PL EN


2013 | 2 | 173-196
Article title

THE PASSACAGLIA – A PRIMER FOR TEACHING BAROQUE IMPROVISATION

Content
Title variants
Languages of publication
EN
Abstracts
EN
During the lifetime of Bach such disciplines as harmony and thoroughbass were realized directly at the keyboard by the student, providing a solid foundation for later and more elaborate improvisatory skills – skills which were mandatory for all clavier players of that period. Unfortunately, the great majority of today’s Baroque counterpoint classes rely on the more academic process of committing notes to paper, thereby subjugating aural and performance skills. In this article, I propose amending music theory curricula with topics in baroque improvisation. To that end I will employ one of the most accessible variation forms from common practice music: the passacaglia.
Year
Issue
2
Pages
173-196
Physical description
Dates
published
2013
Contributors
  • University of Rochester Rochester
References
  • Bach C.Ph.E., Essay on the True Art of Playing Keyboard Instruments, New York 1949
  • Benjamin T., Counterpoint in the Style of J.S. Bach, Schirmer Books, New York 1986.
  • Berkowitz S., Improvisation through Keyboard Harmony, Englewood Cliffs, New York 1975.
  • Brings A., Burkhart Ch., Kamien R., Kraft L., Pershing F., A New Approach to Keyboard Harmony, Englewood Cliffs, New York 1979.
  • Clendinning J.P., West Marvin E., The Musician’s Guide to Theory and Analysis, W.W. Norton & Company, New York 2004.
  • Dobbins B., A Creative Approach to Jazz Piano Harmony, Rottenburg 1991.
  • Fux J., Gradus ad Parnassum, trans. A. Mann as The Study of Counterpoint, W.W. Norton & Company, New York 1965.
  • Gauldin R., A Practical Approach to 16th-century Counterpoint, Englewood Cliffs, NY 1985.
  • Gauldin R., Harmonic Practice in Tonal Music, Oxford University Press, New York 2005.
  • Henry E., Rogers M., Tonality and Design in Music Theory, Englewood Cliffs, NY 2005.
  • Hudson R., Passacaglio and ciaccona: from guitar music to Italian keyboard variations in the 17th century (Ann Arbor, Mich. 1981).
  • http: //imslp.info/files/imglnks/usimg/1/1e/IMSLP29678-PMLP66660-Buxtehude-BuxWV161.pdf (ac-cessed on April 29, 2009): BuxWV161; and, http://imslp.info/files/imglnks/usimg/6/61/IMSLP01337-BW V0582.pdf (accessed on April 29, 2009): J.S. Bach, BWV582.
  • Laitz S., The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening, Oxford University Press, New York 2007.
  • Ledbetter D., Continuo Playing According to Handel: His Figured Bass Exercises With a Commentary, Oxford University Press, New York 1990.
  • Levine M., The Jazz Theory Book, Petaluma, Published by Sher Music Co, CA 1995.
  • Lieberman M., Keyboard Harmony and Improvisation, W. W. Norton & Co, New York 1957.
  • Mayfield C., Theory Essentials: An Integrated Approach to Harmony, Ear Training, and Keyboard Skills, Vols. 1-2, Belmont, CA 2003.
  • Morris R.O., Figured Harmony at the Keyboard, Oxford University Press, London 1932.
  • Mozart L., A Treatise on the Fundamental Principles of Violin Playing, New York 1985
  • Niedt F. E., The Musical Guide, 3 parts (1700-21), trans. P. Poulin, J. Taylor, Oxford 1988
  • Parks R., 18th-century counterpoint and tonal structure, Englewood Cliffs, NY 1984.
  • Pelz W., Basic Keyboard Skills. Harmonization and Modulation, Transposition, Accompaniment, Improvisation, Boston, MA 1963.
  • Quantz J.J., On Playing the Flute, Lebanon, NH 2001.
  • Roig-Francoli M., Harmony in Context, Cambridge University Press, New York 2002.
  • Schubert P., Modal Counterpoint, Renaissance Style, Oxford University Press, London 1999.
  • Straus J.N., Elements of Music, Upper Saddle River, Pearson Prentice Hall, NJ 2008.
  • Zarlino G., The Art of Counterpoint, New York: DaCapo Press, New York 1983.
Document Type
Publication order reference
Identifiers
ISSN
2083-1226
YADDA identifier
bwmeta1.element.desklight-aa6489f5-03d3-4fdb-8f20-678e830a4f74
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.