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
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In this essay, I will explore how the Fonte can be extended. While the Fonte is often composed of two segments, each of which consists of a ⑦–① cadence, this schema can be extended by adding an extra cadence to each segment or even by equating a musical phrase containing multiple cadential gestures with one
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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
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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
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The two-part Prinner with its ➏–➎–➍–➌ melody and ④–③–②–① bass line holds great potential as a sequential progression thanks to its voice leading in parallel thirds. As can be seen in my essays The Traditional Prinner and Variants of the Prinner (Part 1), however, the presence of a third voice very often undermines that potential.
Variants of the Prinner (Part 2): Sequential Prinners Read More »
In my essay The Traditional Prinner, I explain that this schema includes a ➏–➎–➍–➌ melody above a ④–③–②–① bass. In this essay, the first of four, I will deal with variants of the Prinner. While the ➏–➎–➍–➌ melody remains intact, it is the ④–③–②–① bass line that undergoes variation or moves up to an upper
Variants of the Prinner (Part 1) Read More »
The Prinner is a widely used schema in the 17th and 18th centuries and exists in many variants. In this essay, I will deal with the Traditional Prinner. The Traditional Prinner is identified by a ④—③—②—① descent in the bass, a ➏—➎—➍—➌ descent in the upper voice (in parallel thirds with the bass) and, if
The Traditional Prinner Read More »