Thoroughbass and Accompaniment
Code
711021008
Academic unit
Faculdade de Ciências Sociais e Humanas
Department
Ciências Musicais
Credits
6
Teacher in charge
Svetlana Poliakova
Weekly hours
4
Teaching language
Portuguese
Objectives
a) To acquire skills that will enable performance on a keyboard instrument (or, optionally, classic guitar or lute) of harmonies, figured in the score;
b) To perfect the technique of harmonization of bass and melody;
c) To understand the historical context of the thoroughbass, the differences between systems of notation and performance in different national traditions or individual styles;
d) To discuss questions related with the edition of thoroughbass sources; to become acquainted with the various educational trends in thoroughbass teaching.
Prerequisites
None
Subject matter
1) Presentation and discussion of matters related to the history of transcription and interpretation of thoroughbass, the role of national traditions and individual styles, the editorial traditions and educational trends of thoroughbass;
2) Interpretation, on the piano, of the thoroughbass part of pieces and music excerpts;
3) Written and practical realization on the piano of harmonic figured sequences;
4) Written realization through figures of harmonic sequences in a score;
5) Improvisation exercises on the piano of harmonic sequences for a given melody.
Bibliography
Lamas E. (2008). Sebenta de harmonia com vista à realização do baixo-cifrado. Lisboa: Juventude Musical Portuguesa.
Strunk O. (1981). Source Readings in Music History, v. 3: The Baroque Era. London: Faber and Faber.
Williams P. (1970). Figured Bass Accompaniment, Edinburg: University Press
Williams P. (2001). Continuo. Sadie, S. (ed.), The New Grove Dictionary of Music Musicians, v. 4, 685- 699, London: Mamillan.
Teaching method
Classes include a theoretical component, providing an exposition by the lecturer of the elements of the syllabus, and a practical component which includes written and listening exercises, performance on the piano of music examples, and discussion of historical and interpretative questions relating to the repertoire. All classes include both components, in a proportion of 20% theoretical to 80% practical.
Evaluation method
Evaluation includes the following elements:
a) The performance of 8-10 excerpts from works by various composers, which have been prepare in advance;
b) A written test of transcription in full score of a figured bass;
c) Individual oral presentation on the historical-analytical context.