MUSICAL RHETORIC IN SWEELINCK’S

CHROMATIC FANTASIA
Society for Seventeenth-Century Music, 25th Annual Conference, April 20-23, 2017
Derek Remeš (Eastman School of Music)
derekremes@gmail.com

Presentation Overview

Part I: Historical Context Part II: Analysis of the Chromatic Fantasia

A. The Canons of Rhetoric A. Overview
B. Musica Poetica B. Exordium
C. Music-Rhetorical Analysis C. Medium
D. Fantasia as Genre D. Finis
E. Sweelinck as Pedagogue

Example 1: Five canons of rhetoric (Rhetorica ad Herennium; Cicero, De Oratore)

FIVE CANONS ASSOCIATED CONCEPTS

1 Inventio
2 Dispositio
3 Elocutio
4 Memoria
5 Pronuntiatio
Content, loci topici, stasis
Form, structure, organization
Style, syntax, clarity, varietas
Pictoral scripts, mnemonics
Delivery (vox and gestus)

Example 2: Two models of rhetorical dispositio

MODEL 1 MODEL 2
CLASSICAL SIX-PART MODEL FOR ORATIONS TRIPARTITE VARIANT
(Rhetorica ad Herennium) (VICENTINO 1555; Dressler 1563;
Cicero, De Oratore)
1 Exordium Introduction 1 Exordium (authority)
2 Narratio Statement of Facts
3 Partitio Main Points in Favor
2 Medium (logic)
4 Confirmatio Affirmation of Proof
5 Confutatio (Refutatio) Rebuttal
6 Peroratio (Conclusio) Conclusion 3 Finis (emotion)

1 Derek Remeš, SSCM (2017)

 Example 3: The only two extant depictions of Sweelinck (1562–1621)

Ex. 3a Ex. 3b

Unknown artist, dated 1606 Engraving by Jan Harmensz. Muller, dated 1624
(Dirck Sweelinck? [brother])

Example 4: Large-scale overview of the Chromatic Fantasia

SECTION Exordium Medium Finis

MM. 1-69 70-170 171-197

PROPORTION Half Notes Whole Notes Quarter Notes 8th Notes Coda

MM. 1-103 104-148 149-183 184-193 194-7

Subject Subject
STRUCTURAL fuga fuga realis
STRETTO realis Pillar
EVENTS Pillar in dim.
(Ex.7a) diminution (Ex.7b)

MM. 55-63 176-80

2 Derek Remeš, SSCM (2017)

 Example 5: Four levels of subject augmentation and diminution (proportion)

Ex. 5a - Double diminution in eighth notes

Ex. 5b - Diminution in quarter notes

Ex. 5c - "Original" rhythmic values in half notes

Ex. 5d - Augmentation in whole notes

3 Derek Remeš, SSCM (2017)

 Example 6: Four rhythmic levels of suspensions
[preparation (P), suspension (S), and resolution (R) indicated]

Ex. 6a - Eighth note suspension—ornamented vs. structural versions

ORIGINAL STRUCTURAL

2 - 3 2 - 3

Ex. 6b - Quarter note suspension—ornamented vs. structural versions

STRUCTURAL
ORIGINAL

4 - 3 4 - 3

Ex. 6c - Half note suspension

CS5

CS4
subject

Ex. 6d - Whole note suspension—ornamented vs. structural version

ORIGINAL STRUCTURAL

4 Derek Remeš, SSCM (2017)

 Example 7: Two analogous passages of fuga realis—four-voice subject stretto
[preparation (P), suspension (S), and resolution (R) indicated] Dotted ties are not original.

Ex. 7a - In the exordium

Ex. 7b - Analogous passage in diminution in the finis

Ex. 7c - “Diatonicized” reduction of Ex. 7a

5 Derek Remeš, SSCM (2017)

 Example 8: Overview of exordium (asterisk indicates only instance of CS2 in the bass)

SUBSECTION Part 1

DESCRIPTION Fugue in Triple Invertible Counterpoint (subject, countersubject 1, countersubject 2)

MM. 1-4 5-8 9-13 13-17 17-21 21-25 26-29 29-33 34-38 38-42 42-46 47-51 51-55

VERTICAL S
S Free CP S CS1
ORDER OF CS1 CS2 CS2 CS1 CS2 CS1 S
S CS1 CS2 Free CP Free CP
SUBJECT AND S CS2 S (frag.) CS2 S S CS2
CS1 CS2 CS1 Free CP CS2
COUNTER- S CS1 CS1 S CS1 Free CP CS1
S CS1 S
SUBJECTS Free CP

SUBSECTION Part 2

DESCRIPTION Closing Function

MM. 55-63 63-67 68-69

VERTICAL Subject CS3 Cadential

ORDER OF fuga realis Free CP Material
SUBJECT AND Pillar S
(Ex.7a) Free CP
COUNTER-
SUBJECTS

Example 9: Overview of medium (gray shows countersubject fuga realis [stretto])

SUBSECTION Part 1

DESCRIPTION Subject in Half Notes

MM. 70-74 74-78 78-82 82-86 87-93 90-93 94-103

CS5 CS4 CS5

CS4 CS4 S6
VERTICAL ORDER OF SUBJECT S Free CP fuga S
CS5 fuga fuga
AND COUNTER-SUBJECTS CS4 CS4 realis Free CP
S realis realis
S (Ex. 10) CS4

SUBSECTION Part 2 Part 3

DESCRIPTION Subject in Whole Notes Quarter Notes

MM. 104-110 111-118 119-12 126-133 133-39 140-46 146-48 149-16 161-170
6 0
S
CS9 CS8
VERTICAL ORDER OF CS6 CS6 CS8 S frag. S Free CP
CS9 fuga Cadential
SUBJECT AND COUNTER- S fuga CS8 S frag. Free Free CP
S realis Material
SUBJECTS CS7 realis S Free CP S
CS9 (Ex.11)
CP

6 Derek Remeš, SSCM (2017)

 Example 10: CS4 fuga realis from medium (brackets show [-3, -3, +4] pattern)

ORNAMENTED:

STRUCTURAL:

Example 11: CS9 fuga realis from medium (brackets show [+4, -3, -3] pattern)

ORNAMENTED:

STRUCTURAL:

7 Derek Remeš, SSCM (2017)

 Example 12: Overview of finis

SUBSECTION Part 1 Part 2 Coda

DESCRIPTION Quarter Notes Eighth Notes -

MM. 171-76 176-180 181-83 184-188 189-193 194-197

Subject S
VERTICAL ORDER Subject S Cadenza-like
fuga realis CS16 S
in paired S flourish
OF SUBJECT AND Pillar CS16 S
imitation S over a
COUNTER-SUBJECTS in diminution S “Tonic” Ped.
“Dom.” Ped. “Tonic” Pedal
(Ex.7b)

Example 13: CS16 derived from CS2 in diminution

Ex. 13a - CS2 in exordium

CS2 (fragment)

Ex. 13b - CS16 congeries in finis, derived from CS2 fragment

diminution

CS2 CS2 CS2

CS2 CS2

8 Derek Remeš, SSCM (2017)

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 Chromatic Fantasia (c.1600-1621)
Each bar is counted double to match Jan Pieterszoon Sweelinck (1562-1621)
Dirksen's critical edition = evaded cadence
Exordium (ethos/authority), mm.1-69
CS1
∑ ∑ ∑ ∑ S Œ
&C w ˙ ˙ #˙ n˙
w Œ œ ˙ ˙ œ #˙œ n˙
œ # œ #˙œ n˙ ˙
œ œ
œ
˙ b˙ ˙ œ œ ˙ ˙ œ œœœ œœœœœœœœœœœ
subject
CS1

{
10
?C ∑ ∑ ∑
First contrapuntal "box" (S, CS1, CS2)
∑ ∑ ∑ ∑ ∑ Ó
Ó
S
S
Ó˙

∑ ∑ Óœ ˙ ˙œ ˙
& œ œ œ œ œ ˙ <#>œ œ ˙ œ œ œœ œ ™ œœ ˙w CS2 œ œ œ œ˙ œ œ œ œ œ
œ œ œ œ œ œ™ # œ œ œ œ ™ œ œ œ œ œ ˙ œ œ œ œ ˙ #
œ™ Jœ œ œ ™ œJ œ œ ˙
J J S˙ ˙ ˙ œ #˙œ n˙ Œ œ CS1
œ œ
{? ˙
19
CS2
∑˙ #˙ ∑ n˙ ˙ b˙∑ Ó
˙
CS1
Œ œ
CS1
œ œ œ ˙ #œ #˙
œ ˙ œ
CS2
n˙ #˙
˙ ˙ bœw œ

Œ œ œ œ œ œ œ ˙ œ ˙ œœœ œœœ œ
& #Ó˙ n˙ œ
Œ
˙ œb˙œ œ ˙
œ™ J œ œ ˙ ∑
#œ
∑
œ œ
∑ œ œ œ œ œ˙ œ œœ œœ œ
œ
CS2 CS2
∑
œ ™ j œ œ œ œ œ #œ™ j œ j œ œ œ œ œ S
? œ ˙ #œ œ ˙ œ œœœœœœœœ˙ œ ˙ ˙ ˙ # œ nœ˙ #œ˙ ™ œ nœ˙ ˙ œw œ œ œ
{
27
w ∑ Ó S
˙
Single instance of CS2 in the bass CS1

j j œ ˙Sœ Œ œ
& # œ˙ ™ #œ n œ˙ œ œ œœ œŒ œ œ œ
˙ ˙ œ #˙œ n˙ #˙ n˙ œ
Ϫ
˙ œ b˙ Œ CS1 œ œ # œ ˙ # œ œ ˙ œ # ˙
œ œ œ œ nœ b œ˙ œ œ˙
j
? ∑œ ˙ ∑œ Œ j
œ™ #œ œ œ œ ™ œ œ œ œ œ ™ œ #œ œ œ œœœœœœœœ
j j
#œ œ wœ œ™ œ œ œ ˙ ˙ œ˙ œ
{
35
˙
∑ CS2 ∑ ∑ ∑
CS1
Ó S
j˙ S
œ œ œ #œ™ œ w ˙œ™ œ ˙œ Œ œ
& wœ œ ™ #œJ œ œ œ™ œJ œ œ J œœ ˙˙ ˙˙ #˙œ œ œ n˙œ œ #˙œ œ œ n˙œ œ ˙ œ œ ˙ S œ˙ ˙
œ œ #œ œ œ
CS1
CS2 œ
? œ˙ œ œ˙ œ #œ˙ ˙ n˙ #œ œ ˙ œ œ œ œ œœ œ ˙ ˙ ˙ œ œ ˙œ œ œ ˙ ˙ ˙
{
44
˙ b˙ œ ˙ Œ
CS1
œ œ œ œ œ ˙ #œ ˙
S
œ ˙˙ ˙ ∑

˙ ˙ ˙
& #œ˙ #˙ n˙ #œ œ ˙ n ˙ #œ #œ œ œ œ #œ œ œ œ œ œ œ œ œœ œ œ œ ˙ ˙ ˙
#˙ ˙ Œ œ œ œ œ œ #œ
Cadence on A
? w w Ó CS1 ˙
œ #œ œ œ
{
49
∑ ∑
w
∑
CS1
∑ ∑

& ##˙œ™ #œJ n˙œ œ #˙ #œ n˙œ œ ˙ œ #œ œ Œ œ œÓ #˙

œ™ J œ œ ˙ œ˙ #œ œ˙ œ ˙ œ œ˙ ˙
˙ #œ
CS2
? œ #˙ #œ œ ˙ #œ ˙ Œ CS2œ œ˙ œ œ˙ œ œ #œ ™ œj œ œ #œj nœ˙ œ
{ ∑
55
∑ Ó S
˙
Subject fuga realis "pillar" (Ex. 7a)
#˙ n˙ #œ™
˙

& œ˙™#œ œ œ œœ n˙œ™ œ œœœœœœœœœœœœœœœœ w

Ó ∑ ∑ Ó S˙ ˙ ˙ #
˙ n˙
œ ˙w™
Ó ˙ ˙ ˙ #˙ n˙ #˙ n˙ #œ
J S ˙ b˙ ˙™
˙ ˙ ˙ j S
? w S
˙Ó S
#˙ n˙ ˙ bn˙˙
#˙ #˙ n˙ ˙™ œ œ™ #œ œ œ œ œ œ˙ œ ˙ œ œœ œœ
{
CS3
˙ ˙ ˙

Closing material & end of rst contrapuntal "box"

w w ∑ Ó œ
64
& #œ œ œ#œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ œ œ œ œ œ œ
w w œ œ œœ œ bœ˙ b œ œ œ œ œœ œ œ˙ œ ˙œ œ œ˙ œ œ œ œ œ w
œ Œ Cadence on D
? #˙˙ n˙ œ Œ œ j œ œ œ ˙
œœœ
{ œ™ J #˙˙

not new CS (similar to CS2)

n˙ œ
œ™ J ˙˙
œ ™ œJ bœ˙ ™
11
œ™ œJ w
œw œ ˙
 Medium (logos/logic), mm.70-170 Second contrapuntal "box" (S, CS4, CS5)
70
CS4
Œ CS4œ œ œ œ œ
& ˙
S
˙ ˙ œ ˙œ œ œ #˙ œ nœ˙ œ œœ œ œ˙ œ œ œ
w Œ œ œ œ œ #˙œ œ n˙œ œ œ œ œw œ œ œ œ œ œ œ œ œ œ œ œ œ
S CS5
? #˙w™ w ˙ ˙ ˙
{
77
œ w ∑
∑
∑
∑
Ó
∑
CS5
∑
#˙
∑
n˙

& œœ œ œ œ œ œ œ œ œ œ ˙™ œœ
œ œ ˙ œœ œ œœ
œ ˙ w œ œ œ œ ˙œ œ œ œ˙™ œ #œ ˙ œ
CS4 Œ
Œ œ bœ œ œ œ œ
{
? #˙
∑
n˙ ˙
Ó
˙˙ ˙ ˙ œ #œ˙ n˙ œ œ œ œ˙ œ bœ˙ œ œ œ
S

82 CS4 fuga realis (Ex. 13)

CS4 CS4
& n˙œ œ œ œœ œœ œ œœ œ œ CS4œ œœ œ œœ œœ œœ œ œœ œ œ œœ œ œ
œ œ œ œ œ œ œ ˙ œ œ œ w
œ™ œJ œ œ œbœ œ
CS4 CS4
? œ œœ œœ œœ œœ œ œ ∑œ CS4 œ œ œ œ œCS4œœ œ œ œ™
{
87
œ
CS4

CS4
œ œ∑

CS4
œ œ œ
CS4
œ œ CS4 œœ œ œ œœ
CS4 fuga realis
œœ œ œ
œ œ ˙ œ œ œ
œ

CS4
Œ œœ œœbœ œ j
& œ œ œœ ˙w œ bœ œ œ œ œ œ œœ œœœ
˙ ˙ œ œ
# ˙ œ n œ˙
œ œ œ œ œ œ œ CS4œ
œœ œ œœ œœ œœ n œ œ b œ™ œ # œœ œ
œ S ˙ b˙ œ œ ˙
CS4 CS4 CS4
Œ bœ œ œ œ œ œ™ œ b˙
j œ œÓ œ œ œ
˙ CS4 Óœ CS4
œ œ œœ œœœœ˙
{
? w

94
˙ ˙

CS6
b˙ Ó
CS6
∑ Œ
CS6 fuga realis
œ ˙
CS6
œ œ ˙
Œ œ œ œbœ œ œ œ
CS4

Ó Œ ˙ œ Ó œ ∑ Œ œ œ œ
& ˙ œ œ œ œ œœ œœ œœ œ œœ œœ œœ œœ œ #œœ œœ œ œ œ œ œ œ œ#œ œ œ œ œ œ ˙ ˙
œ œ œ œœ œ œ
Œ œ œ œ œ œ œœ œœ œ
œ ˙ œ œ CS6
Œ CS6 œ œ œ œ œœ œ #œ œ œ
? bœ˙ œ œ œ bœ œ œ w w CS6
œ œœ œœ œ œ œ œ œ œ œ œ œœ
{
103
˙ w
∑
∑Œ œ œ
S augmentation
œ œ œ œ œ #œ œ nœœ œœ œ˙ CS6
Ó Œ œ
CS6
œ œ

CS6 CS6
& œ˙ œ œ #œ ˙w™ œ œw œ œ œ œw œ œ œ œ # œw œ œ #œ n œw œ œ œ œ
Ó
? œœ œ œ œ bœ œ œœ œœ œœ œ ™ œj ˙ œ ∑
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ∑ œ œ œ œ#œ œ œ œ
∑
œœœœœœœœœœœœœœœœ
{
109
œ œ œœ ˙ œ œ œ
CS7
œ œ
CS7
CS6
CS6
œ œ œ œ œ œ œœ
& œ œ œ œ b œw œ œ œ œ œœ Œœ œÓ œ œ œ œ œ œ œ œ∑ bœ œ œ œ œ œ œ œ œ œ œœœœœ œ œ w
nw Œ
Œœ œ Œ œ œ œ
? ∑œ œ œ œ œ œ œ œ ∑ œœ œœ œ œœ œ œ œ w
{ œœ œ œ œ œ œbœ œ œ œ œ œ œ œ œ œ œ œ
CS7 (frag.) CS6
œ œ œ œœœœœœœœ w ˙ CS6Ó

115 CS6 fuga realis S augmentation CS8

œ Ó Œ œ œ œ #œ œ œ œ
& œ˙ œ œ œ œœ œœ œ œ œ œ œ˙ œ œ ∑
˙w™ #œ œ œœ œ œ œ œ œ œ œ#œ œ w
Œ œ ‰J ˙ w ∑ ∑ ∑ ∑ œ œ
œ œ œ œœ œœ œ œœ œ œ #˙ œ nœ œ œ œ œ œ œ bœ CS8
? ˙w Œ œ œ œ w Ó Œ œ
{ Œ œ œ
124
CS6
œ œ œœ ˙ ˙ w
∑
S augmentation
CS8
CS9
w w #w w

& ˙™ œ bœ∑ œ ˙ œ #œ œ œ™ œœj n˙œ™ œ œœ #œœ œœ œ ˙œ œ œ œ œ œ œ ˙ œ œ™

Œ œj œ œ ˙ œ œ œ #œ œ œ ˙
∑ Ó Œ J œ œœ Œ œ œ™ œ œ œ w Ó
CS9 J ˙
œ CS9
? œ œ œ bœ œ œ œ ˙ w œ œ œw ˙ #w nw #w nœw™ œbœ
{ w w ˙w
Œ œ œ œ
12
œ w w
Ó Œ œ J œ
CS9
Medium, cont. (logos/logic), mm.70-170
133 CS9 fuga realis (Ex. 12)
CS9 CS9
& œÓ œ #œŒ œœ w
#œ™ œ #œ œ
Œ œ œ ™ œj œ œ œ œ™
j
œ œ œ œ œ œ œ ˙
J ˙ Œ œ œ™ œ œ œœ œ œ Œ œ™ œ œ œ œ
CS9 CS9 J ˙ œ J œ œ ˙
CS9
œ ™ œj #œœ œ ˙ ™ j œ™ œj # œ
Œ œ œ œ œ œœ
CS9 CS9

{? w
˙
140
˙
Œ œ
˙ Œ œ CS9 ™ œJ œ œ
S augmentation, stretto, and fragmented imitation
œw œ ˙ w
œ™ œ œ œ
J œ œ œ b œ ˙

& w w #w œ œ œ nw #w
œ ˙ ∑ Œ w Œ œ œ œ
œœ œ
œ œ œ œ œ # œ˙ œ
œ œ œ#œ œn ˙ œ œ œ œ œ œ œwœ#œ œ œ#œ#œ œ œJ œ œ bœwœ œ#œ œbœ œ œ œ œ œ œ œ œ œwœ#œ œ œ œ œ œ œ œ œ#œ œ œ œ
{?
Œ
145
œ œœœ œ œ J œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ œ œ
& nw
w ˙˙
Œ œœœœœ ˙™ œ bœ ˙ œœ œ œœ
Ó
? ˙œ œbœ œ œœœœ œœœœœœœœÓ w ˙˙
{ œ œ œ œ œ œ œ œnœ œ œ Ó w b˙˙

149 S diminution S S
œ œ œ œ #œœ nœ œ#œœ nœ œœ œ œ#œœ œ œ œ œ
& # œ œ œ n œœ œ #œœ nœ #œ nœ œ œ œ nœ nœ œ œ œ#œ œ œ œ#œ œ
œ œ œœ œœœ œ#œ œ ™ œnœ œ™ œ œ œ™
œ
∑ œ #œ œ œ œ œ œ œ œ œ œ œ œ∑
{? ˙ Ó

154
˙ Ó ∑
CS10
∑
∑
∑ CS11

S
∑
∑
S
& #œœ œ nœœ œ œ œ œœ œ bœ œ œ œ œ œ bœ œ œ œ bœ œ œ
œœ œ
œ œ œ œ œ œ bœ œ
? ∑ œœœœ œ œœœœœœœœœœ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ∑ œ œœœœ
{158
∑ ∑
∑
œ œ œ œ œ ∑∑ ∑
S
& œ œ œ #œ œœ œ œ #œ nœ #œœ œ œ œ œœ œ œ œ œ œ
œ œ
? œ bœ œœœœœ ∑ œ œœœœœœœœœœœœœ ∑ œœœœœœœ
{161
∑ œœœœœ
∑
œ œ œ œ
∑ œ
∑

œ œ œ œ œœœœœœœœ œ œœœœ œ œ œ œ œ œ œ œœœœœœœœ œ œ œ œ œ œ œ œ œ œœœœœœœ

& œœœœœ Ó #œ œ nœ #œ œ œ œ nœ œ∑ œ œ œ œ#œ œ œ
∑ ∑
j
? Œ S œœ œœ œ œœ œ #œœ œ n œ œ #œœ œ n œ œ œ œ œœ œ œœ œ œœ œ #œœ œ nœ œj œ œ œ œ
{165
Œ
œ
CS12
œ œ S

6
œ œ

6 6 6
œœœœœ
& œœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœœœœœœœœœœœœœœœœœœœœ
∑ ∑ ∑ œ
œ œ œ œ œ œ œ œ œœ œ œœ œ œ
? œ œ œ œ œœ œ œœ œ œ œœ œœ œœ
{ S
CS13
CS14
S

168 CS15 6 6
6 6 6 6
6 6 6
œ 6 6
œ œœœœœœœœœœœœœœ
& œ œ œ œ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ œ œ œnœ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ œ œ œ œ œ #œ∑ œ œ œ œ œ œnœ œ
∑ ∑ œ
? ##œœ ˙ œ ˙ œœ #œœ ˙ œ
{ nœ #œ nœ œS œ
13
#œœ nœ œ bœ
 complexio = repetition of initial passage at end
congeries = "piling up" of synonyms
fuga realis = stretto
Finis (pathos/emotion), mm.171-197
= evaded cadence

171 S in paired imitation

S
S Œ œ œ œ Œ S
& #w
Œ
œ œ œ #œ nœ #œ nœ
#œ
˙
nœ œ bœœ ˙œ œ œ œœ œ˙ œ #œ nœœ
Œ Œ
S œ œ œ #œ nœ
? œ™ œ œ ˙ ∑ Ó Œ œ bœ ˙
{ w ∑ ∑ ∑ ∑

E! Subject fuga realis "pillar" in diminution (Ex. 7b) & complexio

176
j œ œ j
& œœ bœœ œ™ n œj
j Œ S œ œ œœ #œœ nœœ #œ nœ œœ ™ œ œ œ˙ œ œ
œ™ œ ˙ Ó Œ S #œœ nbœœ œ™
#œ nœ œ œ œ
bœ œ œ ˙ ˙
Œ Sœ œ œ œ # ˙œ
? ˙ Ó Sœ
ΠS
œœ œ œ #œ nœ #œ nœ ˙œ œ œ œ œ nœ nœ
nœ œ bœ œ nœ œœ œ
{ Ó Œ
œ #œ nœ œ bœ ˙ œ œ œ
Ó Œ S

CS16 congeries & complexio

CS16
182 S double diminution congeries
œ œ nœ œ œ œ œ œ #œj œ j
& #œ˙ œ œ œ œ œ œ œ œ œ #œÓ nœ #œ nœ
S
Ó Ó œJ œ nœœ œ˙ ˙ Ó œ #˙ J
CS16
‰ ‰
œ œ œ œ S j
? œ # œœ #œ œ n œ nœœ œ œ
#œ œ œ nœœ œ œ œ
{ ˙ ‰ œ œ œ #œ nœ #œ nœ
w
"dominant" pedal
˙™
w œ

186
‰ Sj
& ˙ ™ œ œ œ #œ nœ #œœ nœ # œ˙ ™ œ œœ œ # œw œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? #˙™ œw S œ œ œ #œ nœ #œ nœ
{ w œ

"dominant" pedal
w
w

189 S double diminution congeries supplementum

SÓ ‰ S œj œ˙ œ #œ nœ nœ bœ œ bœ œ œ
& ˙ œJ œ œ #œ nœ œ bœ ∑œ bœ œ œ #œ œ #œ ˙ œ ˙w ˙
‰ S œ œ œ # œ n œ œ bœ
? #œw™ œj œ œ #œw œw #˙ œ œœ œ œ ™ j œ œ œœ œ b˙œ
{ "tonic" pedal
œ™ œ bœ œœ œ œ œ

"subdominant" reference
œ

(Burmeister, Musical Poetics)

Coda
194 6 6
6 6

b œ œ œ œ œ #œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 6

œ #œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ
& w w
œ œ œ œ œ œ#œ œ #w
w
∑ w
? w w w
{ w
4
w
3
w
14
w
w
ornamented whole-note suspension