The Selection of Practical Harmony is the result of Clementi collecting manuscript music during his frequent trips across Europe (1780–1784, 1784–1785, 1802–1810). It is in 4 volumes (1801, 1802, 1811, 1814) and contains works by 25 composers (other than Clementi).
All PDFs below are from the original whole edition from c.1815.
(* means that the composer features in multiple volumes)
Contact: info@clementisociety.com
Volume 1 (1801)
Cover page and table of contents
p.2–7: CLEMENTI, Muzio (1752–1832) : ‘Epitome of Counterpoint’
p.8–31: KIRNBERGER, Johann Philip (1721–1783)
- p.8–9: Voluntary in F major ‘with Double Counterpoints’
- p.10–11: Voluntary in F major ‘on the same subject variously treated’
- p.12–14 : Fugue in C# minor
- p.15 : Fugue in A minor
- p.16–18 : Fugue in Bb major in 3 voices
- p.18–21 : Fugue in D minor in 3 voices (Allegro molto)
- p.21 : Gavotta in D minor
- p.22–23 : Fugue in D major in 2 voices (Allegro)
- p.26–27 : Fugue in Eb major in 3 voices
- p.27 : Polonaise in Eb major (Moderato)
- p.28–29 : Fugue and Polonaise respectively in F minor and F major (Grave–Moderato)
- p.30–31 : Prelude and Fugue in C major
p.31 : *BACH, Carl Philip Emanuel (1714–1788) : Canon in C major ‘per diminutionem’
p.31 : FASCH, Carl Friedrich Christian (1736–1800) : Canon in G minor ‘per diminutionem’
p.31 : TURINI, Francesco (1589–1656) : Canon in C major in 4 parts
p.32 : *MARTINI, Padre Giovanni Battista (1706–1784) : Canon in C major ‘infinito, o circolare all‘ 8va’
p.32 : AGOSTINI DA VALLERANO, Paolo (1583–1629) : Canon starting in C mode and ‘perpetually ascending one tone’
p.32–33 : CARESANA, Cristoforo (1640–1709) : Fugue in C mode ‘on 2 subjects’
p.33 : PERTI, Giacomo Antonio (1661–1756) : Fugue in D major in 3 voices
p.34 : *BACH, Carl Philip Emanuel (1714–1788) : Canon in G major
p.34–35 : HAYDN, Franz Joseph (1732–1809) : Minuet in canon and Trio, in E minor and E major (Allegretto)
p.36 : *BACH, Carl Philip Emanuel (1714–1788) : 2 Minuets, in F major and F minor, the second in canon
p.36–37 : *HANDEL, Georg Frideric (1685–1759) : Fugue in B minor in 2 voices (Allegro)
p.38–50 : PORPORA, Nicola (1686–1768)
- p.38–39 : Fugue/fugato 1 in A major (Allegro)
- p.40–41 : Fugue/fugato 2 in G major (Allegro)
- p.42–43 : Fugue/fugato 3 in D major (Moderato–Adagio)
- p.44–45 : Fugue/fugato 4 in Bb major
- p.46–47 : Fugue/fugato 5 in G minor (Moderato–Adagio)
- p.48–50 : Fugue 6 in C major ‘Diatonica, Enarmonica, Cromatica’
p.51–75 : *ALBRECHTSBERGER, Johann Georg (1736–1809), ‘composer of the Cathedral at Vienna’
- p.51–53 : Fugue 1 in B minor (Moderato)
- p.54–56 : Fugue 2 in E major (Allegro Moderato)
- p.57–59 : Fugue 3 in A minor in 3 voices (Allegro Moderato)
- p.60–63 : Fugue 4 in F major ‘Do, Re, Mi, Fa, Sol, La’ (Moderato)
- p.64–66 : Fugue 5 in C major (Poco Vivace)
- p.67–69 : Fugue 6 in Eb major (Allegro Maestoso)
- p.70–71 : Fugue 7 in C major (Allegro Moderato)
- p.72–73 : Fugue 8 in A minor (Moderato)
- p.74–75 : Fugue 9 in A major (Moderato)
p.75 : TELEMANN, Georg Philipp (1681–1767) : Fughetta in D major
p.76–102 : *EBERLIN, Johann Ernst (1702–1762)
- p.76–81 : Voluntary and Fugue 1 in D minor, with no key signature
- p.82–87 : Voluntary and Fugue 2 in A minor
- p.88–91 : Voluntary (Andante) and Fugue 3 in A mode, ending with half–cadence
- p.92–97 : Voluntary (Andante) and Fugue 4 in C major
- p.98–102 : Voluntary and Fugue 5 in F major
p.103–105 : UMSTATT, Joseph (1711–1762) : Voluntary (Larghetto–Adagio) and Fugue in G minor, with only Bb in the key signature
p.106–107 : MARPURG, Friedrich Wilhelm (1718–1795) : Prelude and Fugue in G major (Grave–Allegro)
p.108–109 : *MOZART, Wolfgang Amadeus (1756–1791) : Fugue in D minor from the Requiem ‘adapted for the Organ or Piano Forte by Muzio Clementi’ (Allegro Moderato–Adagio)
p.110–126 : *BACH, Carl Philip Emanuel (1714–1788)
- p.110 : Voluntary in A major (Allegro)
- p.110–113 : Fugue in A major (Allegretto)
- p.114–116 : Fugue in D minor (Allegro di molto)
- p.117–121 : Fantasia (Allegro Moderato) and Fugue (Allegro di molto) in G minor
- p.122–126 : Voluntary (Allegro di molto) and Fugue (Allegro) in F minor and F major
p.127–131 : BACH, Johann Ernst (1722–1777) : Fantasia and Fugue in F major (Allegro Moderato–Allegro)
p.132–145 : *BACH, Johann Sebastian (1685–1750)
- p.132–137 : Prelude in G major
- p.138 : Gavotte in G major
- p.138–139 : Courante in G major
- p.139 : Loure in G major
- p.140–141 : Allemande in G major
- p.141 : Sarabande in G major
- p.142 : Bourrée in G major
- p.143–145 : Gigue in G major
NB. This is the first known edition of JS Bach’s ‘French Suite no.5’ in G major, albeit with different order of pieces. See Plantinga, Leon, ‘Clementi, Virtuosity, and the «German Manner»’, in Journal of the American Musicological Society, vol.25, no.3 (Autumn 1972), p.327. The information is also found in Plantinga, Leon, Clementi: His Life and Music (London: Oxford University Press, 1977), p. 188 (footnote 42).
Volume 2 (1802)
Cover page and table of contents
p.2–15: *ALBRECHTSBERGER, Johann Georg (1736–1809)
- p.2–4 : Fugue 1 in G major ‘alla 12ma a tre’ (Andante con moto)
- p.5–7 : Fugue 2 in B minor
- p.8–9 : Fugue 3 in G major (Moderato)
- p.10–11 : Fugue 4 in G minor (Moderato)
- p.12–13 : Fugue 5 in D major (Poco Vivace)
- p.14–15 : Fugue 6 in D minor
p.16–35 : *EBERLIN, Johann Ernst (1702–1762)
- p.16–21 : Voluntary and Fugue 1 in G minor, with only Bb in the key signature
- p.22–27 : Voluntary and Fugue 2 in D major
- p.28–31 : Voluntary and Fugue 3 in G major
- p.32–35 : Voluntary and Fugue 4 in E minor
p.36–44 : *MOZART, Wolfgang Amadeus (1756–1791) : Fantasia in F minor ‘adapted for the Organ or Piano Forte by Clementi’ (Allegro Moderato – Andante Cantabile – Tempo primo)
p.45–64 : *BACH, Carl Philip Emanuel (1714–1788)
- p.45–48 : Fantasia and Fugue in C minor (Allegretto – Allegro)
- p.49–51 : Fantasia in C major (Presto di molto – Andante – Presto di molto – Larghetto Sostenuto – Presto di molto)
- p.52 : Voluntary in C minor, nowadays known as ‘Solfeggietto’ (Prestissimo)
- p.53–57 : Fugue in Eb major in 4 voices (Allabreve Moderato)
- p.58–64 : Sonata in Bb major ‘composed expressly for the Organ’ : Allegro, Arioso e Cantabile (in Eb major), Allegro
p.65–73 : *BACH, Johann Sebastian (1685–1750) : Toccata and Fugue in D minor
p.74–99 : *HANDEL, Georg Frideric (1685–1759)
- p.74–75 : Fugue 1 in G minor
- p.76–77 : Fugue 2 in C minor
- p.78–79 : Fugue 3 in Bb major
- p.80–82 : Fugue 4 in A minor
- p.83–85 : Fugue 5 in G major
- p.86–88 : Fugue 6 in B minor
- p.89–91 : Fugue 7 in E minor (Allegro – Adagio)
- p.92–93 : Fugue 8 in F# minor (Allegro – Adagio)
- p.94–95 : Fugue 9 in D minor (Allegro – Adagio)
- p.96–97 : Fugue 10 in F major (Allegro)
- p.98–99 : Fugue 11 in F minor with only 3 flats in the key signature (Allegro)
p.100–129 : *MARTINI, Padre Giovanni Battista (1706–1784)
- p.100–109 : Sonata 1 in F minor with only 3 flats in the key signature : Preludio (Grave), Fuga (Allegro Moderato), Siciliana (Adagio), Corrente, Gavotta
- p.110–118 : Sonata 2 in G minor : Preludio, Fuga (Allegro Moderato), Adagio, Allegro, Sarabanda
- p.119–126 : Sonata 3 in A major : Preludio, Fuga, Adagio, Allegro, Balletto (Allegro)
- p.127–129 : Sonata 4 in E minor : Preludio, Fuga (Allegro)
p.130–131 : SCARLATTI, Alessandro (1660–1725), ‘father to Domenico Scarlatti’ : Fugue in F minor with only 3 flats in the key signature
p.132–137 : SCARLATTI, Domenico (1685–1757), ‘the celebrated Performer on the Harpsichord and Organ’
- p.132–134 : Fugue 1 in D minor with no key signature (Andante Moderato), now known as K31
- p.135–137 : Fugue 2 in G minor, ‘the celebrated Cat's Fugue’ (Moderato), now known as K40
p.138–157 : FRESCOBALDI, Girolamo (1583–1643), referred to as ‘the celebrated Girolamo Frescobaldi, who flourished about the beginning of the seventeenth century ; and was organist of St Peter's Church at Rome’
- p.138–140 : Canzona in G minor with only Bb in the key signature
- p.141–143 : Canzona in G major with no key signature
- p.144–145 : Fugue 1 in D minor with no key signature (spurious)
- p.146–147 : Fugue 2 in G minor with only Bb in the key signature (spurious)
- p.148–153 : Fugue 3 in A minor (spurious)
- p.154–155 : Canzona in F major (Moderato)
- p.156 : Corrente in A minor (Moderato)
- p.156–157 : Toccata in F major ‘di durezze, e ligature’ (Grave – Adagio)
Volume 3 (1811)
Cover page and table of contents
‘The arrangement in the various pieces of this volume, excepting the article of Christian Bach, is entirely by the Editor.’
p.2–46 : BACH, Wilhelm Friedemann (1710–1784), ‘eldest son of Seb. Bach’
- p.2 : Fugue in D minor (Moderato)
- p.3–7 : Capriccio in D minor (Allegro di molto – Grave – Adagio – Allegro di molto – Grave – Moderato – Grave – Allegro di molto – Moderato – Allegro di molto)
- p.8 : Polonaise 1 in D minor (Moderato)
- p.8–9 : Polonaise 2 in F major, Da Capo Polonaise 1
- p.9 : Fugue 2 in D major
- p.10–11 : Adagio in B minor
- p.12–15 : Vivace in D major
- p.16–17 : Polonaise in D major
- p.18–19 : Fugue 3 in C major
- p.19–20 : Polonaise in C major
- p.21–22 : Fugue 4 in C minor
- p.23 : Polonaise in C minor
- p.24–25 : Fugue 5 in Bb major
- p.25–27 : Polonaise 1 in Bb major
- p.27–28 : Polonaise 2 in G minor, Da Capo Polonaise 1
- p.29–30 : Fugue 6 in Eb major
- p.31–32 : Polonaise in Eb major
- p.32–33 : Fugue 7 in E minor
- p.34–35 : Polonaise 1 in E minor
- p.35–36 : Polonaise 2 in E major, Polonaise 1 Da Capo
- p.37–39 : Fugue 8 in F minor
- p.40–41 : Polonaise in F minor (Affettuoso)
- p.41–45 : Fugue 9 in C minor
- p.46 : Polonaise in C minor (Affettuoso)
p.47–87 : *BACH, Carl Philip Emanuel (1714–1788), ‘2nd son of Seb. Bach’
- p.47–49 : Fantasia in C minor (Allegro Moderato – Largo – Allegro Moderato – Più lento)
- p.50–51 : Adagio Affettuoso e Sostenuto in Ab major, ending with a Cadenza
- p.52–55 : Fugue in C minor (Allegro – Adagio – Allegro – Adagio)
- p.56–60 : Rondo Allegro in C minor, open–ended
- p.61–66 : Fantasia in C major (Andantino – Prestissimo – Andantino – Allegretto – Andantino – Allegretto – Andantino – Allegretto – Andantino – Prestissimo – Andantino)
- p.67–68 : Fugue in C major, the subject of which ‘spells Bach’s name among the Germans, who call our B flat B, and our B natural H.’
- p.69–71 : Allegro assai in C major
- p.72 : Andantino con moto in C minor
- p.73 : Presto in C minor
- p.74–75 : Allegro Spiritoso in C major
- p.75–79 : Sonata in F major : Allegro moderato, Allegro
- p.80–87 : Sinfonia in F major : Allegro di molto, Andante in F minor, Allegro assai
p.88–101 : BACH, Johann Christoph Friedrich (1732–1795), ‘3rd son of Seb. Bach’
- p.88–89 : Fugue in C minor
- p.90–93 : Rondo Moderato in C major
- p.94 : Minuet in C major (Allegretto Spiritoso)
- p.94 : Polonaise in G major
- p.95–101 : Sonata in C major : Allegretto, Andante alla Siciliana in C minor, Allegro
p.102–114 : BACH, Johann Christian (1735-1782), ‘youngest son of Seb. Bach’
- p.102–109 : Sonata in E major: Allegro assai, Adagio in A major, Prestissimo
- p.110–114 : Sonata in C minor: Grave, Allegro moderato, Allegretto
p.115–123 : *BACH, Johann Sebastian (1685–1750)
Volume 4 (1814)
Cover page and table of contents
p.2–77 : *MARTINI, (Padre) Giovanni Battista (1706-1784), referred to as the ‘celebrated Padre Martini’
- p.2–9 : Sonata 1 in E minor: Adagio, Allegro, Aria with 4 variations, Minuetto
- p.10–19 : Sonata 2 in B minor: Preludio, Allegro, Adagio, Giga, Aria (Allegro Moderato)
- p.20–28 : Sonata 3 in D major: Preludio, Allegro, Adagio, Corrente, Aria (Allegro Moderato)
- p.29–35 : Sonata 4 in D minor with no key signature : Preludio, Allegro moderato, Adagio, Gavotta, Corrente ‘Canon ad diapason intensum’
- p.36–44 : Sonata 5 in Bb major : Preludio, Allegro, Sarabanda (Adagio), Corrente, Giga
- p.44–51 : Sonata 6 in G major : Preludio, Allegro, Andante, Allemanda, Minuetto with 3 variations
- p.52–61 : Sonata 7 in C minor with only 2 flats in the key signature : Preludio, Allegro, Adagio, Allegro, Aria
- p.62–71 : Sonata 8 in C major : Preludio, Allegro, Adagio, Allegro, Aria with 4 variations
- p.72–77 : Sonata 9 in F major : Grave, Allegro, Allemanda, Aria (Vivace)
p.78–121 : *ALBRECHTSBERGER, Johann Georg (1736–1809)
- p.78–79 : Fugue 1 in F major
- p.80–81 : Fugue 2 in F minor
- p.82–83 : Fugue 3 in G major
- p.84–85 : Fugue 4 in G minor (Moderato)
- p.86–87 : Fugue 5 in A major (Andante)
- p.88–89 : Fugue 6 in A minor (Moderato)
- p.90 : Cadenza or Prelude in D major (Andante)
- p.90–91 : Fugue 7 in D major (Poco Allegro)
- p.91 : Cadenza or Prelude in A major (Adagio)
- p.92–93 : Fugue 8 in A major (Moderato)
- p.94 : Cadenza or Prelude in E major (Poco Andante)
- p.94–96 : Fugue 9 in E major in 3 voices ‘Al Rovescio’
- p.96 : Cadenza or Prelude in E minor
- p.96–99 : Fugue 10 in E minor (Moderato Vivace)
- p.100 : Cadenza or Prelude in G major
- p.100–101 : Fugue 11 in G major (Tempo Giusto)
- p.102 : Cadenza or Prelude in Bb major (Andante)
- p.102–103 : Fugue 12 in Bb major (Allegro Moderato)
- p.104 : Prelude in C major
- p.105 : Fugue 13 in C major
- p.106 : Prelude in D minor (Adagio)
- p.106–107 : Fugue 14 in D minor
- p.108 : Prelude in E minor (Poco Adagio)
- p.108–109 : Fugue 15 in E minor (Moderato)
- p.110 : Prelude in G major (Poco Adagio)
- p.110–111 : Fugue 16 in G major
- p.112 : Prelude in A minor (Adagio)
- p.112–113 : Fugue 17 in A minor
- p.114 : Prelude in B minor (Andante)
- p.114–115 : Fugue 18 in B minor (Moderato)
- p.116–117 : Fugue 19 in D minor ‘Christus resurrexit’ (Maestoso)
- p.118–119 : Fugue 20 in C major ‘Alleluja’ (Moderato)
- p.120–121 : Fugue 21 in C major ‘Alleluja’ (‘Ite Missa est’)