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
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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
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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 »
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
What is Inégalité (Inequality) in French Baroque Music? Read More »