| APPENDIX |
| Furno did not include realizations of the partimenti in his Method. As the oral traditions of eighteenth-century partimenti began to transform into the standardized written traditions of the nineteenth century, it became more common to see written-out realizations. They could be done in three parts (a bass with two upper voices, the so-called disposizione a tre) or in four parts (a bass with three upper voices, disposizione a quattro). |
| The partimenti in Furno's Method are didactic and elementary. Their long series of quarter notes simplify the student's task, though it would be an exaggeration to call these partimenti “easy.” What they lack in rhythmic or melodic complexity they more than make up for in the density of patterns intended to be executed during each short bass. |
| The partimenti in this treatise become progressively more complex as one advances from No. 1 to No. 10. The editor's realizations likewise become more complex. The earlier realizations are strictly chordal, the later ones more contrapuntal. No realization is definitive. Each is merely a transcription of a particular performance. |
