The Heartz: A Galant Schema from Corelli to Mozart John A. Rice This is a pre-publication version of a paper published in Music Theory Spectrum 37 (2014): http://mts.oxfordjournals.org/content/early/2014/09/24/mts.mtu016 Abstract: Daniel Heartz has called attention to passages in eighteenth-century music with subdominant harmony over a tonic pedal, which convey a sweetness and tenderness characteristic of a certain strain of the galant style. These passages can be described as elaborations of a voice-leading schema in which a melody moves from the fifth scale degree to the sixth and then returns to the fifth, over a bass that sustains the first scale degree. I call this schema the Heartz and demonstrate how composers from Corelli to Mozart used it as an opening gambit and a riposte in vocal and instrumental music. Daniel Heartz (with whom I had the privilege of studying at the University of California, Berkeley from 1980 to 1987) has repeatedly called attention to passages in eighteenth- century music with subdominant harmony over a tonic pedal. These passages convey, for him, a sweetness and tenderness characteristic of a certain strain of the galant style. Of Leonardo Leo’s aria “Non so; con dolce moto” (Ciro riconosciuto, Turin, 1737; Example 1), he writes: “the ‘dolce moto’ he sets to the sweet sounds of the subdominant in 6/4 position.” 1 Leo’s Salve Regina (Example 2) has a “typically Neapolitan sweetness, with emphasis on the tonal relaxation provided by the subdominant chord.” 2 In a flute sonata by Pietro Antonio Locatelli (published in 1732; Example 3) Heartz calls attention to “the suavity lent to it by the long subdominant harmony over a tonic pedal.” 3 In “Colla bocca e non col core,” Rosina’s first aria in Mozart’s La finta semplice (Vienna, 1768; Example 4), “the violins in thirds... intone a rising melody with chromatically raised fifth degree, ... the arrival of the sixth degree bringing with it subdominant harmony in 6/4 position. The sensuous and capricious Rosina is thus captured in a musical portrait even before she begins to sing.” 4 Another Rosina’s aria, “Giusto ciel, che conoscete” (Example 5) in Giovanni Paisiello’s Il barbiere di Siviglia (St. Petersburg, 1782), is characterized by “the very tender progression of subdominant six-four chord to tonic.” 5 1 Heartz (2003, 138). 2 Heartz (2003, 138). 3 Heartz (2003, 214). 4 Heartz (1995, 519). 5 Heartz (1990, 141).