In this essay, I will discuss a voice-leading pattern that is known today as the Stepwise Romanesca. This schema occurs not only in many Baroque and galant compositions but also in many pedagogical assignments from the 17th and 18th centuries. In partimento methodology, this schema offers an alternative setting for a descending scalar passage set […]
The Stepwise Romanesca: The Basics Read More »
This is another follow-up on my essays The Leaping Romanesca (The Pachelbel Pattern): The Basics, The Leaping Romanesca: Two Part Embellishment (Part 1), The Leaping Romanesca: Two-Part Embellishment (Part 2)) and The Leaping Romanesca: Embellishing Three-Part Settings. In this essay, I show how to use stretto in the context of the Leaping Romanesca. Again, my
The Leaping Romanesca Set with Stretto Read More »
This is another follow-up on my essays The Leaping Romanesca (The Pachelbel Pattern): The Basics), The Leaping Romanesca: Two-Part Embellishment (Part 1) and The Leaping Romanesca: Two-Part Embellishment (Part 2). In this essay, I show how one can realize musically interesting realizations of this schema set in three parts. Again, my elaborations are grounded in
The Leaping Romanesca: Embellishing Three-Part Settings Read More »
This is a follow-up on my essay The Leaping Romanesca: Two Part Embellishment (Part 1). (To refresh what a Leaping Romanesca is, please visit my essay The Leaping Romanesca (The Pachelbel Pattern): The Basics.) In this essay, I propose harmonically alternative, two-part settings of the Leaping Romanesca and explore ways to embellish both suspension chains
The Leaping Romanesca: Two-Part Embellishment (Part 2) Read More »
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
The Leaping Romanesca: Two-Part Embellishment (Part 1) Read More »
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
The Leaping Romanesca (The Pachelbel Pattern): The Basics Read More »