I spent a week or two earlier this month going through vocal scores of Victor Herbert operettas. By the time I was done, more than ninety pieces—songs, marches, scenes, finales—emerged with ascending cadence gestures. I have chosen three to present here because they are typical of Herbert's writing and because each has a design that can be heard as a simple rising Urlinie.
The first is from Sweethearts (1913), the second from Naughty Marietta (1910). The third is discussed in a separate post: from Babette (1903).
Sweethearts, n7: "Jeannette and Her Little Wooden Shoes." A solo version is presented here for efficiency's sake. See further below for the original quartet version (where three other singers accompany a soloist). This is the refrain of a verse-refrain (or chorus) design, and it is followed by a purely instrumental repetition ("Wooden-shoe Dance"). The sforzando C5s establish the register that is then occupied by a strongly defined focal tone Bb4. The ascent to the cadence is quite straightforward. And of course all of it is repeated in the instrumental dance. The style is close to that of the rural Schnadahüpfl and related dances and dance-songs (link).
Original quartet version, opening.
Naughty Marietta, n17: "The Sweet Bye and Bye." Similar to the preceding in that a focal tone is firmly established—here even more directly, with clearly identifiable figures moving above and below—and the ascent in the cadence unmistakable.
