In this essay, I will deal with a schema that is a variant of the Leaping Romanesca (or Pachelbel Pattern or Pachelbel sequence), characterized by its modified and shortened end. For more information on the (regular) Leaping Romanesca see my essay The Leaping Romanesca (The Pachelbel Pattern): The Basics. The Leaping Romanesca with a modified […]
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In this essay, I will illustrate how one can transform a schematic version of the Stepwise Romanesca 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 others, escape notes, neighbour notes, passing notes and
The Stepwise Romanesca: Two-Part Embellishment Read More »
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
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This essay deals with possible interpretative differences between cut time (𝇍) and 2/2 in French Baroque music. To this goal I will explore several treatises from that period and area. Cut time (𝇍) is different from 2/2 with respect to interpretation in at least three 18th-century French sources. In those sources, the differences between both
Is Cut Time Different From 2/2 in French Baroque Music? 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 »
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
Historical Terms Related to Inégalité (Inequality) Read More »