The Art of Partimento

The Art of Partimento History, Theory and Practice in Naples The Rules: A Synoptic Compendium This Synoptic Compendium is devised as a complement to Chapter 9 of the printed book: The Rules: a Synoptic View. Differently from Chapter 9, which is fairly narrative (in the strict limits of a theoretical account), the Compendium aims to give a documented description of the theory. The five classes that compose the theoretical partimento body are further subdivided into 97 rules. For each rule a complete account of its sources is given. Every rule is numbered, and is designated by a title. The text of the rule is given immediately after the title, in italics. When it is included in quotations marks, it is a literal translation of some author’s rule (and the original Italian is given in footnote); when not, it is a synthesis of my own. After the text of each rule the source credits are given. The first credit is to Fenaroli (either from Regole or from Partimenti) and refers to the paragraph of Fenaroli in which the rule is stated.1 When the rule is not present in Fenaroli, I indicate the source according to the list below. When several authors agree on a rule, their names are listed (in alphabetic order) after the rule. When one or more authors have different points of view on a rule, their opinion is recorded after the main rule. In some cases (as for the classification of the cadences) the rule is divided in several sections, each referred to one or more authors. Almost all of the examples given as illustrations of the rules are drawn from the above mentioned list: for every example the author is given credit to either in the captions or in the text of the rule. When no source is given, the example is of the author of the present book, who has also realized those examples given in the sources as figured bass only (that is, virtually all except for Fenaroli). Sources The basis for the 97 rules are Fenaroli’s Regole musicali per quelli che vogliono suonare coi numeri e per i principianti di contrappunto (9th edition), printed in Florence by Giovanni Canti together with Partimenti, ossia basso numerato (2d edition) and reprinted by Forni, Bologna, in 1978.2 The Canti edition reproduces carefully the text of the 1775 edition, but integrates the original 117 paragraphs with 14 new ones.3 The original text, along with a line to line translation, is offered also in the website Monuments of Partimenti:

The collections of rule included in the Synoptic Index are as follows: Cotumacci: Principi e regole di partimenti (I-Nc Rari 1.9.14/1) Durante: Partimenti, ossia intero studio di numerati per ben suonare il cembalo del Sig.r Durante, (I-Bc E.E 171) Fenaroli: Partimenti ossia basso numerato. /Firenze: Canti n.d.; facsimile edition Bologna: Forni 1978) Furno: Regole di Partimenti del Maestro Furno (I-Nc Od. 1.6/1) 1

the art of partimento Insanguine: Regole con moti di basso partimenti, e fuge [sic] del M[aes]tro G[iaco]mo Insanguine detto Monopoli (I-Mc Noseda Th.c.116a) Istruzioni: [Anonymous] Istruzioni armoniche raccolte dalle opere de’ più illustri autori ovvero metodo facile per apprendere i principj della musica e del contrapunto: e le regole pratiche necessarie a ben suonare il cembalo, o piano-forte. (Naples: Stamperia della Biblioteca Analitica 1822) Paisiello (1): Regole Per bene accompagnare il Partimento, o sia il Basso Fondamentale sopra il Cembalo Del Signor Maestro Giovanni Paisiello. Composte per Sua Altezza Imperiale la Gran Duchessa di tutte le Russie. (S. Petersburg: Morskago Sljahetnago Kadetskago Korpusa 1782) Paisiello (2): Regole e partimenti del M° Giovanni Paisiello. (I-Nc 3.4.17 bis/2) Pasquini: Regole del Sig. Bernardo Pasquini per accompagnare con il cembalo [1715]. (I-Bc D. 138) Sala: Elementi per ben sonare il Cembalo del Sig.r D. Nicola Sala. (I-Nc S.1.94) Scarlatti: Lezzioni, toccate d’intavolatura per sonare il cembalo del sig[no]r cavaliere Alesandro Scarlatti. (I-Me Campori g - L.9.41; facsimile edition with an introduction by Luigi Ferdinando Tagliavini, Bologna, Forni 1999). Tritto (1): Scuola di contrappunto ossia teorica musicale dedicata a Sua Maestà Ferdinando I (Milano: Artaria 1816) Tritto (2): Partimenti e regole generali per conoscere qual numerica dar si vede a vari movimenti del basso dedicata a Sua Maestà Ferdinando I (Milano: Artaria 1816) Valente (1): Partimenti principii di cembalo del sig. D. Saverio Valente accademico filarmonico (I-Mc Noseda Q 13–15) Valente (2): [Scale e partimenti] (I-Mc Noseda Q 13–16) Valente (3): Partimenti di Saverio Valente accademico filarmonico (I-Mc Noseda Q 13–17)

class i: basic axioms and procedures Materials of Music 1. Fundaments of Music “All music is nothing but a chord of first, third, and fifth.”4 Fenaroli, Nozioni preliminari, §1. “The universal rules in cembalo playing, and in accompanying the voice, are that the first note in the bass should be accompanied with a perfect consonance, i.e. third and fifth with the right hand; and similarly the last note in the bass. Nevertheless, the composer may, according to his ideas, avoid this rule through artifice, but only for what concern the consonance in the beginning; the way in which this may be done, vary according every composition”.5 Scarlatti, c.1v 2. Hierarchy among triads Among the triad built on the scale degrees, the most important [fondamentali] are those on the first, fourth and fifth degrees. Fenaroli, Nozioni preliminari, §1; Istruzioni p. 44. 3. Correspondence among the quality of triads The third of I bestows its quality (major or minor) to the third of IV; similarly, the third of III bestows its quality to the third of VI. Fenaroli, Nozioni preliminari, §1; Cotumacci p. 7; Furno p. 3; Sala c. 2r. 2

the art of partimento 4. Quality of the third on V The third of V is always major. Fenaroli, Nozioni preliminari, §1; Cotumacci p. 7; Istruzioni p. 46; Pasquini p. 9. 5. Function of the leading tone “The major third above scale degree fifths is also the seventh above the main tone of the key, and without it one cannot move to any key; for this reason, scale degree fifth is called the support to scale degree first.”6 Fenaroli, Nozioni preliminari, §1. 6. Stable tones In order to preserve the coherence of the key, scale degrees 2, 4, 5, and 7 cannot be altered. Scale degrees 2 and 7 must always be major, 4 and 5 perfect. Any change of one of them, either in major or in minor, will depart from the key. Insanguine p. 2; Istruzioni p. 44; Paisiello (2) c. 2r. Under certain circumstances scale degree 7 can be minor. Sala c. 1v. 7. Consonances and dissonances “Music is composed with consonances and dissonances.”7 Fenaroli, Regole musicali, §1; Cotumacci p. 5. 8. Consonances Consonances are four: third, fifth, sixth, and octave. Fenaroli, Regole musicali, §2; Cotumacci p. 5; Furno p. 1; Insanguine p. 1; Istruzioni p. 45; Paisiello (1) p. 10; Paisiello (2) c. 1r; Sala c. 1v; Valente (2), p. 4. 9. Quality of Consonances. Octave and fifth are perfect; third and sixth are imperfect. Fenaroli, Regole musicali, §4; Cotumacci p. 5; Furno p. 1; Insanguine pp. 1–2; Istruzioni p. 45; Paisiello (2) c. 1r; Sala c. 1v. 10. Dissonances Dissonances are four: second, fourth, seventh, and ninth. Fenaroli, Regole musicali, §3; Cotumacci p. 20; Furno p. 1; Insanguine p. 2; Istruzioni p. 45; Paisiello (1) p. 10; Paisiello (2) c.1r; Sala c. 1v; Valente (2) p. 4. Note. On consonance/dissonance distintion see rule 7; for treatment of dissonances see Class III. 11. Relative motions There are three kinds of motion: direct, oblique, and contrary. In direct motion both hands move in the same direction; in oblique motion one hand stands, and the other moves; in contrary motion one hand descends, and the other ascends. Insanguine p. 3; Paisiello (1) p. 7; Paisiello (2) c. 2r; Sala c. 3r.8

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the art of partimento 12. Limitation in direct (parallel) motion a) Two consecutive parallel fifths or octaves are prohibited. Fenaroli, Regole musicali, §5; Istruzioni p. 46; Pasquini p. 1. b) Direct motion should be avoided.9 Insanguine p. 3; Paisiello (2) c. 2r. c) Direct motion is usable only for octave doublings, otherwise parallel fifths or octaves may arise.10 Paisiello (1) p. 7 d) Hands must move in contrary motion only.11 Pasquini p. 1. 13. Leading tone “The major third must proceed to the sixth or to the octave.” Durante p. 11. 12 Note. The major third is the leading tone in a dominant chord: it must proceed upwards by step, and its resolution tone will form an octave or a sixth with the bass. This rule refers to the two more common possibilities for a V-I succession: either to a root position tonic (Ex. 1a), or to a I6 (Ex. 1b, with passing tone). 14. Chromatic motions a) Ascending (semitono maggiore) Any chromatically raised tone must proceed upwards by half step, and the tone upon which it resolves becomes the first of the new key; this resolution may be postponed, but cannot be avoided. Cotumacci pp. 7–8. b) Descending (semitono minore) Any chromatically lowered tone must proceed downwards by half step. Note. Part a) of Rule 14 is explicitly stated by Cotumacci without reference to the bass; part b) is not found in any of the rules examined, but is implicit in Rule 89. 15. Minor seventh on ⑤ a) When ⑤ moves to ① the chord of V may contain a minor seventh: it must resolve downwards by step on the third of ①. Fenaroli, Assiomi musicali, §1; Istruzioni p. 47; Paisiello (1) p. 9; Scarlatti c. 2v. b) The seventh on ⑤ is a passing tone; the chords with major third and minor seventh must alwayshave the fifth as well.13 Cotumacci pp. 53–54. c) On ⑤ moving to ⑥ the minor seventh may be used too. Furno p. 3. 16. Diminished fifth on ⑦ When ⑦ moves to ① a diminished fifth (quinta falsa) can be given on ⑦: it must resolve downwards by step on the third of ①. Fenaroli, Assiomi musicali, §2; Furno p. 3. 17. Augmented sixth on lowered ⑥ When lowered ⑥ in the bass moves to ⑤, an augmented sixth [sesta superflua] may be given to it; the augmented sixth must resolve upwards to the octave above ⑤. Fenaroli, Assiomi musicali, §3; Furno p. 12.

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the art of partimento 18. Augmented fourth on ① or ④ An augmented fourth [quarta maggiore] must be given to ① descending to ⑦ (and resolves upwards on the sixth above ⑦); and to ④ descending to ③ (and resolves upwards on the sixth above ③). Fenaroli, Assiomi musicali, §4; Paisiello (2) c. 5r. Note. See also Rules 64 and 92. 19. Major and minor sixths a) “When one will play a major sixth, that is every time that [the bass] descends by step, he must be careful to make the sixth ascend, i.e. to the octave above the next [bass] note; and, on the opposite, the minor sixth will descend on the fifth.”14 Pasquini pp. 2, 12. b) “All notes that end a motion descending by step need a major sixth ... However, when those notes, to which a major sixth is usually given, skip a fourth up, or a fifth downwards, they need [the chord of] major third, fifth, and octave.”15 Cotumacci pp. 8–9. Note. See also Rule 94. 20. Cadences: definition a) Cadences are motions of the bass from ① up to ⑤, and back to ①. Fenaroli, Delle cadenze, §1; Istruzioni p. 52; Paisiello (1), p. 7. b) At the wish of the composer, other scale degrees may be inserted between ① and ⑤. Istruzioni p. 52. 21. Classification of cadences a) Generalities. There are three types of cadences: 1) simple; 2) compound; 3) double. Simple cadences make use of consonances only (and occasionally of the minor seventh); compound cadences use a 4–3 suspension on V (the suspension is prepared by the octave on ①, and resolves on the third of V; the fourth may be accompanied by the fifth or the sixth); double cadences use the following chords above V: 5/3; 6/4; 5/4; 5/3. Fenaroli, Delle cadenze, § 2, 3, 4; Durante pp. 4–5; Furno p. 6; Insanguine pp. 6–7; Istruzioni p. 52; Paisiello (1) pp. 7–9; Paisiello (2) cc. 2r-3v; Sala c. 3r; Tritto (1) p. 19; Tritto (2) p. 3. Valente (2) p. 8. b) Different classification according to individual authors. Fenaroli : 1) Simple cadence (cadenza semplice) with triads only (a) and with passing seventh (b); 2) compound cadence (cadenza composta) 3) double cadence (cadenza doppie).16

Ex. 2: Fenaroli’s cadenze. Durante: 1a-d) Simple cadences (cadenze semplici: see also Cadenza lunga); 2) Simple cadence with passing sixth and augmented fourth (cadenza semplice con la passata di 6a e 4a maggiore); 3) Double cadence (cadenza doppia: see also Cadenza lunga).

Ex. 3: Durante’s cadenze. 5

the art of partimento Paisiello (1): 1a) Simple cadence (cadenza semplice); 1b) the same with optional 4–3 suspension;  2) Double cadence (cadenza doppia); 3a-b) Compound cadence (cadenza composta), two versions. Paisiello (2): 4) Essential double cadence (cadenza doppia semplice; 5) Compound double cadence (cadenza doppia composta)

Ex. 4: Paisiello’s cadenze. Tritto: 1) Simple cadence (Cadenza semplice); 2) Short cadence (Cadenza breve); 3) Compound cadence (cadenza composta); 4) Double cadence (cadenza doppia).

Ex. 5: Tritto’s cadenze. c) Cadenze lunghe (“long cadences”). “When one finds three notes [in the bass] that ascend stepwise, and the last leaps upwards a fifth, or downwards a fourth, we shall give to the first note [the chord of] the sixth; to the second, [the chord of] the fifth and sixth; to the third note, the fourth and third, and with the fourth the fifth is given too ... To the note [of the bass immediately] before the cadence we shall always give fifth and sixth together, and to the last [before the close] remember to play the fourth followed by the third.”17 Pasquini pp. 4–5; 11.

Ex. 6: Pasquini’s cadenze lunghe. d) Feigned cadences (Cadenze finte) A cadential progression that delay the arrival on the closing tonic is called “feigned cadence” (cadenza finta). Valente (2) p. 8; Valente (3) pp. 8–10; p. 39; p. 48. In Ex. 7: Feigned cadence (1) (Cadenza finta accompagnata con numeri diversi, Valente (2) p. 8); Feigned cadence (2) (Altra cadenza finta, Valente (3) p. 9; p. 48); Feigned cadence (3) (Diversamente accompagnata altra cadenza finta, Valente (3) p. 10; p. 48).

Ex. 7: Valente’s cadenze finte. 22. Single bass motions by fourth or fifth. a) “All [bass] leaps by fourth, or fifth, both ascending and descending, need [the accompaniment of] the fifth.”18 Tritto (1) p. 14. b) The third on the bass note that leaps down by fifth must be major.Durante p. 10; Scarlatti c.2r. c) If a bass leaps down a fourth, and the triad on the first note is in third position, a six-four chord with augmented fourth can connect it to the following triad.19 Durante p. 9; Pasquini p. 11; Valente (3) p. 47. 6

the art of partimento Note. This technique corresponds to the “Sc with passing augmented 4th and 6th” (Example 2b; see also Rule 21). Valente recommends this accompaniment only when ④ moves by leap to ① instead of ascending to ⑤. 23. Ascending by half step (mi-fa progressions) a) When the bass ascends by half step the first note needs the sixth. Durante p. 11; Pasquini p. 4; Scarlatti c. 3v. b) A diminished fifth may be added to the sixth.Cotumacci p. 7; Valente (1), p. 1; Valente (3) p. 3. c) A diminished seventh and a diminished fifth may be given instead of the sixth.Valente (3) p. 3. 24. Descending by half step (fa-mi progressions) When the bass descends by half step the second note needs the sixth. However, if the first note of the half step lasts two beats, a 7–6 suspension is appropriate. Durante p. 11; Valente (1) p. 2. Note. Example 8a refers to the first sentence of this rule. For the second, longer progressions (Example 8b) Durante uses the expression terminare di grado. Pasquini suggests the use of a 7–6 suspension on the next-to-last note of a descending tetrachord.20

Ex. 8: mi-fa progressions (Durante). 25. Positions of the right hand There are three position: in the First position the octave of the bass in in the top voice; in the Second position the third of the bass in in the top voice; in the Third position the fifth of the bass in in the top voice. Fenaroli, Posizione della mano destra, §1; Insanguine p. 3; Istruzioni p. 47; Scarlatti c.2v-3r; Valente (1) p. 1. 26. Hand positions and keys The keys of C, D, and E in should be played in first position (with the third below); the keys of F, G and A in third position (with the third in the middle); the keys of B flat and B natural in second position (with the third above). Furno c. 4r; Istruzioni p. 51.

Class II: Rule of the Octave 27. Definition of scale A scale is a motion of the bass from the first of the key up to the octave, and then back to the first: this motion is called a complete scale (scala compita). Fenaroli, Delle scale, §1; Istruzioni p. 47. 28. Intervals in the scale [distribuzione del tono “The first (unison) is perfect; the second is major; the third is variable [‘arbitraria’: i.e., major in the major scale, minor in the minor scale]; the fourth is perfect; the fifth is perfect; the sixth must agree

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the art of partimento with the third, and the seventh is always major, being the pillar of the key.”21Fenaroli, Distribuzione del tono, §1; Istruzioni p. 45. If the first of the key has a major third, than the sixth and seventh of the key, both in ascending and in descending motion, must be major; if the first of the key has a minor third, then the sixth and seventh of the key, in ascending, must be major, but in descending must be minor, though in certain cases a succession of major seventh and minor sixth may take place. Sala c. 2r. 29. Stable scale degrees. In order to preserve the integrity of the key, the following scale degrees must be stable: 2 (always major); 4 (always perfect); 7 (always major). Any alteration of these tones moves out of the key. Furno c. 2r. Note. This rule will be further developed in Class V, in connection to the rules concerning “scale mutations” (terminazioni di tono). 30. Fundamental tones The scale is generated by three fundamental tones: the first, fourth, and fifth of the scale. These tones need the chord of third and fifth. Tritto (1), pp. 10 -11. The third scale has the same nature (‘è sinonimo’) of the first; the second and seventh scale degrees partake of the same nature as the fifth.Furno c. 3v. 31. Avoidance of augmented second In the ascending minor scale the sixth degree is major; in the descending minor scale the seventh scale degree is minor. The augmented second between the minor sixth and major seventh must be avoided because of its harshness. Fenaroli, Scala in terza minore, §2 Note. see also rule 32. 32. Shortened minor scale In order to keep the minor scale in its purest form [i.e. with both minor third and sixth] one can play it only until the (minor) sixth degree, then descend without touching the seventh. Fenaroli, Scala in terza minore, §8; ex. 15

Ex. 9: abridged minor scale (Fenaroli) 33. Essential foundations of the key [basi fondamentali che reggono il tono] The first of the key requires the third, fifth, and octave The second requires the minor third and major sixth The third requires the third and sixth The fourth requires the third and fifth The fifth requires the major third and fifth The sixth requires the third and sixth The seventh requires the third and sixth. Fenaroli, Regole musicali, §5; Insanguine p. 1; Istruzioni p. 46; Paisiello (2) c.1r; Pasquini p. 8. Sala c. 1v.

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the art of partimento 34. Scale degrees one and five Scale degrees ① and ⑤ require third, fifth and octave; the third above ⑤ is always major, both in the major and in the minor scale Fenaroli, Scala in prima posizione, §1; Scala in seconda posizione, §1; Scala in terza posizione, §1.Cotumacci p. 7; Insanguine p. 1; Paisiello (2) c. 1. Note. when not stated otherwise, this rule and the following apply to both major and minor scales. The quality of the intervals is stipulated by Rule 28 (see also Rule 3 and Rule 4). 35. Scale degree two a) ② needs the minor third and the major sixth; if it takes part in a scale (ascending or descending) a fourth may be added, otherwise the sixth and the third will be sufficient. Fenaroli, Scala in prima posizione, §1; Scala in seconda posizione, §1; Scala in terza posizione, §1; Scala in terza minore, §3; Insanguine p. 1; Istruzioni p. 51; Paisiello (2) c. 1r; Scarlatti c. 2v. Tritto (1) p. 9. b) If ② moves to ① or ③, and its duration is at least two beats, the major sixth may be preceded by a suspended seventh. Cotumacci p. 54; Istruzioni p. 55. Note. see Rule 19. c) When ② moves by leap by fourth or fifth upwards, or by third downwards, it needs fifth and third. Tritto (1), pp. 13–14. Note. Tritto adds the following explanation: “ It is necessary that I warn you that, in bass motion like this, one should never give a major sixth to the second of the key that leaps upwards by fourth or fifth, or downwards by third. This would be a mistake, because in doing so one would anticipate that chord, which should never be anticipated, and the proportion would suffer too.”22 36. Scale degree three Scale degree ③ needs the third and the sixth Fenaroli, Scala in prima posizione, §1; Scala in seconda posizione, §1; Scala in terza posizione, §1.Insanguine p. 1; Paisiello (2) c. 1r. 37. Scale degree four a) ascending: When ④ moves to ⑤ it needs the third, the fifth and the sixth Fenaroli, Scala in prima posizione, §1; Scala in seconda posizione, §1; Scala in terza posizione, §1; Cotumacci p. 7; Furno c. 2v; Insanguine p. 1; Istruzioni p. 46, Paisiello (2) c. 1r; Sala c. 1v. b) descending: When it moves to ③, ④ acts like a passing tone, and requires the second, the augmented fourth, and the sixth. Fenaroli, Scala in prima posizione, §1; Scala in seconda posizione, §1; Scala in terza posizione, §1, 2; Furno c. 3r; Insanguine p. 1; Istruzioni p. 46; Paisiello (2) c. 1r; Sala c. 1v. c) moving by leap: When it does not descend, nor ascend by step, but moves by leap, ④ has the third and the fifth. Fenaroli, Scala in prima posizione, §1; Scala in seconda posizione, §1; Scala in terza posizione, §1, 2Cotumacci p. 7; Furno c. 3r; Insanguine p. 5; Istruzioni p. 46; Paisiello (2) c. 1r; Sala c. 1v. 38. Scale degree six a) ascending by step: When it moves to ⑦, ⑥ requires the third and the sixth. Fenaroli, Scala in prima posizione, §1; Scala in seconda posizione, §1; Scala in terza posizione, §1; Paisiello (2) c. 1r.

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the art of partimento b) descending by step: When it moves to ⑤, ⑥ behaves like ② descending to ①, and accordingly it needs the third, the fourth, and the major sixth; in minor, the sixth is augmented. Fenaroli, Scala in prima posizione, §1; Scala in seconda posizione, §1; Scala in terza posizione, §1, 3; Scala in terza minore, §4; Insanguine p. 1; Istruzioni p. 50; Sala c. 1v. c) If its duration is sufficient, the major sixth may be preceded by a suspended seventh. Cotumacci p. 54. d) moving by leap: If ⑥ does not ascend to ⑦ , or descend to (5), it takes the third and the fifth. Cotumacci p. 8; Furno c.2v; Insanguine p. 1; Paisiello (1) pp. 5–6. e) doublings: In the descending minor scale, ⑥ should never be doubled. Fenaroli, Scala in terza minore, §1. 39. Scale degree seven a) ascending When moving to ⑧, ⑦ in addition to third and sixth may have the diminished fifth. Fenaroli, Regole musicali, §6; Paisiello (1), p. 6; Paisiello (2) c. 1r; Sala c. 2r. b) descending When moving to ⑥, ⑦ requires the third and the sixth. Furno c. 3v; Insanguine p. 1; Paisiello (1), p. 6; Paisiello (2) c. 1r; Sala c. 2r. c) as goal of a motion: If a motion from ⑥ upwards to ⑦ ends on the latter degree, ⑥ requires the sixth and the fifth, and ⑦ requires the fifth and the third (see Rule 96). 40. Models of accompaniments a) Ascending scales

Ex. 11: Scarlatti’s scale realized

Ex. 13: Durante’s scale realized in three and four voices

Ex. 15: Fenaroli’s ascending major scale realized in the three positions b) Descending scales

Ex. 17: Fenaroli’s descending major scale realized in the three positions c) Minor scale

Ex. 18: ascending and descending minor scale in the three positions (Fenaroli) 10

the art of partimento 41. Incomplete progressions a) descending from ⑤ to ① Three descending bass notes whose first note is figured with a major third are accompanied with major third and fifth on ⑤; sixth, augmented fourth and second on ④, sixth and third on ③; in the minor mode, the chord on ④ may have minor third, augmented fourth and major sixth. Fenaroli, Del partimento che scende legato, § 2–5; ex. n. 6, A.f, A.g Scarlatti c.3v. Note. In Example 19 Fenaroli shows the complete descending line from ⑤ to ①, whereas Scarlatti considers only the ⑤ ④ ③ progression. Differently from the standard Rule of the Octave, in minor the minor third takes the place of the second over ④.

Ex. 19: abridged major and minor scale (Fenaroli) b) ascending from ① to ⑤ with consonances only A bass rising from ① to ⑤ can be accompanied with only consonances, namely: perfect fifth on ① and ⑤, and major sixth on the other degrees. In particular, the sixth on ② must be major. Scarlatti c.3v. c) from ① to ⑤ using suspensions A bass rising from (1) to (5) may be accompanied by suspensions moving in contrary motion with the bass. Valente (3) p. 36.

Ex. 21: Valente, abridged ascending scale accompanied with suspensions. d) stepwise motion from ③ to ⑥ Note. Valente (3) offers two accompaniments for a partimento ascending by step, both derived from the “feigned cadence”. Example 20a) derives from his first cadenza finta (see Rule 21 d); Example 20b, called a “ascending partimento with the same accompaniment but more extended”23 corresponds to the second version of the feigned cadence.

Ex. 22: Valente, stepwise motion based on the cadenza finta. d) Other non-sequential accompaniments Two simmetrical scale by Tritto: “Second scale ascending to the fourth, then to the octave; Second scale descending by third.” Three descending scales by Valente: “Partimento descending stepwise; partimento descending stepwise by contrary motion; partimento descending stepwise with diminutions in the bass”. Porpora, Scale invented by D. Nicola Porpora (from I-Mc Ms. Nc. 176).

Ex. 23: Tritto, two symmetrical scales (scale II)

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the art of partimento

Ex. 24: Valente, partimento descending stepwise

Ex. 25: Valente, partimento descending stepwise by contrary motion

Ex. 26: Valente, partimento descending stepwise with diminution in the bass

Ex. 27: Scale invented by D. Nicola Porpora

Class III: Suspensions Generalities 43. Dissonances There are four dissonances: second, fourth, seventh, and ninth (see Rule 10): they are generated by a delay (suspension) of a consonance, and their purpose is to make consonances more agreeable. Seventh and ninth suspensions occur in the upper voice only; fourth suspension may occur in the upper as well in the bass voice; second suspension occur in the bass only. Fenaroli, Delle dissonanze, §1; Delle legature del basso, §1. Istruzioni p. 54. 44. Metrical position of suspensions Suspensions occur on the downbeat; their resolution occurs on the following upbeat. Furno c.11v; Istruzioni p. 57. 45. Preparation a) All dissonances (with the exception of the second) must be prepared by, and resolved to, one of the four consonances. Fenaroli, Delle dissonanze, §1 Furno c.1v; Insanguine p. 2; Istruzioni p. 54; Paisiello (1) p. 10, 12; Paisiello (2) c.1r; Pasquini p. 2; Sala c. 1v; Scarlatti c. 1v. b) When accompanied by the second, the fourth can be given without preparation; otherwise preparation is needed. Cotumacci p. 32. c) Second and ninth are distinct dissonances, because ninth requires preparation, and second does not. Fenaroli, Delle dissonanze, §2 Tritto (1) p. 18. 46. Resolution All dissonances must resolve downwards by step. 47. Minor seventh and diminished fifth a) Minor seventh and diminished fifth are consonances, because they do not need preparation (but must resolve descending by step). Fenaroli, Assiomi musicali, §1 n 12

the art of partimento b) The diminished fifth (quinta falsa) is a dissonance like the fourth, the seventh and the ninth, and needs preparation. Pasquini p. 8. 48. Six-five chord a) The diminished fifth must always be accompanied with the sixth. Pasquini p. 9. b) In the six-five chord one of the two intervals needs preparation. Tritto (1) p. 16. Suspensions in the upper voice 49. The fourth: preparation. a) All four consonances may prepare the fourth. Fenaroli, Della dissonanza o sia legatura di quarta, §1 Durante p. 2; Paisiello (1) p. 10; Paisiello (2) c. 2r-v; Sala c. 3v; Valente (2) p. 9 (Ex 28a). b) In addition, the fourth can be prepared by the minor seventh; [Della dissonanza o sia legatura di quarta, §6]. Insanguine p. 7; Paisiello (2) c. 5v; Sala c. 6r. (Example 28b). c) and by the diminished fifth. Fenaroli, Della dissonanza o sia legatura di quarta, §6. Paisiello (2) c.5v; Sala c. 6r (Example 28c).

Ex. 28: preparations of the fourth suspension 50. The fourth: resolution. a) The fourth must resolve to a third. In addition, a resolution to a diminished fifth is also possible. Paisiello (2) c. 2r-v; c. 5v; Sala c. 6r (Example 29a). b) The fourth may resolve to a sixth if the bass leaps down a fourth.Valente (2) p. 9 (Example 29b).

Ex. 29: resolution of the fourth suspension (Sala, Valente) 51. The fourth: accompanying consonances a) The fourth suspension must always be accompanied by the consonance of the fifth; therefore, it cannot take place on a bass where the fifth is not allowed. Fenaroli, Della dissonanza o sia legatura di quarta, §9. b) The fourth suspension may be accompanied by the fifth or the sixth.Cotumacci p. 32; Insanguine p. 7; Pasquini p. 9; Valente (1) p. 8. 52. The fourth: preparation from different consonances and bass motions involved a) Preparation from the octave In order to prepare the fourth from the octave, the bass must leap upwards a fifth, or a fourth downwards: i.e., from the first to the fifth of the key. Fenaroli, Della dissonanza o sia legatura di quarta, §2; ex. ADurante p. 2; Paisiello (2) c.2r; Sala c. 3v; Tritto (1) p. 18; Valente (1) p. 8. (Ex. 30a). b) Preparation from the third

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the art of partimento In order to prepare the fourth from the third, the bass must move stepwise downward from the sixth to the fifth, or from the second to the first of the key. Fenaroli, Della dissonanza o sia legatura di quarta, §3. (Ex. 30b). Note. There are no instances of ② - ① bass motion in Fenaroli (shown in Example 27b) or in any other source. Durante p. 2; Paisiello (2) c. 2r-v; Tritto (1) p. 18. The third of the resolution is usually major, even if sometimes it may be minor. Sala c. 3v. c) Preparation from the fifth In order to prepare the fourth from the fifth, the bass moves upwards by step, from the fourth to the fifth, or from the first to the second of the key. Fenaroli, Della dissonanza o sia legatura di quarta, §4; ex. C Durante p. 2; Paisiello (2) c. 2r-v; Sala c. 3v; Tritto (1) p. 18. Valente (1) p. 9. (Ex. 30c). Note. All examples (included those by Fenaroli: see Ex. 30c) show only instances of ④ ⑤ motion in a cadential progression ④ - ⑤ - ①. d) Preparation from (minor) sixth In order to prepare the fourth from the sixth, the bass moves a third upwards, from the third to the fifth of the key. Fenaroli, Della dissonanza o sia legatura di quarta, §5; ex. D Durante p. 2; Paisiello (2) c. 2r-v; Sala c. 3v; Tritto (1) p. 18; Valente (1) p. 11 (Ex. 30d). e) Preparation from minor seventh In order to prepare the fourth from the seventh, the bass must moves a fourth upwards, from the fifth to the first of the key. Fenaroli, Della dissonanza o sia legatura di quarta, §7; ex. E Tritto (1) p. 18 (Ex. 30e). f ) Preparation from the diminished fifth In order to prepare the fourth from the diminished fifth, the bass moves a semitone upwards. Fenaroli, Della dissonanza o sia legatura di quarta, §8; ex. F Paisiello (2) c.5v (Ex. 30f).

Ex. 30: the fourth: preparations and consonances (Fenaroli) 53. The seventh: preparation All four consonances may prepare the seventh. Fenaroli, Della dissonanza o sia legatura di settima, §1; Durante p. 3; Insanguine p. 8; Paisiello (1) p. 11; Paisiello (2) c. 2v; Sala c. 3v; Valente (1) p. 4; Valente (2) p. 10.

Ex. 31: the seventh prepared by all four consonances (Durante) 54. The seventh: resolution a) The seventh may resolve to a sixth or to a third; in order to resolve to a third, the bass leaps upwards a fourth, or downwards a fifth. Fenaroli, Della dissonanza o sia legatura di settima, §6–7; ex. M; Valente (1) pp. 4–5; Valente (2) pp. 10–11. b) The seventh resolves on major sixth only. Insanguine p. 8, Paisiello (2) c. 2v. c) If a seventh is prepared by a third, with a bass leaping a fourth upwards or a fifth downwards, then it resolves on major sixth. Sala c. 3v.

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the art of partimento 55. The seventh: accompanying consonance The seventh is always accompanied by the third. Fenaroli, Della dissonanza o sia legatura di settima, §6 Insanguine p. 8. 56. The seventh: preparation from different consonances, and bass motions involved a) preparation from the octave In order to prepare the seventh from the octave, the bass moves upwards by step (such as, from the first to the second of the key. Fenaroli, Della dissonanza o sia legatura di settima, §2 (ex. G) Durante p. 3; Paisiello (2) c. 2v; Sala c. 3v; Tritto (1) p. 17 (Ex. 32a). b) Preparation from the third In order to prepare the seventh from the third, the bass must leap up a fourth, or down a fifth (i.e., from the first to the fourth of the key, or from the sixth to the second). Fenaroli, Della dissonanza o sia legatura di settima, §3 (ex. H); Durante, p. 3; Paisiello (2) c. 2v. Sala c. 3v Tritto (1) p. 17; Valente (1) p. 5 (Ex. 32b). c) Preparation from the fifth In order to prepare the seventh from the fifth, the bass must leap a sixth up or a third down (i.e., from the first to the sixth, or from the fourth to the second of the key. Fenaroli, Della dissonanza o sia legatura di settima, §4 (ex. I); Durante, p. 3; Paisiello (2) c. 2v; Sala c. 3v; Tritto (1) p. 17; Valente (1) p. 6 (Ex. 32c). d) Preparation from the sixth In order to prepare the seventh from the sixth, the bass must move one step down (i.e., from the third to the second of the key. Fenaroli, Della dissonanza o sia legatura di settima, §5 (ex. L); Durante p. 3; Paisiello (2) c. 2v; Sala c. 3v; Tritto (1) p. 17; Valente (1) p. 7. (Ex.32d) Note. Only Fenaroli mentions specific scale degree where sospensions may take place. The other authors, however, in their examples show the same scale degrees as Fenaroli (but Durante shows the preparation from the octave on scale degrees 5-b6–5: see Ex. 31, bb. 3–4). e) two consecutive seventh A seventh prepared by the third may resolve to a diminished seventh before resolving to a fifth. Tritto (1) p. 17 (Ex. 32e).

Ex. 32: bass motions, preparations and resolutions of the seventh suspension (Fenaroli, Tritto) 57. The ninth: preparation The ninth can be prepared by the third and the fifth only; preparation from the octave is forbidden. Fenaroli, Della legatura di nona, §1;Durante p. 12; Insanguine p. 10; Paisiello (1) p. 11; Paisiello (2) c.4v, Sala c. 5v; Tritto (1) p. 18; Valente (2) p. 11. Note. Paisiello (1) and Tritto remark that preparation of the ninth from the octave leads to parallel octaves. Example 30 shows the ninth prepared from the fifth (Ex. 33a) and from the third (Ex. 33b).

Ex. 33: preparations of the ninth suspension (Durante)

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the art of partimento 58. The ninth: resolution a) The ninth can resolve to the octave, the sixth, and the third, according to the different motions of the bass. Fenaroli, Della legatura di nona, §4; Insanguine p. 10; Paisiello (2) c.4v; Sala c. 5v. See Ex. 34a), b) and c). b) The ninth can resolve only to the octave. Cotumacci p. 65. c) In order to resolve the ninth to an octave, the bass must be stationary. Fenaroli, Della legatura di nona, §5; Cotumacci p. 65; Tritto (1) p. 18. d) In order to resolve the ninth to a third, the bass must leap down a third, or up a sixth. Fenaroli, Della legatura di nona, §6 (ex. P); Paisiello (2) c.4v; Sala c. 5v; Tritto (1) p. 18; Valente (2) p. 10 (Ex. 34c). e) In order to resolve the ninth to a sixth, the bass must leap up a third, or down a sixth Fenaroli, Della legatura di nona, §7 (ex. Q); (Ex. 34d). Tritto (1) p. 18. f ) The ninth can resolve on a fifth if the bass leaps down a fifth, or up a fourth. Sala c. 5v; Valente (2) p. 11 (Ex. 34e). 59. The ninth: accompanying consonances a) The ninth must always be accompanied by a tenth (or third). Fenaroli, Della legatura di nona, §4; Insanguine p. 10; Paisiello (1) p. 12; Sala c. 5v. b) A single ninth suspension may be accompanied with third and fifth. Fenaroli, Della legatura di nona, §4; Cotumacci p. 65 Tritto (1) p. 18. c) It is sometimes possible to accompany the ninth with fourth and five. Tritto (1) p. 18. d) A series of stepwise ninth suspensions may be accompanied by the fifth too, but only if the fifth moves to a sixth prior to the new suspension.Cotumacci p. 65. 60. The ninth: preparation from different consonances and bass motions involved a) Preparation from the third In order to prepare the ninth from the third, the bass moves upwards by step (such as, from the first to the second, or from third to the fourth, or from the seventh to the first of the tone). Fenaroli, Della legatura di nona, §2 (ex. N); Durante p. 12; Tritto (1) p. 18; Valente (2) p. 11. b) Preparation from the fifth In order to prepare the ninth from the fifth, the bass moves a fourth up, or a fifth downwards (i.e., from the first to the fourth, or from the fifth to the first of the tone). Fenaroli, Della legatura di nona, §3 (ex. O); Durante p. 12; Tritto (1) p. 18.

Ex. 34: ninth suspensions: preparations, resolutions, bass motions (Fenaroli, Valente) Suspensions in the bass: The second 61. Second and fourth a) When the bass is tied, or syncopated, a suspension occurs in the bass; the suspended note must resolve downwards by step, and is accompanied by a second and fourth in the upper voices; a sixth may or may not be added. Fenaroli, Delle legature del basso, §1–6; Cotumacci p. 20; Durante p. 10; Furno c. 10 v; Insanguine p.10; Istruzioni p. 56; Paisiello (1) p. 12; Paisiello (2) c. 3v; Sala c. 4v. b) The second and fourth are given without any preparation. Cotumacci p. 20; Furno c. 10 v; Istruzioni p. 56; Paisiello (1) p. 12.

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the art of partimento c) When ⑤ descends to ④ and then to ③, however, a second dissonance occurs as a passing tone: the dissonance is prepared by the octave and the fourth is augmented.24Paisiello (1) p. 12 (Ex. 35a). d) The second dissonance is prepared by the octave also when ⑧ moves to ⑦ and then to ⑥; in such a case, the fourth is perfect, and the chord on ⑥ will be 5/3. 25Paisiello (1) p. 13 (Ex. 35b).

Ex. 35: Second dissonance as passing tone (adapted from Paisiello) 62. The second: resolution and bass motions a) The suspended bass may proceed in two ways: it may resolve down a semitone, and return to the first note of the figure; or it may resolve down a semitone or a tone, and proceed further in the same direction. Fenaroli, Delle legature del basso, §1, 3 b) suspension with bass returning to the previous note If the suspended bass descends a semitone, and then comes back to the first tone, the suspension must be accompanied by a major second and a perfect fourth (quarta minore). On the second note of the bass, the second and the fourth in the accompaniment a) remains stationary and become a third and a diminished fifth (quinta falsa), or b) the second remains stationary and becomes a third, and the fourth resolves upwards to a sixth; c) the second note is given a 6/5 chord Fenaroli, Delle legature del basso, §1, 3 (ex. R) (Example 36a). c) suspension with bass descending a semitone or a tone, and proceeding further downwards. If the suspended bass does not return to the first tone of the figure, the suspension must be accompanied by a major second, and an augmented fourth (quarta maggiore). A major sixth may be added; the second remains stationary and becomes a thirth, the augmented fourth must resolve upwards to a sixth Fenaroli, Delle legature del basso, §3–4; ex. S]; Cotumacci p. 21; Furno c. 11r; Insanguine p.10; Istruzioni p. 57; Paisiello (2) c. 3v; Sala c. 4v; Tritto (1) p. 15; Valente (1) p. 2; Valente (2) p. 9; Valente (3) p. 40 (Example 36b). d) The second and fourth may resolve to an augmented fourth. Furno, c. 12 r.

Ex. 36: Bass motions with second suspensions (Fenaroli) 63. Suspensions in series a) In a series of suspensions in the bass, the key determines the quality of the fourths in the accompaniment, except for the penultimate note (the last suspension): if it descends by half tone, it will have a perfect fourth; if descends by a tone, it will have an augmented fourth, major second and major sixth. The note on which the augmented fourth resolves becomes the new tonic. Cotumacci p. 21; Istruzioni p. 57; Paisiello (1) p. 14; Paisiello (2) c.4r; Valente (2) p. 9; Valente (3) p. 40 (Ex. 37a). b) For the sake of melody (‘per modo cantabile’) all fourths may be augmented.Valente (1) p. 3; Valente (2) p. 10; examples in Fenaroli, ex. N. 5, A.e (2) (Ex. 34b). c) A sixth can be added to the fourth and second.Valente (3), p. 41. d) The 6/4/2 chord resolves to a 6/5/3 instead of to a 6/3 chord. Tritto (1) p. 16.

Ex. 37: second suspensions in series (Paisiello, Valente) 17

the art of partimento 64. Tonal effects of bass suspension a) with augmented fourth: A suspended bass note accompanied with augmented fourth becomes ④ of a new key; the note after the suspension becomes the third of the new key. Fenaroli, Delle legature del basso, §6] Insanguine p. 12; Istruzioni p. 58; Furno c.11v; Paisiello (1) p. 15; Paisiello (2) c. 4r. See Rule 92 (on scale mutations produced by the augmented fourth). b) with minor second: A suspended bass note accompanied with minor second becomes ⑤ of a (minor) key.Insanguine p. 12; Paisiello (1) p. 21; Paisiello (2) p. 21. See Rule 93 (on scale mutations produced by minor and major seconds). c) with augmented second and augmented fourth A suspended bass note accompanied with augmented fourth and augmented second becomes ⑥ of a new key. Furno c. 12r; Insanguine p. 12; Paisiello (2) c. 5r. 65. Quality of the sixth The quality of the sixth follows the mode of the key. In the minor mode, however, if the fourth is augmented, the sixth must be major, because it becomes the second of the new key. Istruzioni p. 57; Insanguine p.10.

Class IV: Bass motions 66. Ascending 5–6 a) The first note of the bass is accompanied by a third and a fifth that moves to a sixth; on the following note of the bass the sixth becomes fifth again, and the pattern repeats itself until the end of the scalar motion. Every note of the bass is accompanied by thirds (or tenths). In major, the pattern may cover the entire octave; in minor, it stops on ⑤. Fenaroli, De’ movimenti del partimento, §2–3 (ex. T; ex.15); Cotumacci p. 43; Durante p. 9; Furno c.9; Insanguine p. 4; Istruzioni pp. 54–55; Paisiello (1) p. 6; Paisiello (2) c. 1v; Pasquini p. 3; Sala c. 6v; Tritto (1) p. 12; Tritto (2) p. 3; Valente (3), p. 5, p. 24, p. 43 (Ex. 35a, b). Variants: b) alternating 5–6 and triads The bass line is subdivided into two notes segments: ① - ②; ② - ③; ③ - ④ ando so on. The first note of each segment has 5–6, the second 5. Pasquini p. 3 (Ex. 35c). c) chromatic All chromatic ascending motion are based on the alternation of fifth and sixth. For other possibilities of chromatic ascending motion see Rules 73–76. c) with bass leaping down a third When the bass leaps down a third after a slur the chord on the tied note is 6/5, and not 4/2. Durante p. 10.

Ex. 38: ascending 5–6 (Fenaroli, a, b; Pasquini, c; Durante, d) 67. Ascending 8⌒7–6 The first note of the bass is accompanied by a third and an octave; on the subsequent note of the bass the octave becomes a seventh, resolves on the sixth, then leaps a third up to the octave of the bass; the 18

the art of partimento pattern repeats itself until the end of the scalar motion. Every note of the bass is accompanied by thirds (or tenths). In major, the scheme may continue for the whole octave; in minor, it must stop on ⑤. Fenaroli, De’ movimenti del partimento, §4 (ex. T, 2; ex. 15, 3) Valente (1) p. 4; Valente (3) p. 6; p. 25; p. 44.

Ex. 39: ascending 8⌒7–6, major (a) and minor (b) (Fenaroli) 68. Ascending 10⌒9–8 a) The first bass note is accompanied by a third and a tenth; on the next bass note the tenth becomes a ninth, resolves on the octave, then moves a third up to the tenth; the pattern repeats itself until the end of the scalar motion. The bass motion is accompanied by parallel thirds (or tenths), in a three voice texture. In both major and minor versions this scheme cannot proceed beyond ⑤ Fenaroli, De’ movimenti del partimento, §5–6 (ex. X) (Ex.40a,b). Variants: b) with 3–5 in the middle voice. Valente (3), p. 4; p. 26; p. 44 (Example 40c). c) the alto voice accompanies the 10–9-8 in the upper voice with by thirds, resulting in a 8–7-6 parallel motion.Tritto (1) p. 12; Tritto (2) p. 3; Valente (3) p. 7; p. 20; p. 45 (Example 40d). d) the two upper voices move in contrary motion with the bass, thus exchanging the 9–8 suspensions. Valente (3), p. 17; p. 27 (Example 40e). e) with 5–6 in the middle voice. Fenaroli ex. 15; Cotumacci p. 65; Valente (3), p. 45 (Example 40f).

Ex. 40: Ascending 10⌒9–8 69. Descending 5–6 a) The first note of the two-note pattern has a third and fifth, the second a third and sixth. The scheme alternates fifths and sixths until ③ is attained. Fenaroli, Del partimento che scende di grado, §2–3 (ex. 4; ex. 16); Valente (3) p. 47; p. 55. Note. An early version of this scheme is found in Pasquini, and is called “Regola per caminar di grado”.26 Variants: b) with inserted sixth, augmented fourth and second The first note of each segment has two chords:5/3 and 5/#4/2 that resolves to 6/3 above the following bass note Fenaroli, Del partimento che scende di grado, §4–5 (ex. 4, A.c); Tritto (2) p. 3; Valente (3), p. 56.

Ex. 41: Descending 5–6 (Fenaroli) 70. Descending 6–6 a) The first bass note is considered scale degree 1, and is accompanied with 5/3; all following bass notes have 6/3. The quality of the sixths is determined by the key, except for the next- to last sixth that 19

the art of partimento must be major; the last sixth acts as a leading tone and resolves upwards to the octave of the bass. Fenaroli, Del partimento che scende di grado, §6 (ex. 4 A.c (2); ex. 16): Ex. 42a. Variants: b) The 5–6 pattern is anticipated on the first bass note, which lasts twice the duration of the following  notes (the extra beat is often realized as an octave leap). Valente (3) p. 29; p. 42; p. 54 (Ex. 42b). c) The tenor moves in parallel sixths with the bass, and the upper voices move in parallel thirds: as a result, on each bass note a five-six and a second chord alternate.Tritto (1) p. 13 (Ex. 42c)

Ex. 42: Descending 6–6 (Fenaroli) 71. Descending 7–6 a) On the first bass note the fifth moves to the sixth; on the next note the sixth becomes a seventh and resolves to a sixth; the 7–6 pattern is repeated on every note of the bass until the seventh resolves on the major sixth on the next-to last note (see Rule 73); the third voice moves in parallel thirds with the bass Fenaroli, Del partimento che scende di grado, §7 (ex. A.d; ex. 16). Cotumacci p. 53; Durante p. 9, p. 16; Furno p. 9; Insanguine p. 4; Istruzioni p. 55; Paisiello (1) p. 6; Sala c. 6v; Tritto (1) p. 12; Tritto (2) p. 3; Valente (1) p. 7; Valente (3) p. 30; p. 52; p. 42 (Ex. 43a). b) The last sixth will be major if the bass descends one whole step, and minor if the bass descends one half step; the upper voice of this minor sixth will be the fifth of the key.Cotumacci p. 53. Variants: c) with four voices: each bass note (except the first) supports three chords: seven-five, six-three, and second. Tritto (1) p. 13, Scala II (Ex. 43b). d) with four voices: on the first bar the fifth change to sixth; on each of the remaining bass notes (except the last two) the soprano has a 7–6 suspension; the alto accompanies the bass in tenth, but in the last beat anticipates the next note; the tenor accompanies the bass in sixth, and leaps on the fourth in the last beat. Tritto (1) p. 13, Scala III (Ex. 43c).

Ex. 43: Descending 7–6 72. Syncopated bass A chord of the sixth, fourth and second takes place on the second half of each bass note resolving on the first half of the next note with a six-three chord. The quality of the fourth may be perfect or augmented, according to the wish of the composer. The pattern ends on ③; the last chord of the sixth, fourth and second on ④ must have augmented fourth. Fenaroli, Del partimento che scende legato, §1, ex. 5, A.e] Cotumacci p. 21; Durante p. 10; Furno c. 11 r; Insanguine p. 12; Paisiello (1) p. 14; Paisiello (2) c. 4r; Sala c. 7r; Tritto (1) p. 16; Valente (2) p. 9; Valente (3) p. 41. (see Ex. 34). Chromatic motions

Ascending 73. Possibilities of ascending chromatic motion A chromatic ascent in the bass may take place only in two ways: in major, from ③ to ⑥; in minor, from ⑤ to ⑧. Fenaroli, Del partimento che sale di semitono, §1–3] 20

the art of partimento 74. From ③ to ⑥ in major a) ③ is considered to be a leading tone and therefore is accompanied with the sixth and third; the next note ④ is considered as a tonic and receives the fifth and third; the model is repeated until ⑥ is attained Fenaroli, Del partimento in terza maggiore che sale semitonando, e comincia detta salita dalla terza del tono, §1; ex. 2, Y (1, 2)]; Valente (3) p. 22 (Ex. 44a). Variants: b) The same as above, with the addition of a diminished fifth (quinta falsa) to the six-three chord Fenaroli, Del partimento in terza maggiore che sale semitonando, e comincia detta salita dalla terza del tono, §1; ex. 2, Y (3, 4)] Valente (3) p. 23 (Ex. 44b). c) The same as above (variant a); the tenth on ③ is suspended to a ninth on ④, and resolves on the octave in the second beat of ④ Fenaroli, Del partimento in terza maggiore che sale semitonando, e comincia detta salita dalla terza del tono, §3, ex.n. 2, Z] (Ex. 44c). d) The same as (version a); the diminished fifth on ③ is suspended, becames a fourth on ④, and resolves on the third in the second beat of ④ Fenaroli, Del partimento in terza maggiore che sale semitonando, e comincia detta salita dalla terza del tono, §2, not shown in the examples]

Ex. 44: Chromatic ascent from ③ to ⑥ in major 75. From ⑤ to ⑧ in minor a) The accompaniment alternates the chord of sixth and third on the diatonic, and the chord of sixth, fifth and third (with diminished fifth) on the chromatic notes. Fenaroli, ex. 3, A.b. 1 (Ex. 45a). Variants: b) ⑤ has octave, fifth and major third; the octave is tied on b⑥ and becomes a seventh resolving to a sixth on natural ⑥; the third on ⑥ is tied to a ninth on natural ⑦, resolving on the same bass note; finally, the leading tone is accompanied with sixth and diminished fifth, concluding on ⑧ with third and fifth. Fenaroli, Del partimento in terza maggiore che sale semitonando, e comincia detta salita dalla terza del tono, §4–5; ex. 3, A.b. 2 (Ex. 45b). c) ⑤ has octave, fifth and major third; b⑥ has sixth and third; natural ⑥ has sixth and diminished fifth; the diminished fifth is tied to a fourth on natural ⑦, resolving on the same bass note; finally, the leading tone is accompanied with sixth and diminished fifth; the diminished fifth becomes a fourth on ⑧ and resolves on the same bass note with major third. Fenaroli, Del partimento in terza maggiore che sale semitonando, e comincia detta salita dalla terza del tono, §6; ex. 3, A.b. 3 (Ex. 45c).

Ex. 45: Chromatic ascent from ⑤ to ⑧ in minor 76. From ① to ⑧ (complete octave ascent) The bass ascends chromatically from 1 to 6, then proceeds diatonically up to 8; the accompaniment is a chromatic variant of the 5–6 motion, with the suspension in the fourth, and requires five chords to complete each figure. Fenaroli, ex. 2, A.a (Ex. 46a) Variants: three chromatic ascents by Saverio Valente (3) p. 50 (Ex. 46b-d). 21

the art of partimento

Ex. 46: complete chromatic ascent Descending 77. From ⑧ to ⑤ a) Of the two voices of the accompaniment, one moves in quarters and the other in half notes. On scale degree 8 (two beats) the faster voice moves from the fifth to the sixth, then from the seventh to the sixth on the chromatic bass. The 7–6 is repeated and ends on an augmented sixth on b ⑥ that resolves on the major triad on ⑤. The slower voice moves diatonically in parallel thirds (or tenths) with the bass. Two positions are possible. Fenaroli, Del partimento che scende legato, §7–10, ex. 7 A.h. 1. Valente (3) p. 2 (Ex. 47a) b) Of the two voices of the accompaniment, one moves in quarters and the other in half notes. The faster voice moves chromatically in contrary motion with the bass: from a minor third (tenth) on #➆ to an augmented sixth on b ⑥ that resolves on the major triad on ⑤; the slower voice completes the chords. Fenaroli, §11, ex. A.i)] Valente (3) p. 22 (Ex. 47b). c) Diatonic and the chromatic bass tones are accompanied by the sixth and third.Valente (3), p. 2. (Ex. 47c).

Ex. 47: descending chromatic motion from ⑧ to ⑤ 78. From ⑧ to ① (complete octave descent) a) All degrees, both diatonic and chromatic, are accompanied with sixth and third; the last sixth is major (Ex. 48a) b) The second bass note of each bar is a chromatic anticipation of the first diatonic note of the following bar; the 7–6 patterns is thus metrically reversed, from strong-weak to weak-strong; besides, in order to keep the motion steady ⑤ is repeated. (Ex. 48b) c) A further elaboration of the previous pattern, without repetitions; it does not stop at the tonic, but may proceed indefinitely.Valente (3), p. 49. (Ex. 48c)

Ex. 48: complete octave descent Sequential bass motions By seconds 79. Rising by seconds and falling by thirds. The following accompaniments are possible: With three voices a) alternating six-three chords and triads The sixth and third accompanies the first; the fifth and third the second note of the model. Fenaroli, ex. n.n p. 5, Book 3. (Ex. 49a). b) alternating seventh chords and triads

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the art of partimento The seventh and fifth accompanies the first; the fifth and third the second note of the model (the seventh is prepared by the fifth of the triad before the beginning of the sequence).Valente (3) p. 28 (Ex. 49b). c) alternating triads and ninth suspensions The fifth and third accompanies the first note; the ninth suspension with third (or tenth) the second. Fenaroli, ex. n.n p. 6, Book 3] Furno c. 8v; Valente (3) p.12 (Ex. 49c). d) alternating six-three chords and ninth suspensions The sixth and third accompanies the first note; the ninth suspension with third (or tenth) the second. Fenaroli, ex. n.n p. 6, Book 3] (Ex. 49d). with four voices: e) alternating 6/5/3 chords and triads The sixth, diminished fifth and third accompanies the first; the fifth and third the second note. Fenaroli, ex. n.n p. 5, Book 3]; Paisiello (1), p. 16 (Ex. 49e). f) alternating ninths and seventh chords The ninth, fifth and third accompanies the second note (the ninth prepared by the tenth and resolved on tenth); the seventh, fifth and third (the seventh prepared by the fifth and resolved on fifth) accompanies the following note (the first note of the sequence has sixth and three). Fenaroli, ex. n.n p. 5, Book 3 (Ex. 49f). g) alternating 6/5 and ninth chords The sixth and fifth accompanies the first; the ninth, fifth and third the second note. Istruzioni p. 54; Paisiello (1) p. 17 (Example 49g). Note. In variant g) the parallel fifths between alto and tenor are unavoidable.

Ex. 49: rising by second and falling by third 80. Rising by thirds and falling by step The following accompaniments are possible: a) The bass line follows a binary metrical basis; the accented degrees delineate a stepwise ascent 1–5 followed by an authentic cadence on 1. The accented bass notes follow the Rule of the Octave (except for ④ that has the chord of the “base fondamentale “). The ‘weak’ notes are treated as inversions of the RO chords (with a “passata della quinta falsa” on the inversion of ③ Fenaroli, Del partimento, che sale di terza e scende di grado, §1–2; ex. 3, A.l; ex. 17; Insanguine p. 14; Paisiello (2) c. 1v; Sala c. 2v (Ex. 50a). b) All accented bass notes (except ① and cadential ⑤) have a perfect fifth and a 4–3 suspension. All “weak” bass notes have sixth; the sixth on ③ (moving down to ②) and ⑥ (moving down to ⑤) ascends chromatically to the octave on the next bass note; on all other instances (④ - ③ and ⑤ ④) the accompaniment is a chord of the sixth and third (with minor sixth) lasting two-beats. Fenaroli, Del partimento, che sale di terza e scende di grado, §3–4: ex. 8, A.m. (Ex. 50b). c) The bass line follows a binary metrical basis. All “weak” bass notes have the sixth and third; the sixth is tied to a seventh on the next, accented bass note, and resolves on a sixth on the second beat. Fenaroli, Del partimento, che sale di terza e scende di grado, §5–6, ex. 8 A.n; ex. 17 (in minor). Insanguine, p. 14 (Example 50c).

Ex. 50: rising by thirds and falling by step 23

the art of partimento 81. Falling by thirds and rising by step The following accompaniments are possible: a) alternating triads and six-three chords The first note of this model is considered as ① (prima di tono) and gets the fifth and third; the second is considered as ⑥ (sesta di tono) and gets the sixth and third. Fenaroli, Del partimento che scende di terza, e sale di grado §1–2; ex. 9; other ex. n.n, p. 5; ex. 18]; Sala c. 6r (Ex. 51a) b) alternating triads and six-five chords The first note of this model is considered as ① and gets a fifth and third; the second is considered as ⑦ and gets a sixth, fifth, and third. Fenaroli, Del partimento che scende di terza, e sale di grado §3; ex. 9, A.o]; Furno c. 8v; Insanguine p. 15; Istruzioni p. 54; Paisiello (1), p. 16; Tritto (1), pp. 15–16; Valente (3) p. 21; p. 38. (Ex. 51b) c) with added seventh The octave on the bass of the second chord of the model prepares a seventh on the following chord: the patterns thus alternates six-five and seventh chords Fenaroli, ex.18 (ii)]; Tritto (1) p. 17; Valente (3) p. 28; p. 38 (Ex. 51c). d) With suspended seventh and passing fifth The fifth on the first bass note prepares a seventh on the second bass note; the seventh resolves to a sixth and moves to the third of the first note of the following model through a passing fifth Fenaroli, ex. 18 (iii)] (Ex. 51d). e) alternating 6–5 and 9–8 The second note of each model presents a 6–5 motion; the first (except in the beginning) presents a ninth prepared by the third and resolved to an octave Fenaroli, ex. 18 (iv)] (Example 51e). f) alternating 6/5 and 9/5/3 chords The third of 6/5/3 prepares the ninth on the following bass, and resolves on a third on the next bass. Paisiello (1) p. 17 (Example 51f). g) alternating 9–8 and 7–6 suspensions. The first bass note, as ① (prima di tono), is accompanied with fifth and third; the fifth prepares the 7–6 suspension in the second bass note. The third above the second bass note, in turn, prepares the 9–8 suspension above the next bass note. Fenaroli, Del partimento che scende di terza, e sale di grado §4; ex. 9, A.p] (Example 51g).

Ex. 51: falling by third and rising by step 82. Rising by fourth and falling by third This scheme represents an essential motion because the notes of the model are the first and the fourth of the key. The following schemes cannot proceed beyond ⑥. Fenaroli, Del partimento che sale di quarta e scende di terza, §5. a) with triads The two bass note of the model should be considered as first and fourth of the key, and are accompanied by triads; three occurrences of this model are possible, until the sixth of the tone is attained. The model can also be considered as composed by fifth and first of the key Fenaroli, Del partimento che sale di quarta e scende di terza, §1, 5; ex. 10, A.q.] Insanguine p. 14; Paisiello (1) p. 18; Paisiello (2) c. 1v; Sala c. 2v; Tritto (1) pp. 14–15; Valente (3) p.11, p. 33. (Ex. 52a) b) with 9–8 suspensions The same as above, but the fifth on the first bass note of the model prepares the suspension of the ninth on the second bass note; the ninth resolves on the octave on the same note. Fenaroli, Del partimento che sale di quarta e scende di terza, §2; ex. 10, A.r.; ex. 19 (Ex. 52b) 24

the art of partimento In a variant proposed by Paisiello the ninth resolves on the third on the next note (Paisiello 1, c. 7v). c) with 4–3 prepared by the seventh. The same as (a), but: 1) the fifth above the first bass note moves by skip to the seventh; 2) the seventh is tied to a suspended fourth on the second bass note, that resolves to a third in the fourth beat; 3) the third above the first bass note of the model is major. This pattern applies to major keys only. Fenaroli, Del partimento che sale di quarta e scende di terza, § 3–4; ex. 10, A.s.) Insanguine p. 14. (Ex. 52c). d) with chromatic fifth The same as (a), but: 1) the octave above the first note of the model descends to a minor seventh; 2) on the second note ot the model, the fifth ascends chromatically to an augmented fifth and moves to the octave of the next note of the bass.27 Paisiello (1) p. 19 (Ex. 52d) Note. Paisiello does not offer any example for this scheme. Ex. 52d is entirely by the present author.

Ex. 52: rising by fourth and falling by thirds 83. Rising by fourth and falling by fifth This bass motion represents an essential motion because the notes of the model are the first and the fourth of the key. Fenaroli, Del partimento, che sale di quarta, e scende di quinta, §4. a) with triads only All bass notes are accompanied by triads. Fenaroli, Del partimento, che sale di quarta, e scende di quinta, §1; ex. 13; ex. 20; Insanguine p. 15; Sala c. 7r (Ex. 53a). alla quinta e risoluta alla sesta”) b) with seventh suspensions In three voices: in each upper voice alternate a seventh and a tenth [Del partimento, che sale di quarta, e scende di quinta, § 3; ex. A.v.]; Cotumacci p. 53; Furno p. 10; Insanguine p. 9; Istruzioni p. 55; Paisiello (1) p. 19; Sala c. 4r; Scarlatti c.2r; Tritto (1) p. 17; Valente (3) p. 15, p. 36; p. 37 (Ex. 53b). c) the same as above, with a a descending third progression embellishing all sevenths.Valente (3), p. 15 and 37 (Ex. 53c). d) with 9–8 suspension The fifth on each chord becomes a ninth in the next chord, and resolves to an octave on the same bass note. Fenaroli, Del partimento, che sale di quarta, e scende di quinta, §2; ex. 14 A.x. (Ex. 53d). e) The same as above, but the ninth suspension is decorated by a descending third progression before resolving to 8. Valente (3) p. 37 (Ex. 53e). f  ) The ninth resolves on the new bass note, producing an alternation of ninth and seventh chords . Valente (3) p.13.

Ex. 53: rising by fourth and falling by fifth 84. Falling by fourth and rising by step This bass motion represents an essential motion because the notes of the model are the first and the fifth of the key. Fenaroli, Del partimento, che scende di quarta, e sale di grado, §3] 25

the art of partimento a) with triads All notes of the model are accompanied with triads Fenaroli, Del partimento, che scende di quarta, e sale di grado, §1; ex. 11, a’a; ex. 20] Insanguine p. 15; Sala c. 3r (Ex. 54a). b) alternating 9–8 and 4–3 in the same voice The same as above; but the octave on the first note of the model becomes a fourth that resolves to a third on the second beat of this bass note; in turn, the third becomes a ninth on the first bass note of the subsequent occurrence of the model, and resolves on the octave on the second beat. All suspension will appear in a single voice Fenaroli, Del partimento, che scende di quarta, e sale di grado,§2; ex. 11, A.t.; ex. 20]; Valente (3), p. 16 (Ex. 54b). c) with simultaneous 9–8 and 4–3 9–8 and 4–3 suspension occour simultaneously in two voices. Valente (3) p.14 (Ex. 54c). d) alternating 5/4 and 6/4 chords The first bar is accompanied with triads only; the third of the second triad becomes a fourth and resolves in the second beat of the next bass note; the third and octave on this bass note become a 6/4 chord on the fourth bass note, and resolves in the second beat; the pattern repeats itself until ① is reached; a cadence follows.Insanguine, p. 15 Altro modo (Ex. 54d).

Ex. 54: falling by fourth and rising by step 85. Rising by fifth and falling by fourth This bass motion represents an essential motion because the notes of the model are the first and the fourth of the key. This motion is possible in major mode only, and it must stop on the third of the key. Fenaroli, Del partimento, che sale di quinta. e scende di quarta, §3] a) with triads All bass notes are accompanied by triads (the last triad has perfect fifth and major third) Fenaroli, Del partimento, che sale di quinta. e scende di quarta, §1; ex. 12] Insanguine p. 14; Paisiello (2) c. 1v; Sala c. 2v (Ex. 55a). b) alternating 4–3 suspensions The two upper voices produce alternatively a chain of 8⌒4–3 suspensions; the last suspension must resolve on a major third. Fenaroli, Del partimento, che sale di quinta, e scende di quarta,§2; ex. 12, A.u.]28 Istruzioni p. 56 (Ex. 55b). c) with inserted 6/4/2 A chord of the sixth, augmented fourth and second is inserted between the triads (only in the first occurrence the chord has third instead of second). Insanguine p. 14. (Ex. 55c).

Ex. 55: rising by fifth and falling by fourth 86. Rising by sixth and falling by fifth The following accompaniments are possible: (a) with triads only All bass notes involved in this scheme are accompanied with triads. Fenaroli, Del partimento, che sale di sesta, e scende di quinta, §1–2; ex. A.z.; ex. 21; Paisiello (2) c. 1v; Sala c. 2v (Ex. 56a). (b) alternating triads and sixth chords

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the art of partimento The first bass note represents the fifth of the key, and is accompanied with the fifth and major third; the second bass note is the third of the key, and is accompanied with the sixth and third Fenaroli, Del partimento, che sale di sesta, e scende di quinta, §3; ex. B.a. (Ex. 56b). (c) with seventh suspensions The same as the above, but the voice keeping the fifth on the bass performs a chain of 5⌒ 7–6 suspensions. Fenaroli, Del partimento, che sale di sesta, e scende di quinta, §4; ex. B.b. (Ex. 56c).

Ex. 56: rising by sixth and falling by fifth 87. Rising by seventh and falling by octave The rising seventh motion is filled-in with passing notes, the falling motion is by leap; the first note is accompanied by a triad that is sustained throughout the model. Insanguine p. 14; Paisiello (2) c. 1v; Sala c. 3r.

Ex. 57: rising by seventh and falling by octave (Insanguine) Non-sequential disjunct bass motions 88. Bass falling by thirds a) When a bass descends by thirds each note is accompanied by the fifth and third. Tritto (1) p. 15; Sala c. 2v (Ex. 58a) b) On the last note of the falling series, preferably if raised, “another new chord of third, fifth, sixth and seventh” may be given: “but we should warn that the sixth be under the other voices, as the following figures show”: in other words, there is a ninth suspension between the tenor and the soprano (Example 58b).29 Tritto (1) p. 17 (Ex. 58b).

Ex. 58: bass falling by thirds (Tritto)

Class V: Scale mutations 89. Classification of scale mutations. There are four types of scale mutation: two ascending and two descending. When the bass moves a semitone up, the two notes a minor second apart become ⑦ and ① of the new key. When the bass moves a whole tone up, the two notes a major second apart become ④ and ⑤ of the new key. When the bass moves a semitone down, the two notes a minor second apart become ⑥ and ⑤ of the new key. When the bass moves a whole tone down, the two notes a major second apart become ② and ① of the new key. Furno c.7v; Istruzioni p. 53; Sala c. 6v (with exclusion of the bass moving a whole tone up) 90. Ascending semitone All ascending chromatic alterations end on the first of the key.Cotumacci p. 7; Paisiello (2) c.5r.

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the art of partimento 91. Intervals producing scale mutations The following accompaniments produce scale mutations: minor second, major second, minor third, major third, augmented fourth, major sixth, minor seventh. Insanguine, p. 13. 92. Augmented fourth The interval of the augmented fourth makes the scale change: when given to a first, or to any other degree of a scale, the augmented fourth makes this change immediately into a fourth of a new scale; the major sixth added to the fourth becomes the second of the new scale. Augmented fourths and major sixths are independent from the mode. Furno 11v; Paisiello (1) p. 15; Valente (2), 9. 93. Minor and major second a) A bass note to which is given the accompaniment of a minor second becomes the fifth of a new [minor] scale. Paisiello (1) p. 21; Insanguine p. 12. a) A bass note to which is given the accompaniment of a major second becomes the fourth of a new scale.30 Paisiello (2) c. 5r. Since major second is always added to the augmented fourth, this rule is complementary to Rule 92.

Ex. 59: scale mutation using minor second (Paisiello). 94. Major sixth and minor third A bass tone to which is given the accompaniment of a major sixth becomes the second of a new scale, and descends on the first of this scale. The major sixth comes together with minor third, and perfect fourth. Cotumacci p. 7; Insanguine p. 9. 95. Sixth and fifth “When the sixth of the key rises to the seventh of the key, i.e. ends on the said seventh, requires fifth, and sixth; and you will give minor sixth to the sixth of the key rising by half tone. You will give [the sixth] major when rising by tone; the seventh of the key requires third and fifth”. 31 Cotumacci p. 8. 96. Modal anticipation The quality of degrees characteristic of the mode of the new key must be anticipated during the scale mutation. These degrees are the third and the sixth of the new key. Cotumacci p. 8; Istruzioni p. 53. 97. Anticipation of the sixth in a minor scale mutation “When we find a succession of two fourth and second [chords], and afterwards we enter in a minor key, then the first second will be minor, because it becomes the sixth of the key; moreover, the fourth and second [chord] may resolve to another augmented fourth”32Furno c. 12r; Istruzioni p. 58.

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notes   1. In the original, the paragraphs are not numbered, but are organized in chapters; in order to fine them more easlily, I have numbered the paragraphs according to the chapters. Thus, for example, [Assiomi musicali, §3] means the third paragraph of the chapter titled Assiomi musicali.   2. The date of the Canti edition is unknown (probably mid-nineteenth century): the plate numbers are 10104 (Regole) and 3103 (regole and parimenti).   3. Unfortunately, the foliation of this edition is erroneous: the correct order of the leaves is: c. 1r/v; c. 3r/v; c. 2r/v; c. 4r/v.   4. “Tutta la musica altro non è se non un accordo di prima, terza, e quinta.”   5. “Primo. Sono regole universali nel sonare il cembalo, ed accompagnare chi canta il toccare la prima nota del basso continuo con consonanza perfetta, la quale è di 3a, e 5a con la mano destra, e cossi si deve toccare la nota ultima finale, riserbate però l’occassioni dell’idee del compositore, il q[ua]le volendo uscire con artificio da questa regola nel principio, cioè di cominciare con consonanza, ch’è chi intenda, che sia trovata a seconda della sua compositione.” Scarlatti, Lezzioni, c. 1v.   6. “...la terza maggiore della quinta del tono viene ad essere la settima maggiore del tono principale, e senza questa settima non si può andare in nessun tono, e per questo la quinta del tono si chiama il sostegno del primo tono.” Fenaroli, §1   7. “La musica è composta di consonanze, e dissonanze.”   8. In the printed version as well as in the alleged autograph (I-Nc rari 3–4-17 1–2 bis) of Paisiello (1) the terms obliquo and retto are interchanged. This error has been corrected in the manuscript copy in the Bologna conservatory library (I-Bc II 73).   9. “Il moto retto è quando le due mani sagliano, e calano insieme, e questo si deve evitare per non fare due 5.e, o due 8.e che queste sono proibite.” Insanguine, p. 3. “Il moto retto è quando le due mani salgono, o scendono unite. E questo lo dobbiamo fuggire, per non incontrare in due quinte, o due ottave.” Paisiello (2), c. 2r. 10. “Bisogna però sapere, che del moto obliquo se ne fà uso solamente per l’unisono, e non bisogna farne uso per altra cagione, perchè si potrebbe cascare per fare due quinte, ò due ottave, e questo sarebbe errore, perchè fanno un cattivissimo effetto.” Paisiello (1), p. 7. Here “oblique” is clearly a slip of pen for “retto.” 11. “Si deve haver riguardo di portar le mani sempre con moto contrario.” Pasquini, p. 1. 12. “La terza maggiore deve andare alla sesta o pure all’ottava.” 13. “L’ultima nota the termina, oltre della settima, si pone terza maggiore, e quinta; ed ancora in tutti quei tuoni, che vi è settima, e terza maggiore, sempre vi si pone quinta: di più, in tutti quei tuoni, che ritrovi in posizione, e vorrai calare di quinta, ò salire di quarta, nella medesima nota passerai la settima minore.” Cotumacci, p. 53. 14. “Quando si farà la sesta magiore, che sarà ogni volta che scende di grado, devesi avvertire di far sì, che la 6: debba salire, cioè vada all’ottava della nota susseguente; e per contrario la sesta minore si fà andare alla 5:” (regola 6) Pasquini p. 2; “Quando le note scendono di grado, e sono ò due ò più note alla penultima di descendenza si dà 6: magiore.” Pasquini, p. 12. 15. “Tutte quelle note che calano di grado, e terminano, vonno sesta maggiore... Di più à questi toni à quali se li dà la 6.a maggiore, se sbalzassero di quarta salendo, ò di quinta calando, li detti toni vonno 3.a Maggiore, quinta, ed ottava.” Cotumacci, pp. 8–9. 16. When the source gives the examples in all three position only the first is given here. 17. “Quando si trovano tre note che ascendono di grado e l’ultima salta di 5. in giù ò 4. in sù si farà alla prima 6. alla 2., 5., e 6. alla 3. nota, 4. e 3., e con la 4. ci si intende la 5. come in esempio

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18. 19.

20. 21.

22.

23. 24.

25.

26. 27. 28. 29.

30. 31.

32.

30

[example follows]. Alla nota sotto cadenza si dà sempre 5. e 6. assieme, et all’ultima si procuri di fare la 4; e poi la 3.” “Tutti gli sbalzi di quarta, o quinta, tanto in ascendere quanto in discendere vogliono la quinta.” “Quando le note saltano di 5.a in sù o di 4.a in giù faria bel sentire se alla nota, che salta doppo la sua nota [?] ordinaria, si faccia 4.a, e 6.a magiore” (Pasquini p. 11); “La quarta del tono quando non sale alla quinta, invece della 3.a e 5.a che se gli dà, può avere ancora, per eccezione, la 2.a e #4.a mag.re, e 6.a” Valente (3), p. 47. “Quando si troveranno quattro note, che scendono di grado alla seconda vi si farà la 6., alla terza nota 76, et all’ultima terza magiore.” Pasquini, p. 4. “La prima del tono è giusta; la seconda è maggiore; la terza è arbitraria; la quarta è minore; la quinta è giusta; la sesta deve corrispondere alla terza, e la settima è sempre maggiore, essendo il sostegno del tono.” “E’ necessario che io v’avverta, che in simili movimenti del Basso, non si deve dar mai sesta maggiore alla seconda del tuono, che sale di quarta o di quinta o cala di terza, che ciò sarebbe errore; mentre si anticiperebbe quell’accordo, che non si deve anticipare e mancherebbe nelle proporzioni.” Tritto (1), pp. 13–14. “Partimento che ascende di grado più disteso con lo stesso accompagnamento.” Valente (3), p. 19. “Bisogna però sapere che alle volte detta seconda vien preparata dall’ottava allora quando la quinta del tono passa alla quarta e poi alla terza del tono, ma la quarta che va unita con detta seconda dev’esser maggiore.” “Accada ancora che detta seconda venga preparata dall’ottava quando la prima del tono cala alla settima e alla sesta del tono, ma la quarta che và unita con detta seconda dev’esser minore, e la sesta del tono si accompagna con terza, e quinta.” “Quando le note scendono di grado vi si fà alla prima la 5., e poi la 6. magiore non essendovi segnato altro come per esempio [example follows].” Pasquini, p. 2. “ Di più, al sud[det]to esempio alla Nota che sale di quarta si puol dare in ultimo l’accordo di b7. e alla Nota che cala di terza si puol dare l’accordo in’ultimo di #5 che sarebbe quinta superflua.” In the Canti edition (reprinted by Forni) the figure A.u contains an error in the first bar: an F instead of a D in the inner voice. “Altro nuovo accordo di terza, quinta, sesta, e settima; ma bisogna avvertire, che questo si permette quando la sesta resta sutto all’altre parti come dinota la seguente numerazione.” Tritto (1) p. 17. Paisiello writes that ”Quando il partimento ha la 2a minore, allora detto partimento è 5a di tono, e quando ha la 2a maggiore, è 6a di tono.” Here ‘6a’ it is clearly a mistake for ‘4a’. “Quando la sesta di tono sale à settima di tono, cioè che termina a detta settima, vuole quinta, e sesta; però ponerai la sesta minore, nella sesta di tono quando sale di mezzo tono. La ponerai maggiore quando sale di tono; la settima di tono vuole terza, e quinta.” Quando si trovano due passi di seconda, e quarta, e poi si entra in terza minore; la prima seconda si fa minore, perchè diventa sesta di Tono. E finalmente la seconda, e quarta, si può risolvere ad un altra quarta maggiore”. Istruzioni , p. 58. “Dippiù quando si trovano 2 passi di 2°, e 4°, e poi si entra in 3° minore, allora la prima 2° si fa minore perchè diventa 6° di tono.” Furno, p. 12.