Ewald Demeyere

The Leaping Romanesca: Two-Part Embellishment (Part 1)

/ / Schemata

In this essay, I will illustrate how one can transform a schematic version of the Leaping Romanesca —also called the Pachelbel Bass or Pachelbel sequence— into two-part settings with embellishments. My elaborations are inspired by German and Italian 18th-century repertoire and pedagogical sources. Embellishments form an essential part of composition and improvisation. Thanks to, amongst

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The Leaping Romanesca (The Pachelbel Pattern): The Basics

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In this essay, I will discuss a voice-leading pattern that is known today as the Leaping Romanesca. This schema, also called the Pachelbel Bass or Pachelbel sequence, occurs not only in many Baroque and galant compositions but also in many pedagogical assignments from the 17th and 18th century. In partimento methodology this schema was known

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Historical Terms Related to Inégalité (Inequality)

/ / HIPP

This is a follow-up on my essay What is Inégalité (Inequality) in French Baroque Music? to broaden one’s understanding of the practice of rhythmic inequality (notes inégales). It focusses on six terms/concepts used by 17th– and 18th-century French writers related to inégalité or to other performance-practice features that often cause interpretative problems for modern-day performers

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What is Inégalité (Inequality) in French Baroque Music?

/ / HIPP

This is an article that focusses on one of the most characteristic and stylistically important aspects of French Baroque (and galant) performance practice: inégalité (inequality) and its notes inégales (unequal notes). A considerable number of historical sources point out that, when interpreting French Baroque (and galant) music, inégalité is the norm and that failing to

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