Music notation feels fundamental to how we learn and preserve music today, but it began as a practical solution to a specific historical problem. Looking back to Charlemagne’s empire and the early development of notation reminds us of an important musical truth: sound comes first, understanding follows, and notation serves memory — not the other way around.

What if musical understanding didn’t begin with notation, but with listening? This post explores how learning through sound, imitation, and musical conversation can build deeper fluency — and why this approach sits at the heart of partimenti practice.

Many great classical composers improvised, composed, and understood music as a living language. This post explores how partimenti can reconnect modern musicians with that fluency, bridging theory, repertoire, improvisation, and creative practice.