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Dariusz Terefenko Eastman School of Music 1

THE PASSACAGLIAAPRIMER 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

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Example 6:Non-Harmonic Tones in 2:1

Example 7:Non-Harmonic Tones Improvisation Module II

Example 8:Suspension Possibilities

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Dariusz Terefenko Eastman School of Music 3

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

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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

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Example 16:Rhythmic Motives

Example 17:Rhythmic Motives Improvisation Module VII

Example 18:Melodic Diminutions: Adjacent Intervallic Pairs

Example 19:Idiomatic Melodic Gestures

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Example 20:A Medium Passacaglia

SELECTEDBIBLIOGRAPHY

Bach, Carl Philip Emmanuel. Versuch ber die wahre Art das Clavier zu spielen, 2 vols., Berlin, G. L.

Winter, 1753-62; trans. W. Mitchell asEssay on the True Art of Playing Keyboard Instruments. NewYork, NY: W.W. Norton, 1949.

Campion, F. Traite daccompagnement et de composition, selon la rgle des octaves, Paris, Aux depensdEstienne Roger, 1716; facs. Geneva, Minkoff, 1976; trans. L. Dragone as Franois CampionsTreatise on Accompaniment: A Translation and Commentary, Theoria 6 (1992).

Christensen, Thomas. The Regle de lOctave in Thorough-Bass Theory and Practice,ActaMusicologica64/2, (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: WavelandPress, 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 17thcenturyAnn Arbor, Mich.: UMI Research Press, 1981.

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Laitz, Steven G. The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, andListening. 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 asATreatise 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, OxfordClarendon Press, 1988.

Quantz, Johann Joachim. Versuch einer Anweisung die Flte 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 UniversityPress, 1968; reprint New York, Da Capo, 1983.