Giacomo Insanguine (1728–1795)

Regole

Con moti di Basso

Partimenti, e Fuge

Del Maestro Giacomo Insanguine

Detto Monopoli

[before 1795]
Concerning this modern edition . . .

Musical examples or hints marked with an asterisk

(*) have been provided by the editor for clarification
of the rules. Material in brackets has been added for
comparison with other books of rules or for clarity.

Each musical example represents just one possible

sonic realization of the intended rule. Different but
equally fine realizations might have different melo-
dies and more or less elaboration.

Because the concept of the scale degree or scale step

is so central to the Neapolitan school of partimenti,
and because the welter of numbers for both intervals
and scale degrees can be confusing, scale degrees in
the bass will be marked by numbers in white circles Above: the uniform Insanguine
(e.g., j) and scale degrees in the melody by num- would have worn as a boy at the
bers in black circles (e.g., u). Conservatorio di Poveri di Gesù
Cristo, Naples
This bilingual edition is based on the Italian manu-
script, and on a manuscript (Th.C.116a) in the Nose-
da collection preserved at the Milan Conservatory Below: Insanguine at the height of
Library. The date of 1785 is approximate. his fame

Concerning Giacomo Insanguine (1728–1795) . . .

As a nine-year-old boy Insanguine began six years

of study in Naples at the Conservatory of The Poor
of Jesus Christ. He would go on to be appointed a
teaching assistant to the great master Durante. In
his late teens Insanguine had his first comic operas
performed, and from his early thirties he had seri-
ous operas staged in leading Italian cities. In sacred
music he served as second organist and later as
chapel master at the cathedral of Naples. In 1785 he
was named first master of the Conservatory of Saint
Onofrio, where he had studied with Durante.

Insanguine, also known as “Monopoli” after the

town of his birth, was able to fix problem arias by
other composers and thus developed a reputation as
a kind of opera repairman.
 Regole
Con moti di Basso
Partimenti, e Fuge
Del Maestro Giacomo Insanguine
Detto Monopoli
REGOLA DELL’OTTAVA
Primieramente bisogna sapere, che ogni tono ha
sette corde, e sono 1a 2da 3a 4a 5a 6a 7ma.
La prima del tono vuole 3a 5a, ed 8a.
La seconda vuole 3a minore, e 6a maggiore, e può
avere ancora la 4a.
La terza vuole 3a, e 6a.
La quarta vuole 3a 5a e 6a, e quando cala dalla
quinta, e và alla 3a del tono, vuole 2do e 4a
maggiore.
La quinta vuloe 3a maggiore 5a, ed 8a.
La sesta del tono vuole 3a, e 6a, e quando cala,
vuole 6a maggiore, potendo avere ancora 3a, e 4a.
La settima del tono quando và al tono principale
3a, e 5a falsa, e 6a, quando cala poi 3a e 6a.
[ CONSONANZE E DISSONANZE ]
La Consonanze sono quattro 3a 5a, 6a, ed
8a delle quali due si chiamano perfette, e
due imperfette; Le perfette sono 5a, ed 8a e si
chiamano perfetto, perchè non si possono, ne
Rules
Along with Bass Motions,
Partimenti, and Fugues
By Master Giacomo Insanguine
Known as Monopoli
THE RULE OF THE OCTAVE
Firstly, one should know that each key has seven
degrees, which are j, k, l, m, n, o, and
p.
j takes a 3rd, 5th, and 8ve.
k takes a minor 3rd and a major 6th. It can also
have a 4th.
l takes a 3rd and a 6th.
m takes a 3rd, 5th, and 6th. When it descends
from n and goes to l, it takes a 2nd and
augmented 4th.
n takes a 3rd, 5th, and 8ve.
o takes a 3rd and 6th, and when it descends it
takes a major 6th, optionally having a 3rd and 4th.
p, when it ascends to the tonic, takes a 3rd,
diminished 5th, and 6th; and when it descends, it
then takes a 3rd and 6th.
[ CONSONANCES & DISSONANCES ]
There are four consonances—the 3rd, 5th, 6th,
and 8ve—two of which are called “perfect” and
two “imperfect.” The perfect ones are the 5th and
8va, and they are called perfect because one can
alterare, ne diminuire; L’imperfette sono 3a, e neither alter nor diminish them. The imperfect ones
6a, e si chiamano imperfette, perchè se possono are the 3rd and 6th, and they are called imperfect
alterare, e diminuire, cioè si possono far maggiori, because one can alter or diminish them, that is,
e minori. one can make them bigger or smaller.

La dissonanze sono ancora quattro, e sono 2da 4a There are also four dissonances—the 2nd, 4th, 7th,
7a, e 9a e queste non si possono dare se non sono and 9th—and these cannot be used unless they are
preparate, e resolute ad una della consonanze. prepared and resolved to one of the consonances.

[ CORDI STABILE ] [ FIXED DEGREES ]

Le cordi stabili sono quattro, cioè 2da 4a 5a There are four fixed degrees, namely k, m, n,
7ma del tono nell’ascendere, ma nel discendere and p degrees; but in descent p should be
quando la prima di tono ha 3a Minore alla la 7a minor when the tonic has a minor third [= minor
deve esser minore. mode].

[ LI MOTI ] [ CONTRAPUNTAL MOTIONS ]

Li moti sono trè retto, obliquo, e contrario. There are three motions: direct, oblique, and con-
trary.

Il Moto retto è quando le due mano sagliano, e Direct motion is when the two hands rise or fall
cálano insieme, e questo si deve evitare per non together, and this should be avoided so as not to
fare due 5e, o due 8a che queste sono proibite. make two [parallel] 5ths or 8ves, because these are
forbidden.

Il moto obliquo, e quando una mano sta ferma, e Oblique motion is when one hand holds its posi-
l’altra camina. tion while the other one moves.

Il moto contrario è quando una mano ascende, e Contrary motion is when one hand ascends and
l’altra discende, come si vedrà con l’Esempio. the other descends, as you will see in the exam-
ples.

[ LE POSIZIONI DI MANO ] [ POSITIONS OF THE RIGHT HAND ]

Le posizioni di mano sono trè, la prima con 3a dà
sotto, la seconda con 3a da sopra, la 3a con 3a in
mezzo.
Seguono le scale per l’Esempio.
There are three positions for the [keyboard player’s
right] hand. The first has the 3rd at the bottom [of
the tonic triad], the second has the 3rd on top, and
the third position has the 3rd in the middle.
The scales follow as examples.

Scala in Prima Posizione The Scale in First Position

8 6 6 5 3 3
3 3 3 8 8 3 3 4 6 6 8
5 4 3 8 8 8 6 5 8 # 86 8 2 3 4 5
3 3 8 6 5 6 3 6 5 6 8 3 3

     5    4
 
   
 Scala in Seconda Posizione The Scale in Second Position

3 3 5 4 3 3
8 8 6 5 6 3 3 3 3 5 6 8 8
8 6 5 3 8 8 3 4 6 8
5 6
4 3 3 8 3 8
5 6 # 86 8 2 3
6
4 5

    6     
    
Scala in Terza Posizione The Scale in Third Position

5 4
3 3 3
8 8 6 5 #6 8 2 3
4
3 5
3 8 5 6 5 3 6 4 5 6 8 3
8 8 6 3 3 8 8
6 6 5 3 3 8
 3 3 4 6 6

        
    

Altra Scala An Alternate Scale

8
356 356 356 356 356 356 356 356 736 736 736 736 736 736 5
       3

       

[ LA QUARTA DI TONO ] [ THE FOURTH SCALE DEGREE ]

Esempio per la quarta di tono quando no và alla An example of m when it does not proceed to n
quinta di tono e quando scende dalla 5a di tono. and when it descends from n.

[#  ]
5 3 3 3 6
3 5 8 # 86 4
8 8 6 4  2
    
 
       
[m] [m]

La quarta di tono ha la 3a come la prima di tono. m has the same 3rd [maj. or min.] as j. An ex-
Segue Esempio. ample follows.
5 3 8
8
3
8 6 # 53
5 
 
     

[m]

[ LE CORDE ] [ NUMBERING THE PITCHES ]

Per saper conoscere le consonanze, e dissonanze To know the consonances and dissonances one
bisogna cominciare dal tono principale, e si chia- must begin from the tonic, and they are called . . .
ma

Numere delle corde Chromatic degrees

1st 2nd 3rd 4th 5th 6th 7th 8th 9th 10th
     11th
 12th
 13th

 
    
1st b 2nd # 2nd b3rd # 3rd b 4th # 4th 5th b 6th # 6th b 7th # 7th 8va
Scale degrees
 [ LE CADENZE ] [ CADENCES ]

Le Cadenze sono trè semplice, composte, e dop- There are three cadences: simple, compound, and
pia. double.

La Cadenza semplice se fà con #3a e 5a, ed in tre One makes the simple cadence with the maj. 3rd
posizioni di mano con 3a da sotto, 3a da sopra, e and 5th, and in the three hand positions with the
con 3a in mezzo. Questa Cadenza si fà in tutti i 3rd at the bottom, the 3rd on top, and the 3rd in
toni. the middle. Do this cadence in all keys.

La cadenza composta se fà con 4a 5a e poi #3a e One makes the compound cadence with the 4th
5a, e pure con trè posizioni di mano. Segue Esem- and 5th followed by the maj. 3rd and 5th [over
pio. n], and also in the three hand positions. An ex-
ample follows.
Prima posizione Seconda posizione Terza posizione
First position Second position Third position
      

 
   

  
   
55
[ ] [54 53] [ 54 5
]

 43       3 


La Cadenza doppia si fà con 5a/3a 6a/5a 5a/4a One makes a double cadence with 5/3 6/4 5/4
5a/3a. Si avverte che le Cadenze si fanno nella 5a and 5/3. Note that one makes cadences on n.
del tono.
     
*  
 


Cadenza doppia
Double cadence
   
# 53 6 5 #5 # 53 6 5 # 53
 
 
4 4 3
  
 
4 4 

[ PREPARARE LE DISSONANZE ] [ PREPARING DISSONANCES ]

La quarta si può preparare da tutte le consonanze, The fourth can be prepared by all the consonanc-
ed ancora dalla settima minore e si accompagna es, and even by the minor 7th when one employs
con la 5a, e 6a e resolve alla #3a. the 5th and 6th and resolves it to a major 3rd [see
below, last beat of m. 4, where an A will go to G#].
Esempio For example:

5
5
3
5
4
5
3
5
3
6
3
5
4
# 6
3
6
4 #53 5
3
6
5 4 # 53 5
3
   8

         
    

5 5


5
6 3 5
4 # 53 3 6 5
4 3
  8 
8        


[ Altro Esempio ] [ Another Example ]

5
3 6 # 5 6 5 6 5 # 6

8    4 3
 5

3

5 4
 
5
        

6 # 5 3 6 # 5 # 6 5 #

4   6 5 4
    b   
4

        

 # 6 5 #

  4 
     
 

La settima ancora se può preparare da tutte le The seventh can also be prepared by all the conso-
consonanze, ma si deve accompagnare sempre nances, but it should always be accompanied by
con la terza, e si risolve a 6a maggiore. Esempio. the 3rd and resolved to a major 6th [when the bass
descends as in k–j or o–n]. For example:

8 #6 8 5 6 #6 # 6 5 # 6 #
3 7 3 3 3 7 3  5 3 7 6 5
 
                 


#6 #6 #3
5
3
6
3 7 7 5 6 5 # 3


  4
     
          

L’Istesso Partimento si può fare con la sesta mag- This same partimento can be realized with major
giore. Esempio 6ths [omitting the 7ths]. For example:

#6 8 #6 # 6 5 6 #6 # 6 #
3 6  5 3 3 3 5
 
              
   

5
3
6
3
#6 5
3
#6
      
         
  
Ogni volta, che il partimento ha #6a e b3a e sem- Every time the partimento has a #6th and a b3rd it
pre seconda di tono. is on k.

Quando il Partimento ascende di quarta, e dis- When the partimento ascends a fourth and de-
cende di quinta se li dà 7ma preparata dalla 3a e scends a fifth one can give it a 7th prepared by a
resolve a #3a. Segue Esempio. 3rd and resolving to a #3rd [on the local n]:

3
5 7 7 7 7 7 #
7 5 3 6 # [#
6] 
8
  6 5 4

                    

7 # 73 #7 7 7 7# 5 #3

3
     
                 
 

# #
    7   7   7  [ 7 ]
7 5 6 6
  3 3 5

        
         

Altro Esempio. Another Example:

5
  6        3   7   7  7   7   7  7 
 
     

5 6 5 6 #3

3     5  3  5
          
        

7 7 7 7 7 [#] 6 #
# 5
  
                       
         

5
 8 6 7 3 # 73 5 6
5 4
5 3
3 
     
                 


La nona se prepare dalla 5a, e dalla 3a e si risolve The ninth is prepared by the 5th or 3rd and it
a 6a o all’ 8a or pure alla 3a e si accompagna con resolves to a 6th or an 8va or even a 3rd, and it is
la decima, o sia 3a. Regola accompanied by the 10th (i.e., “3”). The rule:
5
3 3 8 5
# 5 # 6 5
6
3
6 [7]
# 3
5 #
8 8 3 4 5 3 8 4

 
         
        

6 5
3
5
6
5
3 6 3 6 3 6 3
6
6 #
9 5 9 5 9 3 9 4


          
      
In questa retroscritta Regola la nona risoluta a 3a. In the Rule shown above, the ninth resolves to
a 3rd [that is, the upper voices on 9 and 3 (=10)
form a 2nd which resolves to a 3rd].

[ IL PARTIMENTO LEGATO ] [ TIED BASSES ]

Il Partimento legato se li dà seconda, e quarta, se A tied partimento bass takes the 2nd and 4th. If it
retorna in tono vuole quarta minore se varia tono returns to the [same] key, it takes the perfect fourth.
vuole quarta maggiore, porendosi aggiungere an- If it changes key, it takes the augmented fourth.
cora la 6a se la quarta è minore, la sesta deve esser One can also add the 6th: if the 4th is perfect, the
minore, quando però il tono terza minore, ma 6th should be minor if the key is minor, but if the
quando ha 3a maggiore, la sesta deve esser anche key is major, the 6th should also be major. And
maggiore, ed essendo la 6a maggiore la quarta when the the 4th is augmented, the 6th should
deve esser sempre maggiore. Siegue always be major.

Regola per la quarta minore Here Follows the Rule for the Perfect Fourth

4 6 5 5 4 6 5
2 5 3 6 3 2 5 3
 
        
     

5 # 4 6 5
6 6 #

4  2 5 3       4 
      

Regola per la quarta maggiore Rule for the Augmented Fourth

[ n]4
6
2 6 7 3 3 [ n]4
2
6 7 [ n] 3
 
         
  
#4
b3 # b3 b3


2
6 6 7 5
3 6 6 # 53 5
3
5
4 [ #] 5
           
    

6 5 6 6 5 3 5 6 5 5
 5 3  5 5 3 4 4 3 
            
 

Ogni volta che il partimento ha quarta maggiore, è Whenever the partimento bass has an augmented
quarta di tono. Ogni volta, che ha seconda minore 4th above it, it is on m. Whenever it has a mi-
è quinta di tono, e quando ha la quarta maggiore, nor 2nd above it, it is on n. And when it has an
e 2a superflua è 6a di tono. augmented 4th and augmented 2nd [above it], it is
on o.
Quando il partimento è tutto ligato, o sincopato se When the bass has a series of ties or syncopations,
li può dare quarta maggiore, e quarta minore, ma one can use either the perfect or augmented 4th,
l’ultima quarte deve esser sempre maggiore. but the last 4th should always be augmented.

Siegue Regola per la quarta minore Here Follows the Rule for the Perfect Fourth

5 6 42 6 42 6 42 6 4 6 4 6 7 6 # 4 [6] 7 #
3 2 2
                 

     
[m] [m]

Regola per la quarta maggiore Rule for the Augmented Fourth

#4 #4 4 4 #4 5 #
6 6 6 6 6 6

 2  2
 
2
 
2
 
2

4
 


  
[n] [m]

[ VARIARE IL TONO ] [ TO CHANGE THE KEY ]

Si può variare tono in più maniere, cioè con la On can change the key in several ways, that is,
seconda minore, seconda maggiore, terza minore, through making the 2nd minor, or, with a major
et terza maggiore, quarta maggiore, e sesta mag- 2nd, making the 3rd minor, or with a minor 3rd
giore, e settima minore. making it major, or by using an augmented 4th, a
major 6th, or a minor 7th.

[ MOTI D’INTERVALLE ] [ INTERVALLIC MOVES ]

La quarta maggiore và all sesta, la 6a maggiore và The aug. 4th expands to the 6th, the maj. 6th
all’ 8a, la quinta falza và a 3a, da una falza si può expands to the 8va, and the dim. 5th contracts to
andare ad un’altra falza. Esempio che Segue. the 3rd. From one dim. 5th you can go to another.
See the following example.

[ CADENZE ROTTE ] [ INTERRUPTED CADENCES ]

Vi sono ancora le Cadenze rotte uscendo di tono There are also interrupted [or deceptive] cadences
come questo Esempio che seque. that leave the key, as in this example that follows.

b6
5
4
6
5
5
3
5
3 3 b 65 5
3 6 6
5
6
5
5
4
6
5
5
4
3
5 # 53 6 5 5
4 4 3

             
 


 [ MOTI DI BASSO, SOPRA ] [ ASCENDING BASS MOTIONS ]

Sieguono tutti I moti di Basso, quando ascende Here follow all the bass motions. When the bass
di Terza sopre, s’accompagna la prima nota sola. moves by ascending thirds, one accompanies only
Siegue Esempio. the first note [of each third]. Examples follow.

Prima Esempio. Ascending Thirds, First Example.

5 6 6 6 5 6 6 5 6 5 6 5 5
3 4 3 5 3 3 5 3 5 3 4 4 3
3

                 



Seconda Esempio. Ascending Thirds, Second Example.

5 6 7 6 7 6 7 5 3 6 5
3 3 3 6 3 3 6 3 3 6 3 5 5 3
8 

                   

Terza Esempio. Ascending Thirds, Third Example [in MS, same as

above, so figures borrowed from Fenaroli].


 
5
3 [
6
3
#6
3

8
5
4
   
3 6
3
#6
3
8
5
4
6
   
6
3
6
3
8
5
4
   
6 6
3
#6
3
8
5
3 ] 3
5
5
4

3




Salti di quarta sopra che ricevano 3a e 5a. Ascending Fourths, taking 5/3 chords.
5 5 5# 5 5 5 6
3 3 3 3 3 5

             
    

L’Istessa Regola colle dissonanze. Ascending Fourths, same rule with dissonances.
b7 b4 7 4 7 4
5 5 # 5 # # 53
3 5
3
9
5 3 #53 9
5 3 #53 9
5 

            
    

Salti di quinta sopra con 3a e 5a. Ascending Fifths, taking 5/3 chords.

5 5 5 5 5 #5 6 6
3 3 3 3 3 3 5 5

                    


L’Istessa Regola [colle dissonanze]. Ascending Fifths, same rule [with dissonances].

2 #4 2 #4
5 5 5 5 5 5 6 5 6 5 5
3 # 64 3 2
6 3 # 64 3 2
6 3 3  5  3  5 3
 4 3

         
   
Salti di sesta [sopra]. Ascending Sixths [figures missing in MS, so bor-
rowed from Fenaroli].
b5 b5 b6 n6
[ b53 6
3 3


6
3 3 3


b 53 3


6
5
  
b 6
3
6
b 53
5
4
n3 b ]
 





 
 

Salti di settima [sopra]. Ascending Sevenths.

5 5 5 5 5 6 5 3
3 3 3 3 3 5 4
    

   
    





[ MOTI DI BASSO, SOTTO ] [ DESCENDING BASS MOTIONS ]

Quando il Partimento scende de 3a ed ascende di When the bass descends by a 3rd and ascends by
grado, alla nota, che scende de terza se li dà 5a e a step, one gives a 5th and a 6th to the note that
6a, ed a quella, che ascende di grado se li dà 3a e fell a third, and a 3rd and a 5th to the one that rose
5a. a step.
5 6 5 6 5 6 5 6 5 3
3   5 3 5 3 5 3 4 

               
 

   n                


    
 


Al Partimento che scende di 4a se li dà 3a minore When the bass descends by a 4th [and ascends by
e quinta. a step], one gives it 3rds and 5ths.
3 5 3 5
5 3

5
     
4

 
      

Altro modo. In Another Style:

8
5 3 6 5 5 3 6 5 # 5 6 #
4 8 4 3 4 8 4 3 5
     3   
 
   

Quando il partimento scende di 5a se li dà 3a e When the bass descends by a 5th [and ascends by
5a. a 4th], one gives it 3rds and 5ths.

5
3

5
3 [ 53 5
3
5
3

5
3
5
3 ]  

         
Altro modo In Another Style:

3 7 7 7 7 7 7 6 5 3
 3 5 4

        
   

[i\ [i\

[ The manuscript continues with 1) short and

easy partimenti, 2) longer and more challenging
partimenti, and 3) partimento fugues. They have
been reproduced in three separate documents.]