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Dariusz Terefenko Eastman School of Music

THE PASSACAGLIAA 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

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

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

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

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

Dariusz Terefenko Eastman School of Music

Example 20: A Medium Passacaglia

SELECTED BIBLIOGRAPHY
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Campion, F. Traite daccompagnement et de composition, selon la rgle des octaves, Paris, Aux depens
dEstienne Roger, 1716; facs. Geneva, Minkoff, 1976; trans. L. Dragone as Franois Campions
Treatise on Accompaniment: A Translation and Commentary, Theoria 6 (1992).
Christensen, Thomas. The Regle de lOctave 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,
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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.

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 grndlichen Violinschule, Augsburg, 1756; trans. Editha Knocker as A
Treatise on the Fundamental Principles of Violin Playing. New York, NY: Oxford University Press,
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Quantz, Johann Joachim. Versuch einer Anweisung die Flte traversiere zu spielen, Berlin, 1752; trans.
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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;
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