Premise |

ital. anticipazione, French. and English. anticipation, germ. Antizipation, Vorausnahme

A non-chord sound (usually short, on the last easy beat), borrowed from the next chord (in this respect, the P. is, as it were, the mirror opposite of the prepared retention, borrowed from the previous chord). Abbr. the designation in the musical example is im. P. can be understood as an advanced resolution (transition) of one of the sounds into the corresponding sound of the future chord (therefore, they don’t talk about the “resolution” of P.). P. is usually monophonic, but can also be polyphonic (double, triple P.), even in all voices simultaneously (chord P.; with it there is no simultaneous sounding of chord and non-chord sounds).

A special variety is jump P.; many cambiata (the so-called “fuchsian cambiata”) are rather jump P.

Preforms are found in the Middle Ages. monody (see the beginning of the “Sanctus Spiritus” sequence in Notker’s article), as well as in old polyphony, but the immaturity of the chord-harmonic. letters and the difficulty of notation do not allow us to speak of P. as a completely formed phenomenon before the Renaissance (see G. de Machaux, 14th ballad “Je ne cuit pas” – “There is no one to whom Cupid would give so many blessings”, bars 1-2; also concludes the cadence in the 8th ballad “De desconfort”). In the era of Josquin Despres, P. basically took shape. From the 16th century P. is used as an infrequent, but already completely crystallized method of polyphonic. melodics (near Palestrina). From the 17th century (especially from the 2nd half.) P. acquires a new quality of contrast not only to the contrapuntal voice, but also to the whole chord (the modern concept of P.). In the 20th century P. is often used like a side tone to complicate the harmony, the vertical (S. S. Prokofiev, “Romeo and Juliet”, “Montagues and Capulets”, concludes the cadence).

Theoretically, P.’s phenomenon is specially covered by Kr. Bernhard (student of G. Schutz; middle of the 17th century). In chapter 23 (“Von der Anticipatione Notae”), his Op. “Tractatus compositionis augmentatus” P. (under the name “anticipation”) is considered as a “figure” that adorns the melody:

In the treatise “Von der Singe-Kunst oder Manier”, Bernhard distinguishes between the “precedent of a note” (Anticipatione della nota; see the example above) and the “preface of the syllable” (Anticipatione della sillaba; see the example below).

J. G. Walter (beginning of the 18th century) also considers P. among the “figures”. Here is a sample of the “syllable rise” from his book “Praecepta …” (the word “Psallam” is repeated in the 2nd half of the 1st bar):

With the development of the new theory of harmony (starting in the 18th century), piano entered the group of non-chord sounds.

References: see at Art. non-chord sounds.

Yu. N. Kholopov