For the Brazilian community and Portuguese speakers around the world, we are offering a new group course!

Registrations are now open!
Click here to sign up!

​

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. Having flourished in Neapolitan conservatories in the 18th century, partimenti were written exercises in the form of a figured bass line that had to be realized at the keyboard (harpsichord, organ, or piano) in a way that sounded like a real composition. By studying dozens of these exercises, musicians developed fluency in improvisation, as they learned various patterns (schemata) characteristic of the musical language of the period. In this way, harmony and counterpoint were studied through improvisation, encouraging musicians to vary, recombine, and connect these patterns in countless ways.

In the 19th century, the Neapolitan tradition gained new strength at the Paris Conservatory, remaining a central teaching tool until the early 20th century. Though sometimes under different names, partimenti were used in various countries, making it correct to say that exercises of this nature 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 with figures), which must be played by the left hand of the keyboardist while the right hand improvises a polyphonic or melodic texture.

In addition to patterns of harmony and counterpoint, many partimenti were composed to practice various stylistic elements, such as the galant style, theatrical styles, or even fugues. In the case of fugue-style partimenti, they often include clefs indicating subject entries in the upper voices. Handel composed several partimento fugues, and there is even a manuscript attributed to J.S. Bach’s circle containing exercises 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.

Who is this course for?

Musicians in general, especially pianists, harpsichordists, and organists, regardless of skill level – professionals, amateurs, or students. All are welcome!

Instrumentalists, composers, conductors, and teachers who seek a deeper understanding, fluency, and mastery in dealing with 18th- and 19th-century music, as well as learning the fundamentals of composition and improvisation in this style.

Prerequisites

Ability to read musical notation (Treble and Bass clefs)
Basic proficiency on a keyboard instrument
(*equivalent to the level of the Notebook for Anna Magdalena Bach)

Non-keyboard instrumentalists are also welcome! However, they must be willing to adapt some parts of the material to their instruments. If you have any questions about this, feel free to contact us.

Course Structure and Fees

12 group online lessons via ZOOM
Wednesdays, from March 12 to May 28, 7:00 PM – 9:30 PM (Brasília Time)
Exclusive study materials included
Minimum group size: 5 participants

Investment: R$ 1,440.00 or 3 installments of R$ 480.00 (equivalent to R$ 120 per lesson).
Need a discount? Contact Roberto or Vinícius!

Registration & Contact

Sign up now: Registration Form

Have questions? Contact us!
Roberto: roberto.alegre@usp.br
Vinícius: viniciusmj@gmail.com