Passaggi Downloads & RevenuePassaggi · App Store
Passaggi is #188 in Music Paid in Germany and charting in 1 of 30 countries we track.
Updated 9 Nov 2026 · rankings refresh through the day
Full timeline · 6 events in the last 12 months
- 📈Passaggi entered the top 100Top Paid · Music · DE
- 📈Passaggi entered the top 100Top Paid · Music · GB
- 📈Passaggi charting in a new countryUnited Kingdom
- 📈Passaggi charting in a new countryGermany
- 🆕Passaggi first spotted by AppInsider#28 in Top Paid · Music · France
- 🆕Passaggi released on the App Store
Collected from the stores by AppInsider since we first spotted the app. Dates are when we saw each change.
Passaggi on the App Store
App details
Passaggi downloads
Worldwide, per day, and installs to date. The band is open; the exact number is free with an account.
How this is calculated
Active users
All platforms, worldwide. Free with an account.
How this is calculated
Where it ranks now
Every top chart it appears in across 30 countries.
| Country | Charts | Rank |
|---|---|---|
| MusicPaid | #188 |
Apps near Passaggi on the chart
Music Paid, around #188.
Ratings
App Store, worldwide.
Review momentum
ⓘ How we measure thisReview momentum (0-100) blends how fast the app collects ratings compared with other apps in its category (60%), whether that pace is speeding up (25%) and what recent raters give it (15%; recent stars well below lifetime pull it down). Ratings counts are read daily. A jump usually means a launch, a feature, ads or a new review prompt.
About Passaggi
The idea behind Passaggi springs from a desire, common to many performers of historical repertoires, to recreate aspects of the musical experience as it may have existed at the time a piece of music was written. Improvisation and ornamentation may form only one aspect of this wide-reaching desire, yet it is clear that in this area students and professionals would achieve more successful immersive study and practice if the harmonic and musical context for improvisation, ornamentation and diminution were more easily accessible.
How many of us can open Dalla Casa’s Il vero modo… and sing the baseline to his exercise embellishing Striggio’s I dolci colli, for example? And how much more profitable would our practice of this exercise be if we could? How many more of us would practise improvising on a ground, if we had a ground? The Passaggi project will enable more effective exploration of historical sources and approaches by providing digitally some aspects of the innate and inherited musical awareness common to all musicians of the past that we strive to connect with in the twenty-first century.