In my essays The Rule of the Octave in Major According to Fenaroli and The Rule of the Octave in Minor According to Fenaroli, I deal with the rule of the octave, a means of knowing which chord to play on each note of a major and minor scale in the bass, both ascending and
When the Rule of the Octave Does Not Apply Read More »
The best-known version of the rule of the octave is undoubtedly the one taught by Fedele Fenaroli and reinterpreted by Emmanuele Imbimbo, a version with a first-choice sonority for each scale step. (For more information on that type of rule of the octave see my essays The Rule of the Octave in Major According to
The Rule of the Octave: Alternative Settings Read More »
The best-known version of the rule of the octave is undoubtedly the one taught by Fedele Fenaroli and reinterpreted by Emmanuele Imbimbo, a version that is based on a four-part realization. (For more information on that type of rule of the octave see my essays The Rule of the Octave in Major According to Fenaroli
The Rule of the Octave in Three Parts Read More »
An important early topic within partimento training is what is nowadays usually called the rule of the octave. The rule of the octave gives one specific, first-choice chord for each note of a major and minor scale in the bass, both ascending and descending. While different versions of the rule of the octave exist, I
The Rule of the Octave in Minor According to Fenaroli Read More »
Another early topic within partimento training is what is commonly known today as the rule of the octave. The rule of the octave suggests one specific, first-choice chord for each note of a major and minor scale in the bass, both ascending and descending. While different versions of the rule of the octave exist, I
The Rule of the Octave in Major According to Fenaroli Read More »
One of the first things a partimento student in the Neapolitan tradition had to study were three types of cadences: the simple cadence (cadenza semplice), the compound cadence (cadenza composta) and the double cadence (cadenza doppia). Those cadences are based in the sources on a ①–⑤–① bass progression. The type of cadence largely depends on
Cadences: The Basics Read More »
The Fontes we saw until now all finish in the main (major) key. However, there are types of Fontes that relate to another key than the main key. In this essay, I will explore three types of Fonte that do not relate to main (major) key: the Fonte that finishes in the dominant key, the
The Fonte in Other Keys Read More »
In this essay, I will explore several techniques for extending a Fonte. While the Fonte is often composed of 2 segments, each of which consists of a ⑦–① cadence, this schema can be extended by adding an extra cadence to each segment, by equating a phrase containing multiple cadential gestures with one segment or by
Extending the Fonte Read More »
The Fonte is a widely used schema in the 17th and 18th centuries and exists in many variants. In this essay, I will focus on the schema’s characteristics. The Fonte is essentially a descending sequential pattern with 2 segments, each segment constituting a ⑦–① cadence with a ➍–➌ melody. Segment 1 is written in the minor key
The Fonte: The Basics Read More »
The Prinner is an incredibly versatile voice-leading pattern. I have already devoted three essays to this schema (The Traditional Prinner, Variants of the Prinner (Part 1) and Variants of the Prinner (Part 2): Sequential Prinners) but there is still much more to say about it. In this essay, the third of four, I will deal
Variants of the Prinner (Part 3) Read More »