A Study of Partimento : The Rules of Fedele Fenaroli

パルティメントの研究
——フェナローリの法則——

湯 宸
TANG Chen

キーワード：Partimento, Fedele Fenaroli, Early Music Theory, Neapolitan School, Basso Continuo

About Partimento
According to The New Grove Dictionary of Music, “Partimento (pl. Partimenti )” has been de-
fined as a term which is used frequently in the eighteenth and nineteenth centuries, especially in
Naples and Milan, to denote exercises in figured-bass playing (Williams and Cafiero). Rosa Cafiero
has pointed out that this term appeared earliest in Giovanni Filippo Cavalliere’s treatise Il scolaro
principiante di musica in 1634 (qtd. in Williams and Cafiero). However, the meaning of partimento
differs depending on the time and area of musicians who use this. According to Giorgio Sanguinet-
ti, Italian composer Padre Raimo used this term for the instrumental bass part in the piece. Aus-
trian composer Pietro Lichtenthal defined it as “Exercises on a bass, either figured or unfigured,
for the study of harmony and accompaniment (Sanguinetti 11).” Many resources and evidence
show that partimento was a guide for keyboard improvisation. This might be a possible reason
why it is hard to find a written down dispozitione (an Italian term which means the modal an-
swer of harmony or counterpoint exercises, a similar term in French is réalisation) from the very
late seventeenth-century to early eighteenth century. The practice of partimento seems to have
changed from the late eighteenth century since some examples of written partimento of the late
eighteenth century in the manuscript or printed form have been discovered.
People call those musicians who teach partimento—Maestro. The word maestro is a term used
in the old European conservatories, which means master or music teacher. Most maestros who
teach partimento are related to the Neapolitan School of Music. However, it is hard to find
evidence to show that musicians of the Neapolitan School invented the term and the concept of
“Partimento.” Fedele Fenaroli (1730–1818), one of the most outstanding pupils of Francesco Duran-
te, was the most famous music teacher in Italy during Franz Joseph Haydn’s time. He taught at
the Conservatorio di Santa Maria di Loreto in Naples after Antonio Sacchini. When Santa Maria
di Loreto joined the Turchini Conservatory in 1806, Fenaroli was tasked with devising the new
curriculum with Giovanni Paisiello and Giacomo Tritto. After a few years, his student Niccolò

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Zingarelli took over his job in 1813 (Gmeinwieser). Fenaroli wrote a book of partimento rules
named Regole musicali per i principianti di cembalo and six books of partimenti exercises in
different difficulties and genres.
Unlike Jean-Philippe Rameau or Hugo Riemann, who wrote a completed and systematized
treatise about the theory of harmony, it is rare to find a theorist in Italy who wrote a treatise
about the theory of partimento during the eighteenth and nineteenth centuries. It is hard to find
an Italian composer, theorist, or music teacher who left a theoretical writing about partimen-
to in any form of essays or articles (Sanguinetti 9-10). The only kinds of writing they left are the
manuscripts of music examples about partimento like Durante’s Principi e Regole per accom-
pagnare, which only contains a necessary amount of words (sometimes almost wordless). Only a
few of them, like Fedele Fenaroli’s partimento textbook, have been published and printed. Howev-
er, even in the printed version of the partimento book, most of the contents are staffs and notes.
Besides the music, some of the words and explanations were added by the editors or later musi-
cians like Emanuele Imbimbo, who edited the French version of Fenaroli’s partimento textbook
(Fenaroli and Imbimbo). Because of the lack of written theory, the musical examples and the
words or axioms they left are the only keys for us to understand their method.

Introduction to Fedele Fenaroli’s Partimento Rules

The complete version of Fenaroli’s partimento rules was published in 1775 titled Regole musica-
li per i principianti di cembalo. I did not find the second edition. The third edition was published
in 1795. According to Peter M. van Tour, the third edition contains a few supplements compared
to the first edition (Tour). Therefore, in the following part of this paper, I will use the third edition,
published in 1795, which was collected by the U.S. Library of Congress.
It is important to know that most time, Fenaroli and other Italian maestros by that time did not
give us a theoretical explanation; the rule only contains a few sentences (sometimes only a phrase)
to describe the musical phenomena or pattern. They only tell their pupil what to do, for example,
“The I of the key takes 3rd, 5th, and 8ve,” or “A cadenza semplice as a chord of 4th and 6th then 3rd
and 5th on the dominant, and followed by the tonic,” nothing else has been mentioned in the rule.
Students must learn it by reading and playing the hand-written or printed music example
provided by their maestros. Therefore, in the following part of this paper, I will explain them more
delicately, such as the similarity or differences between patterns or the tonal relationship between
each chord.
It is also important to know that some terminologies and concepts in Fenaroli’s day are different
from those nowadays. One significant difference is that some names of specific intervals are differ-
ent. People in Fenaroli’s time did not use the term “augmented” for intervals. The word they use
on that day is “superflue.” For example, they will say “superfluous second (seconda superfluo)” in-

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stead of “augmented second (seconda aumentati).” There is also a difference between is fourth, fifth,
and octave. Nowadays, we say “perfect fourth,” “perfect fifth,” and “perfect octave.” However, by
that time, perfect intervals are called “just (giusta)” intervals when it is a fifth or octave. For the
interval of the fourth, they will say “natural (naturale).” Also, the term “minor” and “major” will ap-
ply to the fourth, fifth, and octave. The interval, which is a semi-tone larger than the “natural
fourth (quarta naturale),” is the “major fourth (quarta maggiore),” which we call the “augmented
fourth” today. Moreover, the interval “superfluous fourth (quarta superfluo)” is equal to “doubly
augmented fourth” in today’s terms. For the interval of perfect (giusta) fifth and octave, the inter-
vals which are a semi-tone smaller than them are “minor (minore) fifth” and “minor octave,” which
is equal to today’s “diminished fifth” and “diminished octave.” When the term “diminished (diminui-
to)” is applied to the fifth and octave, it means “doubly diminished.” In addition, the “minor fifth”
has another name which is the “false (falsa) fifth.” The “major fourth” also has another name, “tri-
tone (tritono),” which is the same as nowadays, but it seems only to refer to the fourth, not the
fifth.
Except for the basic music theory, Fenaroli’s rules can be classified into four categories — ca-
dence, rule of the octave, dissonance, and bass motion. In Imbimbo’s edition of Fenaroli’s partimen-
to collection, the rules are introduced once in the “Extrait” part (the beginning part); after this part
are the six books of the partimenti collections. Book I contains practical examples and exercises of
cadence and the rule of the octave. Book II is about dissonance. Book III contains practical exam-
ples of bass motions. Afterward, Book IV–VI contains figured and unfigured partimenti with
different genres and forms.
doubly diminished diminished minor perfect major augmented doubly augmented
second / third / diminished minor major augmented
sixth / seventh
fourth minor natural major tritone superfluous

fifth diminished minor false just superfluous

octave diminished minor just superfluous

Figure 1 Interval Name in Fenaroli’

s time.

Cadence
Many cadences have been introduced in the “Extrait” part of Imbimbo’s edition with names and
examples. However, those cadences are named after Fenaroli’s time because, at the end of chap-
ter IV of the Extrait, there is a statement explaining that there are only three types of cadences
in partimento.
In fact, in all the ancient and modern practitioners, only three cadences are mentioned,
namely: the simple (semplice), the compound (composta), and the double (doppia); and one
names simple cadence that which we call perfect (Fenaroli and Imbimbo 31).

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 Fenaroli mentioned that there are three types of cadences which were named: cadenza
semplice, cadenza composta, and cadenza doppia, that one must learn before practicing partimento.
The term “cadenza semplice” means “simple cadence.” This type of cadence is literally very
simple. One begins with the dominant of the scale and plays a perfect chord (chord with perfect
5th in root position) with 3rd and 5th on it. Then follows a tonic. Fenaroli’s Book I of the partimenti
exercises gives a varied pattern in which the perfect chord of 3rd and 5th on dominant can have
passing minor 7th before it resolves to the tonic. In addition, it is noticeable that his Regole defined
a cadenza semplice as a chord of 4th and 6th, then 3rd and 5th on the dominant, followed by the tonic.
Today’s terminology uses a cadential 6/4 chord before V. This contradiction appeared in
Imbimbo’s Italian-French edition of Fenaroli’s partimento, in which Imbimbo combined the Regole
and six books of partimenti in the same book (Fenaroli and Imbimbo 27 and 56).
The term “cadenza composta” means “compound cadence.” This cadence uses a chord of 4th and
5th followed by a 3rd and 5th on the dominant, then resolves to the tonic. In other words, it used a
4-3 suspension on V. According to Fenaroli’s Regole, the 4th must be prepared from the previous
chord (Fenaroli and Imbimbo 27; Fenaroli Regole 8).
The term “cadenza doppia” means “double cadence.” This cadence has four steps on the
dominant. Each step has a different sonority. First, one begins to play a perfect chord of 3rd and 5th
on the dominant, then followed by a 4th and 6th; after that, the 6th moves downward to form a 4th
and 5th sonority, and finally, the 4th resolves to a 3rd, make the chord a 3rd and 5th again and then
resolve to the tonic. It is possible to change the 4th step on the dominant to a chord of 3rd, 5th, and
minor 7th, in other words, a dominant 7th chord (Fenaroli and Imbimbo 27; Fenaroli Regole 8).

Figure 2 Three basic cadences of partimento

Rule of the Octave

In the modern pedagogy of harmony, beginners usually start with a few simple chords like the
primary chord (I, IV, V) for the student to understand the basic concept of functional harmony.
Too much information and possibility will confuse the beginner. Of course, the maestros also knew
this. However, since partimento was the pedagogy before Riemann’s functional harmony theory,
they did not use the functional rule like Riemann and the later German-Austrian or Soviet musi-
cians. The maestros provided another rule for the beginner called regola dell’ ottava in Italian, or

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règle de l’octave in French, or the rule of the octave in English.
The rule of the octave is a basic guide to accompany the scale. The maestros provided a gener-
al rule for how to accompany each scale degree for the beginners when the bass moves stepwise.
There are many different rules of the octaves depending on the maestro who teaches them. One
standard version that has been used wildly in Europe is Fenaroli’s version. Some people call this
version the standard version of the rule of the octave (Sanguinetti 114).
In Fenaroli’s Regole, he listed a certain rule : Notice, however, that whenever the IV of
rd th ve
The I of the key takes 3 , 5 , and 8 . the key rises to the V, in addition to the 3rd
The II of the key takes 3rd and major 6th. and 5th, it can also take 6th; and if the VII of
The III of the key takes 3rd and 6th. the key rises to the octave, which forms a
rd th
The IV of the key takes 3 and 5 . semitone, in addition to the 3rd and 6th, it can
The V of the key takes major 3rd and 5th. also take false 5th. (Fenaroli Regole 4)
The VI of the key takes 3rd and 6th.
The VII of the key takes 3rd and 6th.

That means each scale degree has a default or natural chord bound with it. For first, fourth, and
fifth degrees, they require the chord of 3rd and 5th, which is a root position chord. Other degrees
require the chord of 3rd and 6th, which is a first inversion chord. Notably, the second degree has
been specified to have a major 6th, and the fifth has been specified to have a major 3rd on it. Both
intervals link to a note they called the “sensibile,” or by today’s English, we call this the “leading-
tone.” These rules are part of the basic fundamental of tonal by Fenaroli’s Regole.
Some editions, like Imbimbo’s, did not include the part of the basic fundamentals of tonal listed
above. However, every edition includes the rule of the octave in the Book I of Fenaroli’s
partimenti. The rule of the octave is slightly different from the basic fundamentals, but they are
definitely related. The rule of the octaves differs between the major and minor scales, and each
type of scale has ascending and descending versions.
In the major scale, the second, fourth, and seventh degrees are different. The second must have
an additional 4th based on the basic fundamentals to form a second inversion of the V7 chord. Since
the seventh degree will rise to the tonic, it needs an additional false 5th (diminished 5th) to form the
first inversion of the V7 chord. Also, the fourth needs an additional 5th to form the first inversion of
the II7 chord because it would rise to the fifth degree. These rules about the fourth and seventh
degree were listed immediately following the previous rules in the Regole.
In the descending major scale, some chords are varied from the ascending scale. The seventh,
sixth, and fifth degrees must be considered as the third, second, and first degrees of the Dominant
key. Therefore, the sixth degree needs 3rd, 4th, and major 6th to form a second inversion of the V7
chord. The fourth degree after the fifth must be considered as a passing tone. Therefore, the

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fourth degree needs a major 2nd, major 4th (augmented 4th), and major 6th, which is the third
inversion of V7 (Fenaroli and Imbimbo 21). In the minor scale, the ascending and descending bass
line follows the rule of the melodic minor scale. The rule of the octave is basically the same as the
major scale, but the sixth degree needs a superfluous 6th (augmented 6th) instead of the major 6th in
descending motion. Nowadays, we call this type of chord the “Augmented Sixth Chord.”

Figure 3 The basic fundamental of each scale degree.

Figure 4 rule of the octave by Fenaroli.

Dissonance
In Fenaroli’s Book II of partimenti exercises, he used a distinctive method to teach the student
how to use dissonance in harmony. This method includes three steps, the Esempio practico, the
“Regola,” and the “Lezione.”(e.g., Figure 5) In the Esempio practico (Practical example) section, Fen-
aroli gave a simple chord progression that includes the usage of dissonance in 3 different positions.
The students must play these examples to learn and experience this sonority. After that, in the
Regola section, the student must play this example in various keys that Fenaroli assigned in the
textbook. This step is to make sure that students understand the rule of this particular usage of
this dissonance and be able to apply this to any other keys. Finally, in the Lezione section, Fenaro-
li gave a long partimento exercise with figured bass notation for the student to play, in which this
usage of dissonance will appear many times in different keys in this partimento exercise.
Fenaroli did not first invent this method. At least his teacher Francesco Durante invented a
similar method called “Diminuiti (Diminution),” which has been defined as the art of transforming

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a simple, slow melody into a rich, fast-moving one (Sanguinetti 183). In Durante’s Partimento nu-
merati e diminuiti e Fughe, he gave each partimento, in the diminuiti section, 1-3 examples of how
one can play the melody on a particular bass progression (Figure 6). Students can use Durante’s
example as a technique model to practice this partimento, like Fenaroli’s Lezione.
In the Regole, Fenaroli listed certain axioms about the dissonance which the musicians followed
by the time. He defined that there are only four types of dissonance which are 2nd, 4th, 7th, and 9th.
In his explanation, the difference between the 2nd and 9th is that the 2nd does not need preparation,
but the 9th needs. The following axioms explain how to use these four types of dissonance. And
Fenaroli gave 17 examples labeled A-S for each usage (There are no J and K, the label skipped
from I to L. There seems to be no J by that time, and K seems not to be used very commonly).
The 4th can be prepared by any consonances, the 8ve, 3rd, 5th, 6th, and it must resolve to the 3rd.
Examples labeled A-F show how to use 4th. When it is prepared by the 8ve, 3rd, 5th, or 6th, the 4th-3rd
suspension happens on the V of the key. The 4th also can be prepared by a minor 7th or a
diminished 5th. The 4th-3rd suspension happens on the I of the key (Figure 7). It is important to
know that the minor 7 th on V or diminished 5 th on VII is considered a consonance since a
dissonance can only be prepared by a consonance.1
The 7th can also be prepared by any consonances, the 8ve, 3rd, 5th, 6th, and it must resolve to the
6th or 3rd. Examples labeled G-L show how to use the 7th-6th suspension. When the 7th has been
prepared by the 8ve, 3rd, 5th, or 6th, the 7th-6th suspension happens on the scale degree II. When the
7th resolves, the bass can leap from scale degree II to V, which causes the 7th to resolve to a 3rd
(Example by Fenaroli labeled M) (Figure 8).

Figure 5 Example of Fenaroli’s three-steps method (Fenaroli and Imbimbo 57)

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Figure 6 Example of Durante’s diminution model

Figure 7 Example A-F by Fenaroli (original key in G) (Fenaroli and Imbimbo 57-60)

Figure 8 Example G-M by Fenaroli (original key in G) (Fenaroli and Imbimbo 61-63)

The 9th can be prepared by the 3rd and 5th. It must always be accompanied by a 10th and
normally resolves to 8ve to create a 9th-8ve suspension on the scale degree IV (Example N-O). The
9th can also resolve to the 3rd by having the bass skip a 3rd down from IV to II, or resolves to the
6th by having the bass skip a 3rd up from IV to VI (Example P-Q) (Figure 9).
The 2nd always appears together with the 4th when the bass is syncopated. The 2nd and 4th
usually appeared on the syncopated scale degree I. It normally resolves a half-note down to scale
degree VII with a 6th chord or 6th and diminished 5th chord (Example R). The 4th, which appears
together with the 2nd, can be augmented, and a major 6th can be added along with them. In this
case, the syncopated bass should be considered as the scale degree IV-III of another key2 instead
of the I-VII (Example S) (Figure 10).

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fromThe 2 VI
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(Example together
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澳
Figure 9 Example N-Q by Fenaroli (original key in G) (Fenaroli and Imbimbo 63-65)
Figure 9 Example N-Q by Fenaroli (original key in G) (Fenaroli and Imbimbo 63-65) 澳
Figure 9 Example N-Q by Fenaroli (original key in G) (Fenaroli and Imbimbo 63-65)

澳
Figure 10 example R-S by Fenaroli (original key in G) (Fenaroli and Imbimbo 66)
澳
澳Figure 10 example R-S by Fenaroli (original key in G) (Fenaroli and Imbimbo 66)
Figure 10 example R-S by Fenaroli (original key in G) (Fenaroli and Imbimbo 66)

澳
Bass Motion
Bass Motion
Another important part of the Partimento rule is the basso movimento or the bass motion. There is
Bass Motion important part of the Partimento rule is the basso movimento or the bass motion.
Another
another terminology for this concept in English——the sequence. The French call this the “marches
Another important part of the Partimento rule is the basso movimento or the bass motion. There is
There is another
harmoniques.” terminology
If the “rule of octave” for
is thethis
basicconcept in beginner,
rule for the English——the sequence.
then the “bass motion”The
is theFrench
advancedcall this
another terminology for this concept in English——the sequence. The French call this the “marches
the “marches
technique harmoniques.”
that complements If of
the rule thethe“rule of The
octave. octave” is the provided
bass motion basic rulethe for the beginner,
practitioners thenfor
with models the “bass
harmoniques.” If the “rule of octave” is the basic rule for the beginner, then the “bass motion” is the advanced
motion”
what is the
intervals advanced
can be added for technique
the unfiguredthatbass, complements
depending on how the
therule of the
bass line moves.octave. The bass
In Fenaroli’s Book motion
technique that complements the rule of the octave. The bass motion provided the practitioners with models for
III of Partimenti
provided exercises, he introduces
the practitioners many rules
with models for ofwhat
the bass motion. Most
intervals can beof them
addedalsofor
appeared in
the unfigured bass,
what intervals can be added for the unfigured bass, depending on how the bass line moves. In Fenaroli’s Book
Durante and other Maestro’s Partimento rules.
depending on how the bass line moves. In Fenaroli’s Book III of Partimenti exercises, he
III of Partimenti exercises, he introduces many rules of the bass motion. Most of them also appeared in
introduces many rules of the bass motion. 濋澳 Most of them also appeared in Durante and other
澳Durante and other Maestro’s Partimento rules.
Maestro’s Partimento rules. 澳
濋澳
澳 When the bass line moves stepwise up, Fenaroli gave an example that each scale degree will
When the bass line moves stepwise up, Fenaroli gave an example that each scale degree will have the
have the accompaniment of 3rd and 5th followed by a chord of 3rd and 6th. The 6th will be held as the
accompaniment of 3rd and 5th followed by a chord of 3rd and 6th. The 6th will be held as the 5th of the
5th of the subsequent note. According to the Regole, this bass motion can continue all the way from
subsequent note. According to the Regole, this bass motion can continue all the way from scale degree I to th th
scale degree I to VIII. Besides the 5 th-6th progression, it thhas a variation that uses the 7 -6
VIII. Besides the 5 -6 progression, it has a variation that uses the 7 -6th suspension or 9th-8ve suspension
th th
th ve th th
suspension or 9 -8 suspension instead of the 5 -6 (Figure 11).
instead of the 5th-6th (Figure 11).

澳
Figure 11 Ascending 5-6, Ascending 7-6, Ascending 9-8, (original key in G) (Fenaroli and Imbimbo 79)
Figure 11 Ascending 5-6, Ascending 7-6, Ascending 9-8, (original key in G) (Fenaroli and Imbimbo 79)
When the bass line moves stepwise down, the first note will be accompanied by the chord of a 3rd and 5th,
and the following note (scale degree VII) will be accompanied by the chord of a 3rd and 6th. The next note,
which is the scale degree VI of the original key, should be considered as scale degree I and repeat this pattern
until scale degree III of the original key. It is noticeable that normally the concept of the sequence does not
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include where it starts and when it ends. However, Fenaroli wrote, “from scale degree I, until scale degree
III,” in the Regole, which means that in the practice of partimento, this bass motion has a preference to be
 When the bass line moves stepwise down, the first note will be accompanied by the chord of a
3 and 5th, and the following note (scale degree VII) will be accompanied by the chord of a 3rd and
rd

6th. The next note, which is the scale degree VI of the original key, should be considered as scale
degree I and repeat this pattern until scale degree III of the original key. It is noticeable that
normally the concept of the sequence does not include where it starts and when it ends. However,
Fenaroli wrote, “from scale degree I, until scale degree III,” in the Regole, which means that in the
practice of partimento, this bass motion has a preference to be realized as the scale degree I-III
than other scale degrees (34). This pattern can combine with the example S in the previous book
by using the chord of 2nd, augmented 4th and major 6th between them (Figure 12).
Another possibility for the descending bass is that all the bass notes are accompanied by 3rds
and 6ths. In the end, it will reach scale degree II, and then the following note will be scale degree I
which will be accompanied by a 3rd and 5th. In Gallus Dressler’s Praecpta musicae poëticae, he
wrote that this type of music which uses parallel 6th and 3rd, has been called fauxbourdon by
musicians (Dressler 113). This pattern can combine with the 7th-6th suspension and examples R and
S in the previous book. It is noticeable that the example S version is supposed to use an
augmented 4th on each syncopated bass note, but the syncopated VII has a perfect 4th on it. It is
not a misprint because the next note in bass should be accompanied by a diatonic perfect chord. In
Fenaroli’s Regole, he said that the tied bass should not descend beyond the scale degree IV, and
the IV should be accompanied by an augmented 4th and rises to a 6th to end this progression on the
澳 3
澳 .
scale degree III of the key, see Figure 13 (Fenaroli Regole 37)

Figure 12 Descending 5-6 and its variation (original key in G) (Fenaroli and Imbimbo 81)澳4.
澳
Figure 12 Descending 5-6 and its variation (original key in G) (Fenaroli and Imbimbo 81)iv.
Figure 12 Descending 5-6 and its variation (original key in G) (Fenaroli and Imbimbo 81)iv.

澳
澳
Figure 13 Fauxbourdon and its variation (original key in G) (Fenaroli and Imbimbo 82)
Figure
Figure 13 Fauxbourdonand
13 Fauxbourdon anditsitsvariation
variation(original
(originalkey
keyininG)
G)(Fenaroli
(Fenaroli and
andImbimbo
Imbimbo 82)
82)
In the major scale, the bass can ascend chromatically from scale degree III to VI. The first two notes
In the major scale, the bass can ascend chromatically from scale degree III to VI. The first two notes
the bass motion (III-IV) can be considered －278－
as VII-I of the subdominant key. Therefore, the first note can b
the bass motion (III-IV) can be considered as VII-I of the subdominant key. Therefore, the first note can b
accompanied by a 3rd and 6th, and the second note can be accompanied by a 3rd and 5th. The following not
accompanied by a 3rd and 6th, and the second note can be accompanied by a 3rd and 5th. The following not
rd th rd th
 澳
澳
Figure 13 Fauxbourdon and its variation (original key in G) (Fenaroli and Imbimbo 82)
Figure 13 Fauxbourdon and its variation (original key in G) (Fenaroli and Imbimbo 82)
In the major scale, the bass can ascend chromatically from scale degree III to VI. The first two notes
In the
In the major
major scale,
scale, the the
bassbass
can can ascend
ascend chromatically
chromatically from from scale degree
scale degree III to
III to VI. TheVI.first
Thetwo
first two notes
the bass
notes motion
of the bass (III-IV) can becan
motion (III-IV) considered as VII-I
be considered of the
as VII-I of subdominant key.key.
the subdominant Therefore, thethe
Therefore, first note can b
the bass motion (III-IV) can be considered as VII-I of the subdominant key. Therefore, the first note can b
accompanied
first by accompanied
note can be a 3rd
rd and 6th, by
th
anda the second
3rd and notethe
6th, and cansecond
be accompanied
note can beby a 3rd
rd and 5thby
accompanied th
. The
a 3rdfollowing not
accompanied by a 3 and 6 , and the second note can be accompanied by a 3 and 5 . The following not
and 5th.this
repeat Thepattern.
following
It notes repeattothis
is possible pattern. the
substitute It ischord
possible
of 3tord substitute thethe
and 6th with chord rd
of 3of
chord 3and
th
rd 6th
, 6 , and diminis
repeat this pattern. It is possible to substitute the chord of 3rd and 6th with the chord of 3rd, 6th, and diminis
with the chord of 3rd, 6th, and diminished
th 5
th th ve
ve . Another possibility is to add a 9 -8 suspension on it
5th. Another possibility is to add a 9th-8ve suspension on it (Figure 14).
th
5 . Another possibility is to add a 9 -8 suspension on it (Figure 14).
(Figure 14).
It is also possible for the major scale to ascend chromatically from I to VI and combine with the 5thth -
It isIt also
is also possible
possible for major
for the the major
scalescale to ascend
to ascend chromatically
chromatically from I from
to VI Iand
to VI and combine
combine with thewith the 5 -
and 4 th
-3 rd
suspension. However, this was not mentioned in the Regole. Many editions of the six partimen
5and-6 4 and
th th th
-3rd4thsuspension. However,
-3rd suspension. However,thisthis
waswasnotnot
mentioned
mentionedininthe Regole.Many
theRegole. Many editions
editions of the six partimen
of the
books
six include
partimenti this example in Book III (Fenaroli and Imbimbo 80). This example may be added by the la
books include books include in
this example this example
Book in Book and
III (Fenaroli III (Fenaroli
Imbimboand 80).Imbimbo 80). This
This example mayexample
be added by the la
musician
may be added (Figure 15).later musician (Figure 15).
by the
musician (Figure 15).

澳
澳
Figure
Figure14 Ascendingchromatic
14 Ascending chromatic scale
scale from
from III-VI
III-VI and itsits
and variation (original
variation key key
(original in G)in(Fenaroli and Imbimbo
G) (Fenaroli 80)
and Imbimbo 80)
Figure 14 Ascending chromatic scale from III-VI and its variation (original key in G) (Fenaroli and Imbimbo 80)

澳
澳
Figure
Figure 15 Ascendingchromatic
15 Ascending chromaticmotion
motion in
in major
major scale from I-VI
scale from I-VIwith
withsuspension
suspension(Fenaroli and
(Fenaroli Imbimbo
and 80)80)
Imbimbo
Figure 15 Ascending chromatic motion in major scale from I-VI with suspension (Fenaroli and Imbimbo 80)

In In
thethe
In the
minor
minor
minor
scale,
scale, the the
scale, the
ascending
ascending
ascending
chromatic
chromatic motion
motion
chromatic oftenoften
motion
happens
happens
often
between
between
happens
the scale
the scale
between degreedegree
the scale V
degree
V to I. T
V to I. T
chromatic
to note usesnote
I. The chromatic the chordtheofchord
3rd, 6th, and
3rd, 6diminished
th
5thth, followed by a by
5th, followed diatonic chord of 3rd and 5th.
chromatic note uses the uses
chord of 3rd, 6thof, and , and diminished
diminished 5 , followed a diatonic
by a diatonic chord
chord of 3rd and 5th.
of 3rd and 5like
However,
th
. However, like the
the ascending ascending
chromatic chromatic
motion, motion, this
this example example
in Book in Book
III was III was notby Fenaroli i
not mentioned
However, like the ascending chromatic motion, this example in Book III was not mentioned by Fenaroli i
mentioned
Regole. Hebyonly
Fenaroli in Regole.
mentioned He only mentioned
the following the following
two examples in Booktwo examples
III (see in 16).
Figure Book III (see
Regole. He only mentioned the following two examples in Book III (see Figure 16).
Figure 16). 濄濃澳
濄濃澳
澳 In the first example, he explained that the scale degree V should have an octave above it, and it
澳
should hold over as the 7th of the minor VI of the key, and then resolve to the minor 6th on the
major VI of the key. On minor VII of the key, the 3rd of the preceding note should hold over to
form the 9th-8ve suspension. The major VII of the key should be accompanied by the 6th and 5th
(Regole 30-31).
In the second example, the minor VI of the key has been accompanied by the 3rd and 6th. The
subsequent note, which is the major VI of the key, has been accompanied by the 3 rd and
diminished 5th, and the diminished 5th holds over to the minor VII of the key to form a 4th -3rd
suspension. A similar thing repeats on the key’s major VII and VIII (Regole 31-33).

－279－
note, which is the major VI of the key, has been accompanied by the 3rd and diminished 5th, and the
note, which isth the major VI of the key, has been accompanied byththerd3rd and diminished 5th, and the
diminished 5 holds over to the minor VII of the key to form a 4 -3 suspension. A similar thing repeat
diminished 5th holds over to the minor VII of the key to form a 4th -3rd suspension. A similar thing repeat
the key’s major VII and VIII (Regole 31-33).
the key’s major VII and VIII (Regole 31-33).
澳
澳

澳
Figure 16 Ascending chromatic motion in minor scale from V-I and its variations (original key澳 in G)
Figure 16 Ascending chromatic motion in minor scale from V-I and its variations (original key in G) (Fenaroli and Imbi
(Fenaroli
Figure 16and Imbimbochromatic
Ascending 81) motion in minor scale from V-I and its variations (original key in G) (Fenaroli and Imbi
81)
81)
In both major and minor scales, when bass descends from V to III, it is possible to have a chord
In both major and minor scales, when bass descends from V to III, it is possible to have a chord of 3
of 3rd, In
5veth,both
and 8major
ve
and
on V. minor
The notesscales,
on the when
V canbass descends
be tied from
to the IV V to aIII,
to form it isndofpossible
chord 2nd and toth have a chord
th 4 with
of 3
and 8 on V. The notes on the V can be tied to the IV to form a chord of 2 and 4 with a major 6 . In
th
th
aand 8ve 6on. In
major V. addition,
The theon2ndthe
notes onVIVcan
canbebetied
substituted
to the IVbyrdtoaform
minor 3rd in the
a chord of 2minor
nd
andscale (Figure
4th with a major 6th. In
addition, the 2 on IV can be substituted by a minor 3 in the minor scale (Figure 17).
nd
17).
addition, the 2nd on IV can be substituted by a minor 3rd in the minor scale (Figure 17).
In both
In both major major
and andminorminor scales,
scales, whenwhen the descends
the bass bass descends chromatically
chromatically from I from
down Itodown toitthe V, it can s
the V,
In both major and minor scales, when the bass descends chromatically from I down to the V, it can s
at astart
can chordatofa3chord
rd
and 5ofth 3tord aand
chord5th of
to 3
rd
and 6thofon
a chord 3rdscale
and degree I. Thedegree
6th on scale following chromatic
I. The followingVII and VI ca
at a chord of 3rd and 5th to a chord of 3rd and 6th on scale degree I. The following chromatic VII and VI ca
th and VI can have 7th-6th suspensionsth on them. The final 6th on scale degree VI will th
chromatic
have 7th -6VII suspensions on them. The final 6 on scale degree VI will be an augmented 6be. Another way
have
an 7th -6th suspensions
augmented 6th. Another on them.
way The final 6th aonchord
scaleofdegree VI will
3rd and th
on be an augmentedby 6tha. Another way
start from a chord of 3rd and 5thisontoI,start
then from
followed by a chord of 35rd and I,6then
th
to afollowed
chord of augmented 4th a
start from
chord of 3 aand
rd
chord 6 of
th
to 3a chord
rd
and 5 ofon
th
I, then followed
augmented th
4 and by
6 aon
th
chord of 3 and 6 to a chord of augmented
rd th
rd VII. Finally, followed by athchord rd of 4th a
on VII.th Finally, followed by a chord of minor 6 th
and 3 to a chord of augmented 6 and 3 (Figure 18).
minor
on VII. and 3rd tofollowed
6 Finally, a chord of byaugmented
a chord of 6minor
th
and 36rdth (Figure
and 3rd 18).
to a chord of augmented 6th and 3rd (Figure 18).

澳
Figure 17 Descending motion from V-I (original key in G) (Fenaroli and Imbimbo 83) 澳
Figure 17 Descending motion from V-I (original key in G) (Fenaroli and Imbimbo 83)
Figure 17 Descending motion from V-I (original key in G) (Fenaroli and Imbimbo 83)

澳
Figure 18 Descending chromatic motion from I-V (original key in G) (Fenaroli and Imbimbo 83)
澳
Figure 18 Descending chromatic motion from I-V (original key in G) (Fenaroli and Imbimbo 83)
Figure 18 Descending chromatic motion from I-V (original key in G) (Fenaroli and Imbimbo 83)
In Book III, the first disjunction bass motion is the bass moves by the pattern that the first note rises
In Book III, the
In Book III,first disjunction
the first bass motion
disjunction is the bass
bass motion is themoves by the pattern
bass moves that thethat
by the pattern firstthe
note
first note rises
step and then the second note falls by a 3rd, the first note will be accompanied by a 3rd and 6th, and the sec
rises
step by
anda then
step the
andsecond
then the second
note fallsnote
by afalls
3rd, by 3rd, the
theafirst note first note will be accompanied rdby a 3rdth
濄濄澳will be accompanied by a 3 and 6 , and the sec
th rd
澳 6 , and the second note will be accompanied by a 3 濄濄澳
and and 5th. It is also possible to accompany
澳 first note with the 3rd, 5th, and 6th. It is noticeable that in the major scale, this pattern starts by
the
ascending a half-tone, which can be read as scale degree VII-I or III-IV. In the minor scale, it
starts by descending a major 3rd, which can be read as scale degree I-VI (Figure 19). However,

－280－
 澳

note will be accompanied by a 3rd and 5th. It is also possible to accompany the first note with the 3rd, 5th, and
Fenaroli introduced this pattern in the Regole, which only mentioned that the first note is the I of
6th. It is noticeable that in the major scale, this pattern starts by ascending a half-tone, which can be read as
the key, and the second note is the VI (without a distinction of major or minor key like in Book
scale degree VII-I or III-IV. In the minor scale, it starts by descending a major 3rd, which can be read as scale
III). In Luigi Cherubini’s Marches d’harmonie, he introduced the same pattern, which starts by
degree I-VI (Figure 19). However, Fenaroli introduced this pattern in the Regole, which only mentioned that
scale degree I-VI but in the major scale (62). Probably practitioners at that time tend to read this
the first note is the I of the key, and the second note is the VI (without a distinction of major or minor key like
pattern as “Falls by a 3rd and Rise by a Step.” Another similar pattern by Cherubini starts with
in Book III). In Luigi Cherubini’s Marches d’harmonie, he introduced the same pattern, which starts by scale
scale degree I-II and is immediately followed by scale degree VII-I. But in this case, Cherubini
degree I-VI but in the major scale (62). Probably practitioners at that time tend to read this pattern as “Falls by
accompanied the scale degree I with two chords, first by the 3rd and 5th, second by the 3rd and 6th
a 3rd and Rise by a Step.” Another similar pattern by Cherubini starts with scale degree I-II and is immediately
(49-50). Therefore, if this pattern is read as “Rises a Step and Falls by a 3rd,” the first two notes of
followed by scale degree VII-I. But in this case, Cherubini accompanied the scale degree I with two chords,
this pattern tend to be the scale’s VII-I, III-IV, or VI-VII (Figure 20).
first by the 3rd and 5th, second by the 3rd and 6th (49-50). Therefore, if this pattern is read as “Rises a Step and
When the bass moves oppositely compared to the previous pattern, the bass will rise by a 3rd
Falls by a 3rd,” the first two notes of this pattern tend to be the scale’s VII-I, III-IV, or VI-VII (Figure 20).
from scale degree I to III, and falls by a step to scale degree II, then continues this pattern. There
When the bass moves oppositely compared to the previous pattern, the bass will rise by a 3rd from scale
are various
degree I to III, possibilities
and falls by ato accompany
step thisII,bass
to scale degree thenmotion.
continuesFenaroli firstThere
this pattern. introduced an possibilities
are various example in
which
to the scale
accompany degree
this bass I of Fenaroli
motion. the keyfirst
hasintroduced
been accompanied
an example by a 3rd the
in which 5th, and
andscale theI of
degree IIIthe
has
keybeen
has
rd th rd
been accompanied by a 3 and 5 , and the III has been accompanied by a 3 and 6 . Then the scale degree II3
accompanied by a 3 and
rd 6 .
th Then the scale degree II of the key rdhas been
th accompanied by a
th th
and
of themajor
key has6 been
(theaccompanied
example inby Book
a 3rdIII
andalso
majorcontains
6th (the aexample
perfectin4Book
), and
III the
alsoIV of thea key
contains has4thbeen
perfect ),
nd th
accompanied by a 2 and augmented 4 . Upnd to here, it is the th same with the rule of the octave.
and the IV of the key has been accompanied by a 2 and augmented 4 . Up to here, it is the same with the
Theoffollowing
rule the octave.note
Theisfollowing
the scale degree
note is the III again
scale and
degree IIIalso
againaccompanied by the 3rd
and also accompanied byand
th
the 36rd .and
However,
6th.
the subsequent
However, note scale
the subsequent degree
note scale V can
degree be be
V can considered
consideredas
as aa II
II of
ofsubdominant
subdominant key,
key, which
which will will
be be
rd th
accompanied a 3ard 3andand
accompaniedbyby major
major 6th. 6 .
The
The second possibility
second possibility is consider
is to to consider the second
the second note, thenote,
scale the scale
degree degree
III, as III,theassubsequent
the II of the II ofnote.
the
subsequent
After note. itAfter
accompanying with aaccompanying
3rd and 6th, if the it6thwith a 3rdthen
is minor, and 6th, ifa semitone
ascend the 6th is
to aminor,
major 6then
th
. Theascend
3rd will a
th
semitone
be held overtoasathe
major . The 3rd will
4th -36rd suspension be subsequent
of the held over note.
as the 4thpattern
This -3rd suspension of theuntil
will be repeated subsequent
the end ofnote.
the
This pattern will be repeated until the end of the partimento.
partimento.
rd
The
Thethird possibilityisisto to
third possibility accompany
accompany the note
the first firstwith
notea 3with
rd
5thfollowing
andthe
anda5th3, then , then thenote
following
with a 3rdnote
with
and 3rd and
6tha. The 6th. The
6th above 6th above
the second note,the
the second note,III,
scale degree thewill
scale degree
be held over III, will
as the 7thbe
-6thheld the 7th
over asofthe
suspension
-6th suspension
subsequent of 21).
(Figure the subsequent (Figure 21).

澳
Figure 19 Rises by a step and falls by a 3rd (original
澳 key in G) (Fenaroli and Imbimbo 84 and 93)
Figure 19 Rises by a step and falls by a 3 (original key in G) (Fenaroli and Imbimbo 84 and 93)
rd

澳
Figure 20 Falls by a 3rd and rises by a step or rises濄濅澳
by a step and falls by a 3rd pattern by Luigi Cherubini.
澳Figure 20 Falls by a 3rd and rises by a step or rises by a step and falls by a 3rd pattern by Luigi Cherubini.

－281－
 澳
Figure 20 Falls by a 3rd and rises by a step or rises by a step and falls by a 3rd pattern by Luigi Cherubini.
澳
Figure 20 Falls by a 3rd and rises by a step or rises by a step and falls by a 3rd pattern by Luigi Cherubini.

澳
Figure 21 Rises rd
by a 3rd and falls by a step (original key in G) (Fenaroli and Imbimbo 85)
Figure 21 Rises by a 3 and falls by a step (original key in G) (Fenaroli and Imbimbo 85)

If Ifthe
thebass
bass moves
moves follow
follow the
thepattern
pattern which risesrises
which by a by
4th and
a 4thfalls
andby a 3rdby
falls , then
a 3rdone can one
, then consider
can the first 澳
consider
two
the notes
Figure of the
21 Rises
first two 3 and fallsas
by apartimento
notes
rd
of the by the scale
a step
partimento degree
(original
as keyI in
the andG)IV of the and
(Fenaroli
scale degree key. Therefore,
I Imbimbo
and IV 85) bothkey.
of the can be accompanied
Therefore, bothbycan
a
3be
rd
If the
and 5th. bass
accompaniedThe moves
scale afollow
bydegree IVthecan
3rd and 5pattern
th have which
. Thea scale rises by aIV
9th dissonance
degree 4th and
whichcanisfalls bya a93thby
prepared
have
rd
, then
the 5one
th
canwhich
. This
dissonance 9consider
th
the first
willisbeprepared
two notes5tothof.8This
resolved
by the theonpartimento
ve
the
9th second
will beashalf
the scale
of
resolvedthe degree
IV. 8veI on
to These and
twoIVpatterns
the ofsecond
the key. Therefore,
canhalf
continue
of theuntil both can
IV.the be accompanied
conclusion
These of the bass
two patterns bycan
a
motion.
3 rd
and 5th.until
continue The scale degree IV can
the conclusion havebass
of the a 9th motion.
dissonance which is prepared by the 5th. This 9th will be
resolvedIf the
to partimento beginshalf
8ve on the second withofa the
majorIV.3These
rd
, it istwo
possible to bring
patterns the 8ve down
can continue until to
thethe minor 7thof
conclusion andthehold
bassit
If the partimento begins with a major 3rd, it is possible to bring the 8ve down to the minor 7th and
motion.
over as the 4 -3 suspension
th rd
of the subsequent note. Although Fenaroli didn’t mention it, considering
hold it over as the 4th-3rd suspension of the subsequent note. Although Fenaroli didn’t mention it,
example If the
E of begins
the previous
partimento withthe
Book, a major 3rd,notes
first two it is possible to bring is
of this variation thesupposed
8ve downtotobethe minor 7th as
considered andthehold it
scale
considering example E of the previous Book, the first two notes of this variation is supposed to be
degree
over as V-I
the of
4 the
th
-3 IV
rd
key. Thisof
suspension pattern can also continue
the subsequent until theFenaroli
note. Although conclusion of mention
didn’t the bass motion (Figure 22).
it, considering
considered as the scale degree V-I of the IV key. This pattern can also continue until the
example E of the previous Book, the first two notes of this variation is supposed to be considered as the scale
conclusion of the bass motion (Figure 22).
degree V-I of the IV key. This pattern can also continue until the conclusion of the bass motion (Figure 22).

澳
Figure 22 Rises by a 4th and falls by a 3rd (original key in G) (Fenaroli and Imbimbo 87)v

If the bass moves oppositely from the previous pattern, one can consider the first two notes of this bass 澳
motion
Figure asRises
Figure2222 theRises
scale
by degree
a 4th
by and
a4 thI-V
falls by of
and 3the
a falls
rd
initial
(original key.
rd inBoth
by a 3key ofkey
them
G) (Fenaroli
(original canImbimbo
inand
G) be accompanied
87)and
(Fenaroli
v
by a 3rd87)
Imbimbo and5 5th. The 8ve of
If the
the first bass
note canmoves
be held oppositely from
over as the 4th the
-3rdprevious pattern,
suspension of theone can consider
subsequent note,the
andfirst
thetwo notes
3rd of the of this bass
second note
If the bass moves oppositelyth from the previous pattern, one can consider the first two notes of
can stillas
motion bethe
tiedscale
overdegree
to form theof9the-8initial
I-V ve
suspension of the
key. Both subsequent
of them can be note. This pattern
accompanied by a can continue
3rd and until
5th. The 8vethe
of
this bass motion as the scale degree I-V of the initial key. Both of them can be accompanied by a
conclusion
the first noteofcanthe be
bassheldmotion (Figure
over as the 4th23).
-3rdAccording
suspensiontoofRobert O. Gjerdingen,
the subsequent thisthe
note, and progression
3rd of the has a well-
second note
rd th ve th rd
3 and 5 . The 8 of ththe thfirstth note can be held over as the 4 -3 suspension of the subsequent
can
known stillname
be tied over
from theto16
form the centuries
-17 9 -8 suspension
ve
of the subsequent
called “Romanesca (25).” note. This pattern can continue until the
rd th ve
note, and the 3 of the second note can still be
濄濆澳 tied over to form the 9 -8 suspension of the
conclusion of the bass motion (Figure 23). According to Robert O. Gjerdingen, this progression has a well-
澳
subsequent
known note.the
name from This
16th pattern can continue
-17th centuries until the (25).”
called “Romanesca conclusion of the bass motion (Figure 23).
According to Robert O. Gjerdingen, this progression 濄濆澳 has a well-known name from the 16th-17th
澳
centuries called “Romanesca (25).”

－282－
 澳

澳
Figure
Figure2323
FallsFalls
by a 4by
th and rises
a 4th andby rises
a 3rd/ Romanesca (original key in
by a 3rd/ Romanesca G) (Fenaroli
(original andG)
key in Imbimbo 88) and Imbimbo 88)
(Fenaroli
If the bass moves, follow the pattern which rises by a 5th and falls by a 4th. This bass motion can also
澳
accompany
If the
Figure bassevery
23 Falls a 4note
bymoves,
th
andwith
risesaby
follow 3the
a 3and
rd
rd 5 . One can consider the first two notes as the scale degree I-V and use
th
pattern which
/ Romanesca riseskey
(original byinaG)5(Fenaroli
and fallsth
and by a 4 . 88)
Imbimbo
th
This bass motion can
this
alsoas athe
model
bass to
Ifaccompany continue
every
moves, until
note
follow the
with
the conclusion
pattern and of5rises
a 3rdwhich ththe bass motion.
. One
by acan Thisbymotion
consider
5th and falls the cantwo
a 4thfirst
. This use the 4th-3
bassnotes
motion
rd
suspension
ascan
the scale
also
on every
accompany note
degree I-V everyby having
and use the
notethis 8 ve
rdof eachthnote held over. It is noticeable that the third and fourth notes have
withasa a3 model
and 5 to continue
. One until the
can consider theconclusion of the
first two notes bass
as the motion.
scale degreeThis
I-V motion
and use
been
this accompanied
can asuse the 4toth-3
a model by
rd the diatonic 3rd and 5th, respectively. But the fifth and
suspension
continue until the on every note
conclusion of thebybasshaving
motion.theThis8 ve ofsixth
motion eachnotes
can are
note
use modulated
theheld
4th-3rdover. toItthe
suspensionis
III key of
noticeable
on the original
every notethat key
the third
by having (Figure
the 8and
ve 24). This
fourth
of each motion
notes
note or
held have sequence
over. Itbeen is hard
accompanied
is noticeable to find
that theby in the
the
third modern harmony
anddiatonic rd
3 and
fourth notes have5 , th

textbook,
been but itBut
respectively.
accompanied is interesting
thethe
by fifth that Japanese
and
diatonic sixth 5music
3rd andnotes
th
aretheorist Yuzuru
modulated
, respectively. to Shimaoka,
But the the
fifthIII
andkeywho studied
of notes
sixth the arewith
original Jean
key Gallon
modulated to thein
(Figure
France,
24).key
III Thishas
of introduced
motion
the original this(Figure
or sequence
key progression
is24).
hard intohis
This textbook
find
motionin or inmodern
the exact
thesequence sametoway
isharmony
hard as
inFenaroli
textbook,
find but(Shimaoka
the modern it harmony 247, see
is interesting
Figure 25).but it ismusic
that Japanese
textbook, theorist
interesting Yuzuru music
that Japanese Shimaoka,
theoristwho studied
Yuzuru with who
Shimaoka, Jeanstudied
Gallonwith
in France, hasin
Jean Gallon
introduced
France, this progression
has introduced in his textbook
this progression in the in
in his textbook exact samesame
the exact wayway
as Fenaroli (Shimaoka
as Fenaroli (Shimaoka247,
247,see
see
Figure25).
Figure 25).

澳
Figure 24 Rises by a 5th and falls by a 4th (original key in G) (Fenaroli and Imbimbo 88-89)

澳
Figure 24 Rises by a 5th and falls by a 4th (original key in G) (Fenaroli and Imbimbo 88-89)
Figure 24 Rises by a 5th and falls by a 4th (original key in G) (Fenaroli and Imbimbo 88-89)

澳
Figure 25 Yuzuru Shimaoka’s example of rises by a 5th and falls by a 4th

Like the bass motion of rises by a 4 and falls by a 3rd, the澳 bass motion which rises by a 4th and falls by a
th

Figure
also2525 Yuzuru Shimaoka’s example of rises by a 5 and falls by a 4 th th
5Figure
th
begins
Yuzuruby the scale example
Shimaoka’s degree of
I-IV.
risesThe
by adifference
5th and fallsbetween
by a 4th them is that the bass motion, which falls by a
3rd,Like
can consider
the
Like bassevery
thebass twoofnotes
motion
motion risesas
rises aagroup;
by
by a4th4thandeach
and group
falls
falls a 3contains
by by rd rd a progression
a, 3the, bass
the bass motion
motion that
which can be
which
rises considered
rises
by a 4thby 4thasand
anda falls scale
by a
5degree
falls
th
byI-IV
also a 5or
th something like it. But in this bass motion, which falls by a 5th, every note can be considered as
begins alsothebegins
by by theI-IV.
scale degree scale degree
The I-IV.between
difference The difference between
them is that the bassthem is that
motion, whichthe bass
falls by a
the
rd I of the subsequent note or rd
3motion, which every
, can consider falls by 3 the
twoanotes IVa of
, as
can the previous
consider
group; eacheverynote.
group twoOne can
notes
contains also
as aaccompany
group;
a progression every
thateach
can note
group
be with a 3as scale
contains
considered
rd
and
a
5degree
th
. Since
progression every
I-IV twocan
orthat notesbe
something can
like be But
considered
considered
it. as
as bass
in this a motion,
scalescale degree
degree I-IV,
I-IV
which oraccording
falls something
by to the
a 5th, everylikeexample
it.can
note Oin
Butbe in this
the bassas
considered
previous
motion,
the Book,
which
I of the itfalls
canby
subsequent havea 5athordissonance
note , every of can
the IV note
of the9previous
th
on
bethe IV,
note.prepared
considered
One as byalso
canthe the 5 the
I of
th
, andsubsequent
accompany resolve
everytonote
8note
ve
. with
Thus, every
or athe
3rd IV
and
5ofth.the previous
Since note.
every two One
notes cancan
be also accompany
considered every
as a scale noteI-IV,
degree a 3rd andto5the
withaccording th
. Since every
example O intwo
the notes
濄濇澳
previous
澳 Book, it can have a dissonance of 9th on the IV, prepared by the 5th, and resolve to 8ve. Thus, every

－283－
濄濇澳
澳
can be considered as a scale degree I-IV, according to the example O in the previous Book, it can
澳
have a dissonance of 9th on the IV, prepared by the 5th, and
澳 resolve to 8ve. Thus, every note can
have a 9th-8ve suspension above it except the first one. Another possibility is to have a dissonance
note can have a 9th -8ve suspension above it except the first one. Another possibility is to have a dissonanc
note
of thecan
7th, have
whichawas
9th -8ve
suspension
prepared by theabove it except
3rd, above every the
notefirst one.the
except Another possibility
first one is to have a dissonanc
(Figure 26).
the 7thth,those
which was prepared by the can 3rd, above every note except the first one (Figure 26).
theLike
7 , whichprevious patterns,
was prepared by we
the 3rd, consider
above every the first
note two notes
except theoffirst
thisone
bass motion,26).
(Figure each of
whichLikerisesthose
by a 6previous
th
and Falls patterns,
by a 5 we
th
, ascan
the consider the first and
scale degree two notes of this thebass
I bymotion,
a major each3rd of which r
Like those previous patterns, we can consider the I-VI,
first two accompany
notes of this bass motion, each of which r
th
by a56thth, accompany
and and Falls by thea VI
5thth,by 3rdscale
as athe
th
and 6degree. It is I-VI,
also possible to accompany
and accompany the I every note with
by a major a 35
3rdrd and
rd
th
, accompan
by a 6th and Falls by a 5 , as the scale degree I-VI, and accompany thethI by a major 3 and 5th, accompan
and 5 . The following
VI by a 3rd and 6th. It notes
is alsocontinue
possibleusing this pattern. Since there is a 6 rdabove th
to accompany every note with a 3rd and 5ththe VI and the
. The following notes con
VI by a 3rd and 6th. It is also possible to accompany every note th with a 3 and 5 .thThe following notes con
following notes act like VI, one can use the dissonance of the 7 prepared by the 5 on each VI
using this pattern. Since there is a 6thth above the VI and the following notes act like VI, one can use the
using this
(Figure 27). pattern. Since there is a 6 above the VI and the following notes act like VI, one can use the
dissonance of the 7 prepared by the 5 on each VI (Figure 27).
th th
dissonance of the 7th prepared by the 5th on each VI (Figure 27).

澳
澳
Figure
Figure 26 Rises
26 Rises byby
a 4ath
th4and
th
and falls
falls by by
a 5a
th 5th (original key in G) (Fenaroli and Imbimbo 89)
th (original key in G) (Fenaroli and Imbimbo 89)
Figure 26 Rises by a 4 and falls by a 5 (original key in G) (Fenaroli and Imbimbo 89)

澳
澳
Figure
Figure 27 Rises
27 Rises byby
a 6ath6and
th
and falls
falls by by
a 5ath 5
th
(original
(original keykey in G)
in G) (Fenaroli
(Fenaroli andand Imbimbo
Imbimbo 90)
90)
Figure 27 Rises by a 6th and falls by a 5th (original key in G) (Fenaroli and Imbimbo 90)
澳
澳
Conclusion
Conclusion
Conclusion
Up Up
to here, I have
to here, studied
I have the the
studied partimento
partimentorulesrules
of Fenaroli fromfrom
of Fenaroli Regole and Book
Regole I-III. At
and Book theAt the time o
I-III.
Up to here, I have studied the partimento rules of Fenaroli from Regole and Book I-III. At the time o
time of partimento, students who learned the rules had to practice them in all the keys. After that,
partimento, students who learned the rules had to practice them in all the keys. After that, they will be ab
partimento,
they students
will be able who the
to realize learned the rules
partimenti fromhad
Bookto IV-VI.
practice themare
There in aallfew
thewritten
keys. After that, they
realizations of will be abl
realize the partimenti from Book IV-VI. There are a few written realizations of Fenaroli’s partimenti in th
realize thepartimenti
Fenaroli’s partimentiinfrom Book IV-VI.
the manuscript leftThere
in theare a few
world. It written realizations
is interesting to see of
howFenaroli’s
students partimenti
at in th
manuscript
that
left in thepartimenti.
time realize
world. It is interesting to see how students at that time realize the partimenti. This w
manuscript left inthe
the world. It isThis will be my
interesting next
to see howresearch.
studentsAfter
at thatthat, I will
time focusthe
realize onpartimenti.
how This w
be my next research. After
partimento that, I will focus on how partimento influenced music education in nineteenth
be my nextinfluenced musicthat,
research. After education
I will in nineteenth-century
focus on how partimento France since Cherubini
influenced and otherin
music education nineteenth
centurymusicians
Italian France since Cherubini
probably broughtand theother
conceptItalian musiciansfrom
of partimento probably
Italy tobrought
France.the concept of partimento fr
century France since Cherubini and other Italian musicians probably brought the concept of partimento fr
Italy to France.
Italy to France.

－284－
Work Cited
Work Cited
Cherubini, Luigi. Marches d’harmonie pratiquées dans la composition produisant des suites régulières d
Cherubini, Luigi. Marches d’harmonie pratiquées dans la composition produisant des suites régulières d
Notes
1 Fenaroli did not give a theoretical explanation for why minor 7th and diminished 5th is consonance in
such a situation. This is a typical Italian and French teaching style, especially during the partimento
era, in which many maestros only taught their pupils musical phenomena without a theoretical
explanation.
2 In the example, it happens in the dominant key, but in actual practice, this pattern may begin from
other scale degrees.
3 Di questa maniera non potrà il Partimento scendere oltre alla quarta del Tono: e sull’ ultima nota
legata del Partimento la quarta deve essere forzosamente maggiore per salire alla sesta della suss
equente nota del Partimento, sulla quale termina il movimento; … (Fenaroli, Regole 37)
4 The circled number means which scale degree is the bass note, and the circled number in the second
line means which scale degree it can be considered in another key.
5 The example of the third possibility in Book 3 has some differences compared to Fenaroli’s
explanation. I have fixed it.

Work Cited
Cherubini, Luigi. Marches d’harmonie pratiquées dans la composition produisant des suites régulières de
consonnances et de dissonnances. Paris: E. Croupenasa, [1847]
Dressler, Gallus, and Forgács Robert. Præcepta Musicæ poëticæ = the Precepts of Poetic Music.
University of Illinois Press, 2007.
Durante, Francesco. Principi e Regole｜per accompagnare Del Sig.e Francesco｜Durante , 1760, Opac SBN,
http://id.sbn.it/bid/MSM0167066
Fenaroli, Fedele, Emanuele Imbimbo. Partimenti ossia basso numerato. Opera completa. Per uso degli
alunni del Reale conservatorio di Napoli, a Nicola Zingarelli... Paris: Carli, n.d. [1814], BnF Gallica,
http://ark.bnf.fr/ark:/12148/cb42984522m
Fenaroli, Fedele. Regole Musicali Per LI Principianti DI Cembalo. [Napoli: D. Sangiacomo, M.DCC.XCV,
1795] Image. Retrieved from the Library of Congress, <www.loc.gov/item/11027690/>.
Gjerdingen, Robert O. Music in the Galant Style. New York: Oxford University Press, 2007, Inc.
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Sep. 2022,
https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-
9781561592630-e-0000009461
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Ongakunotomosha, 1964.［島岡譲『和声理論と実習Ⅲ』
。Harmony Theory and Practice Ⅲ.］

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Tour, Peter van. Fedele Fenaroli, Regole Musicali (Naples, 1775), Academia. Date of access 10 Jan. 2023,
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