schemata

contents.md

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 ### Galant Schemata
 
 [Galant schemata – opens and closes.](schemataOpensAndCloses)  
-[Galant Schemata – Continuation Patterns.](schemataContinuationPatterns)  
+[Galant Schemata – continuation patterns.](schemataContinuationPatterns)  
 [Galant schemata – summary.](schemataSummary.html)   
 [Improvising a sentence with galant schemata.](schemata-improv.html)
 

schemataContinuationPatterns.md

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-title: Galant Schemata — Continuation Patterns
+title: Galant Schemata – continuation patterns
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 The three schema below were described first by the eighteenth-century theorist Joseph Riepel. They are ["continuation patterns"](http://www.mtosmt.org/issues/mto.05.11.2/mto.05.11.2.eckert.html), often found after the first double bar in a minuet. The "Fonte" and "Monte" are both sequential, the "Ponte" is a way of extending a harmony.

schemataOpensAndCloses.md

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-title: Galant Schemata — Opens and Closes
+title: Galant Schemata – opens and closes
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 Schemata (pl. of schema) are “stock musical phrases” (Gjerdingen 2007, p. 6) that act as melodic, harmonic, and rhythmic/metric skeletons for passages of music in the Galant style. We can apply the term *schema* in three specific ways. First, a schema is a *prototype*—an idealized version of a common pattern. Second, a schema can be an *exemplar*—a single pattern that resembles the prototype. Third, a schema can be a *theory*—an explanation of a commonly occurring musical event. All of these ideas go into how we understand schemata. We understand an individual pattern (exemplar) as a version of an ideal general pattern (prototype), and that relationship helps us understand how that pattern is functioning within a particular passage of music (theory).