Giovanni Paisiello (1740–1816)

Partimenti Used For

2- and 3-voice Dispositions

Realizations by a French Student

of Paisiello’s Basses (ca. 1785–1803)
 Gj 2310 a 3, ctpt. no. 1

a 3, ctpt. no. 1
a 3, ctpt. no. 2

a 3, ctpt. no. 2
Gj 2321

a 3, ctpt. no. 3
a 2, ctpt. no. 1

Gj 2319
a 2, ctpt. no. 2
a 2, ctpt. no. 1

a 2, ctpt. no. 3
a 2, ctpt. no. 2

a 2, ctpt. no. 3 a 3, ctpt. no. 1

a 2, ctpt. no. 4 a 3, ctpt. no. 3

Dispositions could be short model counterpoints, longer
written-out, multi-voice settings (disposizione) on a parti-
mento bass, or just the partimenti for such settings.

Paisiello had many upper-class and royal students, and one

of them produced a manuscript where he or she was as-
signed to make dispositions on Paisiello’s partimenti. The
partimento was the given voice in the bass, and the student
then composed one or two additional upper voices (dis-
posizione a 2, a 3). Judged by a master’s counterpoint, our
student makes some mistakes. But these dispositions do
allow us to see what a talented amateur could nonetheless
achieve with extended instruction from a great master. In
addition, these dispositions provide models for a modern
student to emulate.
3-Voice Disposition of partimento Gj 2310 Version 1
3-Voice Disposition of partimento Gj 2310 Version 2
3-Voice Disposition of partimento Gj 2310 Version 3
2-Voice Disposition of partimento Gj 2319 Version 1
2-Voice Disposition of partimento Gj 2319 Version 2
2-Voice Disposition of partimento Gj 2319 Version 3
2-Voice Disposition of partimento Gj 2319 Version 4
3-Voice Disposition of partimento Gj 2319 Version 1
3-Voice Disposition of partimento Gj 2319 Version 2
2-Voice Disposition of partimento Gj 2321 Version 1
2-Voice Disposition of partimento Gj 2321 Version 2
2-Voice Disposition of partimento Gj 2321 Version 3
3-Voice Disposition of partimento Gj 2321 Version 1
3-Voice Disposition of partimento Gj 2321 Version 2