French compositional treatises penned between c.1600 and c.1750 rarely if ever provide any instructional exercises with basses, from which apprentice composers could create multi-voice pieces by applying the rules described by their authors. Instead, these treatises—of which the most famous and widespread were no doubt those by Parran (1639), Mignot (1656), Masson (1697) and Rameau (1722)—reproduce a number of more or less extended examples to illustrate particular theoretical points. Nicolas Bernier’s handwritten ‘Principes de composition’ (c.1726–1734) stands out as the only known French tutorial of the period to supply basses akin to the contemporary partimenti used by Italian music teachers to instruct young pupils in the art of extemporaneous composition. Bernier is said to have studied with Caldara—though Corelli is more likely—in Rome, before settling in Paris in 1692. Thus not only do the partimento-like basses included in his ‘Principes de composition’ offer an echo of his studies with these Italian masters, but they may also reflect the Roman beginnings of the pedagogical partimento tradition. The Bernier treatise provides rare testimony of the importance of Corelli’s six opuses in the Italian contrappunto pratico tradition in the period 1690–1730. This article puts Bernier’s ‘Principes’ into context, and then examines his hitherto overlooked basses, their originality, and their pedagogical implications.

中文翻译：

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Nicolas Bernier 的“作曲原则”和意大利的partimento 传统

在 c.1600 和 c.1750 之间撰写的法国作曲论文很少提供任何关于贝斯的教学练习，学徒作曲家可以通过应用作者描述的规则来创作多声部作品。相反，这些论文——其中最著名和最广为人知的无疑是 Parran (1639)、Mignot (1656)、Masson (1697) 和 Rameau (1722) 的论文——再现了一些或多或少扩展的例子来说明特定的理论点。尼古拉斯·伯尼尔（Nicolas Bernier）的手写“作曲原则”（c.1726-1734）是该时期唯一已知的法国教程，提供类似于意大利音乐教师用于指导年轻学生即兴作曲艺术的当代partmenti的低音。据说伯尼尔曾在罗马与卡尔达拉一起学习——尽管科雷利更有可能——在罗马，在 1692 年定居巴黎之前。因此，他的“作曲原则”中包含的类似 partionto 的贝司不仅与他与这些意大利大师的研究相呼应，而且它们也可能反映了罗马教育学的 partimento 传统的开端。伯尼尔论文罕见地证明了科雷利的六首作品在 1690 年至 1730 年期间在意大利 trappunto pratico 传统中的重要性。本文将伯尼尔的“原则”置于上下文中，然后检查他迄今为止被忽视的贝司、它们的独创性以及它们的教学意义。伯尼尔论文罕见地证明了科雷利的六首作品在 1690 年至 1730 年期间在意大利 trappunto pratico 传统中的重要性。本文将伯尼尔的“原则”置于上下文中，然后检查他迄今为止被忽视的贝司、它们的独创性以及它们的教学意义。伯尼尔论文罕见地证明了科雷利的六首作品在 1690 年至 1730 年期间在意大利 trappunto pratico 传统中的重要性。本文将伯尼尔的“原则”置于上下文中，然后检查他迄今为止被忽视的贝司、它们的独创性以及它们的教学意义。