Concerning this modern edition . . .

Musical examples or hints marked with an asterisk ( * ) have

been provided by the editor for clarification of the rules.

Each musical example represents just one possible sonic

realization of the intended rule. Different but equally fine
realizations might have different melodies and more or less
elaboration. The Appendix contains realizations by the editor.

Because the concept of the scale degree or scale step is so

central to the Neapolitan school of partimenti, and because
the welter of numbers for both intervals and scale degrees
can be confusing, scale degrees in the bass will be marked
by numbers in white circles (e.g., j) and scale degrees in
the melody by numbers in black circles (e.g., u).

This bilingual edition is based on the orignal Italian version

printed in Naples around 1817, and on manuscript I-Nc
Od.2.20(3) of the Naples Conservatory Library, which is
likely an early copy from that print.

Concerning Giovanni Furno (17481837) . . .

Little is known of Furnos earliest training. According to Den-

nis Libby, writing in Grove Music Online, Furno arrived at the
Conservatory of Saint Onofrio in Naples in 1767. He stud-
ied with Cotumacci and rose through the ranks to become
a teaching assistant five years later (1772). Cotumacci died
in 1785 and Furno replaced him as master of counterpoint.
Subsequently, when Insanguine died (1795), Furno became
joint "first master" (primo maestro) with Rispoli. The old
conservatories needed to merge and restructure themselves
during the wars and revolutions at the end of the eighteenth
century, but Furno managed to survive all the turbulence and
remained as a maestro of partimenti until he retired in 1835.
His most famous pupils were the opera composers Bellini
and Mercadante.
 METODO
Facile breve e chiaro delle prime
ed essensiali regole per accompagnare
Partimenti senza numeri
del Maestro
GIOVANNI FURNO
Per uso degli Alunni del Real
Conservatorio di Musica
Napoli presse Orlando Vico S. M. delle Grazie N. 25.
[p. 1]
REGOLE DI PARTIMENTI
Primieramente si deve sapere, che la musica
composta di consonanze, e dissonanze.
Le consonanze sono quattro, cio 3a, 5a, 6a, ed
8a, delle quali due sono perfette, e due imperfette;
Le perfette sono la 5a, e l 8a, e si dicono perfette,
perch non si possono opporre tra di loro, cio
non si possono alterare con diesis, ne diminuire
con bemolli; vale a dire, che non si d ne 5a
minore, ne 5a maggiore, e per essere perfetta detta
5a deve essere sempre d otto corde distante dal
prinicpale, cos ancora non si d ne 8a minore, ne
8a maggiore, e per esser perfetta l 8a deve essere
di tredici corde distante dal principale
ww3 ww5
* c
? 3rd 5th
An Easy, Brief, and Clear
METHOD
Concerning the Primary
and Essential Rules for
Accompanying
Unfigured Partimenti
by Maestro
GIOVANNI FURNO
For the Use of Students at the Royal
Conservatory of Music
Naples, near Orlando Vico, S. M. delle Grazie No. 25.
THE RULES OF PARTIMENTI
The first thing one should know is that music is
composed of consonances and dissonances.
1
There are four types of consonances, namely
the 3rd, 5th, 6th, and 8ve, of which two are
perfect and two are imperfect. The perfect ones
are the 5th and the 8ve, and they are called perfect
because one cannot make distinctions between
them. That is, one can neither expand them with
a sharp nor diminish them with a flat. Which is to
say that there is neither a minor 5th nor a major
5th, and to be perfect, the said 5th should always
span eight strings (i.e., semitones) starting from
the root of the interval. Similarly, there is neither a
minor 8ve nor a major 8ve, and to be perfect, the
8ve should span thirteen strings starting from the
root of the interval.
w6 w8
w w
6th 8ve
 w5 w8 ww3 w6
* c w w w
?
Perfect Imperfect

Le 3a e la 6a sono imperfette, perch si possono
opporre tra di loro, cio si possono alterare con
diesis, e diminuire con bemolli, vale a dire si pu
dare 3a minore, e 3a maggiore, cos ancora si pu
dare 6a minore, e 6a maggiore.
The imperfect ones are the 3rd and the 6th,
which are called imperfect because one can
make distinctions between them. That is, one can
expand them with a sharp or diminish them with
a flat. Which is to say that there is a minor 3rd and
a major third. Similarly, there is a minor 6th and a
major 6th.

Le dissonanze anche sono quattro, cio 2a, 4a, 7a,
ed 9a, e queste non si possono dare se non sono
preparate da una delle quattro consonanze, e
risoluta ancora ad una delle sudette consonanze.
Exempio: Se le consonanze, e dissonanze sono
maggiori, or minori si contano dalla numerzione
delle corde.
There are also four dissonances, namely the
1
intervals of a 2nd, 4th, 7th, and 9th, and these
cannot be used unless they are prepared by one of
the four consonances and subsequently risolved to
one of the aforementioned consonances.
Example: One determines whether the
consonances and dissonances are major or minor
according to the numbering of the strings.

?c w
Prime Minor 2nd Major 2nd Minor 3rd Major 3rd Minor 4th

bw w bw nw w
1 2 3 4 5 6

w #w w
Major 4th Fifth Minor 6th Major 6th Minor 7th Major 7th Octave
w bw nw
? #w 7 8 9 10 11 12 13

jklmnopqrsuvwxyz{}|~
[p. 2]
REGOLE DELLE CORDE DEL TONO THE RULES OF SCALE STEPS

Ogni tono ha sette corde, cio prima di tono,
seconda di tono, terza di tono, quarta di tono,
quinta di tono, sesta di tono, e settima di tono,
delle quali per osservare il tono, cio per non
uscire dal tono, tre devono essere stabili, e sono
le 2a di tono sempre maggiori, le 4a di tono
sempre minori, e le 7a di tono sempre maggiori, e
variando una di queste, si va in altri toni.
Every key has seven strings (=scale steps). That
is, j, k, l, m, n, o, and p. To preserve
the key, that is to avoid leaving the key, three of
these steps should be invariable, and they are k
(always major), m (always minor [=perfect]), and
p (always major). If you vary any one of these
you will move to a different key.
 La 3a di tono pu, essere maggiore, e minore l can be major or minor according to the
secondo la composizione. composition.

La 5a di tono, come consonanza perfetta deve n, as a perfect consonance, should always

essere di otto corde. span eight strings (=semitones).

La 6a deve corrispondere alla 3a, cio se la 3 o should correspond to l. That is, if l 1

di tono stata maggiore, la sesta di tono anche has been major, then o should also be major. If,
deve essere maggiore; se poi la 3a di tono stata on the other hand, l has been minor, then o
minore, allora la sesta di tono anche deve essere should also be minor.
minore.

La 1a di tono vuole 3a, 5a, and 8a, la 3a la

vuole secondo la composizione, cio se la compo-
j takes a 3rd, a 5th, and an 8ve. It takes its
3rd according to the composition. That is, if the
sitione stata in terza maggiore se li d 3a mag-
composition has been in major, then one gives j
giore; se poi 3a minore, se li d 3a maggiore.
a major 3rd. If, on the other hand, the composition
has been in minor, then one gives j a minor 3rd.

* c
& w
ww |
y
b b b c www |
y
w w
8 8

bbb c w
5 5

c
? w
3 3

j j
L 8a si pu dare a tutte le corde del tono; oltre One can give an 8ve to all the strings of the 1
le loro consonanze, purch non s incorra in due key, as well as to their consonances, provided that
ottave scoverte, atteso le due 5e e due 8e scoverte one does not create parallel 8ves, seeing that two
tanto da sopra, quando da sotto, o di grado, o di 5ths or 8ves, whether above or below, by step or
sbalzo, una dopo laltra, sono proibite, perch by skip, the one after the other, are prohibited be-
fanno cattiva armonia. cause they make bad harmony.

La seconda di tono vuole 3a, 4a, e 6a maggiore;
la 3a la vuole minore, perch diventa 4a di tono,
e tutte le 4e di tono sono minore; la 6a la vuole
maggiore perch diventa 7a di tono, e tutte le 7e di
tono sono maggiori.
k takes a 3rd, a 4th, and a major 6th. It takes
the minor 3rd because that happens to be x and
all xs are minor. It takes the major 6th because
that happens to be { and all {s are major.

* c w b b b c nw
& ww xy
{
n
ww {xy
6 6
4 4

?c w bbb c w
3 3

k k
 La 3a di tono vuole 3a, e 6a. e devono essere
tutte due minori, se detta 3a di tono maggiore; se
poi detta 3a di tono [p. 3] minore, allora vuole
3a maggiore, e 6a maggiore, e questo cade natural-
mente.
l takes a 3rd a 6th. Both of them should be
minor if the said l is major. If, on the other
hand, the said l is minor, then it takes the major
3rd and major 6th, and this comes about naturally.

*
& c ww u
y
b b b c ww u
y
6 6 1
w bbb c w
3 3

c
? l
La 4a di tono vuole 3a, 5a, e 6a, la terza la
vuole come l ha avuta la 3a della prima di tono
perch diventa 6a di tono, se deve uniformare
con la 3a di tono; la 6a la vuole maggiore perch
diventa 2a di tono; e tutte le 2e di tono sono mag-
giori.
l
m takes a 3rd, a 5th, and a 6th. One takes the
3rd (either major or minor) just like one took the
3rd of j because the 3rd (of m) should conform
to the 3rd of j. m takes the 6th as major be-
cause it turns out to be v, and all vs are major.

* c www vzu b b b c www

&
vu
z
6 6

w bbb c w
5 5
1
c
3 3

? m m

Si avverte per, che allora la 4a di tono vuole
3a, 5a, e 6a, qualora sale alla 5a di tono; se poi
non sale a detta 5a di tono, allora se li d solo 3a,
e 5a, e se scende dalla 5a di tono, allora resta,
colle stesse Consonanze della detta 5a di tono, che
sopra la sudetta 4a di tono, vengono ad essere 2a,
4a maggiore, e 6a.
One should note, however, that whenever m
takes a 3rd, a 5th, and a 6th, it rises to n. If, on
the other hand, it does not rise to n, then one
gives it only a 3rd and a 5th. And if the partimento
descends from n, then stay with the same conso-
nances as for the said n, which become in turn a
2nd, major [=augmented] 4th, and 6th.

www vzu ww c www www v{

&c c
* u
z y
6 6

w c w w cw
5

w w
5 4

c w w w
3 3 2

?
m n m x n n m

La 5a di tono vuole 3a maggiore, 5a, e 8a, la n takes a major 3rd, a 5th, and an 8ve. n
3a la vuole maggiore perchjklmnopqrsuvwxyz{}|~
diventa 7a di tono, e takes the 3rd major because it turns out to be
tutte le 7e di tono sono maggiore; oltre le sudette {, and all {s are major. In addition to the said
consonanze, vi si pu aggiungere ancora la 7a
minore, qualora dopo la 5a di tono viene immedi-
atamente la 1a di tono, o pure quando dopo detta
5a di tono viene la 6a di tono, che vorr 3a, e 5a,
perch detta 7a minore deve risolvere.
consonances one can also add the minor 7th, pro-
vided that n be followed immediately by j, or
even when the said n is followed by o, which
would take a 3rd and a 5th because the said minor
7th should resolve.

* c www c www ww w c www www w

& w w w
v x x
{
y
8 8 8 1
w
7 5 7 5

w cw w c w w
5 5 3 5 3

c w
3 3 3

? o
n n n
j

La 6a di tono vuole 3a, e 6a, e tutte due devono o takes a 3rd and a 6th. Both of them should
essere minori, se la 6a di tono maggiore, se poi be minor if the o is major. If, on the other hand,
la 6a di tono minore, allora vuole 3a e 6a mag- the o is minor, then it takes a major 3rd and a
giore, e questo cade naturalmente. major 6th, and this comes about naturally.

c ww x b b c ww
*
& u b x
u
6 6

w bb b c w
3 3

?c o o
1

Si avverte, che la 6a di tono quando mag-
giore, e cala alla 5a di tono, allora la 6a d accom-
pagnamento meglio darcela maggiore, perch fa
migliore armonia, ed allora vi si pu aggiungere
anche la 6a, come fosse 2a di tono, con darle 3a,
4a, e 6a maggiore; ma se poi detta 6a di tono non
sale alla 7a di tono, ne cala alla 5a di tono, allora
se le d 3a e 5a.
One should note that when o is major and
descends to n, then it is better to use a major 6th
in the accompaniment, because it makes better
harmony. And one can add to o, as if it were k,
by giving it a 3rd, a 4th, and a major 6th. But if the
said o neither ascends to p nor descends to n,
then give it a 3rd and 5th.

#www ww ww wu
&c c c
* {
yx
x
u
#6
w w w w
cw w w
6 5

w
4

w
3 3

?c c
3

o n o p o x n
k j
jklmnopqrsuvwxyz{}|~
 La settima di tono, vuole 3a, e 6a, e devono p takes a 3rd and a 6th, and both of them
essere tutte due minori, se detta 7a di tono mag- should be minor if the said p is major.

ww y b ww
&c b bc
* v
y
v

w n w
6 6
3 3

c b bb c
?
p p
giore, se poi detta 7a di tono minore allora la
3a e la 6a d accompagnamento deveno essere
tutte due maggiori, e questo cade naturalmente,
vi si pu [p. 4] dare ancora la 5a falsa, quando
la sudetta 7a di tono sale alla prima di tono, per-
ch venendo la prima di tono la 5a falsa risolve,
dovendo resolvere, e intanto si dice falsa, perch
5a minore; ma non si dice minore, perch conso-
nanza perfetta.
1
If, on the other hand, the p is minor, then the 3rd
and the 6th in the accompaniment should both be
major, and this comes about naturally. One can
give it a false 5th when the said p ascends to j,
because on reaching the j the false 5th resolves,
having to resolve since one terms it false because it
is a minor 5th [=diminished]. But one does not say
minor, because it is a perfect consonance.

b c ww ww ww
* b
& b nnn c w
ww
w
y x
v v w
y

w w3
6

w w
6 6 5

w nn n c w
3 3 5

b c
3

b
? b j p o o p j

Si avverte che la 3a di tono sinonima della 1a
di tono, cio tanto mettere la prima di tono con
3a, 5a, e 8a, quanto mettere la 3a di tono con 3a,
e 6a. La 2a e la 7a di tono sono sinonime della 5a
di tono.
One should note that l is synonymous with
j. That is, just as one sets j with a 3rd, a 5th,
and an 8ve, so one sets l with a 3rd and a 6th.
k and p are synonymous with n.

REGOLE DELLE POSIZIONI RULES OF THE POSITIONS

Le posizioni sono tre, Prima in decimaterza con There are three positions: the first, at the octave,
3a da sotto. Seconda in decimaquinta [?]con 3a da with the 3rd at the bottom; the second, at the
a in mezzo.
sopra, e terza in quinta con 3jklmnopqrsuvwxyz{}|~tenth, with the 3rd on top, and the third, at the
fifth, with the 3rd in the middle.
 1st Position 2nd Position 3rd Position

* c ww b www www
Root Third Fifth

& w
5 Bottom 5 Top 5 Middle

?c w
3 3 3

bw
I toni di Cesolfaut, Delasolr, ed Elam, tanto mag-
giori, quanto minori, o in 3a maggiore, o in 3a mi-
nore, si sonano in prima posizione in decimaterza,
cio con 3a di sotto.
w
The keys of C, D, and E, whether sharp or flat, or
with a major 3rd or a minor 3rd, are played in first
position at the thirteenth, that is, with the 3rd at
the bottom.

I toni di Effaut, Gesolreut, ed Alamir si sonano in The keys of F, G, and A are played in third posi-
terza posizione, in quinta, cio con 3a in mezzo. tion, at the fifth, that is, with the 3rd in the middle.

I toni de Bef, e Bem si sonano in seconda po- The keys of Bb and Bn are played in second posi-
sizione, in decimaquinta, cio con 3a di sopra. tion, at the fifteenth, that is, with the 3rd on top.

Seguono le scale in tono di Cesolfaut, Delasolr, Here follow the scales in the keys of C, D, and Eb
ed Elam in prima posizione con terza da sotto con in first position with the 3rd placed at the bottom
tutte le loro eccezzioni. and with all the exceptions.

Si avverte, che i numeri di sotto dinotano le corde One should note that the numbers below the staff
1
del tono. denote the scale steps of the key.

PRIMA POSIZIONE CON 3a DA SOTTO FIRST POSITION, WITH THE 3RD AT THE
BOTTOM

5 3 3 3 #4
8 6 6 3 3 3 8 8 8 8
# 8 3

w
n
w w w w w
5 4 3 8 8 8 6 5 5 6 6 8 2

w w w w w
3 3 8 6 5 6 5 3 3 3 4 5 6

?c w w
1 2 3 4 5 6 7 8 1 7 6 5 4

5 3 5 3
n87 n87
6 6 8 5 6 3 3 8 6 3 8

w w5 w w
3 4 5 3 8 5 3 5

w w w
3 8 8

w w w w
8 3 3 8 5 3 8 3

w w
6 6 5

?
jklmnopqrsuvwxyz{}|~

3 2 1 4 3 6 4 5 6 3 4 5 1
[p. 5]

* c www www www www ww www ww ww ww ww ww ww ww

& w w ww w w ww # ww w w
w w w w w w w w w
c w w w w
?
j k l m n o p j j p o n m
1
ww www www ww ww ww ww www ww ww ww www ww
& w w w ww w w w ww w w
w w w w w w w w w w w
? w w
l k j m l o m n o l m n j

w w w w w w w w w w
## c w w w
? 1 2 3 4 5 6 7 8 1 7 6 5 4
1

## w w w w w w w w w w w
? w w
3 2 1 4 3 6 4 5 6 3 4 5 1

w w w w w w w w w w
b w w w
?b b c 1 2 3 4 5 6 7 8 1 7 6 5 4

w w w w w w w
bb b w w w w w w
? 3 2 1 4 3 6 4 5 6 3 4 5 1

jklmnopqrsuvwxyz{}|~
 TERZA POSIZIONE CON 3a IN MEZZO THIRD POSITION, WITH THE 3RD IN THE
MIDDLE

n6
b65
5 4 3 3 8 5 5 8 2
3 3 8 8 5 6 3 3 6 4 5 6

w w
8 6 3 3

c w w w w
8 6 3 3 8 8 3 3 4

w w
6 5

?b w w w
1
w w
1 2 3 4 5 6 7 8 1 7 6 5 4

3
8
4
3 5
3
3
8
3
8
8
5
3
8 b87 5 3
8
3
8 b87 5
3
8 6 5 3 6 5

w w
6 8 5 6 3 6 8

?b w w w w w w
6 5 3 5 3

w w w w w
3 2 1 4 3 6 4 5 6 3 4 5 1

* b c www wwww www ww w ww www www ww ww n ww ww ww

& ww ww w w w w
c w w w w w w w w w w
?b w w w
j k l m n o p j j p o n m
1
b www wwww www ww www ww www www w www www www ww
& w w w w w w w w

w w w w w w w
?b w w w w w w
l k j m l o m n o l m n j

[p. 6]

#c w w w w w w w w w w
? w w w
1 2 3 4 5 6 7 8 1 7 6 5 4

#w w w w w w w w w w
? w w w
3 2 1 4 3 6 4 5 6 3 4 5 1

jklmnopqrsuvwxyz{}|~
 ### c w w w w w w w w w w
? w w w
1 2 3 4 5 6 7 8 1 7 6 5 4

### w w w w w w w w w w
? w w w 1
3 2 1 4 3 6 4 5 6 3 4 5 1

SECONDA POSIZIONE CON 3a DA SOPRA SECOND POSITION, WITH THE 3RD ON TOP

3 b5 4
3 8 6 5 3 3 3 5 6

w w
8 6 3 3

w w n
w w
5 6 5 3 8 8 8 3 4

w w
6 3 8 8

bc w w w w
8 3 3 8 5 5 6 8 2

w
4 6 6

? b 1
1 2 3 4 5 6 7 8 1 7 6 5 4

3 3 8 5 6 5 3 8 6
b7 3
6 8 6 3 5
b
w w
8 5 3 5 8 6 5 8

w w
3 6 3 8 3
bw w w w w w
5 3 8 3 5 3 3 5

w
4 7 8

? b w w
3 2 1 4 3 6 4 5 6 3 4 5 1

b b c ww ww ww www www ww ww ww ww www www www www

*
& w ww w ww w w nw
w w w w w w w w w w
bc w w
?b w
j k l m n o p j j p o n m

b bw ww ww ww
ww ww ww w ww ww www ww ww
& w ww w w
w w ww ww w ww w
bw w w w w w w w w w
? b w wjklmnopqrsuvwxyz{}|~
w
l k j m l o m n o l m n j
[p. 7]
1
REGOLA PER LA SCALA IN 3a MINORE THE RULE FOR A SCALE IN THE MINOR
MODE
Si avverte, che trovando la scala in 3a minore la One should note that, upon finding the scale in
6a, e la 7a di tono salendo sussecutivamente devo- the minor mode, o and p ascending one after
no essere maggiori, e calando tutte due minori, e the other should be major, and descending both
ci se fa per sfuggire l intervallo cromatico, che vi should be minor. This is done to avoid the chro-
da un minore ad un maggiore, o da maggiore, ad matic interval that exists from a major to a minor,
un minore. or a minor to a major scale step.
1
bc w w nw # w w w nw b w w w
? b w w w
1 2 3 4 5 6 7 8 1 7 6 5 4

b bw w w w w w w w w w w
? w w
3 2 1 4 3 6 4 5 6 3 4 5 1

* b b c ww www ww www ww ww www ww ww ww ww # www # www

& w #w w w #w w w
bc w w nw # w w w w w w w
?b w w w
j k l m n o p j j p o n m 1

b b ww www ww ww www ww www www w www wwww www www

& w #w w w w w #w w #w
b w w w w w w w
?b w w w w w w
l k j m l o m n o l m n j

X X X X X X
(Partimento No. 1)

#c X X X X X X
? X X X X

# X X X X X X
(*See the appendix for a likely realization.)

? X X X X X X E E E D
 ## c X X X
X X X X #X X X X
(Partimento No. 2)

? X X X X X X X #X X

## X X X #X X X X X X X X X X U
X X X
(*See the appendix for a likely realization.)

? E D

[p. 8]
REGOLA PER LE CADENZE
Le cadenze sono tre, cio semplice, composta, e
doppia, e si fanno mettendo la prima di tono, e la
5a, e se dopo la prima di tono si vogliono mettere
altre corde del tono, sono arbitrarie.
THE RULE FOR CADENCES 1
There are three cadences, namely the simple, com-
pound, and double, and they are made with j
and n. After the j, other scale steps may occur
as desired.

La cadenza semplice quando sopra la 5a di tono The simple cadence is when one sets, above n,
si mettono le semplici consonanze di 3a maggiore, the simple consonances of a major 3rd and a 5th.
e 5a e questo accade quando la 5a di tono dell This occurs when n is the same time value as the
istesso valore delle altre note. other notes.

* c E. X X X
& X E X
1
X X
5

c X X X
3

?
n j

La cadenza composta quando sopra la 5a di tono
si mette prima 4a, e 6a, e poi 3a maggiore e 5a,
o pure, prima 4a, e 5a, e poi 3a maggiore, e 5a e
questo accade quando la 5a di tono il doppio
valore delle altre note.
The compound cadence is when one sets, above
n, first a 4th and a 6th, and then a major 3rd and
a 5th, or even first a 4th and a 5th, and then a ma-
jor 3rd and a 5th. This occurs when n is double
the time value of the other notes.

* c X
X E X X XX EX X X
& E X X E X
c X X E X
6 5 5 5

X X X X X
4 3 4 3

?
n j n j
La cadenza doppia quando sopra la 5a di tono si The double cadence is when one sets, above n,
mette prima 3a maggiore e 5a e vi si pu mettere first a major 3rd and a 5th (and one may add the
la 7a minore, poi 4a, e 6a, poi 4a, e 5a, e poi di minor 7th), then a 4th and a 6th, then 4th and a
nuovo 3a maggiore e 5a, ed anche la 7a minore se 5th, and then once again a major 3rd and a 5th
si vuole, e questo accade quando la 5a di tono (and also the minor 7th if desired). This occurs
quatrupla. when n is four times the value of the other notes.
1
* c X E X X XX EX XX X
& X X E X X 7 X
7

w w3 4 4 3
5 6 5 5 5 6 5 5

c X X
3 4 4 3

? n n
j j

(Partimento No. 3)

X X
(*Simple.)
X (*Compound.)
E X X X X
X X
?c X X X X X

X X X X X
X X X X X X X X
(*Compound.)

? X X X

X X X X U
(*See the appendix for a likely realization.)

X X X X X X
(*Compound.) (*Double.)

? E
[p. 9]
REGOLA DELLE USCITE DI TONO
O SIANO TERMINAZIONI
La terminazioni sono quattro, cio due per salire, e
due per calare, quando il Partimento sale di mezzo
tono, allora diventa 7a e prima di tono; quando
sale di tono intero, deventa 4a, e 5a di tono, quan-
do cala di mezzo tono diventa 6a, e 5a di tono,
quando cala di tono intero, deventa 2a, e prima di
tono, ma bisogna vedere se corrisponde al tono in
cui si v, se si entra in 3a minore, or in terza mag-
giore, si conosce dall anticipazione de detta 3a or
pure dalla 6a di tono come si anticipata. Segue l
esempio.
w E D
THE RULE OF DEPARTURES FROM THE
KEY, OR TERMINATIONS
There are four terminations of key, namely two that
ascend and two that descend. When the parti-
mento ascends by a semitone, then the interval
turns into p and j. When it ascends a whole
tone it turns into m and n. When it descends
a semitone it turns into o and n. When it de-
scends a whole tone it turns into k and j. But
take care to see that the new key in which you pro-
ceed corresponds to the old key. One recognizes
whether the new key should begin in the minor or
major mode from the prior occurence of the new
scales 3rd or even its 6th. An example follows.
 (Four Modulations)

E U
#c E #E E E E
? E D
(*p j)

E E E U
E
? E (*m
D
n)

E U
E bE E E E
? E bE D 1
E
(*o n)

E E E U
E E
? E (*k
E D
j)

(Partimento No. 4)

X X X X
X X
?c X X X X X X

#X X X X X X #X X X X
X X nX X X
? X
(*p j) (*m n) (*m n) (*o n)

X #X X bX X nX X X
X X X X X X X X
? (*p j) (*o n)

E E U
(*See the appendix for a likely realization.)

X nX X X E D
? (*p j)
[p. 10] (Partimento No. 5)

X X X
? b c X X X X X X nX X X X X X X
(*p j)

X X nX nX X X X X
X X #X X #X X X X
?b X (*m
#
n)

X X X
(*n m)

#X X X X X X #X X X X bX X X
?b (*p j) (*o n)

X nX X X X X
X X X X X X X X X
?b (*p j)
X (*k j)

X X X bX X X X X X X nX X b X
#X X X
? b X
(*o n) (*p j)

X X X w
(*n m)

X X X X X X X nX E U
(*See the appendix for a likely realization.)

?b X D
(*p j)

REGOLA DEL PARTIMENTO CHE THE RULE OF A PARTIMENTO THAT

CALA DI 3a E SALE DI GRADO FALLS A 3RD AND RISES A STEP

Quando il Partimento cala di 3a e sale di grado, si
accompagna con 3a 5a e 6a cio a quella nota che
calata de 3a se li d 3a 5a e 6a e a quella che
salita di grado se li d 3a e 5a si pu accompag-
nare anche colla 9a preparata dalla 3a e risoluta
anche a 3a cio a quella nota che sale di grado se
li d 3a 5a e 9a e a quella che cala di 3a se li d 3a
5a e 6a osservando le corde del tono.
When the partimento falls a 3rd and rises a step, it
is accompanied by a 3rd, a 5th, and a 6th. That is,
one gives a 3rd, a 5th, and a 6th to the note that
has fallen a third, and a 3rd and a 5th to the note
that has risen a step. One can also accompany
it with a 9th prepared by a 3rd and resolved to a
3rd. That is, one gives a 3rd, a 5th, and a 9th to the
note that rises a step, and a 3rd, a 5th, and a 6th to
the notes that falls a third, observing the tones of
the key.

Seque l esempio. An example follows.

 1
XX XX XX XX EE XX XX XX XX XX XX
&c X X X X X X X X X X
* E
6 6 6 6

c X X X X X X X X
5 5 5 9 5 9

? E X
X

X X X X
(Partimento No. 6)
X X X X X X
#c X X X X X X
? (* )

# X #X X X X X X #X X X X X X X X X
? X
(*

# X X X #X X nX X X X nX X
? X X X X X
)

# X #X X X X X X X X X X X X X X X E
?

# X U
(*See the appendix for a likely realization.)

X X X X X X #X w D
? E
[p. 11]
REGOLA DEL PARTIMENTO, THE RULE OF A PARTIMENTO THAT
CHE SALE DI GRADO, ASCENDS BY STEP,
E LE NOTE SONO PI GRAVI DELLALTRE, AND ITS NOTES ARE SLOWER THAN
CIO DI PI VALORE DELLE ALTRE OTHERS, THAT IS, HAVE GREATER TIME
VALUES THAN OTHER NOTES
Quando il Partimento sale di grado, e le note sono When the partimento rises by step, and the notes
di pi valore dell altre, si accompagnano con 3a have greater time values than the other notes, one
e 5a e poi sull istessa nota si passa la 6a la quale accompanies them with a 3rd and a 5th, and then
resta per 5a alla nota che seque. on the same note one moves to the 6th, which will
hold to become the 5th of the subsequent note.
 *
& c EX E E X
6 5
c E
? E
REGOLA DEL PARTIMENTO
CHE CALA DI GRADO,
E LE NOTE SONO PI GRAVI DELLALTRE,
CIO DI PI VALORE DELLE ALTRE
Quando il Partimento cala di grado, e le note sono
di pi valore dell altre, si accompagnano con 3a e
7a, e questa 7a si risolve a 6a sopra l istessa nota;
e quando alla prima nota non se trova preparata
detta 7a, perch come dissonanza deve essere
preparata da una delle quattro consonanze; allora
alla prima nota si mette prima 3a e 5a e poi su la
medesima nota si passa la 6a, la quale resta per 7a
alla nota sequente, e dette 7a viene sempre pre-
parata dalla 6a e risoluta anche a 6a.
* c X E E X
E XE X
&
c E E E
6 7
Dippi quando si trova la 2a di tono, e la 6a di
tono pi gravi dell altre note, o sono di pi valore is slower than the other notes, or has greater time
dell altre, anche se li d prima 3a, e 7a, e poi 7a,
e 6a,e detta settima si accompanga sempre con la
3a, e dette 3e devono corrispondere al tono in cui
si st.
XE X
6 5 6
E
THE RULE OF A PARTIMENTO THAT
DESCENDS BY STEP,
AND ITS NOTES ARE SLOWER THAN
OTHERS, THAT IS, HAVE GREATER TIME
VALUES THAN OTHER NOTES
When the partimento falls by step, and the notes
have greater time values than the other notes, one
accompanies them with a 3rd and a 7th, and this 1
7th resolves to a 6th on the same note. When, for
the first note, one does not find the said 7th pre-
pared, because as a dissonance it should be pre-
pared by one of the four consonances, then for this
first note one sets first a 3rd and a 5th, and then
on the same note one moves to the 6th, which will
hold to become the 7th of the subsequent note,
and the said 7ths will always be prepared by a 6th
and resolved to a 6th.
6 7 6
Furthermore, when one comes to k or a o that
values than the other notes, one sets first a 3rd and
a 7th, and then a 3rd and a 6th, and the said 7th is
always accompanied by a 3rd, and the said thirds
should correspond to the key of the moment.
 * c X
E E E X X
& X
1
c X X E X
6 7 6

?
k

Seque lesempio. An example follows.

[p. 12]

(Partimento No. 7)

? c X X X X X X X X E E E E
(* 6 5 6...)

E E E X X X E E
X X #X
? (* 6 5 6...)

E E X X E
(*

#X X X X E #E
? (* 6 7 6...)

E E E X X X X X E
? E E X X X
(*o = k )

#X X X X E X
X X X X X nX X X
? (*k )
X
X E X nX X X E E U
(*See the appendix for a likely realization.)

X X E X E D
?
(*k ) (*o = k )
 REGOLA DEL PARTIMENTO,
CHE SALE DI 4a, E CALA DI 5a,
E DEL PARTIMENTO
CHE SALE DI 5a, E CALA DI 4a
Quando il Partimento sale di 4a e cala di 5a si ac-
compagna con 3a e 7a e la 7a se risolve a 3a sopra
la nota che seque, e la sudetta 7a viene anche
preparata dalla 3a e tutte le 3e di accompagna-
mento devono corrispondere al tono in cui si st, e
l ultima 3a deve essere sempre maggiore, perch l
ultima nota diventa sempre 5a di tono.
* c EX E E
& X
7 3
c X X X X
3 7
?
Quando il Partimento sale di 5a e cala di 4a si ac-
compagna con 4a 5a e 8a e detta 4a viene prepara-
ta dalla 8a e se risolve sempre a 3a minore sopra
la stessa nota; e l ultima 3a deve essere maggiore,
perch anche l ultima nota diventa 8a [5a?] di
tono; si pu accompagnare detta 4a con la 6a, ma
meglio accompagnarla con la 5a.
* c XX E XX XX # XX
& X X
4 #3
c E
4 3
E
4 3
E
?
Seque l esempio.
THE RULE OF A PARTIMENTO THAT
RISES A 4TH AND FALLS A 5TH,
AND OF A PARTIMENTO THAT
RISES A 5TH AND FALLS A 4TH 1
When the partimento rises a 4th and falls a 5th,
one accompanies it with a 3rd and a 7th, and the
7th resolves to the 3rd above the following note.
The aforementioned 7th is prepared by a 3rd and
all the 3rds in the accompaniment should cor-
respond to the key of the moment, and the last
3rd should always be major because the last note
always turns out to be n.
XX XX
7 3
X X
3 7
n
When the partimento rises a 5th and falls a 4th,
one accompanies it with a 4th, a 5th, and an 8ve,
and the said 4th is prepared by the 8ve and re-
solves to a minor 3rd above the same note. The last
3rd should be major because the last note turns
out to be n. One can accompany the said 4th
with a 6th, but is is better to accompany it with a
5th.
n
An example follows.
[p. 13]

X
(Partimento No. 8)

#c X X X X X X X X X
? X X
(*

# X X X X X X E E
X X E E
?
n ) (*

X #X X X nX
# E
X X X X X X nX X X
?
n )

# X X X X X X
X X E X X X X
? X X

# X X U U
(*See the appendix for a likely realization.)

X X E X E E D
? E

REGOLA DEL PARTIMENTO, THE RULE FOR A TIED, DOTTED, 1

LEGATO, PUNTATO, SINCOPATO, SYNCOPATED, OR EVEN
O PURE RADDOPPIATO REARTICULATED PARTIMENTO

Quando il Partimento legato, puntato, sincopato,
o raddoppiato, se li d 2a e 4a di botto, cio senza
essere preparate; e vi si pu aggiungere anche la
6a purch non impedisca la posizione.
When the partimento is tied, dotted, syncopated,
or rearticulated, one sets a 2nd and a 4th straight
away, that is without being prepared. And one can
incorporate the 6th provided it does not interfere
with the hand position.

* c E X EX X X E X EXX X X
& X X X X
E 42 X X E 42 X X
6

c
? X X
Si avverte, che allora al sudetto partimento se li d
2a e 4a quando vi la nota della resoluzione che
una nota che cala di grado dopo la nota legata,
puntata, sincopata, o raddoppiata, altrimenti se le
danno le semplici consonanze che rechiede.
One should note that the 2nd and 4th are given to
a note that has a resolution, that is, a note that falls
a step after a tied, dotted, syncopated, or rearticu-
lated note. Otherwise one gives these notes the
simple consonances that they require.

* c E X EX X X X XX E XX
& X X X E
E 2 X X E 3 X
4 5

c X
? X X
stepwise resolution no resolution

La 4a deve essere minore, qualora il Partimento
dopo la nota della resoluzione, torna allo stesso
tono, o pure quando seguitano pi ligature di 2a
e 4a e l ultima 4a se dopo la nota di risoluzione
torna allo stesso tono, anche deve essere minore;
se poi non torna allo stesso tuono, allora detta 4a
deve essere maggiore; la detta 4a va a 6a sopra la
nota di risoluzione, e la 2a resta per 3a.
The 4th should be minor whenever the partimento,
1
after the note of resolution, returns to the same
same note, or even when more ties follow the 2nd
and the 4th, the 4th should also be minor if the
last 4th, after the note of resolutions, returns to the
same note. If, however, the partimento does not
return to the same note, then the said 4th should
be major. The said 4th moves to the 6th above the
note of resolution, and the 2nd holds to become a
3rd.

* c E X EX X X E X # EX X # XX XX
& X n X X
#4
E 2 X X E 2 X xX X
4

c
? X X
a return no return

Se poi detto Partimento legato, puntato, sincopato, If, however, the said tied, dotted, syncopated, or
o raddop- [p. 14] -piato dopo la nota di resoluzi- rearticulated partimento does not return to the
one non torna allo stesso tono, allora se le d 2a e same note after its resolution, then one gives it a
4a maggiore. 2nd and a major 4th.

La 6a d accompagnamento deve essere minore
quando si st in 3a minore; quando poi si st in
3a maggiore, allora la 6a deve essere maggiore; si
avverte per che quando si st in 3a minore, ed il
Partimento vuole 4a maggiore, allora non ostante
che si st in 3a minore, la 6a d accompagnamento
The 6th in the accompaniment should be minor
when the partimento is in the minor mode, and
when in the major mode the 6th should be major.
One should note, however, that when in the minor
mode, and when the partimento takes a major 4th,
then notwithstanding the minor mode, the 6th in

jklmnopqrsuvwxyz{}|~
deve essere maggiore, perch diventa 2a di tono
perch la 4a maggiore fa uscire di tono, e detta 4a
maggiore diventa 7a di tono, e dette dissonanze
devono venire sempre in battere della battuta, e la
risoluzione in levare, e capitando la 2a e 4a su la
4a di tono, la 4a maggiore non fa uscire di tono, e
la 4a minore fa uscire di tono.
Segue l esempio.
the accompaniment should be major because it 1
turns out to be v. This is because the major 4th
causes a departure from the key, and the said 4th
becomes {. The said dissonances should fall on
the strong beats, and their resolutions on the weak
beats. And should the 2nd and 4th happen to fall
on m, the major 4th does not cause a departure
from the key, and the minor 4th does cause such a
departure.
An example follows.

b b b c X X nX { X b b b XX XXX b XX x XX
XX XX XX v XX
*
& X bb X z X
n64 63 b 64 63
bb c X E 2 X bb b X E 2 nX
1
? b
m l m=j p

[p. 15] (Partimento No. 9)

E X X E X X X X X X X
?c X X X
(* 4
2 )

#X X X X X X #X X
X X X
E. #X
? X
(* 4 (* 4
2 )
2 )

X E X X E E nX X X X X
? X X #
(* 42 ) (* 4
2 )

E X X X bX X X nX X X X
? X X X X
# )
(* 4

E
2

X nX X # X X E X
X X X E X
? # #
(* 42 ) (* 42 )

X E X X E X X X
X E X X X
? #4
(* 4 ) (* 4 )
 X X X E X
? #4 #
(* 2 ) (* 42 )

X E X X E X X X
X E X X X
? #
(* 4 (* 4
2 ) (* 4
2 )
2 )

X X #X w E X bX X
X X X X
? b
(* 4
2 )

U
X nX X X E X X X X
(*See the appendix for a likely realization.)

X E D
? X n
(* 42)

REGOLA ATTINENTE ALLO A RULE PERTAINING TO

STESSO PARTIMENTO
Si avverte, che trovando la 6a di tono minore, e
sar legata, puntata, sincopata, o raddoppiata
dopo le sue consonanze, se li d 2a superflua,
perch diventa 7a di tono, e se li d 4a maggiore
perch diventa 2a di tono. Di pi quando si tro-
vano due legature di 2a e 4a e poi si entra in terza
minore, allora la prima 2a si fa minore, perch
diventa d 6a di tono.
THE SAME PARTIMENTO 1
One should note that if one finds o to be minor,
and to be tied, dotted, syncopated, or rearticulat-
ed, one sets, after its consonances, an augmented
2nd because it turns out to be {, and one sets a
major 4th because it turns out to be v. Moreover,
when you find two ties of a 2nd and a 4th, and
when one enters the minor mode, then one makes
the first 2nd minor because it turns out to be z.

b b c E nX { X X X b b XX X nXX EX X nXX XX
& b X X Xv X X X b
*
X X Xz X X X
n42 b 42
bb b c X E XX X b
bb
X E X X X
? o n

Dippi una 2a e 4a si possono risolvere ad una 4a
maggiore; e se il Partimento principiasse a legare,
e sincopare dalla 5a di tono, e terminare alla prima
di tono, allora se osservano tutte le corde del tono,
con fare anche la 4a maggiore; cos ancora quando
il Partimento lega da un 8a all altra; e capitando la
2a e 4a su la terza del tono che sar anche ligata,
puntata, sincopata, o raddoppiata dopo le sue
consonanze di terza, e sesta, se detta terza di tono
minore se li d 2a maggiore e 4a minore, se poi
Furthermore, a 2nd and a 4th can resolve to [[an-
other]] major 4th. If the partimento should begin
by tying or syncopating from n, and should end
at j, then one observes all the scale steps, even
using a major 4th, and likewise when the parti-
mento descends in ties from n to j. And if the
2nd and 4th chance upon a l that will also be
tied, dotted, syncopated, or rearticulated following
its consonances of a 3rd and 6th, and if the said
l is minor, then one gives it a major 2nd and a
detta 3a di tono maggiore se li d 2a minore e 4a
minore, e ci si fa per osservare le corde del tuono
in cui si st, e se a detta terza di tono li precede la
quarta di tono che sar anche ligata, o sincopata,
allora a detta quarta di tono se li d 4a maggiore,
ed alla 3a di tono come si e detto.
minor 4th, or if the said l is major, one gives it
a minor 2nd and a minor 4th, and this is done to
respect the degrees of the key of the moment. And
if the said l is preceded by a m that will also
be tied or syncopated, then one gives to the said
m a major 4th, and to the said l as has been
described.

Segue l esempio di tutto ci che si detto An example follows of all that has been described.

1
(Partimento No. 10)

#c bE XX nX X X X
? E E E E X X X X X
(* # 4
2)
X nX X E X E E E X X
# X nX X X X X
?

#X X X X E nE X X X X E X X nX X X
? X
(* o ) b
(* 4
2)

# X nX X X X #X X X X X X X X X X
X
?

X E X X E X X E X X E E
# X E
?
(* n ... ... j )

# X #X X X X E X X E X X E X
?
(* q ...

# X X X X bX X X
? E X X X X X X X
... j )

# bX bE X X #X X nX nX X
? X X X X b
X X X
(* 4 )
2
 # X X X X bX X X
? E X X X X X X X
[p. 16] ... j )

# bX bE X X #X X nX nX X
? X X X X b
X X X
(* 4 )

X X X
2

# nX nX X X # X X X X X X X X X
? X
n
(* 4
2)
E X U
X X X X X (*See the appendix for a likely realization.)
#E E E E
? X E D

FINE DELLE SUDETTE REGOLE THE END OF THE AFOREMENTIONED RULES

 APPENDIX

Furno did not include realizations of the ten partimenti in his Method. As
the improvised oral traditions of eighteenth-century partimenti began to
transform into the standardized written traditions of the nineteenth cen-
tury, it became more common to see written-out realizations. They could
be done in three separate parts on three staves (a bass with two upper
voices, the so-called disposizione a tre) or in four parts (a bass with three
upper voices, disposizione a quattro), or in a keyboard style with a vary-
ing number of upper tones all notated on the treble staff.

The partimenti in Furnos Method are didactic and elementary. Their long
runs of quarter notes simplify the students task, though at the expense of
musical expression. Yet what they lack in rhythmic complexity is more
than offset by the density of patterns intended to be executed during
each bass. No. 10 is a summa, meaning a review of all the patterns
presented in the Method.

The partimenti in Furnos Method become progressively more complex

as one advances from No. 1 to No. 10. The editors realizations likewise
become more complex. The earlier realizations are strictly chordal, the
later ones more contrapuntal. No realization is definitive. Each is merely
a transcription of a particular performance.

{
Partimento No. 1

#
& c #


? #c

{
# U
5

& w

?# U



{
Partimento No. 2
# # # #
& # c # #

? ## c
# #

{
# U
6

& # # # # #

? ## # U

Partimento No. 3

Partimento No. 4

 Partimento No. 5

15

20

Partimento No. 6

15







 Partimento No. 7

15

21

Partimento No. 8

14













 Partimento No. 9

15










22

27

 Partimento No. 10










7

14








20

27









33

39