To Örebro University

The teaching of counterpoint and composition in eighteenth-century conservatories differs significantly from the teaching practices that are commonly used today. Apprentices in these institutions learned their skills in keyboard-based counterpoint through collections with titles such as ‘Regole per suonare il cembalo’ (rules to play the harpsichord), or simply ‘Partimenti.’ With the help of such exercises, basic rules of dissonant treatment were learned practically on the keyboard. Cadences, scales, and sequences were imitated and varied in various keys. As soon as these students had mastered playing the most common patterns, they learned how to combine them in larger thoroughbass-based pieces, or ‘partimenti,’ as they were called. Improvisatory skills in counterpoint were thus integrated into the practice-based learning at these institutions already before the written studies in counterpoint and composition started. 

Besides the practice of figured bass, some maestri would guide their students in the playing of unfigured bass. Unfigured partimenti helped students to become prepared to work as accompanists, which was particularly helpful in opera rehearsals where accompanists were expected to play from scores in which the bass parts were unfigured. 

This article aims to clarify the pedagogy of the unfigured bass in eighteenth-century Naples, including the yet largely undiscussed pedagogy of the ‘underfigured bass.’ The term ‘underfigured bass’ refers to exercises, in which the composer deliberately—and this is important—excluded information from the figures for pedagogical reasons. By discussing and comparing a number of figured, unfigured, and underfigured partimenti, I will reflect upon how students realized and practiced these types of exercises. Particular attention will be given to Carlo Cotumacci’s (1709–1785) unique approach to these matters as they have been preserved in his collection ‘Regole, e Principj di sonare lezzioni di partimenti.’

In addition to this, these examples will be brought into perspective as to whether our modern pedagogy of counterpoint might be served by similar more practically oriented approaches to counterpoint.