Product Code Database
A partimento (from the Italian: partimento, plural partimenti) is a sketch (often a bass line), written out on a single staff, whose main purpose is to be a guide for the improvisation ("realization") of a composition at the keyboard. A partimento differs from a basso continuo accompaniment in that it is a basis for a complete composition. Partimenti were central to the training of European musicians from the late 1600s until the early 1800s. They were developed in the Italian conservatories, especially at the music conservatories of Naples, and later at the Paris Conservatory, which emulated the Neapolitan conservatories. The History of Partimenti Monuments of Partimenti
Partimenti were typically used as exercises to train conventional models of voice leading, harmony, and musical form, such as the so-called rule of the octave (the harmonized scale), cadences and sequences (the movimenti, or moti del basso). The beginners’ partimenti treatises usually present rules, which are then followed by exercises of increasing difficulty, presenting figured bass as well as unfigured bass lines, and culminating in the advanced exercises of imitative partimenti and partimento .
{
\new Staff <<
\new Voice \relative c' {
\stemDown \clef bass \key g \major \time 4/4 \tempo 2 = 60 \set Score.tempoHideNote = ##t
There's a prohibition against an octave or a fifth moving in parallel because, due to an octave or fifth's perfection, moving one creates no variation in harmony, and these perfect are the fundamental basses that rule the key.
{
\new Staff <<
\new Voice \relative c' {
\stemDown \clef bass \key g \major \time 4/4 \tempo 2 = 60 \set Score.tempoHideNote = ##t
One can give an 8ve to all the degrees of the key, as well as to their consonances, provided that one does not create parallel 8ves, seeing that two 5ths or 8ves, whether above or below, by step or by skip, the one after the other, are prohibited because they make bad harmony.
① takes a 3rd, 5th.
② takes a minor 3rd, 4th and major 6th.
③ takes a 3rd and 6th. Both of them should be minor if the said ③ is major. If, on the other hand, the said ③ is minor, then it takes the major 3rd and major 6th, and this comes about naturally.
④ takes a 3rd and 5th. Whenever the ④ ascends to the ⑤, it ④ can take the 6th in addition to the 3rd and 5th. And if ④ descends from ⑤, then stay with the same consonances as for the said ⑤, which become in turn a 2nd, major =augmented 4th, and 6th.
⑤ takes a major 3rd and 5th. Give a minor seventh to a ⑤ that returns to the ①. This seventh cannot rise, but must resolve by falling to the third of the ①.
⑥ takes a 3rd, and 6th. When ⑥ is major and descends to ⑤, then it is better to use a major 6th in the accompaniment, because it makes better harmony. And one can add to ⑥, as if it were ②, by giving it a 3rd, a 4th, and a major 6th. But if the ⑥ neither ascends to ⑦ or descends to ①, then give it a 3rd and 5th.
⑦ takes a 3rd and 6th. Both of them should be minor if the said ⑦ is major. If, on the other hand, the ⑦ is minor, then the 3rd and the 6th in the accompaniment should both be major, and this comes about naturally. Give a diminished fifth to a ⑦ rising to the ①, in addition to the 3rd and 6th. This diminished fifth cannot rise, but must also resolve by falling to the third of the ①.
{
\new PianoStaff <<
\new Staff <<
\new Voice \relative c'' {
\stemUp \clef treble \key g \major \time 4/4 \tempo 2 = 60 \set Score.tempoHideNote = ##t
{
\new PianoStaff <<
\new Staff <<
\new Voice \relative c'' {
\clef treble \key g \major \time 4/4 \tempo 2 = 60 \set Score.tempoHideNote = ##t
<< { g2~ g4 fis } \\ { d2 d } \\ \\ { s2 \once \override NoteColumn.force-hshift = 0 a2 } \once \override NoteColumn.force-hshift = 0 b2 >> |
< b d g >1 |
}
\new FiguredBass {
\figuremode {
<3>2 <5 4>4 <_+> <3>1
}
}
>>
\new Staff <<
\new Voice \relative c' {
\stemDown \clef bass \key g \major \time 4/4
g2 d g,1
}
>>
>> }
{
\new PianoStaff <<
\new Staff <<
\new Voice \relative c' {
\clef treble \key g \major \time 4/4 \tempo 2 = 45 \set Score.tempoHideNote = ##t
1 | << {fis'4 g~ g fis} \\ {s2 d} \\ {\once \override NoteColumn.force-hshift = 0 d4 \once \override NoteColumn.force-hshift = 0 d s2} \\ {s2 \once \override NoteColumn.force-hshift = 0 a} \\ {\once \override NoteColumn.force-hshift = 0 a4 \once \override NoteColumn.force-hshift = 0 b s2} >> |
< b d g >1 |
}
\new FiguredBass {
\figuremode {
<3>1 <5 _+>4 <6 4> <5 4> <5 _+> <3>1
}
}
>>
\new Staff <<
\new Voice \relative c' {
\stemDown \clef bass \key g \major \time 4/4
g1 d g,
}
>>
>> }
{
\new PianoStaff <<
\new Staff <<
\new Voice \relative c'' {
\stemUp \clef treble \key g \major \time 4/4 \tempo 1 = 60 \set Score.tempoHideNote = ##t
1
}
>>
\new Staff <<
\new Voice \relative c' {
\stemDown \clef bass \key g \major \time 4/4
g, a b c d e fis g
}
\new FiguredBass {
\figuremode {
<8 5 3>1 <6+ 4 3> <6 3 8> <5 3 6> <3 5 8> <6 3> <3 6 5/> <8 5 3>
}
}
>>
>> }
{
\new PianoStaff <<
\new Staff <<
\new Voice \relative c'' {
\stemUp \clef treble \key g \major \time 4/4 \tempo 1 = 60 \set Score.tempoHideNote = ##t
1
}
>>
\new Staff <<
\new Voice \relative c' {
\stemDown \clef bass \key g \major \time 4/4
g fis e d c b a g
}
\new FiguredBass {
\figuremode {
<8 5 3>1 <3 6 3> <3 6+ 4> <3 8 5> <4+ 2 6> <6 3 8> <6+ 4 3> <8 5 3>
}
}
>>
>> }
{
\new PianoStaff <<
\new Staff <<
\new Voice \relative c'' {
\stemUp \clef treble \key g \minor \time 4/4 \tempo 1 = 60 \set Score.tempoHideNote = ##t
1
}
>>
\new Staff <<
\new Voice \relative c' {
\stemDown \clef bass \key g \minor \time 4/4
g, a bes c d e fis g
}
\new FiguredBass {
\figuremode {
<8 5 3>1 <6+ 4 3> <6 3 8> <5 3 6> <3+ 8 5> <3 6> <3 6 5/> <8 5 3>
}
}
>>
>> }
{
\new PianoStaff <<
\new Staff <<
\new Voice \relative c'' {
\stemUp \clef treble \key g \minor \time 4/4 \tempo 1 = 60 \set Score.tempoHideNote = ##t
1
}
>>
\new Staff <<
\new Voice \relative c' {
\stemDown \clef bass \key g \minor \time 4/4
g f es d c bes a g
}
\new FiguredBass {
\figuremode {
<8 5 3>1 <3 6 3> <3 6+ 4> <3+ 8 5> <4+ 2 6> <6 3 8> <6+ 4 3> <8 5 3>
}
}
>>
>> }
{
\new Staff <<
\new Voice \relative c' {
\stemDown \clef bass \key c \major \time 4/4 \tempo 1 = 60 \set Score.tempoHideNote = ##t
c,1 e d f e g f a g c,
}
>>
}
{
\new Staff <<
\new Voice \relative c' {
\stemDown \clef bass \key c \major \time 4/4 \tempo 1 = 60 \set Score.tempoHideNote = ##t
c1 a b g a f g e f d e c g' c,
}
>>
}
{
\new Staff <<
\new Voice \relative c' {
\stemDown \clef bass \key c \major \time 4/4 \tempo 1 = 60 \set Score.tempoHideNote = ##t
c,1 f d g e a f g c,
}
>>
}
{
\new Staff <<
\new Voice \relative c' {
\stemDown \clef bass \key c \major \time 4/4 \tempo 1 = 60 \set Score.tempoHideNote = ##t
c1 g a e f c g' c,
}
>>
}
{
\new Staff <<
\new Voice \relative c' {
\stemDown \clef bass \key g \major \time 4/4 \tempo 1 = 60 \set Score.tempoHideNote = ##t
g1 c fis, b e, a d, g c, d g,
}
>>
}
{
\new Staff <<
\new Voice \relative c' {
\stemDown \clef bass \key c \minor \time 4/4 \tempo 1 = 60 \set Score.tempoHideNote = ##t
c1 f, bes es, as d, g c,
}
>>
}
{
\new Staff <<
\new Voice \relative c' {
\stemDown \clef bass \key c \major \time 4/4 \tempo 1 = 60 \set Score.tempoHideNote = ##t
c,1 g' d a' e b' g c,
}
>>
}
{
\new Staff <<
\new Voice \relative c' {
\stemDown \clef bass \key c \major \time 4/4 \tempo 1 = 60 \set Score.tempoHideNote = ##t
c,1 a' d, b' e, c' f, g c,
}
>>
}
{
\new Staff <<
\new Voice \relative c' {
\stemDown \clef bass \key g \minor \time 4/4 \tempo 1 = 60 \set Score.tempoHideNote = ##t
g1 fis f! e es! d g,
}
>>
}
{
\new Staff <<
\new Voice \relative c' {
\stemDown \clef bass \key g \minor \time 4/4 \tempo 1 = 60 \set Score.tempoHideNote = ##t
g1 d es e f fis g d g,
}
>>
}
{
\new Staff <<
\new Voice \relative c' {
\stemDown \clef bass \key c \major \time 4/4 \tempo 1 = 60 \set Score.tempoHideNote = ##t
c,2 c'~ c b~ b a~ a g~ g f~ f e d1 c
}
>>
}
References
|
|
