Giacomo Insanguine (1728–1795)

Regole

Con moti di Basso

Partimenti, e Fuge

Del Maestro Giacomo Insanguine

Detto Monopoli

[before 1795]

Concerning this modern edition . . .

Musical examples or hints marked with an asterisk (*) have been provided by the editor for clarification of the rules. Material in brackets has been added for comparison with other books of rules or for clarity.

Each musical example represents just one possible sonic realization of the intended rule. Different but equally fine realizations might have different melo-dies and more or less elaboration.

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 num-bers in black circles (e.g., u).

This bilingual edition is based on the Italian manu-script, and on a manuscript (Th.C.116a) in the Nose-da collection preserved at the Milan Conservatory Library. The date of 1785 is approximate.

Concerning Giacomo Insanguine (1728–1795) . . .

As a nine-year-old boy Insanguine began six years of study in Naples at the Conservatory of The Poor of Jesus Christ. He would go on to be appointed a teaching assistant to the great master Durante. In his late teens Insanguine had his first comic operas performed, and from his early thirties he had seri-ous operas staged in leading Italian cities. In sacred music he served as second organist and later as chapel master at the cathedral of Naples. In 1785 he was named first master of the Conservatory of Saint Onofrio, where he had studied with Durante.

Insanguine, also known as “Monopoli” after the town of his birth, was able to fix problem arias by other composers and thus developed a reputation as a kind of opera repairman.

Above: the uniform Insanguine would have worn as a boy at the Conservatorio di Poveri di Gesù Cristo, Naples

Below: Insanguine at the height of his fame

Regole

Con moti di Basso

Partimenti, e Fuge

Del Maestro Giacomo InsanguineDetto Monopoli

REGOLA DELL’OTTAVA

Primieramente bisogna sapere, che ogni tono ha sette corde, e sono 1a 2da 3a 4a 5a 6a 7ma.

La prima del tono vuole 3a 5a, ed 8a.

La seconda vuole 3a minore, e 6a maggiore, e può avere ancora la 4a.

La terza vuole 3a, e 6a.

La quarta vuole 3a 5a e 6a, e quando cala dalla quinta, e và alla 3a del tono, vuole 2do e 4a maggiore.

La quinta vuloe 3a maggiore 5a, ed 8a.

La sesta del tono vuole 3a, e 6a, e quando cala, vuole 6a maggiore, potendo avere ancora 3a, e 4a.

La settima del tono quando và al tono principale 3a, e 5a falsa, e 6a, quando cala poi 3a e 6a.

[ CONSONANZE E DISSONANZE ]

La Consonanze sono quattro 3a 5a, 6a, ed 8a delle quali due si chiamano perfette, e due imperfette; Le perfette sono 5a, ed 8a e si chiamano perfetto, perchè non si possono, ne

Rules

Along with Bass Motions,

Partimenti, and Fugues

By Master Giacomo InsanguineKnown as Monopoli

THE RULE OF THE OCTAVE

Firstly, one should know that each key has seven degrees, which are j, k, l, m, n, o, and p.

j takes a 3rd, 5th, and 8ve.

k takes a minor 3rd and a major 6th. It can also have a 4th.

l takes a 3rd and a 6th.

m takes a 3rd, 5th, and 6th. When it descends from n and goes to l, it takes a 2nd and augmented 4th.

n takes a 3rd, 5th, and 8ve.

o takes a 3rd and 6th, and when it descends it takes a major 6th, optionally having a 3rd and 4th.

p, when it ascends to the tonic, takes a 3rd, diminished 5th, and 6th; and when it descends, it then takes a 3rd and 6th.

[ CONSONANCES & DISSONANCES ]

There are four consonances—the 3rd, 5th, 6th, and 8ve—two of which are called “perfect” and two “imperfect.” The perfect ones are the 5th and 8va, and they are called perfect because one can

alterare, ne diminuire; L’imperfette sono 3a, e 6a, e si chiamano imperfette, perchè se possono alterare, e diminuire, cioè si possono far maggiori, e minori.

La dissonanze sono ancora quattro, e sono 2da 4a 7a, e 9a e queste non si possono dare se non sono preparate, e resolute ad una della consonanze.

[ CORDI STABILE ]

Le cordi stabili sono quattro, cioè 2da 4a 5a 7ma del tono nell’ascendere, ma nel discendere quando la prima di tono ha 3a Minore alla la 7a deve esser minore.

[ LI MOTI ]

Li moti sono trè retto, obliquo, e contrario.

Il Moto retto è quando le due mano sagliano, e cálano insieme, e questo si deve evitare per non fare due 5e, o due 8a che queste sono proibite.

Il moto obliquo, e quando una mano sta ferma, e l’altra camina.

Il moto contrario è quando una mano ascende, e l’altra discende, come si vedrà con l’Esempio.

[ LE POSIZIONI DI MANO ]

Le posizioni di mano sono trè, la prima con 3a dà sotto, la seconda con 3a da sopra, la 3a con 3a in mezzo.

Seguono le scale per l’Esempio.

neither alter nor diminish them. The imperfect ones are the 3rd and 6th, and they are called imperfect because one can alter or diminish them, that is, one can make them bigger or smaller.

There are also four dissonances—the 2nd, 4th, 7th, and 9th—and these cannot be used unless they are prepared and resolved to one of the consonances.

[ FIXED DEGREES ]

There are four fixed degrees, namely k, m, n, and p degrees; but in descent p should be minor when the tonic has a minor third [= minor mode].

[ CONTRAPUNTAL MOTIONS ]

There are three motions: direct, oblique, and con-trary.

Direct motion is when the two hands rise or fall together, and this should be avoided so as not to make two [parallel] 5ths or 8ves, because these are forbidden.

Oblique motion is when one hand holds its posi-tion while the other one moves.

Contrary motion is when one hand ascends and the other descends, as you will see in the exam-ples.

[ POSITIONS OF THE RIGHT HAND ]

There are three positions for the [keyboard player’s right] hand. The first has the 3rd at the bottom [of the tonic triad], the second has the 3rd on top, and the third position has the 3rd in the middle.The scales follow as examples.

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Scala in Prima Posizione The Scale in First Position

[ LA QUARTA DI TONO ]

Esempio per la quarta di tono quando no và alla quinta di tono e quando scende dalla 5a di tono.

La quarta di tono ha la 3a come la prima di tono. Segue Esempio.

[ LE CORDE ]

Per saper conoscere le consonanze, e dissonanze bisogna cominciare dal tono principale, e si chia-ma

[ THE FOURTH SCALE DEGREE ]

An example of m when it does not proceed to n and when it descends from n.

m has the same 3rd [maj. or min.] as j. An ex-ample follows.

[ NUMBERING THE PITCHES ]

To know the consonances and dissonances one must begin from the tonic, and they are called . . .

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Scala in Seconda Posizione The Scale in Second Position

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Scala in Terza Posizione The Scale in Third Position

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Altra Scala An Alternate Scale

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1st 2nd 3rd 4th 5th 6th 7th 8th 9th 10th 11th 12th 13th

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Numere delle corde Chromatic degrees

Scale degrees

[ LE CADENZE ]

Le Cadenze sono trè semplice, composte, e dop-pia.

La Cadenza semplice se fà con #3a e 5a, ed in tre posizioni di mano con 3a da sotto, 3a da sopra, e con 3a in mezzo. Questa Cadenza si fà in tutti i toni.

La cadenza composta se fà con 4a 5a e poi #3a e 5a, e pure con trè posizioni di mano. Segue Esem-pio.

La Cadenza doppia si fà con 5a/3a 6a/5a 5a/4a 5a/3a. Si avverte che le Cadenze si fanno nella 5a del tono.

[ PREPARARE LE DISSONANZE ]

La quarta si può preparare da tutte le consonanze, ed ancora dalla settima minore e si accompagna con la 5a, e 6a e resolve alla #3a.

[ CADENCES ]

There are three cadences: simple, compound, and double.

One makes the simple cadence with the maj. 3rd and 5th, and in the three hand positions with the 3rd at the bottom, the 3rd on top, and the 3rd in the middle. Do this cadence in all keys.

One makes the compound cadence with the 4th and 5th followed by the maj. 3rd and 5th [over n], and also in the three hand positions. An ex-ample follows.

One makes a double cadence with 5/3 6/4 5/4 and 5/3. Note that one makes cadences on n.

[ PREPARING DISSONANCES ]

The fourth can be prepared by all the consonanc-es, and even by the minor 7th when one employs the 5th and 6th and resolves it to a major 3rd [see below, last beat of m. 4, where an A will go to G#].

[ ] [ ] [ ]

Prima posizioneFirst position

Seconda posizioneSecond position

Terza posizioneThird position

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*Cadenza doppiaDouble cadence

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Esempio

[ Altro Esempio ]

La settima ancora se può preparare da tutte le consonanze, ma si deve accompagnare sempre con la terza, e si risolve a 6a maggiore. Esempio.

L’Istesso Partimento si può fare con la sesta mag-giore. Esempio

For example:

[ Another Example ]

The seventh can also be prepared by all the conso-nances, but it should always be accompanied by the 3rd and resolved to a major 6th [when the bass descends as in k–j or o–n]. For example:

This same partimento can be realized with major 6ths [omitting the 7ths]. For example:

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Ogni volta, che il partimento ha #6a e b3a e sem-pre seconda di tono.

Quando il Partimento ascende di quarta, e dis-cende di quinta se li dà 7ma preparata dalla 3a e resolve a #3a. Segue Esempio.

Altro Esempio.

La nona se prepare dalla 5a, e dalla 3a e si risolve a 6a o all’ 8a or pure alla 3a e si accompagna con la decima, o sia 3a. Regola

Every time the partimento has a #6th and a b3rd it is on k.

When the partimento ascends a fourth and de-scends a fifth one can give it a 7th prepared by a 3rd and resolving to a #3rd [on the local n]:

Another Example:

The ninth is prepared by the 5th or 3rd and it resolves to a 6th or an 8va or even a 3rd, and it is accompanied by the 10th (i.e., “3”). The rule:

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In questa retroscritta Regola la nona risoluta a 3a.

[ IL PARTIMENTO LEGATO ]

Il Partimento legato se li dà seconda, e quarta, se retorna in tono vuole quarta minore se varia tono vuole quarta maggiore, porendosi aggiungere an-cora la 6a se la quarta è minore, la sesta deve esser minore, quando però il tono terza minore, ma quando ha 3a maggiore, la sesta deve esser anche maggiore, ed essendo la 6a maggiore la quarta deve esser sempre maggiore. Siegue

Regola per la quarta minore

Regola per la quarta maggiore

Ogni volta che il partimento ha quarta maggiore, è quarta di tono. Ogni volta, che ha seconda minore è quinta di tono, e quando ha la quarta maggiore, e 2a superflua è 6a di tono.

In the Rule shown above, the ninth resolves to a 3rd [that is, the upper voices on 9 and 3 (=10) form a 2nd which resolves to a 3rd].

[ TIED BASSES ]

A tied partimento bass takes the 2nd and 4th. If it returns to the [same] key, it takes the perfect fourth. If it changes key, it takes the augmented fourth. One can also add the 6th: if the 4th is perfect, the 6th should be minor if the key is minor, but if the key is major, the 6th should also be major. And when the the 4th is augmented, the 6th should always be major.

Here Follows the Rule for the Perfect Fourth

Rule for the Augmented Fourth

Whenever the partimento bass has an augmented 4th above it, it is on m. Whenever it has a mi-nor 2nd above it, it is on n. And when it has an augmented 4th and augmented 2nd [above it], it is on o.

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Quando il partimento è tutto ligato, o sincopato se li può dare quarta maggiore, e quarta minore, ma l’ultima quarte deve esser sempre maggiore.

Siegue Regola per la quarta minore

Regola per la quarta maggiore

[ VARIARE IL TONO ]

Si può variare tono in più maniere, cioè con la seconda minore, seconda maggiore, terza minore, et terza maggiore, quarta maggiore, e sesta mag-giore, e settima minore.

[ MOTI D’INTERVALLE ]

La quarta maggiore và all sesta, la 6a maggiore và all’ 8a, la quinta falza và a 3a, da una falza si può andare ad un’altra falza. Esempio che Segue.

[ CADENZE ROTTE ]

Vi sono ancora le Cadenze rotte uscendo di tono come questo Esempio che seque.

When the bass has a series of ties or syncopations, one can use either the perfect or augmented 4th, but the last 4th should always be augmented.

Here Follows the Rule for the Perfect Fourth

Rule for the Augmented Fourth

[ TO CHANGE THE KEY ]

On can change the key in several ways, that is, through making the 2nd minor, or, with a major 2nd, making the 3rd minor, or with a minor 3rd making it major, or by using an augmented 4th, a major 6th, or a minor 7th.

[ INTERVALLIC MOVES ]

The aug. 4th expands to the 6th, the maj. 6th expands to the 8va, and the dim. 5th contracts to the 3rd. From one dim. 5th you can go to another. See the following example.

[ INTERRUPTED CADENCES ]

There are also interrupted [or deceptive] cadences that leave the key, as in this example that follows.

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[ MOTI DI BASSO, SOPRA ]

Sieguono tutti I moti di Basso, quando ascende di Terza sopre, s’accompagna la prima nota sola. Siegue Esempio.

Prima Esempio.

Seconda Esempio.

Terza Esempio.

Salti di quarta sopra che ricevano 3a e 5a.

L’Istessa Regola colle dissonanze.

Salti di quinta sopra con 3a e 5a.

L’Istessa Regola [colle dissonanze].

[ ASCENDING BASS MOTIONS ]

Here follow all the bass motions. When the bass moves by ascending thirds, one accompanies only the first note [of each third]. Examples follow.

Ascending Thirds, First Example.

Ascending Thirds, Second Example.

Ascending Thirds, Third Example [in MS, same as above, so figures borrowed from Fenaroli].

Ascending Fourths, taking 5/3 chords.

Ascending Fourths, same rule with dissonances.

Ascending Fifths, taking 5/3 chords.

Ascending Fifths, same rule [with dissonances].

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Salti di sesta [sopra].

Salti di settima [sopra].

[ MOTI DI BASSO, SOTTO ]

Quando il Partimento scende de 3a ed ascende di grado, alla nota, che scende de terza se li dà 5a e 6a, ed a quella, che ascende di grado se li dà 3a e 5a.

Al Partimento che scende di 4a se li dà 3a minore e quinta.

Altro modo.

Quando il partimento scende di 5a se li dà 3a e 5a.

Ascending Sixths [figures missing in MS, so bor-rowed from Fenaroli].

Ascending Sevenths.

[ DESCENDING BASS MOTIONS ]

When the bass descends by a 3rd and ascends by a step, one gives a 5th and a 6th to the note that fell a third, and a 3rd and a 5th to the one that rose a step.

When the bass descends by a 4th [and ascends by a step], one gives it 3rds and 5ths.

In Another Style:

When the bass descends by a 5th [and ascends by a 4th], one gives it 3rds and 5ths.

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Altro modo

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In Another Style:

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[ The manuscript continues with 1) short and easy partimenti, 2) longer and more challenging partimenti, and 3) partimento fugues. They have been reproduced in three separate documents.]