1 Williams, Peter, The Chromatic Fourth during Four Centuries of Music (Oxford: Clarendon, 1997)Google Scholar.

2 Heartz, Daniel, Music in European Capitals: The Galant Style, 1720–1780 (New York: Norton, 2003), 317–321Google Scholar, which includes the complete aria in a facsimile of an early edition and further commentary.

3 Gjerdingen, Robert O., Music in the Galant Style (New York: Oxford University Press, 2007), 197–215, 461Google Scholar. Throughout this article I will treat Gjerdingen's ‘Ponte’ (from the eighteenth-century musician Joseph Riepel) as equivalent to ‘standing on the dominant’ (Caplin, William E., Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven (New York: Oxford University Press, 1998Google Scholar)) and ‘dominant-lock’ (Hepokoski, James and Darcy, Warren, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (New York: Oxford University Press, 2006CrossRefGoogle Scholar)).

4 The terms ‘medial caesura’ and ‘caesura-fill’ are from Hepokoski and Darcy, Elements of Sonata Theory, defined at 24–45.

5 I hear Mozart's diverging lines beginning on the third beat of bar 25, with the e♭² in the treble and c¹ in the bass.

6 Caplin, William E., ‘Topics and Formal Functions: The Case of the Lament’, in The Oxford Handbook of Topic Theory, ed. Mirka, Danuta (New York: Oxford University Press, 2014), 415–452Google Scholar.

7 Piston, Walter, Harmony, fourth edition, revised by DeVoto, Mark (New York: Norton, 1978), 440–442Google Scholar (attributing the term ‘omnibus’ to Victor Fell Yellin); Yellin, Victor Fell, The Omnibus Idea (Warren, MI: Harmonie Park, 1998)Google Scholar; Telesco, Paula J., ‘Enharmonicism and the Omnibus Progression in Classical-Era Music’, Music Theory Spectrum 20/2 (1998), 242–279CrossRefGoogle Scholar; Dittrich, Marie-Agnes, ‘Teufelsmühle und Omnibus’, Zeitschrift der Gesellschaft für Musiktheorie 4/1–2 (2007)Google Scholar, <www.gmth.de/zeitschrift/artikel/247.aspx> (25 November 2014).

8 Gauldin, Robert, ‘The Theory and Practice of Chromatic Wedge Progressions in Romantic Music’, Music Theory Spectrum 26/1 (2004), 1–22CrossRefGoogle Scholar.

9 Telesco, ‘Enharmonicism and the Omnibus Progression’, 243.

10 Jan, Steven, Aspects of Mozart's Music in G Minor: Toward the Identification of Common Structural and Compositional Features (New York: Garland, 1995), 225–269Google Scholar. In his more recent work Jan refers to the chromatic tetrachord figures as musical memes (or ‘musemes’), analogous to Gjerdingen's schemata; see The Memetics of Music: A Neo-Darwinian View of Musical Structure and Culture (Aldershot: Ashgate, 2007), 102–105, and ‘Using Galant Schemata as Evidence for Universal Darwinism’, Interdisciplinary Science Reviews 38/2 (2013), 149–168.

11 For a good historical survey see Telesco, ‘Enharmonicism and the Omnibus Progression’, 251–258.

12 Mark R. Ellis has written: ‘Almost any instance of the augmented sixth from the previous [seventeenth] century would be noteworthy, precisely because of its relative rarity, and the interval remained quite rare during the first decade of the eighteenth century’ (Ellis, Mark R., A Chord in Time: The Evolution of the Augmented Sixth from Monteverdi to Mahler (Farnham: Ashgate, 2010), 83Google Scholar). Late seventeenth-century England offers a remarkable though probably somewhat isolated exception to these generalizations. As Alan Howard has recently demonstrated, Purcell, Blow and Clarke used the augmented sixth more freely than their Continental contemporaries, and occasionally in passages involving diverging chromatic lines in the treble and bass (Howard, Alan, ‘“Your Murd’red Peace Destroy”: The Augmented 6th in England in the Late 17th Century’ (review-article), Early Music 41/3 (2013), 477–493CrossRefGoogle Scholar).

13 Note that Yellin, The Omnibus Idea, Dittrich, ‘Teufelsmühle und Omnibus’, and Gauldin, ‘Theory and Practice’, are primarily concerned with nineteenth-century music.

14 On the Monte see Gjerdingen, Music in the Galant Style, 89–106, 458.

15 Fenaroli's partimenti are available in a modern edition, edited by Robert O. Gjerdingen, on the website Monuments of Partimenti: <http://faculty-web.at.northwestern.edu/music/gjerdingen/partimenti/index.htm> (27 November 2014). Among the partimenti with chromatically descending basses are book 1, no. 4; book 2, no. 6; and book 4, nos 2, 27, 28 and 31.

16 Fenaroli, Fedele, Regole musicali per i principianti di cembalo (Naples, 1775), ed. and trans. Gjerdingen, Robert O.Google Scholar, on the website Monuments of Partimenti.

17 Sanguinetti, Giorgio, The Art of Partimento: History, Theory, and Practice (New York: Oxford University Press, 2012), 145–146, 180–182Google Scholar.

18 This terminology was suggested to me by Robert O. Gjerdingen.

19 Caplin, ‘The Case of the Lament’, 415: ‘the lament has the potential of expressing the full complement of beginning, middle, and ending functions. The topic is thus suitable for use in a wide variety of compositional contexts.’

20 Caplin, ‘The Case of the Lament’, 442.

21 McClelland, Clive, Ombra: Supernatural Music in the Eighteenth Century (Lanham: Lexington, 2012)Google Scholar. The passages with chromatically diverging lines illustrated by McClelland are mostly from sacred music; they include the Crucifixus from Leopold Hofmann's Missa in honorem Sanctae Theresiae (177) and the beginning of Peter Winter's Requiem (194).

22 Vasili Byros, ‘Foundations of Tonality as Situated Cognition, 1730–1830: An Enquiry into the Culture and Cognition of Eighteenth-Century Tonality, with Beethoven's Eroica Symphony as a Case Study’ (PhD disseration, Yale University, 2009), 129–177. Byros has continued his work on the Le-Sol-Fi-Sol schema, based on a corpus study of heroic proportions, in several articles, most recently ‘Topics and Harmonic Schemata: A Case from Beethoven’, in Mirka, ed., The Oxford Handbook of Topic Theory, 381–414.

23 Ellis, A Chord in Time, 99–101.

24 See also Caplin, ‘The Case of the Lament’, 436: ‘Thus in classical themes, the lament tends to appear in a medial formal context, typically as a continuation following a solidly expressed initiating idea or phrase supported by a root-position tonic prolongation.’

25 On Martines's musical education and familiarity with galant schemata see Godt, Irving, Marianna Martines: A Woman Composer in the Vienna of Mozart and Haydn, edited with contributions by Rice, John A. (Rochester: University of Rochester Press, 2010), 22–34Google Scholar.

26 Extensive excerpts and commentary in Godt, ed. Rice, Marianna Martines, 62–69.

27 Gjerdingen, Music in the Galant Style, 99.

28 On the Heartz see Rice, John A., ‘The Heartz: A Galant Schema from Corelli to Mozart’, Music Theory Spectrum 36/2 (2014), 315–332CrossRefGoogle Scholar; on the Meyer see Gjerdingen, Music in the Galant Style, 111–128, 459.

29 Caplin, ‘The Case of the Lament’, 439–440, 442.

30 In the list of examples of the passacaglia progression in Telesco, ‘Enharmonicism and the Omnibus Progression’, 256.

31 Gjerdingen, Music in the Galant Style, 61–71, 456; the term is from Joseph Riepel.

32 For an analysis of this complex Fonte see Gjerdingen, Robert O., ‘Courtly Behaviors’, Music Perception 13/3 (1996), 373–377CrossRefGoogle Scholar.

33 The term ‘circle-of-fifths Prinner’ (Gjerdingen, Music in the Galant Style, 420) describes passages in which a Prinner unfolds within the harmonic context of a circle-of-fifths progression.

34 The Prinner/Morte combination continued to find uses even after Mozart's death; see the example in Peter Hänsel's String Quartet in E flat major, Op. 5 No. 2 (1797), third movement, bars 63–69, illustrated and discussed in W. Dean Sutcliffe, ‘Topics in Chamber Music’, in Mirka, ed., The Oxford Handbook of Topic Theory, 130.

35 This discussion is limited to passages where the identity of the Morte is still clearly apparent. For discussion of eighteenth-century music in which diverging chromatic lines go so far beyond the conventions of the Morte that it makes little sense to analyse it within those conventions (for example, C. P. E. Bach's celebrated Rondo in A minor, Wq56/5), readers will want to consult Yellin, The Omnibus Idea, and Telesco, ‘Enharmonicism and the Omnibus Progression’.

36 On the Passo Indietro see Gjerdingen, Music in the Galant Style, 167.

37 For the scenario of Sémiramis see Dissertation sur les ballets pantomimes des anciens pour servir de programme au ballet pantomime tragique de Sémiramis (Vienna, 1765), available on Google Books. On the ballet and music see Brown, Bruce Alan, Gluck and the French Theatre in Vienna (Oxford: Clarendon, 1991), 335–341Google Scholar.

38 Brown, Gluck, 340.

39 My thanks to Bruce Alan Brown for this point.

40 On the Lully schema see John A. Rice, ‘Adding to the Galant Schematicon: The Lully’, forthcoming in Mozart-Jahrbuch.

41 This schematic play is made possible by the close relationship between the Morte and the Romanesca on the one hand (alluded to by Caplin, ‘The Case of the Lament’, 436–437) and the Le-Sol-Fi-Sol on the other (discussed in detail in Byros, ‘Foundations of Tonality as Situated Cognition, 1730–1830’, 286–306). The Morte bass (like the bass of other manifestations of the Lament schema) shares with the Romanesca its scalar descent from the tonic and with the Le-Sol-Fi-Sol the scale degrees from which Byros derived the name of that schema: the Morte ends with Fi-Sol in the treble and Le-Sol in the bass.

42 Caplin, ‘The Case of the Lament’, 444–447.