“Our World of Music” November 3, 2018

Sol-Fa-Mi Pattern Joseph Haydn Sonata C Major mvt. 1 mm. 26-28

Joseph Haydn Sonata A Major mvt. 1 mm. 49-52

Joseph Haydn Sonata G Major mvt. 1 mm. 8-13

Do-Re-Mi Pattern

Chipman �1

Partimento Defined

(Italian: partimento, plural partimenti)

“. . . a sketch, written on a single staff, whose main purpose is to be a guide for improvisation of a composition at the keyboard.”

“. . . an instructional bass line with either figured bass or unfigured bass. Partimenti were used mainly in the 18th and 19th centuries as pedagogical aids for the teaching of harmony, counterpoint and improvisation.”

Sol-Fa-Mi

Melodic descent (sol-fa “major second”) answered by a subsequent descent (fa-mi “minor second” or in minor re-do “major second”)

An ascending bass 1 to 2 answered by a 7 to 1 or 5 to 1. Sequence of four sonorities—usually 5/3, 5/3, 6/5/3, and 5/3, where the second sonority is often minor or diminished

The first pair sounds less final and more open compared to the more final and more closed conclusion of the second pair

COMBATING PERFORMANCE ANXIETY WITH IMPROVISATION: BUILDING A SOLID MEMORY USING EIGHTEENTH-CENTURY TECHNIQUES

Presenter Katherine Chipman

“Our World of Music” November 3, 2018

Do-Re-Mi Pattern Joseph Haydn Sonata G Major mvt. 1 mm. 3-4

Joseph Haydn Sonata C Major mvt. 1 mm. 9-12

Joseph Haydn Sonata C Major mvt. 1 mm. 47-50

Prinner Pattern

W.A. Mozart Sonata C Major mvt. 1 mm. 5-9

Joseph Haydn Sonata B-flat Major mvt. 1 mm. 8-10

Fenaroli Pattern

Chipman �2

Do-Re-Mi

Three equally spaced events (sometimes with an extended first stage)

Initiates on a strong beat

Melody with a stepwise ascent, 1-2-3 paired with a 1-7-1 bass that sometimes substitutes 5 for 7

Sequence of sonorities 5/3, 6/3, and 5/3

Prinner

Four events with either equal spacing, an extended third stage, or in matching pairs

A melodic stepwise descent 6, 5, 4, 3 paired with the descending bass 4, 3, 2, 1 that often converges into a cadence

A sequence of sonorities 5/3, 6/3, 6/3, and 5/3 (the third event is often dissonant and sometimes a 2 is inserted in the melody and a 5 in the bass before the final tones to effect a stronger cadence

“Our World of Music” November 3, 2018

Fenaroli Pattern J.S. Bach, flute sonata, BWV 1030, mvt. 1, Andante, m. 1

Ludwig van Beethoven, Op. 10, no. 1, mvt. 2, Molto adagio, m. 17

Romanesca Pattern

Romanesca Pattern J.C. Bach, Opus 5, no. 3, mvt. 1, Allegro, m. 63-66

George Frideric Handel, exercises for Princess Anne, Allegro, m. 4-6

Chipman �3

Fenaroli

A melodic pairing of either 4, 3, 7, 1 or 2, 3, 7, 1 with 7, 1, 2, 3 (“mi-fa-re-mi” in eighteenth-century solfeggio)

Often a pedal point on 5 heard in a non-prominent voice

Sequence of four sonorities 6/5/3, 5/3, 6/3, and 6/3 final sonority creating a feeling of incompletion

Romanesca

An emphasis on 1 and 5 in the melody or a stepwise descent starting on 3

An initial stepwise descent from 1 in the bass supporting alternating 5/3 with 6/3 sonorities or stepwise variation where the bass descends entirely by step, and alternates 5/3 and 6/3 sonorities

Basic Cadences

cadenza semplice

cadenza composta

cadenza doppia

cadenza lunga (long comma)

&?

bb

bb812

812Piano

œ jœ œ œ œ .œ .œ.˙ .˙œ Jœ œ œ œ œ œ œ œ œ œ

œ jœ œ œ œ .œ .œ.˙ .˙œ Jœ œ œ œ œ œ œ œ œ œ

œ jœ œ œ œ .œ .œ.˙ .˙œ Jœ œ œ œ œ œ œ œ œ œ

Composition lessonsHandel, George Frideric

©

“Our World of Music” November 3, 2018

Chairs to Mend (folk song) copyright by Jerry L. Jaccard EdD.

Draw a Bucket of Water (folk song) copyright by Jerry L. Jaccard EdD.

Chipman �4

Abbreviated form of longer round arranged fromvarious English street cries. Arranger unknown

¢¢sq ç o ç

˙ç ç ç o ç

˙

Chairs to mend, old chairs to mend?

sq ç o çå ç ç ç o çå çMack e ral, Fresh Mack e ral!- - - -

sqç ç ç ç ç A ny old rags, A ny old rags?- -

Chairs to mendTITLE

s, drmfslTone Set7.7.05Index2, 4Grade

sequential melodic structure at the third, recurring dotted quarter eighth rhythm, recurring [l]sfmmelodic motive

Features

Grade 2: first line only used for improvised Street Scene and fitted with other street cries

Grade 4: 3-part round singing, advanced improvised Street Scene

round singing, dotted rhythm, sfm, sequencedo hexachordal + low solScale

d

Purposes

Activity,Dance, orGame

Source

Compilation, arrangement, format and commentary ©2009, revised 2011 by Jerry L. Jaccard EdD. All rights reserved.

s f m s f m

s [d] d [r] s d

Old English ritual game, many variants exist.

™¢fq ç ç ç ç ç ç ç

Draw a buck et of wa ter,- -

fq ç ç ç ç ç çFor that la dy's daugh ter;- -

fq ç ç ç ç ç ç ç çåOne ba boon and a sil ver spoon,- -

fq çå ç ç ç ç ç çand num ber one pops un der.- -

Draw a Bucket of water BTITLE

s, drmTone Set7.7.05Index3Grade

recurring do-sol interval prepares ear for tonic-dominant root hearing and singing; mixed 16th-note figures provide contrast

Features

Formation: concentric circles. Game type: large-group unison movement. Instructions: 1. Inner and outercircles must have same number of people in each. If there is an odd number of children, one child shouldstand in the middle of the circle to represent the “water.” 2. All hold hands. 3. Each individual in outercircle must align themselves directly behind the spot where two people in the inner circle are holdinghands. 4. As the song is sung, each person in the outer circle “pops under”, as their name is sung inturn, the hands directly in front of them. The hands raise up over the head of the individual to let them in,then drop down behind them, still clasped. The person popping under must continue to hold hands withthe outer circle. In this way a bucket is “woven” which includes both circles. 5. When all in the outer circlehave “popped under” the entire group chants “Jump, Sugar, jump and we all jump down” faster and fasterwhile hopping clockwise faster and faster. The object is to get the bucket going as fast as possible withoutbreaking up. [If there is a child in the center representing the “water”, then he or she should watchcarefully for any breaking of the bucket and run out of the circle where that occurs. In this way, the “water”has won. However, if the bucket holds together, then the “bucket” has won.] 6. This type of activity buildsindividual responsibility to the group and thereby, group unity. 7. Well-and-water songs are of ancientEnglish origin and celebrate the Winter and Summer Solstice and harvest-related issues.

hearing both kinds of uneven 16th note figuresdo tetratonicScale

d

Purposes

Activity,Dance, orGame

Source

Compilation, arrangement, format and commentary ©2009, revised 2011 by Jerry L. Jaccard EdD. All rights reserved.

d r m

d r m

d s,

d s, s,

d s, d

d r m d s,

“Our World of Music” November 3, 2018

Partimenti Patterns as a Memorization Tool

Joseph Haydn Sonata C Major. XVI: 21/1 mvt. 1

Chipman �5

&?

42

42Piano

.œ œ

‰

.œ œ œ .œ œ .œ œ Sol-Fa-Mi 5

‰ jœ œ œ1

œ .œ œ .œ œ4

œ œ œ œ2

œ .œ œ .œ œœ œ ‰ Jœ7

Sol-Fa-Mi

œ .œ œ .œ œ4 3

1œ œ ‰ Jœ

&?Pno.

5 .œ œ# .œ œ .œ œ .œ œ5

Long Simple Cadence

œ œ ‰ Jœœ4

1

œ ‰ .œ œ≈ . œ .œ œ Jœ ‰

5

.œ œ œ .œ œ .œ œ5

‰ jœ œ œœ .œ œ .œ œ

4

œ œ œ œœ œ œ œ œ œ œ

3 3 4

œ œ ‰ jœ

&?Pno.

10

œ jœ ‰3

≈ . œ .œ œ .œ œ .œ œ≈ . œ .œ œ .œ œœ ..œœ œœ˙b

2

œœ jœœ ‰≈ ® œ œ œ .œ œ .œ œ ®

≈ . œœ .œ œœ ..œœ œœ ..œœb œœ4

˙Half Cadence

œœ jœœ ‰≈ . œ .œ œ .œ œ .œ œ

Do-Re-Mi

&?Pno.

15 ≈ . œ .œ œ .œ œ .œ œ3

˙.œ œ# .œ œn .œ œ .œ œ#

1

≈ . œ .œ œ .œ œ .œ œ.œ œ .œ œ# .œ œ# .œ œn

œ ‰ Jœœœ œœ .œ œœ jœ ‰

5

&

.œ œ œ œ œ# œ œ œ œ3 3

1

‰ jœœjœœ ‰

1

Sonata in C Major XVI: 21/1Joseph Haydn

©

“Our World of Music” November 3, 2018

Chipman �6

Sources

“About Partimenti,” “Historical Overview,” Monuments of Partimenti, accessed April 21, 2014. <http://faculty-web.at.northwestern.edu/music/gjerdingen/partimenti/index.htm>

Gjerdingen, Robert O. Classic Turn of Phrase: Music and the Psychology of Convention. Philadelphia: University of Pennsylvania Press, 1986

Gjerdingen, Robert O. Music in the Galant Style. New York: Oxford University Press, 2007

Sanguinetti, Giorgio. The Art of Partimento: History, Theory, and Practice. New York: Oxford University Press, 2012

&&

Pno.

20 œ œ ‰ .œ œ#5 4

Sol-Fa-Mi

‰ jœœ Jœœ ‰2

.œ œ# œ œ œ œ œ œ œ3 3

2

‰ jœœ#jœœ# ‰

7

œ œ ‰ .œ œ4 3

‰ jœœjœœ ‰

1

.œ œ œ œ œ œ œ œ œ#3 3

3

‰ .œ œ œ œ7

1Fenaroli

œ œ œ œ œ œ œ#3 3

6

.œ œ .œ œ# œ4

4

&&

Pno.

25 œ œ ≈ œ œ œ œ# œ3 3

5

.œ œ .œ œ# œ.œ JœFenaroli

.œ œ .œ œ .œ œ .œ œ4 3

Prinner

œ œ# œ œ#œ Jœ ‰ ?

œ ‰ .œ œ#œ# Œ2

Half Cadence

.œ œ .œ# œ .œn œ .œ œ55

G Major

Long Comma

.œ œ .œ œ .œ œ .œ# œ2 3 4

5.œ œ .œ# œ .œ œ .œ œ3 7 1

.œ œ œ# œ .œn œ .œ œ ®œ ‰ ‰5

&

&&

Pno.

30 .œ œ .œ# œ .œ œ .œ# œ3 7 1

.œ œ .œ œ œ .œ œ1 2 3

Simple Cadence

.œ œ# .œ# œœ œ4

œ# ≈ .œ .œ œ7

œ œ# œ œ# œœœ œ3 3

3Long Comma

4

œ ≈ .œ .œ œ#1 7

œ œ# œ œ# œœœ œ3 3

3 4Long Comma

œ ≈ .œ .œ œ#1 7

œ œ# œ œ# œ œ# œœœœœœ3 3 3 3

3

œ Œ1

?

&?Pno.

35 œ œ2

‰ jœ œ œ5

jœ ‰ ≈œ œ# œœ œb3 31

≈œ œb œœœ Jœb ‰3 3

jœ ‰ ≈ œ# œ# œœ œb3 3

≈œ œ# œ œ œ Rœb ‰ ≈3 3

&

Jœ ‰ ≈œ œ# œ œ œb3 3

≈œ œb œœœ Rœb ‰ ≈3 3

≈œ œ# œ œb œ ≈ œb œ ≈œ œ3 3

33jœ ‰ œ œ

&&

Pno.

40 ≈ œ# œ œb œ œb œ œ#3 3

1

Œ œ˙b1

œ ≈œ œ# œ œœ3 3

Ponte 4 7 2

.œ œ .œ# œœ5̇

Jœ ‰ ≈œœ œ œœ3 3

5 5

.œ œ# .œ œœ5̇

Jœ ‰ ≈œ œ œ œ œ3 3

4

.œ œ# .œ œ jœ ‰œ Jœ5

?

œ œ# œ œ œœœ œ# œ‰3 3

3

Œ ‰ œ œ œ#3

Sonata in C Major XVI: 21/12

&?Pno.

45 Œ ‰ œ œ œ3Half Cadence

Jœ ‰ Œ5

œ œ# œn œ œ œ œ# œ œ œ3 3 3

Long Comma4

‰ Jœ œ œ#7

œ œ œ œ œ œ œ œ œ œ3 3 33

œ Œ1

œ œ# œn œ œ œ œ# œ œ œ3 3 3

Long Comma

‰ Jœ œ œ#7

œ œ œ œ œ œ œ œ œ œ œ œ#3 3 3 3

Jœ ‰ jœ ‰1

&?Pno.

50

œ œ# œ œn œ œ œ œ œœ#3 Deceptive Cadence

‰ jœ œ œœ œ5

œœ# œœ œ œ œ3œ jœ ‰œ Jœ

6

œ œ# œn œ œ œ œ# œ œ œ3 3 3

Long Comma

7‰ Jœ œ œ#œ œ œ œ œ œ œ œ œ œ3 3 3

1œŒ

œ œ# œn œ œ œ œ# œ œ œ3 3 3

‰ jœ œ œ

&?

..

..Pno.

55 œ œ# œ œ# œ œ# œn œ œn œ œ œ3 3 3 3œ

Œœ œ‰ jœ œ œ

5

œ ‰ ‰Simple Cadence

œ œ œ œ œ œ œ1

Sonata in C Major XVI: 21/1 3