Source Edition

Pasquini, B., Opere per Tastiera Vol. VI. London, Bl Ms. Add. 31501, I, E. Bellotti, ed. (Il Levante: Latina, 2006).

References

Bach, C.P.E., Versuch über die wahre Art das Clavier zu spielen, part I(1^st edn, Christian Friedrich Henning: Berlin, 1753), part II (1^st edn, George Ludewig Winter: Berlin, 1762).

Bellotti, E. Porter, B., ‘Pasquini e l’improvvisatione. Un approccio pedagogico’, in A. Carideo, ed., Atti Pasquini Symposium. Convegno Internazionale, Smarano, 27–30 Maggio 2010 (Giunta della Provincia Autonoma di Trento, Assessorato alla Cultura, Rapporti Europei e Cooperazione: Trento, 2012).

Bonaventura, A., Bernardo Pasquini (Società Tipo-Litografica: Ascoli Piceno, 1923).

Borgir, T., The Performance of the Basso Continuo in Italian Baroque Music (University of Rochester Press: Ann Arbor, 1987).

Buelow, G.J., Thorough-Bass Accompaniment According to Johann David Heinichen (University of Nebraska Press: Lincoln–London, 1986).

Cafiero, R., ‘The Early Reception of Neapolitan Partimento Theory in France: A Survey’, Journal of Music Theory, 1 (51), 2007.

Durante, F., Bassi e fughe. Un manuale inedito per riscoprire la vera prassi esecutiva della Scuola napoletana del Settecento, G.A. Pastore, ed. (Armelin: Padova, 2003).

Fellerer, K.G., Der Partimento-Spieler. Übungen im Generalbass-Spiel und in gebundener Improvisation (Breitkopf & Härtel: Leipzig, 1940).

Florimo, F., La scuola musicale di Napoli e i suoi conservatori. Con uno sguardo sulla storia della musica in Italia (Forni: Napoli, 1880).

Gingras, B., ‘Partimento-Fugue in Eighteenth-Century Germany: A Bridge Between Thoroughbass Lesson and Fugal Composition’, Eighteenth-Century Music, 1 (5), 2008.

Gjerdingen, R.O., ed., Monuments of Partimenti, http://faculty-web.at.northwestern.edu/music/gjerdingen/partimenti/index.htm, accessed 9 June 2019.

Gjerdingen, R.O., Music in the Galant Style (Oxford University Press: New York, 2007).

Händel, G.F., Aufzeichnungen zur Kompositionslehre. Aus den Handschriften im Fitzwilliam Museum Cambridge, A. Mann, ed. (Bärenreiter: Kassel, 1978).

IJzerman, J., Harmony, Counterpoint, Partimento: A New Method Inspired by Old Masters (Oxford University Press: New York, 2018).

Ledbetter, D., ed. and introd., Continuo Playing According to Händel: His Figure Bass Exercises (Clarendon Press: Oxford, 1990).

Moelants, D., ed., Partimento and Continuo Playing in Theory and in Practice (Leuven University Press: Leuven, 2010).

Morelli, A., La virtu in corte. Bernardo Pasquini (1637–1710) (LIM Libreria Italiana Musicale: Lucca, 2016).

Paraschivescu, N., Die Partimenti Giovanni Paisiellos. Wege zu einem praxisbezogenen Verständnis (Schwabe Verlag: Basel, 2019.

Paraschivescu, N., ‘Francesco Durantes Perfidia-Sonate. Ein Schlüssel zum Verständnis der Partimento-Praxis’, Zeitschrift der Gesellschaft für Musiktheorie, 7 (2010).

Renwick, W., The Langloz Manuscript: Fugal Improvisation Through Figured Bass (Oxford University Press: New York, 2001).

Sanguinetti, G., The Art of Partimento: History, Theory, and Practice (Oxford University Press: New York, 2012).

Sanguinetti, G., ‘The Realisation of Partimenti: An Introduction’, Journal of Music Theory, 1 (51), 2007.

Schwenkreis, M., ed., Compendium Improvisation. Fantasieren nach historischen Quellen des 17. und 18. Jahrhunderts (Schwabe Verlag: Basel, 2018).

Stella, G., ‘Partimenti in the Age of Romanticism: Raimondi, Platania, and Boucheron’, Journal of Music Theory, 1 (51), 2007.

Tour, P. van, Counterpoint and Partimento: Methods of Teaching Composition in Late Eighteenth-Century Naples, Studia Musicologica Upsaliensia (Uppsala Universitet: Uppsala, 2015).