Dariusz Terefenko – Eastman School of Music THE PASSACAGLIA—A PRIMER FOR TEACHING BAROQUE KEYBOARD IMPROVISATION Example 1: The Passacaglia Ground
Example 2: Passacaglia – Figured Bass Realizations
Example 3: Three Counterpoints Beginning on the Root, the Third, and the Fifth
Example 4: Larger Intervallic Skips
Example 5: Melodic Paths – Improvisation Module I
1
Dariusz Terefenko – Eastman School of Music
Example 6: Non-Harmonic Tones in 2:1
Example 7: Non-Harmonic Tones – Improvisation Module II
Example 8: Suspension Possibilities
2
Dariusz Terefenko – Eastman School of Music
Example 9: 3:1 Diminutions
Example 10: 3:1 Diminutions – Improvisation Module III
Example 11: 3:1 Diminutions – Improvisation Module IV
Example 12: Invertible Counterpoint at the Octave Original Form
3
Dariusz Terefenko – Eastman School of Music
Invertible Counterpoint at the Octave
Example 13: Invertible Counterpoint at the Octave – Improvisation Module V
Example 14: Motivic Transformations
Example 15: Motivic Transformations – Improvisation Module VI
4
Dariusz Terefenko – Eastman School of Music
Example 16: Rhythmic Motives
Example 17: Rhythmic Motives – Improvisation Module VII
Example 18: Melodic Diminutions: Adjacent Intervallic Pairs
Example 19: Idiomatic Melodic Gestures
5
Dariusz Terefenko – Eastman School of Music
6
Example 20: A “Medium” Passacaglia
SELECTED BIBLIOGRAPHY Bach, Carl Philip Emmanuel. Versuch über die wahre Art das Clavier zu spielen, 2 vols., Berlin, G. L. Winter, 1753-62; trans. W. Mitchell as Essay on the True Art of Playing Keyboard Instruments. New York, NY: W.W. Norton, 1949. Campion, F. Traite d’accompagnement et de composition, selon la règle des octaves, Paris, Aux depens d’Estienne Roger, 1716; facs. Geneva, Minkoff, 1976; trans. L. Dragone as “François Campion’s Treatise on Accompaniment: A Translation and Commentary,” Theoria 6 (1992). Christensen, Thomas. “The ‘Regle de l’Octave’ in Thorough-Bass Theory and Practice,” Acta Musicologica 64/2, (Jul.-Dec., 1992). Fux, J.J. Gradus ad Parnassum. Trans. A. Mann as The Study of Counterpoint. New York, NY: W.W. Norton, 1965. Gauldin, Robert. A Practical Approach to 18th-century Counterpoint. Prospect Heights, IL: Waveland Press, Inc., 1988. Gauldin, Robert. Harmonic Practice in Tonal Music, 2nd edition. New York, NY: W. W. Norton, 2005. Heinichen, J.D. Der General-Bass in der Composition, Dresden, Heinichen, 1728; facs. Hildesheim, G. Olms, 1994. Hudson, Richard. Passacaglio and ciaccona: from guitar music to Italian keyboard variations in the 17th century Ann Arbor, Mich.: UMI Research Press, 1981.
Dariusz Terefenko – Eastman School of Music Laitz, Steven G. The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening. 2nd edition. New York, NY: Oxford University Press, 2007.
7
Ledbetter, David. Continuo Playing According to Handel: His Figured Bass Exercises With a Commentary. New York, NY: Oxford University Press, 1990. Lieberman, Maurice. Keyboard Harmony and Improvisation. New York, NY: W.W. Norton, 1957. Morris, R.O. Figured Harmony at the Keyboard. London: Oxford University Press, 1932. Mozart, Leopold. Versuch einer gründlichen Violinschule, Augsburg, 1756; trans. Editha Knocker as A Treatise on the Fundamental Principles of Violin Playing. New York, NY: Oxford University Press, 2001. Niedt, Friedrich Erhard. The Musical Guide, 3 parts (1700-21); trans. P. Poulin and I. Taylor, Oxford Clarendon Press, 1988. Quantz, Johann Joachim. Versuch einer Anweisung die Flöte traversiere zu spielen, Berlin, 1752; trans. Edward R. Reilly as On Playing the Flute. Lebanon, NH: Northeastern University Press, 1985. Schubert, Peter. Modal Counterpoint, Renaissance Style. 2nd edition. New York, NY: Oxford University Press, 2008. Spiridion a Monte Carlo. Nova Instructio Pro Pulsandis Organis, ca. 1670-1675. Zarlino, Gioseffo. Le istitutioni harmoniche, Venice, Franceschi, 1558; facs. New York, Broude, 1965; Part III trans. G. Marco. ed. C. V. Palisca as The Art of Counterpoint, New Haven, Yale University Press, 1968; reprint New York, Da Capo, 1983.
