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The Solfeggio TraditionA Forgotten Art of Melody in the Long Eighteenth Century$
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Nicholas Baragwanath

Print publication date: 2020

Print ISBN-13: 9780197514085

Published to Oxford Scholarship Online: November 2020

DOI: 10.1093/oso/9780197514085.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 18 January 2022

Solfeggio and Partimento

Solfeggio and Partimento

Chapter:
(p.288) 13 Solfeggio and Partimento
Source:
The Solfeggio Tradition
Author(s):

Nicholas Baragwanath

Publisher:
Oxford University Press
DOI:10.1093/oso/9780197514085.003.0013

The chapter outlines the way solmization has been described as a “vocal” system at odds with the “keyboard” system of figured bass (partimento). It investigates the relation between melody and bass in solfeggio, especially in terms of imitative counterpoint, and proposes a synthesis between them. It surveys the historical evidence for solmizing figured and unfigured accompaniments and asks what this might tell us about the functions of the bass. Two solfeggi by the celebrated partimento master Fedele Fenaroli are examined in an attempt to shed light on this obscure feature of eighteenth-century practice.

Keywords:   solfeggio, partimento, melody with bass, solfeggio fugue, counterpoint, imitation, Fedele Fenaroli

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