traces the scale degrees 1 - 2 - 1 over the harmonic progression cadential 6/4 - V (or V7) - I. In doing so, it violates the rules of "strict" composition, according to which the note a fourth above the bass in a cadential 6/4 chord (i.e. the note on scale degree 1) should descend to the leading tone in the following chord. Typical of Marpurg's Galant Cadence is the embellishment of the note on scale degree 2 with a trill, or with a grace note or an appoggiatura on scale degree 3. Lodewyckx published his findings in the following articles, all accessible online: “Marpurg’s Galant Cadence: Theoretical and Formal Perspectives on a Specific Cadential Scheme,” paper read in Tallinn, 9 January 2014 “Marpurg’s Galant Cadence: An Overlooked Cadence Type in Contemporary Schema Theory,” paper read at EuroMAC, Leuven, 19 September 2014 “Marpurg’s Galant Cadence in Mozart: Theoretical Perspectives, Formal Implications and Voice Leading,” in Res musica 7 (2015), 116–127 “The Implicit Recognition of Marpurg’s Galant Cadence: Between Practice and Theory,” paper read at the conference “History, Analysis, Pedagogy: Music Analysis Conference” (University of Nottingham, 13–15 July 2016) List of excerpts in this video: 0:46 Hasse, Artaserse, "Per questo dolce amplesso" 1:24 Hasse, Cleofide, "Vedrai con tuo periglio" 1:36 Hasse, Cleofide, "Perder l'amato bene" 2:20 Pescetti, Sonata No. 1 2:44 Pescetti, Sonata No. 5 2:57 Pescetti, Sonata No. 8 3:20 Graun, Cleopatra e Cesare, "Tra le procelle assorto" 3:45 C. P. E. Bach, Keyboard Sonata in G, Wq. 65/22 4:28 Gluck, La Rencontre impévue, "Je chérirai, jusqu'au trépas" 4:57 Traetta, Antigona, "Non piangete i casi miei" 5:33 Mozart, Serenade in C minor, K. 388 5:52 Salieri, Les Danaïdes, "Par les larmes dont votre fille" 6:13 Salieri, Les Danaïdes, "Vous qui voyez l'excès de ma faiblesse" 6:53 Salieri, Il ricco d'un giorno, "Amor, pietoso Amore" 7:36 Mozart, String Quartet in G, K. 387 7:59 Mozart, String Quartet in A, K. 464 8:43 Mozart, Le nozze di Figaro, "Cinque... dieci" 9:02 Mozart, Così fan tutte, "Per pietà" 9:32 Mozart, String Quartet in D, K. 575 10:38 Mozart, Ave verum corpus 11:18 Mozart, Clarinet Concerto 12:16 Beethoven, Piano Sonata in A, Op. 2 No. 2 12:51 Rossini, La scala di seta, overture 13:30 Weber, Der Freischütz, "Wie nahte mir der Schlummer" 14:35 Schubert, String Quartet No. 10 14:55 Schubert, String Quartet No. 14 16:25 Wagner, Tannhäuser, overture I noticed I left out Haydn. He may not have been quite as fond of Marpurg's Galant Cadence as Mozart was, but in the Emperor's Hymn he used it memorably:    • Haydn - String Quartet, Op. 76, No. 3   I should also have included another movement from Beethoven's Op. 2 piano sonatas: the minuet from Op. 2 No. 1, which--if you take all the repeats, before and after the trio--has no fewer than 24 examples of Marpurg's Galant Cadence!    • Beethoven Piano Sonata No. 1 in F minor op...