Partimenti: Downloads
Partimenti: Downloads
Partimenti: Downloads
Partimenti
It’s parti(mento) time!
There’s been a resurgence of attention lately to the position of practice in the teaching of music theory,
both in the sense of ‘practical’ keyboard skills and the ‘practice’ of the composers we study. This has
centred on reviving sets of ‘schemas’ based on short, ‘partimento’ bass lines that Eighteenth-Century
musicians learned as stock-in-trade prototypes for improvisation and composition (the distinction
between the two being much more slight for musicians of the time than we sometime suppose today).
For further reading on this fascinating topic, we highly recommend this excellent website by the modern
master of this historical practice in teaching, Robert Gjerdingen. We’ve no wish to duplicate that fine
resource; instead, we’ll focus here as usual on the complementary provision of interactive resources
that you can download and adjust for your own purposes.
Downloads
Check out the files here on our MuseScore page where you can play them online and download them in
your preferred format (mscz, xml, PDF). NB: you need a (free) account to download files. Further
explanation of each component part follows this overview.
Building the Rule: Approaching the ‘Rule’ by incrementally nuancing a succession of parallel 63s
Part by Part: Taking a closer look at the component parts of the ‘Rule’.
Template 1
Template 2
More about those files
Rule of the Octave
The ‘Rule of the Octave’ is a kind of cheat sheet for harmonising diatonic music: there’s one chord for
each scale degree and you can go a long way by just plugging them in on top of the bass line. The
version of the harmonisation used here is closely based on that of Fedele Fenaroli (Naples 1775), but
with a couple of modifications to preserve a consistent number of voices throughout (4vv, including the
bass) and to avoid any suggestion of parallels.
This section builds up a version of the Rule of the Octave by proceeding in incremental steps from
parallel 63s to the rule proper. You could also think of this as a matter of moving from a flat to a rich
harmonic hierarchy, or else as a ‘Regolo recipe’: how to make or understand the rule in four easy steps.
1. We begin with a simple harmonisation of the bass scale using parallel 63 chords only. There’s
nothing grammatically incorrect about this, but neither does it have much of a sense of hierarchy or
variety.
2. Next we put in strategic 53s on the first and last chords to give a sense of closure on the tonic.
3. Then we add a 53s on the dominant chords of both ascending and descending forms to further
nuance the hierarchy (these are important chords too).
4. Finally, we precede each of the tonic and dominant chords (including those in inversion) with 7ths.
In one case, this also involves a chromatic alteration for a stronger sense of tonicising the
dominant. Why do you think we might only make that change this one time, and not anywhere else
in the progression?
Having arrived at the ‘Rule’, this second file deconstructs it again so you can practice in parts, with any
number of voices, and in any ‘position’ (inversion of the right hand harmonisation). Keep practicing each
component part and in a range of keys to build fluency with and abstraction of ‘the rule’. (NB: you can
transpose scores in MuseScore with the ‘Notes’ menu: Notes/Transpose.)
We begin by combining the bass scale with each of the three upper-voice parts in turn, centred
respectively on the:
(NB: The open and short score versions of this material are otherwise identical so these introductory
comments apply equally to both.)
We begin once again with a simple harmonisation of the scale using parallel 63 chords only, before
proceeding to:
5-6
These documents provides a set of schemas, with the constituent parts set out as prototypically as is
possible in musical notation: that is, with melody and figured bass lines, along with (in the first file’s
case) chords in a middle part based on an automatic realisation of those figures.
More truly prototypical is the following list of information for each schema:
[1, 7, SW
Romanesca Opening [1, 5, 1, 1] [5, 6, 5, 6]
6, 3] SW
[1, 7, SW
Do-Re-Mi Opening [1, 2, 3] [5, 6, 5]
1] S
[4, 3, SW
Prinner Answer/Process/Transition [6, 5, 4, 3] [5, 6, 7, 6, 5]
2, 1] SW
[‘1’, ‘b7’,
Answer/Process/Transition, [3, 4, WS
Monte ‘6’, ‘2’, ‘1’, [6, 5, 6, 5]
e.g. start of B ‘#4’, 5] WS
‘7’]
SW
Ponte Answer/Process/Transition [5, 7, 2] [5] [5, 7, 7]
S
[7, 1, SW
Fenaroli Pre-Cadential [4, 3, 7, 1] [6, 5, 6, 6]
2, 3] SW
WS
Cadenza [1, 2, 3, 2, [3, 4, [6, ‘6,5’,
Cadence () S
Composta 1] 5, 5, 1] ‘6,4’, 7, 5]
WS
SW
Cadenza [5, ‘6,4’, 4,
Cadence [4, 3, 2, 1] [5, 1] SW
Doppia 3, 5]
S
[‘3’, ‘4’,
Converging [6, ‘6,5’,
Cadence [3, 2, 1, 7] ‘#4’, WS
Cadence ‘6,5’, 5]
‘5’]
As reflected in the above grid, one key element of these schemas is their order.
This section provides some combinations of schemas which can be thought of as prototype pieces,
both to illustrate how they work, and as a template for scaffolding student exercises in pastiche
composition.
N.B. To be abundantly clear, these prototype pieces are not intended as ‘real music’! It takes a lot of
fleshing out to get from these to anything worthwhile: that’s the exercise. Use these templates but bury
them beneath layers of musical character and embellishment.
What we might call the ‘overall palindrome’ emerges more strongly than any other kinds of comparison
among this set such as the possible internal palindrome in the ascending or descending lines, or the
parallel (rotational symmetry) between those two halves.
These are the four distinct forms to be considered from comparing ascending and descending versions
with each other and with retrograde versions of themselves: there are six permutations in total, of which
two pairs which are duplicates by definition:
Those four distinct comparisons are reported in the table below for each of the three lines, in the format
‘same : different’ (adding up to 8 notes in total):
Melodic
AscFwd/AscBwd AscFwd/DescFwd AscFwd/DescBwd DescFwd/DescBwd
Line
Upper
4:4 5:3 7:1 6:2
Voice 1