From the inception of basso continuo, the principles of counterpoint served as the foundation for both composition and accompaniment. In 1628, Galeazzo Sabbatini, in his treatise Regola facile e breve, introduced what he termed "ordinary accompaniments," outlining the basic principles of counterpoint for beginners. He also distinguished "extraordinary accompaniments" as those not covered in his treatise, noting that they would be addressed in a subsequent publication—one that, to our knowledge, was never released. In doing so, he became the first to propose such a classification, providing an overview of the former while offering no direct explanation of the latter. However, a closer examination of later 17th-century sources provides sufficient information to suggest what these extraordinary accompaniments might have entailed. Considering this, and although the concept of "extraordinary" accompaniment was more associated with the 18th century, its foundations were established much earlier, in the second half of the previous century. The dissertation of Maria Gonzalez aims to identify and define extraordinary accompaniments within Italian basso continuo practices (1650-1700), examining their characteristics, classification, and practical application. By analyzing primary basso continuo sources and integrating this knowledge directly into the repertoire, this research bridges the gap between historical understanding and practical use. In doing so, these practices will become much more accessible to performers, scholars, and the broader musical community. Ultimately, this study seeks to revive these accompaniments within current HIPP performance and pedagogy.
