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Strategies for Teaching Improvisation in the Classroom – Dariusz Terefenko, Eastman School of Music
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Figure. 1 – Modal and tonal rule of the octave Tomás de Sancta Maria - Arte de tañer fantasia (1565) – ‘Modal’ rule of the octave
‘Tonal’ rule of the octave – perfect and imperfect chords
Figure 2 – The rule of the octave – historical realizations François Campion – Traité d’Accompagnement (1716)
Nicola Porpora – Partimenti (1755)
C.P.E. Bach – Versuch (1762)
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Tomás de Sancta Maria - Arte de tañer fantasia (1565) ‘Modal’ rule of the octave
‘Tonal’ rule of the octave Perfect and imperfect chords
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Tomás de Sancta Maria - Arte de tañer fantasia (1565) ‘Modal’ rule of the octave
‘Tonal’ rule of the octave Perfect and imperfect chords
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François Campion Traité d’Accompagnement (1716)
Classic realization of the RO
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Nicola Porpora Partimenti (1755)
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C.P.E. Bach Versuch (1762)
Strategies for Teaching Improvisation in the Classroom – Dariusz Terefenko, Eastman School of Music
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François-Auguste Gevaert – Traité d’harmonic théorique at pratique (1907)
Figure 3 – Partimento by Fedele Fenaroli
Figure 4 – Regola universale indispensabile
Figure 5 – Sequential bass motion vs. non-sequential bass motion
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François-Auguste Gevaert Traité d’harmonic théorique at pratique (1907)
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Sequential patterns stemming from the RO
Strategies for Teaching Improvisation in the Classroom – Dariusz Terefenko, Eastman School of Music
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Figure 6 – Bass suspensions
Figure 7 – Partimento No. 3 by Nicolo Sala
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The Rule of the octave - a projection of cadences
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Bass suspensions