METODO
METHOD
del Maestro
GIOVANNI FURNO
by Maestro
GIOVANNI FURNO
[p. 1]
REGOLE DI PARTIMENTI
Primieramente si deve sapere, che la musica
composta di consonanze, e dissonanze.
ww3
* c
? 3rd
ww5
5th
w6
w
6th
w8
w
8ve
w5
* c w
?
ww3
w8
w
Perfect
Imperfect
w6
w
?c w
Prime
Minor 2nd
bw
Major 4th
? #w
7
Fifth
w
8
Major 2nd
w
3
Minor 6th
bw
9
Minor 3rd
bw
4
Major 6th
nw
10
Major 3rd
nw
5
Minor 7th
11
Minor 4th
w
6
#w
Major 7th
12
Octave
13
jklmnopqrsuvwxyz{}|~
[p. 2]
ww
c
& w
8
5
3
|
y
w
c
? w
composition.
It takes its
3rd according to the composition. That is, if the
composition has been in major, then one gives j
a major 3rd. If, on the other hand, the composition
has been in minor, then one gives j a minor 3rd.
b b b c www
8
5
3
|
y
w
bbb c w
b b c nw
b
c
w
{
ww {xy
& ww xy
n
6
4
3
?c w
6
4
3
bbb c w
ww
c
&
u
y
6
3
b b b c ww
l
&c
w
c
?
www vzu
6
5
3
bbb c w
ww
w c w w
vu
z
6
5
3
w
c
? m
3a,
bbb c w
u
y
6
3
w
c
? l
u
z
5
3
c www
cw
www v{
y
6
4
2
www
c
&
8
www
w
v
{
y
w
c
?
8
7
5
3
cw w
5
3
6
3
Si avverte, che la 6a di tono quando maggiore, e cala alla 5a di tono, allora la 6a d accompagnamento 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.
&c
?c
#www
#6
w
4
3
ww w c
w
www
w
5
3
{
yx
8
7
5
3
w
5
3
6
3
bb b c w
ww
cw w
6
3
x
u
p
o
n
j
jklmnopqrsuvwxyz{}|~
o
k
www w
c w w
ww x b b c ww
c
u
b
&
?c
consonances one can also add the minor 7th, provided 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
c
ww wu
w
5
3
w
n
ww y b
ww
v
b bc
&c
6
6
3
3
w
n
w
bb c
c
b
?
p
b c
b
& b
b c
b
? b
w
j
ww
y
v
w
6
3
ww
6
3
w
o
y
v
nnn c
nn n c w
ww
w
w
ww
w
5
w3
6
5
3
x
v
y
1st Position
ww
c
& w
2nd Position
b www
Root
Bottom
5
3
?c w
3rd Position
www
Third
Top
5
3
bw
Fifth
Middle
5
3
I toni di Cesolfaut, Delasolr, ed Elam, tanto maggiori, quanto minori, o in 3a maggiore, o in 3a minore, si sonano in prima posizione in decimaterza,
cio con 3a di sotto.
The keys of F, G, and A are played in third position, at the fifth, that is, with the 3rd in the middle.
The keys of Bb and Bn are played in second position, at the fifteenth, that is, with the 3rd on top.
I toni de Bef, e Bem si sonano in seconda posizione, in decimaquinta, cio con 3a di sopra.
Seguono le scale in tono di Cesolfaut, Delasolr,
ed Elam in prima posizione con terza da sotto con
tutte le loro eccezzioni.
8
5
3
6
4
3
?c w
6
3
8
6
4
3
w
2
8
5
3
w
1
3
8
5
5
3
8
6
6
3
8
5
3
8
6
3
3
8
6
5
3
8
6
6
3
8
5
8
5
3
5
3
8
6
n87
w5
8
5
3
jklmnopqrsuvwxyz{}|~
4
3
8
6
3
8
5
3
6
3
8
w
3
3
8
6
4
3
8
5
5
3
8
6
n87
#4
2
6
w
4
8
5
3
w
1
[p. 5]
c www
&
?
www www
w w
c w
ww
& w
w
?
## w
w
2
w
1
www
w
ww
ww
w
ww
w
w
ww
w
w
ww ww
ww # ww
w w
ww
w
w
ww
ww
w
w
ww
ww
w
www
w
w
ww
w
w
ww
w
w
ww
w
w
ww
ww
w
www
w
w
ww
w
w
6
w
3
w
1
w
4
w
3
w
6
w
6
jklmnopqrsuvwxyz{}|~
w
3
w
w
b w
?b b c
bb b w
? 3
ww
w
w
ww
w
## c w
?
?
www www
www
w
w
w
1
4
3
8
6
5
3
8
c
?b w
?b w
c www
b
&
c
?b
w
3
www www
w w
ww
w
w
wwww www
ww
w
ww
w
www
www www w
w w w
8
5
3
4
3
w
5
b87
3
8
6
5
2
6
4
w
4
ww n ww ww
w w
w w w
p
ww
w
www
www www ww
w w w
[p. 6]
#c
#w
?
3
w
1
w
2
w
1
w
4
w
3
w
6
w
4
w
5
w
6
jklmnopqrsuvwxyz{}|~
w
7
w
3
w
4
w
5
5
3
8
5
3
ww
n6
ww w
ww ww
6
3
3
8
6
5
3
5
3
5
3
8
w
b87
3
8
6
5
5
3
8
wwww www
www
b
&
?b w
b65
8
5
3
3
8
6
3
8
5
6
3
5
3
8
4
3
8
6
3
8
6
8
5
3
3
8
6
5
3
8
6
w
1
?
?
### c
w
1
### w
w
1
3
8
6
4
bc w
b
?
bw
b
?
3
8
5
8
5
3
b c ww
b
w
&
ww
ww
ww
w
bc
?b w
bw
b
& w
ww
ww
ww
w
ww
w
ww
bw
b
?
b5
3
8
6
3
8
5
3
8
5
6
5
3
w
4
www www
w w
6
5
3
8
w
4
6
3
6
3
5
3
8
3
8
6
4
6
5
3
6
3
8
6
3
3
5
8
5
3
8
7
3
8
5
8
6
3
4
3
8
6
6
6
5
3
ww
w
w
ww
w
w
www www
nw
w w
ww
w
www
6
4
2
w
4
3
8
5
ww
ww
w
b7
w
5
3
8
5
3
8
ww
ww ww ww w
w w ww ww
w w w w
w
jklmnopqrsuvwxyz{}|~
w
w
o
3
8
6
www
w
ww
ww
w
www
w
ww
w
w
[p. 7]
bc
b
?
w
bw
b
?
3
b ww www ww
b
& w #w w
b
?b w
X X
X
(Partimento No. 1)
#c X
# X X
X X
?
ww
w
www
ww
w
w
ww
ww www www w
w w #w w
ww
w
w
ww www
X X X X
X X X X
w nw b w
w nw # w
b c ww www ww www ww
b
w #w w w #w
&
bc
?b w
w nw # w
ww # www # www
X X X X
X X X X
X X X X
E D
## c
X X X
X
X X X X #X X X X
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
U
D
[p. 8]
There are three cadences, namely the simple, compound, and double, and they are made with j
and n. After the j, other scale steps may occur
as desired.
E. X
c
X
& X
E
5
3
X
X
c X X
?
E
c
X
X
&
E
c X X E
?
6
4
X
X
5
3
X
X
X
X
X
XX EX X
E
5 5
4 3
X
X X X
n
X
X
X
E X
c
X
& X X E
5 6 5 5
3 4 4 3
w
c
? n
(Partimento No. 3)
X X
?c X X
?
?
X X X X
X X X X
X
X
XX EX XX
X 7
7
5 6 5 5
w3 4 4 3
X
X
X
X
(*Simple.)
X X X X
(*Compound.)
X X
E
X (*Compound.)
X X X X
E
X
X X X X
X X X
U
D
X X X X
(*Compound.)
X
X
[p. 9]
(Four Modulations)
#c E
?
#E
(*p
? E
E
j)
(*m
? E
? E
(*o
E
(*k
E
E
n)
j)
bE
(Partimento No. 4)
?c X
#X X X X
?
(*p
j)
X X
X
X
?
?
nX
(*p
j)
X
X
X X #X
(*m
n)
X #X X
(*p
j)
U
D
n)
bE
X
X
X X X
(*m
U
D
X X X
E
n)
bX
(*o
U
D
U
D
X nX X X
(*o
n)
X nX X X
n)
U
D
X X X X
c
b
?
?b X
X X nX
(*m
n)
#X X X X
?b
X X X X
?b
?
X
X
#X
X
b
X X X X
?b
X X X
X X #X X
X nX X X
(*p
j)
nX
#X X X
X X #X X
X X X
X nX X
X X X
(*p
(*p
j)
j)
X bX X X
(*o
X X X
n)
X X X
X X X X
X X X X
X
#
(*n m)
X bX X X
X X X
X
(*o
n)
(*k
j)
X nX X b X
j)
(*n m)
(*See the appendix for a likely realization.)
X X X nX
(*p
j)
(*p
U
D
Seque l esempio.
An example follows.
XX XX XX XX
&c X X X X
6
5
XX XX XX XX XX XX
X X X X X X
EE
E
6
5
c X X X X
?
6
5
6
5
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 nX X X
X X X X
(Partimento No. 6)
# 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 X X E
U
D
[p. 11]
& c EX E E X
c
? E
XE X
5
X E E X
c
E
&
?
c E
XE X
E
E E X
c
X
E
&
c X X E
6
X
X
Seque lesempio.
An example follows.
[p. 12]
(Partimento No. 7)
X X X
c
X
?
?
?
?
?
#X X X X
X E
X
?
(*k )
X X
E
X
X X X X
E
(*k )
X E
(*o = k )
X X
X
(* 6
E
5
#E
6...)
X E
(*o = k )
nX X X
E
6...)
(*
(* 6
X X X X
E
E
E
X X X X
X nX X X
(* 6
6...)
X X #X
X
E
X
#X
U
D
XX XX
3
7
7
3
c X X X X
Quando il Partimento sale di 5a e cala di 4a si accompagna con 4a 5a e 8a e detta 4a viene preparata 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.
EX E E
c
X
&
7
3
3
7
X X
E XX XX # XX
c
X
X
X X
&
4 3
4 3
4 #3
E
E
c E
?
n
Seque l esempio.
An example follows.
[p. 13]
(Partimento No. 8)
?
?
?
#c X
# X X X X
n )
# E
U
X
(*
X X E
X X X
(*
n )
# X X
X X E
X X nX
X #X
# X
X X
X
?
?
X X X X
X nX X X
X X E
X X X X
U
D
E X EX X
c
& X
E 42 X
c
? X
X
X
X
E X EXX X
X
6
E 42 X
X
X
X
X
X
X
X
E X EX X
c
& X
4
E 2 X
c
? X
stepwise resolution
E X EX X
c
& X n
4
E 2 X
c
? X
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 rearticulated note. Otherwise one gives these notes the
simple consonances that they require.
X
X
X
a return
X XX E
E
X
5
E 3 X
X
no resolution
XX
X
E X # EX X # XX XX
X
#4
E 2 X xX X
X
no return
jklmnopqrsuvwxyz{}|~
b b c X X nX { X
b
&
XX XX XX v XX
n64 63
bb c X E 2 X
? b
?c X
(* 4
2 )
X E
? X
?
?
E
E
X E
#4
# )
(* 4
2
#
(* 4
2 )
(* 4 )
X
X
X X X
X
X X #X
(* 4
2 )
X X
X X
nX X # X X
E
m=j
X X E
b b b XX XXX b XX x XX
X
bb X z X
b 64 63
bb b X E 2 nX
X E
#X X X X
?
?
X X
X
X
X X X
X
E.
X X X
E
#
(* 4
2 )
nX
bX X X
X E
(* 4
2 )
#X
X X X X
(* 4
2 )
nX X X X
X X E
X
X
X
#
(* 4
2 )
X X X
(* 4 )
?
?
#4
X E
#
(* 4
2 )
X X E
(* 2 )
(* 4
2 )
X #X
X nX X
X
?
X X
E
w
X E
X
n
(* 4
2)
X E
X
X
#
(* 4
2 )
X X X
X bX
(* 4
2 )
(* 4
2 )
(*See the appendix for a likely realization.)
X X X X
U
D
A RULE PERTAINING TO
THE SAME PARTIMENTO
b c E nX { X X X b b
b
b
& b X X Xv X X X
n42
XX X b
bb b c X E
bb
?
o
XX X nXX EX X nXX XX
X X Xz X X X
b 42
X E
X X X
n
Furthermore, a 2nd and a 4th can resolve to [[another]] 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 partimento 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
?
?
#c
# X
X nX X
#X X X X
?
?
?
nX X X X
X #X X X
X E
X E
... j )
# X #X X X
X E
(* q ...
# bX
... j )
X X X
X X X X
X
bE
X X X X
(* o )
(* n ...
# X
E
?
?
E nE
# X nX X X
?
E
X
#
X X X X
b
(* 4 )
2
bE
(* # 4
2)
XX
(* 4
2)
X X X X
X
X X E
X E
X X X
X
X X #X X
X X
nX X X X
E
X X
X nX X X
X X X
X
E
X E
E
X
bX X X
X
X
nX nX X
# X
E
?
[p. 16]
# bX
... j )
X X X
# nX nX X X
?
?
#E
X X X X
X
bE
b
(* 4 )
2
X X #X X
X X
X
X
#
X
X
X X X
X
X X X X X
(* 4
2)
bX X X
X
X
nX nX X
X X X
X
U
X X X X X (*See the appendix for a likely realization.)
E E
E D
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 century, 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 varying 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.
#
& c
? #c
#
&
?#
Partimento No. 1
Partimento No. 2
#
& # c #
? ## c
#
& # #
? ## #
#
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
14
20
27
33
39