Teaching

Musica extempore organizes courses in historic improvisation/composition. In 2025 we offered the first edition of the course "Introduction to Partimento and Historic Improvisation" for Brazilian and Portuguese speakers community!  
 

Why study with us? Have you ever wondered how composers of the past learned their craft?

Partimento is the name given to the main pedagogical tool used in the 18th and 19th centuries for the practical teaching of composition and music theory. Flourishing in the Neapolitan conservatories of the 18th century, partimenti were written lessons consisting of a figured bass line to be realized at the keyboard (harpsichord, organ, or piano) so as to sound like a real composition. Through the study of dozens of such lessons, one would gain fluency in improvisation by learning numerous typical patterns (schemata) of the musical language of the time. In this way, harmony and counterpoint were studied through improvisation, encouraging the variation, recombination, and connection of these patterns in countless ways.

In the 19th century, the Neapolitan tradition gained renewed strength at the Paris Conservatory, remaining a central didactic tool until the early 20th century. Although known by different names, partimenti were also used in various other countries, making it accurate to say that such lessons formed the core of the training of musicians as diverse as Bach, Handel, Pergolesi, Bellini, Chopin, Fauré, and Debussy.

But what exactly is a Partimento?

The study of partimento is closely linked to the study of basso continuo. A partimento generally consists of a written bass line (often figured), which should be played by the keyboardist’s left hand, while the right hand improvises a polyphonic or melodic texture. An example of a versetto (a short partimento) by Stanislao Mattei and its realization can be viewed by clicking here.

In addition to harmonic and contrapuntal patterns, many partimenti were composed to allow practice of various elements typical of specific styles—such as the galant style (see video with partimenti by Francesco Durante), theatrical style, or even fugues (see video with a partimento by Nicola Sala). In the case of partimenti written in fugue form, they often include additional clefs to indicate subject entries in upper voices. Handel composed several partimento-fugues, and there is also a manuscript attributed to the circle of J.S. Bach with lessons of this kind.

Partimento Today?

Throughout the 20th century, the traditional teaching of music theory often became detached from practice. As a result, the study of harmony and counterpoint became an abstract, dry, and uninspiring experience for many musicians.

We believe that the recent rediscovery of the partimento tradition and its adaptation for modern use have the potential to give musicians greater mastery of Western musical language from past centuries, as well as tonal music in general, since many schemata from this tradition remain present in today’s popular music.

Moreover, the study of partimenti fills a gap in traditional music education, particularly in classical training, offering musicians the opportunity to develop: Improvisation skills, The ability to prelude, The capacity to ornament melodies, a more intuitive approach to composition.

The impact of recent musicological research on this subject is already evident abroad. The practical study of music theory through historically inspired approaches is a reality in prestigious institutions such as Schola Cantorum Basiliensis (Switzerland) and the Amsterdam Conservatory (Netherlands), and it is now influencing curriculum reforms at various North American universities.

In Brazil, this knowledge is still in its early stages. For this reason, we seek to offer a high-quality and affordable introductory course in Portuguese, making this knowledge accessible to the Brazilian musical community.

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Group Courses
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