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ESSAT
"'ARO
PLAYING
KEYBOARD
INSTRUMENTS
By
Cari Philipp Emanuel Bach
Translated
and Edited
W I L L I A M J.
by
MITCHELL
ASSOCIATE PROFESSOR O F M U S I C , C O L U M B I A U N I V E R S I T Y
An engraving by F. C. Kruger, Sons, Berln, which appeared in Allgemeine Deutsche Bibliothek, Vol. 34, Berln and Stettin, 1778
Yyf^jiA
DEPARTAMENTO p
Ob
'ON
1 '
t-jg
7i
PREFACE
r It E l A C E
P II E l- A C E
viii
IX
W.J.M.
COMTENTS
Vtrfntr
vii
PART
l'iiirword
ONE
to Part One
/til 1 oduttion
I M A I ' I I R
O N E .
iiiAi'ii'R
T W O .
27
to Part One
30
Fingering
41
Embellishments
79
(.I'.NERAL
79
T H E
87
A P P O G G I A T U R A
T H E
T R I L L
99
T H E
T U R N
112
T H E
M O R D E N T
T H E
C O M P O U N D
T H E
S L I D E
T H E
S N A P
T H E
E L A B O R A T I O N
B H A P T E R
127
A P P O G G I A T U R A
132
136
142
O F
F E R M A T E
143
Performance
T H R E E .
147
PART
TWO
169
to Part Two
F O U R .
F I V E .
Intervals
172
and Their
Thorough
Bass
Signatures
180
198
T H E
T R I A D
(i)
198
T H E
T R I A D
(il)
204
O F
T H E
C H O R D
T H E
C H O R D
T H E
T H E
D I M I N I S H E D
T R I A D
T H E
A U G M E N T E D
T R I A D
O F
T H E
S I X T H
S I X T H
(i)
20g
(il)
217
222
224
xi
xii
C O N T E N T S
T H E
S I X - F O U R
C H O R D
T H E
S I X - F O U R
C H O R D
T H E
F O U R - T H R E E
C H O R D
(i)
233
T H E
F O U R - T H R E E
C H O R D
(ll)
239
T H E
S I X - F I V E
C H O R D
T H E
C H O R D
C H O R D
O F
231
(i)
243
(ll)
248
T H E S E C O N D
O F T H E S E C O N D
T H E
F I V E - T W O
T H E
F I V E - F O U R - T W O
T H E
226
(ll)
C H O R D
T H E S I X - F I V E
T H E
(l)
C H O R D
T H E
C H O R D
T H E
S E V E N - S I X
252
(ll)
2 D O
C H O R D
T H R E E - T W O
T H E
(i)
262
C H O R D
264
C H O R D
264
O F T H E S E V E N T H
O F
(i)
T H E S E V E N T H
265
(ll)
274
C H O R D
283
T H E
S E V E N - F O U R
T H E
C H O R D
O F
T H E
C H O R D
O F T H E M A J O R
S E V E N T H
T H E
C H O R D
O F T H E N I N T H
(i)
T H E
C H O R D
O F T H E N I N T H
(ll)
N I N E - S I X
T H E
N I N E - F O U R
T H E
N I N E - S E V E N
T H E
F I V E - F O U R
six.
C H A P T E R
T H E
C H O R D
286
T H E M A J O R
T H E
S E V E N T H
(i)
T H E
(ll)
3O2
C H O R D
304
C H O R D
307
C H O R D
310
Accompaniment
313
F O R T H E L E F T
P O I N T
N O T E S
D O T T E D
S U D E
P R E C A U T I O N S
O F
A C C O M P A N I M E N T
T H A T
T H E
O F
A C C O M P A N I M E N T
F O R F I G U R E D
C H O R D S
BASSES
T H E I R
N O T E S
T H E M E S
F R E E
Bibliography
351
386
407
410
412
P R E C E D E
R E C I T A T I V E
S E V E N .
316
403
T O N E S
C H A P T E R
H A N D
384
R E F I N E M E N T S
P A S S I N G
BASS
irin by P. Haas
379
F E R M A T A
C H A N G I N G
3*
/ ri|
366
I M I T A T I O N
T H E
362
C A D E N C E S
N E E D
168
348
A P P O G G I A T U R A
P E R F O R M A N C E
S O M E
BASS
N O T E S
418
420
425
426
Improvisation
F A N T A S I A
319
C O M P O U N D
D O T T E D
T H E
322
T H E
C L O S I N G
Frontispiece
313
A C C O M P A N I M E N T
O R G A N
T H E
|H
305
C H O R D
S Y N C O P A T E D
T H E
297
299
A P P O G G I A T U R A S
S O M E
293
U N I S O N
O N E - P A R T
430
4 3 O
446
xiii
WTRODUCTION
I N 7 R O I) U C T 1 O N
/ N T R O I) U C T I O N
i i > n ( )nc and manuscript revisions to the entire book, Bach asked
un rvidrntly received 180 louis d'or. T o dispel any false notion
i l . .1 ilir matter was urgent, Bach added shrewdly, " I am no more
i i U i g r d 10 sell than you are to buy." The transaction was com-
of Playing Keyboard
Instruments,
le ( I
l he H24 copies, some going back 21 years, others 18, must rep11 r-ni only the lesser part of the total printed i n 1753, 1759, and
17(111. Bul more information is provided by the fact that Schwickert,
who most certainly was not inclined to destroy merchandise on
u l i i . I i Itach placed a retail price of 3 thalers an item, reissued the
Kny in 1780 by simply altering the title page of the acquired
1 opirs to make room for the ame of the new publisher. The title
|i.iK' of this so-called " T h i r d Edition" retained the revealing
/write Auflage" of the edition of 1759.
I he 260 copies of Part One must have been largely sold by 1787,
w l u n Schwickert issued the revised edition, and the 564 copies
I Part T w o had been, exhausted by 1797, when i t reappeared i n
irvision. This represents a yearly average sale of between 30 and
,|o < opics for each part, which, if extended backward to the original
yrurs of publication, would suggest that up to the appearance of
the revisions between 1000 and 1500 copies of each part had been
piintcd and sold. A modern publisher would sniff disdainfully at
mu li paltry figures, but i t should be kept i n mind that the reading
public in the i 8 t h century was far smaller than i t is today. Also,
inethods of printing and distribution were extremely modest. The
piihlisher Gschen later ( 1 7 8 7 - 9 0 ) printed 2000 copies of Goethe's
Werke, but could find no more than 602 subscribers to the series.
And sales of the individual volumes were even smaller. The Jena
I illeratur Zeitung, a very popular and widely read journal of the
time, achieved its success on issues of 2000 copies, according to a
letier written by Gschen to Wieland. For a work like the Essay,
designed for a very limited public, to reach our suggested, coniiei vatively estimated number of copies, is indeed impressive, when
compared with these other figures. I t must also be remembered that
the copying and borrowing of books were widespread practices at
this time. Henee 1000 to 1500 copies served many more than the
cquivalent number of readers.
Other indications of the spread of Bach's Essay, but with totally
INTRODUCTION
/ N T R O I) ll (', ION
unpartheiischer
Correspond-
b o a s t i n g t h a t since its a p p e a r a n c e , t e a c h i n g a n d p l a y i n g h a v e i m p r o v e d .
And
yet I m u s t r e g r e t t h a t m y h i g h m o t i v e s h a v e i n n o c e n t l y g i v e n rise t o o d
fingering,
a p p l i c a t i o n o f e m b e l l i s h m e n t s , a t h o r o u g h l y b a d c h o r d . I can assert w i t h o u t
anger, a n d i n t r u t h , t h a t every i n s t r u c t i o n b o o k t h a t I h a v e seen since the p u b l i c a t i o n o f m y Essay ( a n d I b e l i e v e I have seen t h e m a l l ) is filled w i t h erro r s . W h a t
I say can be p r o v e d i f necessary.
JIM 11
I N T R O 1) 11 C T 1 O N
TNTROD
C TI OH
<
a n d the execution of his dutiei in the service of the king, were
iipplcinented by a third, his association with many of the leading
m u s i c a l figures of his day. At the court were two of the brothers
(.laun: Cari Heinrich, music director and celebrated composer of
/ he Death of Jess, and Johann Gottlieb, conductor of the royal
>i< hestra, composer, and eminent violinist. Quantz, already menlloned, was present as chamber musician. His Versuch einer Anin sung die Flote traversiere tu spielen (Berlin, 1752) was a spur
t o Bach. Five members of the Benda family played at the court, in1 luding Franz and, for a shorter time, Georg. Johann Friedrich
Armla, too, was there as court composer, "more corpulent than
| < > i i i c l l i , or than his relation Handel," according to Burney, who
v M i t r d him later.
I n Berlin was also the quarrelsome Johann Philipp Kirnberger,
Hite Agrcola a student of Johann Sebastian Bach. Engaged as vioI m i s i in the court from 1751, he left to become musical director to
tli< l'rincess Amalie i n 1758. He wrote several important theoret -ti works and contributed many of the musical articles to J. G.
Sul/cr's Allgemeine
t
1771-74), the remainder being written by his pupil Johann
A l n . i h a m Peter Schulz. On adding the ame of Friedrich Wilhelm
M . i i p u r g to this roster we have reassembled the group of writers
w h o made Berlin the hub of musical theory. Burney i n The Present
State of Music writes of Berlin:
I was i m p a t i e n t t o b e g i n m y m u s i c a l i n q u i r i e s i n a place . . . w h e r e b o t h t h e
Ihcory a n d practise o f m u s i c h a d been m o r e p r o f o u n d l y t r e a t e d t h a n elsewhere,
l<y professors o f great a n d a c k n o w l e d g e d a b i l i t i e s , w h o are s t i l l l i v i n g ; a n d w h o
I m v r p u b l i s h e d t h e r e s u l t o f t h e i r l o n g e x p e r i e n c e a n d s u p e r i o r s k i l l i n treatises
w h u l i are r e g a r d e d t h r o u g h o u t G e r m a n y as classical.
rnn in two directions; Bach met his associates frequently and ex1 lianged opinions with them. I n his Autobiography he wrote: " M y
Cumian duties never left me enough time to travel i n foreign
<v
/ N T H O 1) 11 C T 1 O N
countries. . . . This lack . . . would liavc been harmful to anyone i n my profession, had I not had the good fortune from my
youth on to hear at cise range the finest of all kinds of music and
to meet masters of the first rank, many of whom became my friends."
Bach absorbed much from these friendships, the results of which,
carefully evaluated and recast, appear throughout the Essay. Most
easy to discover are those points on which he and his contemporaries
disagreed. Although he rarely mentions anyone by ame, i t is clear
that he and Quantz were divided on several matters.
I n order to complete our sketch of the Essay's background we
must direct our attention to Bach's abiding interest i n the proper
instruction of the musical novice. A great deal of his music was
written for teaching purposes. The title of his best-known keyboard
works, the collections for Connoisseurs and Amateurs, indicates the
spread of his interests. I n addition, the Sonatas with varied reprises
and the pieces published i n Marpurg's and others' collections were
designed for the non-professional musician. I t is true that the Essay
was written for the student whose aim was complete mastery of the
keyboard. But the Introductions to both parts show clearly that
Bach was well aware of the general state of musical instruction, indeed tht he wrote with i t i n mind. Especially is this true of the Introduction to Part One, where he writes caustically of the pretentiousness of the average teacher, his abysmal ignorance and unmusicality.
A few contemporary documents give us information on keyboard
instruction at the time. The first, a continuation of the open letter
that has already been quoted, states Bach's views on teaching the
serious and the casual student:
I N T R O I) U C T I O N
ptred,
i t t u r n e d o u t t h a t t h e e n t i r e t r a n s c r i b e d lesson ( w i t h o u t e x a m p l e s a n d
ipects,
t o o l i t t l e , i n o t h e r s , t o o m u c h , b u t i n a l l respeets, masses o f e r r o r s . W h a t
reveal t h e i r gross i g n o r a n c e . I d i v i d e a l l k e y b o a r d p e r f o r m e r s i n t t w o g r o u p s .
oats. Everi i f I h a d n o i n t e r e s t i n m u s i c , t h i s m a n w o u l d be t h e o n e t o c r a t e i t .
H e is q u i t e u n a s s u m i n g , b u t f o r a m a n o f c o m m o n b l o o d he k n o w s v e r y w e l l
m i n d o f unnecessary b o t h e r he m a r k s a l l notes w i t h l e t t e r s , a l t h o u g h I a m
N o t h i n g f u n d a m e n t a l can be l e a r n e d w i t h o u t t i m e a n d p a t i e n c e . S t u d y o f
k e y b o a r d p e r f o r m a n c e is n o t a c o m p e n d i o u s afair, a n d d a r n o t be i f i t is t o
a s m a l l m a t t e r w h i c h he leaves t o m y d i s c r e t i o n , a l t h o u g h he insists o n b a n i s h i n g
fingering
w h i c h i n t h e i r a lleged b r e v i t y are a l m o s t as l o n g as m i n e ?
10
1 N
T R O I) U
CT
INTRODUCCION
1 O N
linrsl and subtlest topics to the hroadcst and most basic. If it disaHirrs with Quantz, or echoes Couperin, it also lashes the local peilanlic music masters.
The Essay is first and foremost a practical book that was designed
I C M for discussion than for instruction. Its ancestry runs back
through works like Mattheson's General-Bass Schule, Heinichen's
certos.
The second letter appeared i n the issue of May 13, 1749, and is
signed Musenhold. The body of i t describes a projected method of
financing an orchestra i n a small town by means of contributions and the novel imposition of fines for such transgressions as a
lady's premature wearing of a new coiffure or a husband's withholding of a small service from his spouse. The correspondent proceeds to describe the sorry personnel of the incumbent orchestra and
concludes as follows:
B a m b o o z l e r , o u r k e y b o a r d i s t , has fine h a n d s . B u t h e is u n a b l e t o p u t t h e m t o
g o o d use e x c e p t w h e n t h e governess, h i r e d b y t h e m o t h e r , excuses herself f o r a
m o m e n t , l e a v i n g h i m a l o n e w i t h h i s y o u n g l a d y s t u d e n t s . T h e mechanics o f
fingering
are c o m p l e t e l y u n k n o w n t o h i m . I n r i g h t - h a n d t r i l l s , h e uses o n l y t h e
Handleitung,
the text on
For
I N T i O 1) U C T ION
crimination, the collettor's habita of acquisitiveness, all of these
factors contribute to the valu of the Essay and lend to it a unique
quality. But, finally, there can be found on more than one page a
sy, sometimes a caustic, wit. Johann Friedrich Doles, a school companion and one of Johann Sebastian's successors at the Thomasschule, once said, "Like many boys of active mind and body, he was
afflicted from childhood on with the malady of the roguish tease."
Symptomatic are his remarks on local teachers, Italian accompanists, the performance of incompletely marked scores.
Nowhere is Philipp Emanuel's indebtedness to his father more
clearly expressed than i n the chapter on fingering. The son worked
out the details, but the father fixed the basic principies. However,
it is clear from the reference to fingering as "a secret art, known and
practiced by very few," that the Bach family did not discover it, but
rather organized and elaborated its technique. Other facts can be
adduced to support this view.
Of the older fingering, it can be said that it lacked systematization. I t was conditioned by earlier musical styles and was characterized i n general by a sparing use of the thumb and fifth finger with
a consequent favoring of the middle fingers. For example, i n running passages the right hand often ascended and the left hand descended by repeatedly crossing the third finger over the fourth. As
the right hand descended the thrd finger repeatedly crossed the
second. The thumb carne into repeated use only i n wide stretches
and as the left hand ascended, a common fingering being
4,3,2,1,2,1,2,1. The differences from one school to another lay essentially in the amount of use allotted to the extreme fingers. I n
Girolamo Diruta's/Z Transilvano (1593?, 1597) these hapless members are almost completely banished. More kindly disposed toward
them were the English virginalists and Germans such as Elias
Nicolaus Ammerbach, i n whose Ein New Kunstlich Tabulaturbuch (1575) the fourth finger of the left hand crosses the thumb i n
stepwise ascent. I n Francois Couperin's L'Art de toucher le
clavecn (1716, 1717) the thumb is employed frequently i n wide
stretches, and i n running passages for the left hand, but i n the right
no more frequently than others had used it. Characteristic for the
French school at this time is the replacement of one finger by
another on an unrepeated, held tone, along with direct repetitions
of a single finger i n running passages. A palpable misprint ac-
,2
/ N T R O I) U C T ION
I NT
RO
DUCTION
modern finger technique, we need only read his own acknowledgment of indebtedness to the Essay i n order to restore the proper
sequence: "Whatever I know about fingering and the new style, i n
short, whatever I understand of the pianoforte, I have learned from
this book."
The most extended contemporary review of the Essay appeared
i n the Bibliothek der schnen Wissenschaften und der freyen
Knste (Vol. 10, Pts. i , 2, 1763/4). I n i t Bach's work is ranked as the
equal of Quantz's Versuch, Leopold Mozart's Violinschule, and
Agricola's translation with additions of Tosi's Opinioni. The review
is laudatory on all counts save those that refer to the chapter on
embellishments, where several exceptions are taken to Bach's treatment and organization of material. Whether these differences of
opinin are entirely justified is less significant than the fact that they
indcate that Bach did not, as indeed he could not, represent all
practices of the eighteenth century. Taste and style are important
factors i n his treatment. Further, although Bach's ordering of his
material is clear and logical, it is obvious that a somewhat different
organization might have been undertaken. A l l i n all, the chapter
on embellishments contains a large but discerning selection of
ornaments from all styles.
Ornamentation at the time of the Essay was of two kinds. There
were first the optional elaborations which performers were expected
to interplate into the pieces they played. Ornamentation i n this
sense was a dying practice. Johann Sebasian Bach had already subscribed to the writing out of every note that was to be performed.
Philipp Emanuel, following his father's practice, treats free elaborar o n only briefly, i n connection with the performance of fermatas
and cadenzas.
The second kind was the stereotyped short embellishments, the
appoggiaturas, trills, turns, etc. T o these, Bach directed his full
attention. The task that he set for himself was a twofold one. First
he classified each type and designated a distinctive sign, notation, or
position for each subtype. For example, the section on the turn
includes the turn over a note, after a note, over a tie, over a dot,
the trilled turn, the snapped turn, and the ascending turn. I n all, he
cites seven types and twenty-four subtypes of ornaments exclusive
of slight varants. While the ends at which Bach arrived are, i n certain instances, peculiar to his own judgment i n these matters, the
INTRODUCCION
/ N T RO I) U C II
INTRODUCTION
O N
iy
h< (1 and joined notes, the exe< iition ol the vibrato and portato,
dolted notes, sustained and arpeggiated iones. And like the tempo
inhalo and dynamic shading, all of these matters are of importance
only as they advance the first aim of the performer, to seek and
intcrpret correctly the true expressive content of each piece that
he performs.
T o many it must seem strange that Philipp Emanuel, modernist
and eclectic of the eighteenth century, did not employ the theories
ol Ramean, in writing the chapters on intervals and thorough bass.
I le was not ignorant of the writings of the Clermont organist whose
Traite had appeared forty years before Part T w o of the Essay. I n deed, the Essay was written after the publication of all of Rameau's
theoretical works.
liach and his father were acquainted with Rameau's theory, which
has become the basis of most of the modern writings on harmony,
hut they disagreed with it. This was made known i n a letter to Kirnherger, cited i n his Kunst des reinen Satzes (Pt. I I , Sect. 3, p. 188):
"You may proclaim that my and my deceased father's basic principies are contrary to Rameau's." Extended consideration had been
given by the members of the Bach school to the new theories of the
lundamental bass, the suppositional root, the triad as the mother
o all chords, and the seventh as the origin of all dissonances. This
is apparent from the analyses i n the Rameau manner which can be
lound, according to Spitta, i n the definitive autographs of the Sarabande and two Menuets from Johann Sebastian Bach's D minor
Ki ench Suite, and i n Fischoff's autograph of the C minor Fugue and
I) minor Prelude of the Well-Tempered Clavier. Later, Kirnberger
analyzed the B minor Fugue of Book One and part of the A minor
l'relude of Book T w o with the avowed purpose of proving the
miperiority of his own analytic procedure over Rameau's. I n only
one respect can i t be said that Philipp Emanuel made use of any
(i)f the new principies. He speaks several times of chord inversin.
Hut this principie was known before the Traite was published, having made its appearance i n Andreas Werckmeister's Hodegus
curiosus (1687) and Godfrey Keller's Rules . . . (before 1700).
<l<t.i<
iH
I N T R O I) U C T
ION
/ N T R O l) V C T ION
I N T R O 1) U C I I O N
2O
I N T R O l) 11 C T
centh century too. We can rcad about them here and elsewherc.
But it is illuminating to read first-hand accounts of the accompaniments fashioned by one of the greatest improvisers of all time.
W r i t i n g of Johann Sebastian Bach, Johann Friedrich Daube expressed himself as follows i n 1756:
F o r the complete practice of thorough bass it is necessary to k n o w three
species: the simple or c o m m o n ; the n a t u r a l , or that w h i c h comes closest to the
O N
21
|i|>
to K i r n b e r g e r
Schirmer, 1945,
C . F. H a n d e l , Werke,
II ni ti cmbalo
(cf.
H. T.
David, /.
S.
Bach's
Musical
Offering,
pp. 99 ff.).
V o l . 48, p. 115,
concertato,
|. S. B a c h , Werke,
|iU-x of the accompaniments listed hfe, but even i n its elaborated qualities it
p a n is superscribed cmbalo
V. T . A r n o l d , The
obligo.
Art of Accompaniment
from
a Thorough
Bass, L o n d o n ,
counter-theme against it, that the listener w o u l d have sworn that everything
1931,
h a d been conscientiously written out. A t the same time, the regular accompani-
concer-
tante part most carefully constructed a n d added as a c o m p a n i o n to the p r i n c i pal part so that at the appropriate time the u p p e r voice w o u l d shine. T h i s
right was given at times even to the bass, without slighting the p r i n c i p a l part.
Suffice it to say that anyone who missed h e a r i n g h i m missed a great deal.
in
Because thorough-bass realizations were created extemporaneously and served only an immediate purpose, there was no need to
write them out. Nevertheless, a few have come down to us, some
avowed realizations, others that partake so much of the nature of
an accompaniment that they can be used to supplement Emanuel
Bach's discussion. As listed here they range from the simple,
through the natural, to the intricate, as classified by Daube:
P h i l i p p Spitta's / . S. Bach
Spiel-
und
General
Bass Uebngen,
ed. by
Offering
by J . S. B a c h , prepared by H . T . D a v i d , G . Schirmer,
1944,
examples
22
/ N T R O I) U C T
ON
I N T RO I) U C T I O N
23
irmained in manuscript (Wotquenne, Nos. 111, 256, 258). What|VCI merits can be found i n these other works, they contributed
little to their author's renown. None worked as did the Essay to
mtablish him as one who "raised the art of performance through
iraching and practice to its perfection."
FOREWORD
iifeer
ie
n>ai)re
TO PART ONE
3(vt
K
imb ad)ta<fpn $rt*c<etcfm in fed# onatm
etfutett.
rfter $&e.
>
SJfrrgung
t? Suctpri.
83er(in, 1759.
rtritcft (9 Qmgt nHmia, Mnttr.
Title page of the first edition of way on the True Art of Playing
Keyboard Instruments, Part I
2<v
o n /: w o
H )
r o
/* A R T
O N E
FOREWO
11 1)
T 0
P A Ii T
ON E
29
accomplished much, for his facility wiil help him to succeed far
inore easily in his remaining studies. The demands made of the
keyboard as compared with other instruments testify to its comprchensiveness and many capabilities; and it can be observed from
the history of music that those who have achieved renown i n the
world of music have usually excelled on our instrument.
I n all matters, I have had i n mind chiefly those teachers who have
lailed to instruct their students i n the true foundations of the art.
Amateurs who have been misled through false precepts can remedy
matters by themselves from my teachings, provided they have already played a great deal of music. Beginners, by the sanie means,
will easily attain a proficiency that they could hardly have believed
possible.
Those who expected a voluminous work from me are i n error.
1 believe I deserve more gratitude if through brief precepts I have
made practicable, easy, and agreeable many things that are quite
difficult i n the study of the keyboard.
I ask the forbearance of my readers for repeated mention of
divers truths, made necessary partly because matters on hand demanded it, partly to avoid frequent cross references, and finally,
because I feel that certain principies cannot be stated too often.
And perhaps some w i l l find themselves embarrassed by these truths,
although I wrote them without the slightest intention of malice.
Should the present work meet with the apprval of connoisseurs,
I might find therein the encouragement to continu with a few
supplements. The acclaim accorded this work by the musical public has given me the incentive to enlarge the present third edition
with textual additions and six new keyboard compositions i n fulfillment of the promise made i n the Forewords to the first and
second editions.
3
1787.
INTROD
INTRODUCTION
TO PART ONE
V C TI
O N
1 O
PART
O N E
)i
?2
/N
7 R O I) U C I I O N
l O VA R T
ON E
/ N T R
i)
uc
10
T ION
rA
R T
0N
10
ing to Quantz's Versuch, where we find the following statement (Ch. X V I I , Sect. I V ,
" O f the Keyboard Accompanist," f 32): " W i t h regard to allegro movements it is important that the accompanist . . . . possess the facility in his left hand to play
everything clearly and purely, . . . that when many eighth notes occur on a single
tone he play every one with his left hand, and avoid the practice of some who for
untimely reasons of convenience, strike one note and omit the following three or
even seven, especially in vocal works." When all factors are considered, i.e., the public a r o n dat^s of both Essays (Quantz 1752, Bach 1753), the cise association of both
men as fellow court musicians, etc., it becomes clear that Quantz is referring to Bach
and that Bach's paragraph is an elabrate rejoinder and defense of his own practice.
s See C h . I V , f f 68-78, and C h . V I , especially f 3, for a description of passing tones
in the eighteenth-century sense.
Cf. C h . V I , "Passing Tones," f f 4, 7-12.
. . . Wie die Schwrmer. T h e term was used chiefly with reference to the string
tremolo, although Marpurg applies it to repeated notes at the keyboard. T h e Italian
word was Bombo. Arnold translates literally, "resembling crackers" (Arnold, op. cit.,
p. 776).
1 0
?./
1 N T R O I) U C T 1 O N
7 O PA H T
ONE
INTRODUCTION
TO
PART
ONE
35
10 assist not only the other bass instruments but the entire ensemble
i 11 maintaining a uniform pace. And yet the best musician, fatigued,
m a y find it difficult to guide even his own pace at t i m e s , even though
he might be the master of his powers under normal conditions. Such
being the case with one performer, how much more important it is
that our expedient be employed i n an ensemble; the more so because t i m e is beaten today only i n larger C o m p o s i t i o n s . The tone of
the keyboard which, correctly placed, stands i n the center of the ensemble, can b e heard clearly by all. A n d I know that even diffuse,
elabrate compositions played by impromptu, average performers
can b e held together simply by its tone. If the first violinist stands
nears the keyboard as he should, disorder cannot easily spread. I n
arias, the singer's burden is lightened by our means when the tempo
changes precipitately, or when all parts scramble while the voice
alone has long notes or triplets which because of their divisin demand a clear beat. The less the bass is preoecupied with difficult,
involved runs, the more easily w i l l i t be able to rnaintain a steady
pace; the more i t is, the more frequent w i l l be the spectacle of compositions starting more vigorously than they end. Should someone
hasten or drag, he can be most readily corrected by the keyboardist,
for the others w i l l be too much concerned with their own figures
and syncopations to be of any assistance. Especially those parts
that employ the tempo rubato w i l l find herein a welcome, emphatic
beat. Finally, i t is easy (and often necessary) to make minor changes
of tempo by this means because exact perception w i l l not be hindered by the keyboard's excessive noise, and, i n addition, those performers located i n front of or beside the keyboard w i l l find i n the
simultaneous motion of both hands an inescapable, visual portrayal
of the beat.
12
10. Teachers try to make amends for a stiff left hand by teaching their students to favor the right and garnish adagio or expressive passages with a wealth of pretty little trills to the revulsin of
good tste. These are often interchanged with senile, pedantic embellishments and fumbling, inept runs i n the playing of which the
fingers seem to grow choleric.
11. Before we proceed to remedy these faults with wellgrounded instruction, something remains to be said about keyboard instruments. Of the many kinds, some of which remain little
12 a . Pate I V .
36
INTRODUCTION
TO
l'ART
ONE
known because of defects, others because they are not yet in general use, there are two which have been most widely acclaimed, the
harpsichord and the clavichord. The former is used in ensembles,
the latter alone. The more recent pianoforte, when it is sturdy and
well built, has many fine qualities, although its touch must be carefully worked out, a task which is not without difficulties. I t sounds
well by itself and i n small ensembles. Yet, I hold that a good
clavichord, except for its weaker tone, shares equally i n the attractiveness of the pianoforte and i n addition features the vibrato
and portato
which I produce by means of added pressure after
each stroke. I t is at the clavichord that a keyboardist may be most
exactly evaluated.
18
14
12. A good clavichord must have i n addition to a lasting, caressing tone, the proper number of keys, extending at the very least
from the great octave C to the three-lined e. The upper limit is
needed for the playing of scores written for other instruments. Composers like to venture into this high register because many instruments can reach it quite easily. The keys must be properly weighted
to help raise the fingers after ea'ch stroke. I n order that the strings
may be attacked as well as caressed and be capable of expressing
purely and clearly all degrees of forte and piano, they must be
resilient. T a u t strings keep the tone of a vibrato pur; yet they
should not be too taut or they w i l l sound strained and the performer
w i l l be unable to achieve any volume; on the other hand, if they are
too lose, they w i l l sound impure and unclear if they sound at
all. The keys must not fall too deep, and the pegs must be tightly
fitted so that the strings w i l l be capable of withstanding the full
forc of an attack and remain i n tune.
1 6
16
13.
Die Bebung und das Tragen der Tone. Cf. C h . I I I , f f 19-20, and the accompanying Note 17.
i * J . F. Reichardt wrote: "Not only does Bach play a slow, singing adagio with
the most touching expression (to the embarrassment of many instrumentalists who
could imtate the voice with far less difnculty on their own instruments), he sustains,
even in this tempo, a note six eighths long with all degrees of loudness, both in the
bass and the treble. But this is perhaps possible only on his very fine Silbermann
clavichord for which he has written sonatas in which long sustained notes occur.
" A n d it is the same with the extraordinary power which Bach can give to a passage: it is the utmost fortissimo. Another clavichord would go to pieces under it.
Likewise, his most delicate pianissimo would not sound at all on another clavichord."
is T h i s sentence, up to the semicolon, appears as a footnote in the ed. of 1787.
18 T h i s sentence appears as a footnote in the ed. of 1787.
l s
INTRODUCTION
TO
l'ART
ONE
37
10 .1 good tone and the proper tange. The tests of the quilling are
neat, facile execution of embellishnients, and an equal, quick
1 caction of each key as the thumbnail sweeps over the entire manual
with a light, uniform pressure. The action of the harpsichord must
not be too light and effeminate; the keys must not fall too deep; the
lingers must meet resistance from them and be raised again by the
jacks. On the other hand, they must not be too difficult to depress.
For the benefit of those whose instruments have less than the desirable range, I have so constructed my Lessons that they may be
played on a four-octave keyboard.
14. Both types of instrument must be tempered as follows: I n
tuning the fifths and fourths, testing minor and major thirds and
chords, take away from most of the fifths a barely noticeable amount
of their absolute purity. A l l twenty-four tonalities w i l l thus become
usable. The beats of fifths can be more easily heard by probing
fourths, an advantage that stems from the fact that the tones of the
latter lie closer together than fifths. I n practice, a keyboard so
tuned is the purest of all instruments, for others may be more
purely tuned but they cannot be purely played. The keyboard plays
equally i n tune i n all twenty-four tonalities and, mark well, with
full chords, notwithstanding that these, because of their ratios, reveal a very slight impurity. The new method of tuning marks a
great advance over the od, even though the latter was of such a
nature that a few tonalities were purer than those of many present
non-keyboard instruments, the impurity of which would be easier
to detect (and without a monochord) by listening harmonically
to each melodic tone. Their melodies often deceive us and do not
expose their impurity until it is greater than that of a badly tuned
keyboard.
17
jS
INTRODUCTION
TO
l'ART
ONE
the reverse. The clavichord is needed fot the study of good performance, and the harpsichord to develop proper finger strength.
Those who play the clavichord exclusively encounter many difficulties when they turn to the harpsichord. I n an ensemble where
a harpsichord must be used rather than the soft-toned clavichord,
they w i l l play laboriously; and great exertion never produces the
proper keyboard effect. The clavichordist grows too much accustomed to caressing the keys; consequently, his wonted touch
being insufficient to oprate the jacks, he fails to bring out details
on the harpsichord. I n fact, finger strength may be lost eventually,
by playing only the clavichord. On the other hand, those who concntrate on the harpsichord grow accustomed to playing i n only one
color, and the varied touch which the competent clavichordist
brings to the harpsichord remains hidden from them. This may
sound strange, since one would think that all performers can express only one kind of tone on each harpsichord. T o test its truth
ask two people, one a good clavichordist, the other a harpsichordist,
to play on the latter's instrument the same piece containing varied
embellishments, and then decide whether both have produced the
same effect.
18
INTRODUCTION
T 0
PART
ONE
y}
4<> 1 N T R O I) II (1 T I O N
7 O
P A R T
O N E
dcceased fatlier made many succcsslul cxpcriments of a similar nature. He introduced his pupila directly to his modcrately difficult
pieces. Therefore, no one need fear my Lessons.
25. Should some because of their facility be inclined to read
the Lessons at sight, I urge them first to study every smallest detail
with proper diligence.
CHAPTER
ONE
FINGERING
1
O A L A R G E extent the shape of an instrument determines
its fingering. I t would appear to be most arbitrary i n the
case of keyboard instruments, for the arrangement of the
keys is such that any one of them may be depressed by any finger.
2. For this and other reasons the study of fingering is a treacherous path along which many have erred. For one thing, there is only
one good system of keyboard fingering, and very few passages permit alternative fingerings. Again, every figure calis for its own distinctive fingering, which may require modification simply through
a change of context, and the comprehensiveness of the keyboard
creates an inexhaustible wealth of figures. Finally, the true method,
almost a secret art, has been known and practiced by very few.
3. This erring is the more considerable, the less one is aware
of it, for at the keyboard almost anything can be expressed even
with the wrong fingering, although with prodigious difficulty and
awkwardness. I n the case of other instruments the slightest incorrectness of fingering is usually betrayed by the downright impossibility of performing the notes. As a result, all manner of things
have been ascribed to what is believed to be the difficulty of the
instrument and the compositions written for i t .
4. From these remarks i t can be seen that correct employment
of the fingers is inseparably related to the whole art of performance.
More is lost through poor fingering than can be replaced by all conceivable artistry and good taste. Facility itself hinges on i t , for experience w i l l prove that an average performer with well-trained
fingers w i l l best the greatest musician who because of poor fingering
is forced to play, against his better judgment.
5. Because almost every figure requires its own, distinctive fin4
.2
FINGERING
F INGERI
NG
44
F I N G ERIN
FINGERING
As described in f f 86-92.
* T h e examples for the right hand appeared in the customary descant clef in the
original. In order to make them more accessible to modern readers, out of touch with
C-clefs, they have been transcribed in the familiar G-clef.
3
I shall buik upon Nature, for a natural fingering devoid of unnecessary strain and extensin is clcarly the best.
19. The shapes of our hand and the keyboard teach us how to
use our fingers. The former tells us that the three interior fingers
are longer than the little finger and the thumb. From the latter we
learn that certain keys are longer and lie lower than the others.
20. I shall follow the usual designations by indicating the
thumb with the numeral 1, the little finger with 5, the middle finger
with 3, that next to the thumb with 2, and that next to the little
finger with 4.
21. I shall cali the raised and recessed keys by the more usual
than correct ame of half tones.
22. I t follows directly from the statements of Paragraph 19 that
the black keys belong essentially to the three longest fingers. Henee,
the first principal rule: Black keys are seldom taken by the little
finger and only out of necessity by the thumb.
23. I have found it advisable because of the great variety of
passages to construct all types of examples; some i n one voice,
others i n several, some i n conjunct motion, and others i n disjunct.
24. The scales have been arsanged according to keys in the
first examples, which w i l l illustrate all twenty-four, ascending and
descending. Thereafter, the order of illustrations will be as follows:
Progressions i n several parts; spans and leaps, because these can be
more readily gauged after the study of progressions, or even traced
back to chords; and, finally, tied or held notes, a few licenses, exceptional cases, and certain expedients. The Lessons w i l l account
for the remainder. I n appending these with their continuous passages of all types, I believe I have served a greater purpose and
stimulated more interest in the difficult study of fingering than I
could have hoped for had I amassed quantities of fragmentary
examples, for these would have made the work overlong and unendurable.
25. Chrnge of fingers is the most important element i n our
study. Our five fingers can strike only five successive tones, but
5
s Halbentne. T h e "raised and recessed keys" of Bach's day were not universally
black, henee he could not use the convenient "black keys," which appears from this
point on as the translation of the term that he adopted with easily understandable
misgivings.
Die A bwechselung der Finger.
6
43
46
FINGER
F I N G
INC
there are two principal means whereby wc can extend their range
as much as required, both above and below. They are the turning
of the thumb and the crossing of the tingers.
26. Of the five fingers, the thumb alone is naturally adept at
turning under. Flexible and propitiously short, it is the only one to
be concerned with this technique, which is employed when the
fingers, playing i n their normal order, cannot encompass the range
of a passage.
27. Crossing over is a technique limited to the remaining fingers. I t occurs when a longer one vaults a shorter, including the
thumb, i n order to strike a tone that lies beyond the natural range
of the fingers. This device must be practiced u n t i l it is brought to
the point where the fingers w i l l not interlock.
28. These are to be avoided: T u r n i n g the thumb under the
little finger, crossing the second finger over the third, the third over
the second, the fourth over the fifth, and the fifth over the thumb.
29. The correct application of these two techniques can be
learned most readily from the patterns of scales. I n playing these
and runs based on them our precepts find their principal employment. I t is understood that i n the performance of scalewise runs
which begin or end differently from those illustrated here the performer must allocate his fingers so that they w i l l come out correctly
without his feeling obliged always to use the assigned finger on a
given tone.
30. Figure i represents the ascending scale of C major with
three fingerings for each hand. None of them is impracticable, although those i n which the third finger of the right hand crosses the
fourth, the second of the left hand crosses the thumb, and the
7
ERING
47
3 2
thumbs strike / are perhaps more usual than the others. Applications of each are shown i n Figure 2.
31. Figure 3 illustrates the descending scale of C major. Here,
too, there are three fingerings, all of which are good i n various
situations, as indicated in the examples of Figure 4, although aside
from these cases which require the specified fingerings, one may
turn up more often than the others.
Figure 4
Figure 3
'
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\
12
11mi
12ij
Jy
*
3
3
4
} fi
f
r
^>
^ J 'ft EJ
f0
J
J
7 Das Untersetzen.
8 Das berschlagen.
Observe that one important technique of the older fingering is not ruled out, the
crossing of 3 over 4. It appears more than once in the fingerings of scales, and in
f 30 is among those that Bach expressly prefers.
8
32. I t can be seen i n Figures 2 and 4 that owing to the necessity of paying heed to the approching notes, the little finger is held
in reserve in stepwise passages and is used only at the beginning or
when a r u n happens to terminate exactly with it. This is illustrated
in the examples of scales where its use is specified. Elsewhere its
place is usually taken by the thumb. I n order to avoid confusin with regard to the little finger and to illustrate a more ex-
./S
FIN
l 1 N G K R 1 N G
tended change of lingers, 1 have led the scales hcyond the octave.
33. In Figure 5 we find A minor, ase enditig, with two fingerings
for each hand. The best are those directly above and below the
notes. Nevertheless, the others may be applied to good ends, as i l lustrated in Figure 6. However, since many more might be devised
were I inclined to construct the examples, and since those i n Figure
6 are not as natural as those that I have recommended, I include
them here more as a warning than as an endorsement, the more
so, because I know that they enjoy scattered popularity. Their defect is the assignment of d to the thumb despite the succeeding e
and two black keys, for the thumb is best used immediately before
black keys. I n any event, this fundamental rule should be observed:
The thumb of the right hand is brought i n after one or more black
keys in ascending, before them i n descending, and the left thumb
after in descending, and before i n ascending. Those who have this
rule i n their fingers will consider it unusual to commit the thumb
too soon before black keys.
Figure 5
f&
-2
1
Th ?
Figure 6
rk*'
4
\ -
m $
19 T h i s turns out to be the most usual modern fingering, at least for the right
hand. Perhaps Bach's reservations are concerned with the use of the fifth finger, which
does not appear in the alternative fingerings.
G F. R I N G
49
Figure 7
2
3
the second finger over the thumb or the third finger over the fourth,
is applied primarily to passages with no accidentis, where, if necessary, it may occur several times i n succession. Occasionally, it may
be used i n connection with a single black key in this manner: The
thumb or the fourth finger plays the tone immediately preceding
the black key, which is then struck by the second or the third finger,
an action easily performed by either, owing to their convenient
length. Thereupon, and i n accordance with the rule stated in Paragraph 33, the thumb takes its assigned place as a matter of course.
Example a of Figure 9 might stand for an exception to our rule
were it not more usual to execute the passage by turning the thumb
as i n Example b. I t is better i n such cases to cross the second finger
over the thumb than the third finger over the fourth. I n order to
illustrate the crossing of fingers in connection with black keys I
have written two octaves of this scale.
1
Figure 8
* i
w -f
#4
5
1
?
ra
ti
i
-4-
Figure 9
^
36. G major, descending, also with three fingerings, is illustrated i n Figure 10. That in which the thumb takes c is clearly the
least frequent; the farthest from the notes are the most dangerous;
but all may be used.
/<'/ N G E R I N G
F I N G E R I N G
5/
40. F major, descending, appears in Figure 14 with two fingerings in the G-clef and three in the bass, of which those directly
above and below the notes are the most usual. There is nothing irregular about the others. They are to be noted because there may be
need for them at times.
4-4-4.
Figure 14
.
9
Figure 12
i j -
-3-
f
2
f
3
39. F major, ascending, has only one good fingering for the right
hand, as i n Figure 13, but three for the left, all of which are useful
in certain situations and should therefore be practiced.
Figure 13
if
-i
2"
4
3
2
1
1
4
3
2
- 2 - 1|
2 3
1
2
1
2 3
3
-3
3
r +-\
41. D minor, ascending, as shown i n Figure 15 has three fingerings for each hand, all of which are good and should be practiced,
although those farthest removed from the notes are somewhat less
usual than the others.
I
0
1
1
f
r
ji
f
m1-4--4*j
1 1
-f- T
42. D minor, descending, appears i n Figure 16 with two fingerings for each hand. Those that lie farthest from the notes are poorer
because the black key, 6-flat, calis for the thumb on a.
Figure 16
A
f(T\
"Y
J
"
' ' h m
T
3
3
71
1
11
4
sm
w
i
l
1 ti
#
1
1
2
1
1
4
l< l N G E
ja
RING
1 2
y}g-b-^
fh
mf
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0
4
4
2
3
3
1
3
3 J*i
?
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BE
fT
T
3
0t
3
1
mi
*i 3
m3 " T " ~
t
7~ 1
{ 3 8 - 1
2
4
3
4
E I N G E R
N G
55
Figure 19
1g
o
3
2
2
011
J
m
3
1 =1
9
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ni i
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7 T y t
ff
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F I N ( Eli
y/
INC,
11
N C. 1:
RINC
55
the initial tone of the illustralion (he right hand takes a with the
thumb rather than the little finger. Also, when a passage for the left
hand in this key begins on the tonic degree, 1-2-3 should be substituted for 2-3-4.
Figure 28
Figure 25
Figure 26
Figure 30
i
53. F-sharp minor, descending, has, according to Figure 27,
one fingering i n common with A major. We learned i n Paragraph
50 that the additional setting for the latter i n the ascending left
hand is used only occasionally. As we proceed, note that descending
minor scales employ the same fingerings as major scales with the
same key signature or, i n the case of enharmonically equivalent
signatures, the same fingering as major scales whose tonic degrees
lie a minor third above those of minor scales.
11
Figure 27
S E
Figure 31
11 n H
Figure 33
>
J6
FINGERING
58. I) llal or Cshaip major, its fingering applicable to ascending as well as descending scales, appears in Figure 34. B-flat minor,
descending, takes the same. B-flat minor, ascending, and its fingerings, of which there are two good ones for the left'hand, appear i n
Figure 35.
FINGERING
57
only to progressions within an octave. Note that as scales lose accidentis (which oceurs in the ascending minor before other scales)
the number of fingerings increases.
Figure 38
Figure 34
te
- ' ^
3
Figure 39
Figure 37
f_
-93==
Figure 35
-ar -8-fcr
t "y |
p
0
4
' i
l \
II
m
2
61. From the study of these scales we learn that the thumb
is never placed on a black key, that it may be used after the second
finger, after the second and third fingers, or the second, third, and
fourth, but never after the fifth. Note that i n order to rnaintain a
uniform fingering i n playing through two or more octaves of a
scale with its seven degrees, the thumb is usually employed once
after the second and third finger, and again after the second, third,
and fourth. I n ascending with the right hand and descending with
the left this action of the thumb is called turning, a technique
which must be practiced until the principal finger has learned to
turn and take its note automatically. The performer who has
reached this point has gained the summit of fingering.
62. We learn, further, that a crossing oceurs when the second
finger, the second and third fingers, or the second, third, and fourth
pass over the thumb or when the third passes over the fourth. Later,
we shall find an exception, allowed under certain conditions, i n
which the fourth crosses the fifth. Also, a case w i l l arise i n the
study of embellishments i n which the third finger strikes a key
after the second. However, this striking must not be confused with
a crossing, which refers only to those cases where one finger crosses
another which is still depressing the key that i t has struck; i n the
former the initial finger leaves the key and the hand is shifted.
63. Finally, we learn that scales with few or no accidentis per12
13
FIN
( F R I N (.
m i l the gicatcst varia!ion with rsped to fingering and the techniques of turning and crossing. I he others have only one execution. Henee, because the former have many fingerings, because both
techniques must be correctly applied to them without confusing one
with the other, and because a fingering, once it has been chosen,
must be retained in all registers, particularly with regard to the
thumb, the so-called easy keys are, i n fact, much more challenging
and elusive than the so-called difficult ones. These have only one
execution, i n which the thumb soon learns through practice to take
its tones efortlessly. These keys are called difficult because they
are never or, at best, rarely played or employed i n their own right.
As a result, their notation as well as the location of their tones remains unfamiliar. Once forbidding, when they were played without the thumb or the correct use of it, the difficult keys have become
inviting, thanks to the true study and employment of the fingers.
Thus, i n earlier times one of the great advantages of the keyboard,
the facility with which it can express all twenty-four tonalities, lay
hidden behind ignorance. While speaking of accidentis, I must
state my opinin concerning their employment. Our forerunners
followed the correct practice of placing an accidental before each
altered note which did not succeed itself directly. Today, one accidental is considered sufficient for several such notes. Accidental
signs must be used generously to clarify unexpected modulatory
shifts and their occasional resultant ambiguities.
14
F I N (' E R 1 N
cases and licenses will be reserved for discussion at the end of this
chapter.
66. We shall now treat progressions in parts. Leaps w i l l be
included in this discussion because under normal circumstances
they must be devised with a view to an unforced execution by
fingers of average length and are therefore fingered in the same
manner as part progressions. Should some find it more comfortable,
because of their longer fingers, to take chords, arpeggios, or
stretches with a fingering different from that recommended here,
they may do so, provided that the comfort is not imaginary. I have
stressed leaps and stretches i n a slow movement, the B-flat adagio,
in order to make them easier. Those who wish to practice them
rapidly by themselves may do so.
67. Adjacent tones, struck simultaneously, are taken by adjacent fingers. The preceding and following tones determine which
pair of fingers is to be used. Examples of such seconds are contained
in Figure 40. Observe that the thumb avoids black keys. I n the examples, notes without fingering numeris are to be played by the
finger assigned to the preceding note. Each clef appears only once
and remains i n forc until replaced by another.
15
1787.
50
/ N C E R I N G
6o
68. Ilrokcn scconds are played l>y altrnate fingers as illustrated in Figure ,| i . Allernation is better for this kind of passage,
nsually shirred, than a repeated (inger which causes an excessive
detaching of the notes. It should be noted here and more frequently
as we proceed that the thumb and second finger of the left hand are
used, generally, in those places where the right hand employs the
second and third fingers.
10
17
El
i
}
Figure 42
ti !
5
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8
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9
69. Thirds are played by the fingers which are indicated i n the
several examples under Figure 42. Here, too, attention must be
directed to preceding and succeeding notes. The thumb and the
little finger do not play black notes, except when a contextual leap
makes it necessary. Because successive thirds are often encountered,
I have introduced several examples i n order clearly to indcate the
necessary finger changes. The little finger may also strike a black
note when the accompanying finger does likewise. Viewed i n this
light, the fingering for the right hand i n Example a is not as good as
that i n Example b or that for the left hand i n Example c. The
little finger is neither repeated directly or succeeded by another
(d). Normally, it is employed but once and then only on the extreme notes of a succession of thirds (e) unless single tones intervene, as i n Example /. Note that repeated thirds are played by repeated fingers, as i n the third and following examples. The same
applies to successive thirds i n fast tempos, like those i n Example g,
for a change of fingers is more difficult. I n conclusin, observe that
many fingerings are used on thirds, although some are more fre-
N CE
*-
_*_JJ
ui
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n
? f < i i fUr H
g'
62
F I
F 1 N (; /<;
NC.ER1NC,
.s
ing is changed, the thumb being withheld from them (b). 8 or 1 are
employed i n passages containing a sustained or an interpolated
tone (c). When necessary, the thumb may play black keys i n such
spans.
RING
71. Fourths are taken i n the manner of Figure 44. I n the examples written i n the G-clef the lowest notes are to be played by
the left hand, and i n the bass clef the uppermost notes by the right.
Broken fourths i n a slow tempo have the same fingering. A succession of these without black keys is executed by a pair of repeated
_
3B
* C
11
*1
J
" i f l LL
2 5
| 22
2 5 2
1,
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*^
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b.
2 5
5
1
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V INGERI
FINGERING
N V.
65
r-7-4--i
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4
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2
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20
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Figure 48
rs^t
73. Sevenths and octaves are played l . Those who have long fingers and find it easy to take a seventh containing a black key with
2 l may do so. Beyond this, it is permissible i n playing these
large intervals to use the thumb as well as the little finger on black
keys without further ado.
74. Octaves that leap, particularly in the left hand, where they
appear most frequently, cali for the repeated thumb and little finger. Those who are not sufficiently trained to execute the octave
doublings of thorough bass can practice by playing any given bass
first with the thumb and then with the little finger. I n doing this,
progress w i l l be made not only i n a fundamental kind of finger
repettion, but also i n becoming familiar with the keyboard.
75. I n leaps of an octave, preceding or succeeding notes may
require the second finger to take the place of the thumb, or the
fourth finger to take the place of the fifth, as shown i n the examples
r
66
/' / N C. E
lil
(,
y- /
in addition to the minor triad built from /, the same fingering applies to those from c, c-sharp, /-sharp, g, g-sharp, fr-flat, and b. And
with respect to Example b, the fingering of the major triad built
from d applies equally to those built from c-sharp, c-sharp, e,
g-sharp, a, t>-flat, and b. The longer third finger rather than the
fourth takes the third of major and minor triads, particularly when
it falls on a black key.
Figure 50
A/
c; /-; ni
b.
1
3?fmH*- * i
? 1 v l r J.51
1
7?
67
Figure 53
5
2
Ir 4 H '
5
3
2
a.
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h
1
5
1
2
m
II
Figure 52
1 1
2 3
5 5
1 1
5 5
is T h i s sentence and Figure 51, Example a, are from the ed. of
1787.
68
IINC.
E R I N C,
\
_1_
FIN
('. E R I N C,
20
FINGER1NG
h INC
NC
7i
Figure 57
yfe /M ^V - 1
figure 56
E III
trntta
Vb-^-r
5 .
= = # = *
JH
M I
r t
87. One of the most i m p o r t a n t licenses is the omission of cert a i n fingers f r o m stepwise successions. T h i s technique is shown i n
Figure 59, where, i n preparation for the approaching leaps, the
omissions i n the asterisked example are clearly better t h a n the
settings m a r k e d w i t h d o u b l e asterisks. Omissions are f r e q u e n t l y
called for i n the bass. T h e n a t u r a l flexibility of the t h u m b makes
Example 1, where three fingers are o m i t t e d , easier than Example 2,
where only t w o are o m i t t e d .
FIN
Figure 59
i
s
i
G Eli
FINGERING
INC.
i ; ^
a
B r
4 4 ,,r77 i
Figure 60
.a,
21
1
90. Tones repeated at a modrate speed are played b y a single
finger, b u t a l t e r n a t i n g fingers are employed i n fast r e p e t i t i o n s .
23
22 Sonata I V , third movement, bars 6-7. Cf. Pt. I , Introduction, Note 17.
23 Die Wiederholungen. Marpurg's terin is "die Schwrmer."
74
FINGERING
FIN
2 '
G F.
RING
75
25
Figure 64
_2 1
=^
^=sA1
V 1
1
J
94. I n three or more p a r t compositions where each voice expresses an i n d i v i d u a l l i n e there arise situations i n w h i c h the hands
must be interchanged i n order to p e r f o r m the notes correctly, even
t h o u g h o n l y one h a n d should play t h e m according to the n o t a t i o n .
95. F i n a l l y , i n order to p r o v i d e an o p p o r t u n i t y for b o t h hands
to practice simultaneously, I have appended i n Figure 66 t w o exercises i n treacherous keys w i t h one accidental, consisting, i n the first,
of a stepwise figure and, i n the second, of a m i x t u r e of leaps and
2* Sonata I , first movement, bars 18-19, and Sonata I I , third movement, bars 22-23.
Cf. Pt. I , Introduction, Note 17.
25 Sonata I I , third movement, bars 12, 14, 30, 32. Cf. Note 24.
11 N a n { i N c,
FINGERIN
Figure 65
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f
-
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2
1 2
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3
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, .
Tf J ' J J
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3
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ul 7
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2 3 4 a
h - 2 p
1
1
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28 Sonata I V , second movement, and Sonata V I , second movement. Cf. Note 24.
27 Sonata VI, first movement. Cf. Note 24.
/' I N G E R I N G
7*
CHAPTER
TWO
EMBELLISHMENTS
GENERAL
1
O N E disputes the need for embellishments. T h i s is
evident f r o m the great numbers of t h e m everywhere to be
f o u n d . T h e y are, i n fact, indispensable. Consider t h e i r
m a n y uses: T h e y connect and e n l i v e n tones and i m p a r t stress a n d
accent; they make music pleasing and awaken o u r cise a t t e n t i o n .
Expression is heightened by t h e m ; let a piece be sad, j o y f u l , or
otherwise, and they w i l l l e n d a fitting assistance. Embellishments
p r o v i d e o p p o r t u n i t i e s for fine performance as w e l l as m u c h of its
subject matter. T h e y i m p r o v e mediocre compositions. W i t h o u t
t h e m the best melody is empty and ineffective, the clearest conten
clouded.
2. I n view of t h e i r many commendable services, i t is u n f o r t u nate that there are also poor embellishments and that good ones are
sometimes used too f r e q u e n t l y a n d ineptly.
3. Because of this, i t has always been better for composers to
specify the proper embellishments unmistakably, instead of leavi n g t h e i r selection to the w h i m s of tasteless performers.
4. I n justice to the French i t must be said that they ntate t h e i r
ornaments w i t h painstaking aecuracy. A n d so do the masters of the
keyboard i n Germany, b u t w i t h o u t embellishing to excess. W h o
knows b u t that o u r m o d e r a t i o n w i t h respect to b o t h the n u m b e r
and kinds of ornaments is the influence w h i c h has led the French
to abandon t h e i r earlier practice of decorating almost every note,
to the d e t r i m e n t of clarity and noble simplicity?
5. I n summary: G o o d embellishments must be distinguished
f r o m bad, the good must be correctly p e r f o r m e d , and i n t r o d u c e d
moderately and
fittingly.
79
So
E M H E l. 1.1 S 11 M E N r s
EM
1 It was customary for the performer in earlier times to add his own embellishments
and elaborations freely. T h e practice was changing about 1750 to the modern method,
whereby the composer specifies every last detail and the performer, hopefully speaking, follows orders. Indicative of the widespread nature of the earlier practice is Bach's
Foreword to T w o Trios (Wotquenne No. 161), the first of which is programmatic.
He was anxious to have the first T r i o performed as written and in order to attain
this end (which would be taken for granted today) wrote: " I t would be best to play
the first T r i o as notated, without the addition of free ornaments." (Cf. Hans Mersmann in Bach Jahrbuch, 1917.) J . S. Bach won the censure of J . A. Scheibe because
of his practice of writing out all detail (Cf. The Bach Reader, Norton, New York,
1945, pp. 237 ff.). It should be added that Bach was a master at introducing ornaments of all kinds into other composers' works. Philipp Emanuel's position here is
undoubtedly influenced by his father's stand. T h e opening sentence of 8 suggests
indirectly a defensive reason for the stand taken by both. Evidently, not enough
performers were "adept at it."
2 T h a t is, there is no real need for them as free embellishments interpolated by
the performer.
3 T h e premise of the theory of the afleas was that music is capable of being more
BELL1
S H MEN
T S
81
8a
E M i El.
1.1 Sil
M EN
T S
EM
10. W e shall sce presently that many passages allow for more
than one k i n d of embellishment. I n such cases, the art of v a r i a t i o n
may be used to advantage; introduce first a caressing ornament,
then a b r i l l i a n t one, or for a change, i f the passage permits, play the
notes d i r e c t l y as w r i t t e n b u t always i n furtherance of the true affect
and i n accordance w i t h the rules of good performance w h i c h w i l l be
treated later.
11.
I t is difficult to prescribe the correct context for every embellishment, for a l l composers are free to introduce t h e i r favorites
where they w i l l , so l o n g as good taste is n o t thereby assailed. Suffice
i t i f we instruct o u r reader t h r o u g h a few well-established precepts
and examples. A t least he w i l l learn that the nature of a passage can
n a r r o w his choice of ornaments. T h u s , w h i l e the performer w i l l
have n o need for concern i n those compositions where a l l embellishments are specified, where few or none are indicated he w i l l
k n o w h o w a n d where to insert t h e m i n the customary manner.
12. Because I have yet to find a f o r e r u n n e r w h o m i g h t have
b r o k e n a p a t h for me, no'one should criticize me for h o l d i n g that,
despite certain established cases, i t is conceivable that exceptions
can arise.
5
fore-
T h i s statement refers only to the problem of defining the contexts suited to each
ornament at the keyboard and not, as Dannreuther (Musical Ornamentation, Part I I ,
p. 5, footnote) believed, to the general description of ornaments and their signs.
See, for example, C h . I I , " T h e Appoggiatura," f 16.
5
BE L
L I S II MEN
T S
84
E M li E L LI S II M EN
M li E L LI S H M E N T S
ornaments. T h i s is causee! moslly by tlie i n t r o d u c t i o n of embcllishments c o n i a i n i n g many tones and the excessive einbellisliment o
r a p i d notes.
Figure 67
Adagio
Andante
A l l e g r e t t o to Presto
7
20. Nevertheless, we shall soon learn that i t is permissible to i n troduce an embellishment w h i c h does n o t completely fill o u t the
w r i t t e n length of a long note. However, the last tone of the embellishment must n o t be released u n t i l the f o l l o w i n g note arrives, for
the p r i m a r y a i m of a l l embellishments is to connect notes.
21.
Henee, embellishments are better suited to slow or m o d rate t h a n to r a p i d tempos, a n d to l o n g rather t h a n short notes.
Observe especially that embellishments are best a p p l i e d to those
places where a melody is t a k i n g shape, as i t were, or where its pard a l , i f n o t complete, meaning or sense has been revealed. Henee,
w i t h regard to the latter case, they are f o u n d chiefly at half or f u l l
closes, caesurae, and jermate.
8
1787.
T S
85
to j u m p roughly on the p r i n c i p a l tone, for this causes f u r t h e r awkwardness i n the i n t r o d u c t i o n as well as the execution of embellishments. I t m i g h t seem superfluous to repeat that the other voices
i n c l u d i n g the bass must be struck w i t h the i n i t i a l tone of an embellishment. Yet as often as this r u l e is cited, so o f t e n is i t v i o l a t e d .
0
Figure
68
10
E M li El. 1.1 S II M E N T S
,V6
13
EM
li El.
1.1 S II M E N I S
T H E APPOGGIATURA
ss
l.M
B E 1. 1, 1 S II M EN
T S
EMBELLISHMENTS
89
Figure 70
i
9
Figute
r r : ' us
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11-
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pnrr " y
J11
1 l^Ul.
/
71
11?
txx/r
ni
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7. W i t h regard to execution we learn f r o m this figure that appoggiaturas are louder t h a n the f o l l o w i n g tone, i n c l u d i n g any addit i o n a l embellishment, and that they are j o i n e d to i t i n the absence
as w e l l as the presence of a slur. B o t h of these points are i n accord
w i t h the purpose of appoggiaturas, w h i c h is to connect notes. T h e y
must be h e l d u n t i l released by the f o l l o w i n g tone so that b o t h are
smoothly j o i n e d . A n undecorated, l i g h t tone w h i c h follows an appoggiatura is called the relase.
8. Because the sign of the appoggiatura is universally k n o w n
(like that of the t r i l l ) i t is one of the few ornaments whose i n t r o d u c t i o n is usually notated. Nevertheless, since one cannot always depend o n this, i t is necessary to fix the proper contexts of the variable
appoggiatura, insofar as i t is possible to do so.
9. I n a d d i t i o n to the observations of Paragraph 6, the variable
appoggiatura i n d u p l e t i m e appears c o m m o n l y o n either the d o w n
beat (Figure 70, Example a) or the upbeat (b); b u t i n t r i p l e t i m e
only o n the downbeat (Figure 71) and always before a relatively
l o n g note. F u r t h e r , i t is f o u n d before cadential t r i l l s (Figure 72,
Example a); before half cadenees (b), caesurae (c), fermate (d), a n d
final tones w i t h (e) or w i t h o u t (/) a preceding t r i l l . W e learn f r o m
Example e that the ascending appoggiatura after a t r i l l is better t h a n
the descending; henee, the i l l u s t r a t i o n under g is poor. Slow d o t t e d
notes also take the variable appoggiatura (h). W h e n such notes have
tails, the tempo must be a suitable one.
rr
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i^.
I>JJ
fc)
fa
irtnr*
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J-
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r
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iu
11
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h la l ' l -ti
90
E MBELLISHM
EN TS
EM
10. The ascending variable appoggiatura is difficult to use except when it repeats the preceding tone; but the descending kind is
met i n all contexts.
11. The usual rule of duration for appoggiaturas is that they
take from a following tone of duple length one-half of its valu
(Figure 73, Example a), and two-thirds from one of triple length
(b). I n addition the examples of Figure 74 and their executions
should be carefully studied. Appoggiaturas which depart from this
rule of duration should be written as large notes. Errors i n execution, which distort melodies and often crate false chords, are
caused by inattentiveness and occasionally by distrust of the copyist's accuracy, for i n earlier times all appoggiaturas were notated invariably as eighths.
b.
7 3
J 1
- 4 _
F i
u r e
sr=
5
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1p~ m
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Figure 76
Y.
inb^t
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Figure 75
F l 8 l
HE L L I SU M E
11
3 In Chapter VI, "Appoggiaturas," ^4, Bach adds, "The shortest of these is never
more rapid than an eighth note in an allegretto."
i Remainder of paragraph from ed. of 1787.
fe!
d.
r -
The notation of the short appoggiatura as a small eighth note with a diagonal
stroke through the tan was not used by Bach, or indeed by the Viennese Classical
School. However, it did make its appearance in early nineteenth-century editions of
their works, notably those of Mozart published by Andr. While the older notation
gave rise to ambiguities (where variable and short appoggiaturas have the same
notation) the later notation, apart from those cases where editors used it indiscriminately for both the long and the short ornament, has the disadvantage of dulling
the performer's sensitivity to subtle variations of length in the short appoggiatura,
as described in the following ^| 14. A few short appoggiaturas, notated in the later
manner, appear in J . S. Bach's Werke, 36.4, pp. 10-11, 14. They are not authentic.
5
pr *f
||
b.
n
92
E MfELLISHMEN
TS
E M Ii E I. . SUMEN
T S
with all ornaments, the lempo must be a suitable one, for an excessive speed does not allow for embellishment. The asterisked example is intended to show us that an appoggiatura does not sound
well before a long note preceded by a much shorter one. Later, we
shall learn that an ornament which is better at filling out may be
introduced here.
10
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|
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Figure 77
d.
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if
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Figure 78
gjj
11
Figure 79
J |>JP1_LUS
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E M li E L L I S II M E N T S
EM
W-0
^4
S 11 M EN
TS
95
80, Example a). A t times the length is determined by the accompaniment, as i n Example b, where, if the appoggiaturas are played
as full quarter notes, the fifths struck against the bass w i l l sound
ugly. I n Example c, i f the appoggiatura is held beyond its written
length, it w i l l crate open fifths. Again, i n Figure 69, the appoggiatura i n the asterisked example must not be prolonged or the
seventh w i l l sound too harsh.
| , ^ i y ijp
r
BELLl
Figure 80
- a.
ir
>' |l>J
4" T
l;
Jh
<2.
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I i I I i I LU l 'l 11
ii
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18. A profusin of appoggiaturas with their releases is particularly good i n affettuoso passages since the releases usually expire
pianissimo (Figure 82). I n other cases, however, they make a
11
>
11
4.
fl
1L
16. W i t h regard to the rule covering the length of appoggiaturas, there are a few situations i n which the ornament must be
extended beyond its normal length because of the affect. Thus it
may take up more than half the valu of the following tone (Figure
Figure 82
&
EM
E M li E I. L l S 11 M E N T S
d.
ir
h.
a*
Figure 84
97
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r.
HE L L I Sfl MEN
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5te
12 Quantz and Bach are in complete disagreement over the performance of this
Figure 85
a
PPgg'
a t u r a
spielen), "Two appoggiaturas are often found before a note, the first written as a
small note and the second as a large, measured one. They appear at caesurae. The
small note is short and placed on the preceding divided beat." Bach, of course, wanted
the small note to be played on the beat of the large appoggiatura. This difference
EMBELLISHMENTS
EM f EL 1.1 SU M EN
25? This latter dislocation is the origin of the repulsive unaccented appoggiatura, so extraordinarily popular, which is reserved,
unfortunately, for the most legato passages, such as those i n Figure
88, Example b. I f appoggiaturas should or must be used i n such
cases, the asterisked executions are more tolerable. Henee, the
remedy for unaccented appoggiaturas is to shift them ahead to the
next accent. Yet a good and frequent use of the unaccented appoggiatura is illustrated i n Figure 89, Example a. However, the last bar
is more fashionable than harmonious. Figure 89, Example b, is
to be avoided. I t illustrates those cases i n which a very short descending appoggiatura is inserted between an ascending one and its principal tone at a cadenee or i n a melody which does not descend immediately afterward.
TS
Figure 88
13
14
fiares up when Bach (f 25) calis the weak-beat appoggiatura the "hasslicher Nachschlag." Cf. note 13.
is Nachschlag. Bach's high-handed treatment of this ornament has brought censure from many sources. For example, the Bibliothek der schnen Wissenschaften, in
reviewing the Essay in 1763, wrote: "Marpurg [Anleitung zum Klavierspielen] gives
us better information on the Accent, dividing it into Vorschlag and Nachschlag, which
latter, Bach has actually neglected, treating it only superficially here and there." Later,
Dannreuther and especially Dolmetsch grew exercised over Bach's feelings and
pointed out, not without indignation, that this ornament had an honorable past
(cf. Dolmetsch, The Interpretation
and XVIIIth
Centuries,
pp. 148 ff.). Quantz (op. cit.) gives consideration to the Nachschlag or, as he calis it,
the durchgehende Vorschlag, an unaccented appoggiatura that filis in the interval
of a third in the manner of Figure 87, Example a, here. In France, where it had wide
use, it was known as "couler les tierces." Concerning its performance as a Vorschlag
(cf. ^1 14 here) Quantz writes: "This would be contrary to the French style from which
the ornament springs and the intentions of its authors, who won almost universal
acclaim for this device." Bach and Quantz are in obvious disagreement. The strong
adjectives used by the former in describing it here and in the sections on The Trill
(f 21), "The Turn" (f 29), also in Ch. III, f 27, indcate that he must have winced
more than once as court accompanist.
However, it must be pointed out in Bach's defense that he was not, as generally
believed, unconditionally opposed to the ornament. See, for example, Figure 89, example b, and, in the Lessons, Sonata IV, second movement, and third movement,
bars 14, 19, 46. A casual examination of the collections for Connoisseurs and Amateurs will reveal others. He always writes it in large notation except when it is incorporated into a larger ornament (cf. "The Slide"), because his basic rule for the
performance of ornaments written in small notes is that they must be played on the
beat of the following principal tone (cf. Ch. I I , ^ 23, 24). The essential reason for
his disapproval becomes apparent upon reading his description of the functions of the appoggiatura i(i % 1 of the present section, especially the last two sentences.
His immediate objections are directed to the excessive use of the ornament, its free
insertion by performers, and above all its use where the appoggiatura proper is
specified. All of us have suffered on this last score and henee should commiserate
with Bach to a degree.
M Remainder of paragraph from ed. of 1787.
P e
iTJT)^sf i.
ffi
f=H=i
9 SJJ
m. 0a
aa^
II
**
9 circir
Figure 89
^
1 II
ir
01
15
3% p r
#
ir
'
"P
r-jl
_ j 9 _ B*
TRILL
E M i E L L 1 SU M E N T S
loo
EMBELLISHMENTS
101
is called the enclosed trill. Today they are used in both stepwise and
leaping passages, immediately at the beginning of a movement, i n
SUCCession, at cadenees, and, i n addition, on held tones (c), fermate
(b), and caesurae without (e) as well as with (/) an introductory appoggiatura. Thus, this embellishment has become versatile with the
passing of time.
6. A t times two short notes from below are appended. These are
called the suffix, and they serve to make a more rapid trill (Figure
92, Example a). The suffix is often written out (b) as well as indicated through an addition to the symbol (c). However, since the
long mordent has almost the same symbol, I think it better to retain
the m and avoid confusin.
Figure 90
Figure 92
a. <fr
b.
&
<tr
c.
ir
ur:
3E
ir
pj>r | i f i P g p i
2. However, i t is strongly recommended that the t r i l l be employed circumspectly i n affettuso passages.
3. The accomplished keyboardist has four trills; the normal,
ascending, descending, and half or short t r i l l .
4. Each has its distinctive sign i n keyboard pieces, although all
may be indicated by either the abbreviation tr. or a cross. The performer has no need to be unduly concerned about the proper location of the t r i l l , for its acknowledged symbols are almost always
notated.
5. The normal t r i l l has the sign of an m (Figure 91, Example
a), which is extended when it appears over long notes (>). Its execution is illustrated i n Example c. Since it always begins on the tone
above the principal note, it is superfluous to add a small note (d)
unless this note stands for an appoggiatura.
Figure 91
1
** ir
7. Trills are the most difncult embellishments, and not all performers are successful with them. They must be practiced industriously from the start. Above all, the finger strokes must be uniform
and rapid. A rapid t r i l l is always preferable .to a slow one. I n sad
pieces the t r i l l may be broadened slightly, but elsewhere its rapidity
contributes much to a melody. W i t h regard to the amount of pressure, the performer must be guided by the nature of the passage, be
it forte or piano, i n which the trill appears.
8. I n practicing the t r i l l , raise the fingers to an equal but not
an excessive height. T r i l l slowly at first and then more rapidly but
always evenly. The muscles must remain relaxed or the t r i l l w i l l
bleat or grow ragged. Many try to forc it. Never advance the speed
of a t r i l l beyond that pace at which it can be played evenly. This
precaution must be heeded i n practicing rapid as well as difncult
passages so that they may be performed with fitting lightness and
clarity. Through intelligent practice it is easy to achieve that which
can never be attained by excessive straining of the muscles. When
the upper tone of a t r i l l is given its final performance i t is snapped;
after the stroke the upper joint of the finger is sharply doubled and
drawn off and away from the key as quickly as possible.
3
9.
and henee has no bearing on the present point (cf. Figure 140, example a). However,
see Schenker, Ein Beitrag zur Ornamentik, p. 34, % 3, where a broader explanation
is evolved.
2 Nachschlag. Bach uses this term in a general rather than specific sense. It applies
to ornaments, parts of ornaments, or other notes that fall on divided, or fractional,
beats.
3 From meckern. Marpurg calis it chvroter.
* This sentence and the following were footnotes in the ed. of 1787.
5 Cf. Ch. I , Note 2.
ro
EMBELLISHMENTS
E M li E E El Sil M E N T S
they will bcconic strong and dexterous. However, let no one believe
that all of the lingers can be made to trill equally well. For one
thing, there are natural differences among them, and for another,
compositions usually offer more trills for certain fingers than for
others; henee these are unwittingly given more practice. Yet prolonged trills appear at times i n outer parts and preclude a choice of
fingers, most of them being engaged in performing the inner parts.
In additiori certain passages are extremely difficult to perform unless the little finger has learned to t r i l l rapidly, as illustrated i n
Figure 93.
Figure 93
Figure 94
,2121
i f j f i'D 1 u TrJiTBjp
14. Dotted notes followed by a short ascent also alow for suffixed trills (Figure 95, Example e). However, instead of the usual
extremely rapid motion into the following note (/), when dotted
notes are trilled a very short separation must be made between the
last tone of the suffix and the following note (g). This separation
need only be long enough to show that the suffix and the following
note are two seprate elements. Its length is dependent on the
104
l {
E L 1 S 11 M EN
TS
EMBELL1
/)
b.
i Uf
1 r
* J
RI
______
JTT.
'
** 1
n j-aba II 1
*i
J
7 Cf.
TS
/*'
F ~ g r 4 =
- 1
19. When accidental signs are not included with the symbols
of trills and suffixes the correct alterations may be arrived at by
considering the preceding tones (Figure 98, Example a) or the succeeding (b). Sometimes the ear alone or modulations will dctate the
necessary changes (c). While we are on this subject, it should be observed that neither trills or suffixes are allowed i n the interval of
an augmented second (d). Aside from the keyboard there is a constant need for the notation of accidentis attendant on trills; especially i n ripieno parts, for i n these it is difficult to perceive modulations with their rapid alteration. For this reason many set the
accidentis as appoggiaturas before the trill. This, however, is confusing i n that it suggests a holding of the initial tone rather than an
immediate t r i l l .
Figure 98
a.
*/**"
r - g g II - mP
j J J
J >
Figure 97
<m
S 11 MEN
>
lI
iilg J
i
M T f f
to
E M B E E LISHM
E N TS
JL
0' m 0
>
21. There are other errors as ugly as they are frequent: The
appending of a limp suffix to a t r i l l as i n Figure 100; the addition
to the suffix of a short note, which can be justly included among the
worthless unaccented appoggiaturas (Figure 101); failure to give
trills their full length, which (excepting the short trill) must always agree with the valu of the note over which the symbol ap9
EM
BEL
1.1 Sil M EN
TS
107
pears; plungng directly into a trill without playing a preceding appoggiatura or properly joining both ornaments; performing such
an impertinent t r i l l loudly i n a subdued, plaintive context; trilling
excessively under the delusion that every moderately long note must
bear a t r i l l . These are the pretty little trills mentioned i n Paragraph 10 of the Introduction.
Figure 100
Figure 101
Q ~r
22. The ascending t r i l l with its symbol and execution appears
in Figure 102. Because, aside from the keyboard, this symbol is not
widely known, it is often notated in the manner of the asterisked examples; or the general abbreviation tr. is written, the choice of
t r i l l being left to the discretion of the performer.
1 0
Figure 102
EM
BEL
LI Sil M EN
TS
EMBELLISHMENTS
b.
4$.
109
Figure 1107
Figure 106
-CZL
26. I n successive leaps only the normal t r i l l may be used (Figure 108). I t is wrong to attempt to bring such a passage into bolder
relief by means of ascending or descending trills.
Figure 108
1 2
r
25. Thus the ascending t r i l l appears principally over long notes,
especially at cadenees, and before fermate. I n addition, however, i t
is found over a repeated note as i n Figure 104, Example a, i n conconjunct motion (b), and after a leap followed by an ascending or
descending progression (c). Over long notes of several bars, trills
that threaten to lapse can be revived by means of the ascending prefix, but i t must be interpolated without causing the slightest discontinuity. The ascending t r i l l is well fitted to this purpose of
resuscitation, for its insertion renews the fingers' strength. I t is possible to move through an octave with such a t r i l l , for its two short
introductory notes facilitate the fingering. Figure 105 illustrates
a manner of approaching it by means of a gradual acceleration, a
device frequently employed at cadenees. The ascending t r i l l may
also be used i n the course of modulatory changes, as i n Figure 106.
Figure 107 illustrates its application to caesurae.
11
Figure 104
-a.a.
b.
&rrET'r r
J
<T
a.
rr
"
i i g
r rr r r
i
28. Because it contains more tones than any other t r i l l i t requires the longest notes. Henee both of the previously discussed
trills are better suited for a cadenee such as that of Figure 11 o than
the descending t r i l l . I n earlier times it was used widely, but today i t
is restriced largely to a repeated tone (Figure 111, Example a),
descending successions (b), and downward leaps of a third (c).
Figure 110
Allegretto
Figure 111
a.
W
r~
TTT
1 1
ribattuta.
T>
1 2
r
-twr
r rr rr
E M li E L E I S H M E N T S
/ 1()
29. Because, as already mentioned, ornaments must not corrupt the purity of voice leading, it is better to employ either the
normal or the descending t r i l l i n Figure 112, for the ascending
t r i l l creates forbidden fifths.
Figure 112 **'
/U
T7*r f
30. The half or short t r i l l , which is distinguished from the
others by its acuteness and brevity, is notated for the keyboard i n
the manner of Figure 113. Included i n the figure is an illustration
of its execution. Despite the upper slur, which reaches from the
beginning to the end of the example, all notes are played except
the second g and the last f, each of which is tied to its preceding
tone by another slur which indicates that it must not be struck.
The large slur merely specifies the attendant phrasing.
13
1 4
E M E L L SUMEN
T S
Figure 113
Figure 114 _,
l\
-
/ / 2
n /: 1.1.1 s n
A /; N
r s
EMBELLISHMEN
TS
side according to whether they pertain to the first or the third ^bone,
as illustrated in Example a.
Figure
118
!t A d a g i o
Modralo
Presto
Figure 116
Figure 117
TURN
1 Der Doppelschlag.
2 Remainder of paragraph from the ed. of 1787.
EM
ii4
li E l. 1.1 Sil
M E N
IS
EMBELLISHMENTS
y p s
^-~~~h? 1
j
fe
J)
would oceupy the entire duration of the note, the turn, much
shorter, would leave a part of the length unfilled.
11. While discussing this matter, I must point out an exception
in slow tempos where, because of the affect, a t r i l l may be replaced
by a soft turn, the last tone of which is held until the following note
enters. As illustrated i n Figure 120 this may oceur i n cadenees and
also after an ascending appoggiatura (a).
Figure 119
j-jj
Figure 120
-4-=1
i.
II
00
1
* m*m
r^J-
F i
u r e
Presto
1 2 1 < i
'
'
13. Again, like the related t r i l l , our embellishment may be applied to leaping notes without further concern. Figure 122 illustrates its use i n both ascending and descending leaps.
Remainder of paragraph from ed. of 1787.
Example a from ed. of 1787.
n6
E M li E L L 1 S II MEN
Figure 122
a.
r >p r T
T S
EMBELLISHMENTS
fe
14. Although the turn is well used over a repeated tone, the following tone, a t least i n the case of rapid notes, should rise a
second. When i t descends, the compound appoggiatura is better
(Figure 123).
7
Figure 123
es:
LLT
15. Further, the turn often appears over a long note which follows an appoggiatura as previously shown i n Figure 119, Examples
c, e, and /. Note that a turn over an appoggiatura (most of the repeated notes mentioned i n the preceding paragraph are appoggiaturas) will not suffer a decoration over the following tone (Figure 124). The exception to this oceurs before a fermata, where the
appoggiatura is lengthened beyond its normal valu. The last note
of the turn must then be held to crate a slight but not an awkward
break before the entry of the long mordent (a).
Figure 124
x,
a.
le
117
n8
EMBELLISHMENTS
EMBELLISHMENTS
18. The lack of symbols aside from the keyboard often leads to
the setting of the trill's sign i n places where this ornament is i l l at
ease. Sometimes the speed of a piece makes i t impossible to execute.
Figure 126, Example o, illustrates such a case i n a passage typical
of Tartini, and many allegro movements. The performer should
play a turn here, for it is not merely acceptable but i n keeping with
the speed and the desired effect. I n other cases legato phrasing
makes for an awkward t r i l l . The last two examples are entitled
"Recit.," and differ from each other only i n the melodic endings.
Both cali expressly for a turn. I n the first of these-the last note of the
turn is not held i n the usual manner, i n order to imitate the
declamatory style of the voice. Since i t is impossible to set the sign
of a t r i l l here, the passage must be left to the discretion of the performer when other signs are lacking.
10
21. The turn by itself may appear between a note or appoggiatura and the following tone in three situations: First, when the
note is fairly long, as i n Figure 129, Example a; second, over a tie
(fe); third, after a dotted note (c). These uses of the turn are very
frequent i n all kinds of music and cannot be clearly enough indicated without our distinctive symbol, although some cali for i t by
setting the t r i l l sign after a note. I n all three cases i t serves to fill
out notes.
22. The first case occurs i n all kinds of motions, but not very
well before a stepwise descent. When a performer wishes to avoid
a cadential t r i l l he may execute a turn after an appoggiatura which
ascends to the final note, as illustrated i n the asterisked example of
Figure 129. When such is the case a mordent should not be played
over the final note. The execution of all turns i n example a is
shown i n the last illustration of that group.
23. I n the second case, the tying note acquires a dot and the tied
note becomes the last tone of the turn. When the tempo is rapid the
11
Figure 1 2912
f ? L-Tf
rr
rr
20. Although the turn and the t r i l l are similar, there are two respects i n which they differ from each other. First, since the final
tones of the turn are played less rapidly than the preceding ones,
there is always a small space between them and the following tone.
Second, the turn occasionally lays aside its brilliance for a purposely broad execution in slow, expressive movements (Figure 128).
This kind of performance is also specified i n the manner of Example a.
Figure 128
00
ff-
fe
i a.
M=
=4
tr
V
f = p
1 J
Moderato
m. 0 m 1
II
es
rJ
= = = = =
r-Vi
* n
1.
6 0
1787.
1787.
Tj*
Allegro
~m~0 m -r10nt
m
1
-
'-U*'
119
m a-
E M liELLI
/90
1 ,
T S
I l i l i l
f. 4.
S H M EN
"
| i
sa
r F r
_^s
i,
r 1
execution
P"""l
usual indicacin
<? Allegretto
EM
h.
better r*"l
mdications
better
r-|
dot is omitted. Both executions are clearly written out under Example b. This use of the turn is frequent at cadenees.
24. I n the third case (Figure 129, Example c), two tones acquire
dots and the turn is placed between them as illustrated i n the notated execution of Example 2. The divisin of the tones is unvariable. This kind is often used when the tempo is so slow that the
dotted note, undecorated, sounds listless; it is also found i n caesurae
(Example 1) and before cadenees when a dotted note is followed
by a short one which anticipates a trilled tone (Example 2). Such
a turn is not employed after descending dotted notes of only modrate length. Example 3, set with this ornament, is the true home of
the turn, for a substituted t r i l l , whether it is placed over or after the
first note, is unconditionally wrong. Example 4 shows that the turn
may be placed over the second note as well as after the first. The
accompanying written-out divisin of the tones demonstrates conclusively that this employment requires a slow tempo. How is i t
possible to indcate a desired detaching of the final note of a turn
(d)? Either by notating a rest () or by placing a vertical stroke to
the right of the symbol and just above a second added dot. (/). A l though this new indication looks strange, i t is necessary, for all
means which lead to correct performance should be adopted, even
though they seem excessive. Occasionally a turn appears after a
relatively long note against which the bass has two or more notes or
13
1787.
BE
L L I S H MEN
TS
121
27. The turn allies itself with the short t r i l l when its first two
notes are alternated with extreme rapidity by means of a snap. The
effect of the combined ornaments^an be most easily realized by
thinking of a short t r i l l with a suffix. This trilled turn introduces
a unique charm and brilliance to the keyboard. I t is a miniature but
lively, enclosed and suffixed t r i l l with which, however, i t must not
be interchanged, for there is as great a difference between the two
as there is between the short t r i l l or the turn and the normal t r i l l .
It has no distinctive symbol. I specify its use i n the manner of Figure 131, which also depiets its execution. W i t h regard to the long
slur over the second illustration, I refer the reader to the discussion
of the short t r i l l i n Paragraph 30 of the section on trills.
14
Fieure 1 3 1
15
E MBELLI
722
S H
MENTS
EMBELLISHMENTS
Figure 132
Figure 133
17
es
123
29. I n slow tempos when three notes descend, the second, over
which a trilled turn may appear, takes an appoggiatura, as does the
final note. This is illustrated i n undecorated form (a), with the ornaments (b), and with the execution written out (c), i n Figure 134.
The first appoggiatura is quite usual before slow notes, for i t helps
to fill them out. Moreover, i t is necessary here for the convenience
of the trilled turn, which must not enter before half the duration
of the principal note has passed, precisely the time taken up by the
appoggiatura. The second appoggiatura not only serves to shorten
the final tone, thereby bringing i t into agreement with the preceding; i t also satisfies the ascending tendeney of the turn which this
ornament has i n common with the suffixed t r i l l . There are three
reasons against playing the second appoggiatura ahead of its beat,
thus separating i t from its following principal tone and incorporating i t i n the turn: First, because it is a prefix and not a suffix;
second, because i n accordance with our explanation of the turn, its
final tone must never r u n directly into the following tone (the
appoggiatura i n this case) but must always delay a bit i n order to
avoid the fault of a t r i l l whose suffix acquires an additional t o n e ;
third, because the appoggiatura serves to divide the following tone
in a manner similar to the other parts of the passage. Here again we
see the amount of harm which can be caused by separating an appoggiatura from the beat of its following tone. T o avoid this error,
perform the body of the trilled turn according to the rule, so rapidly
that the final tone, c, may be made to sound like a simple sixteenth;
this will crate an adequate separation of the ornament from the
following appoggiatura. The illustrated execution of this passage
looks rather alarming. Indeed, were it written out according to the
Figure 134
18
J T3 W = j :
18
3.
i Cf. C h . I I , " T h e T r i l l , " f 21 and Figure
i Remainder of paragraph from ed. of
" Last six bars from ed. of 1787.
1787.
101.
is I n example c the second and third notes are not tied in the original illustrations.
Cf. Ch. I I , " T h e T r i l l , " f 30.
E M B E LLl
12./
S II M EN
T S
EMBELLISHMENTS
co
.,
14 3
Figure 136
125
&
co
I ^^J
l . I >lXj nf I
J
32. The short t r i l l and the related trilled turn provide unfailing tests of a harpsichord's quilling, for an instrument i n poor condition will be unable to enunciate them. Keyboardists must be
pitied who are robbed of these most essential and superior ornaments because of the poor repair of an instrument. Without them
most pieces can be but poorly performed.
33. When a turn is introduced over detached notes it gains
acuteness through the prefixing of a note whose pitch is the same
as the decorated one. I ntate this ornament, discussed i n no other
writings, by placing a small thirty-second before the turned note.
The thirty-second is unvariable regardless of the tempo or the valu
of the following note, for it is always played with a very rapid
stroke delivered by a stiff finger and immediately connected with
the following snapped note. This makes for a new kind of trilled
turn, which may well be called the snapped turn - to distinguish
it from the other. I t is better suited to rapid notes than the t r i l l , for
I feel that a t r i l l is at its best over a note whose valu allows for
generous alternation; otherwise another decoration should replace
it. Through the added small note the turn acquires a brilliance
equal to that of the trilled turn but applied to just the opposite
situation.
34. While the trilled turn may be introduced solely after a
descending slurred second, it is precisely this situation alone which
will not suffer a snapped turn. I n Figure 137 we find its symbol (a),
its execution (b), and a few of its characteristic uses (c). I t may appear at the beginning of a passage, i n the middle, before stepwise
motion or a leap, but not over a final tone, staccato or otherwise.
21
co
/V
3 2
5E3
$5
32
co
/V
2 3
31. Embellishments are not easily introduced into the bass unless they are expressly called for. Nevertheless the trilled turn may
be interpolated when opportunities such as those of Figure 136
present themselves.
20 Der geschnellter
Doppelschlag.
21 It will be seen from the illustration that Bach is discussing the full turn, which
is pressed into service by performers and editors far more frequently than it should
be. T h e indication used here was not widely adopted. It appears, for example, in
some of Haydn's early sonatas. In fact, Bach's heroic attempt to indcate by symbol
or notation all of the fine variants of the turn went for naught. Most of his contemporaries and later composers used the same sign (~ or tr.) for all types indiscriminately or they wrote out the ornament in both small and large notation. Such practices make the entire section with its many examples all the more important, for
it should serve to sharpen our sensitivity to the kind and amount of refinement that
reside in the turn.
126
E MBELLI
S H MEN
EMBELLISHMENTS
T S
I2J
It should be noted that aside from the keyboard the snapped turn
is indicated by the sign of a t r i l l and, even i n keyboard pieces, often
by the simple sign of the turn. I t may be introduced over the
second of a pair of slurred notes i n stepwise ascent, as i n Example
d. I n such a situation it replaces the ascending t r i l l or the ascending
t u r n . Example e shows the snapped turn over the first of a pair
of slurred notes i n stepwise descent. This use is justified by the preceding detached notes. When these are also slurred, as they may be
in a slow tempo, a simple turn or the compound appoggiatura is
better, as i n the asterisked example.
37. Finally, the turn may be preceded by two small thirtyseconds. These small notes are incorporated i n the ornament and
joined to it as rapidly as possible. The threefold beam is unvariable.
This variant, discussed here for the first time, represents a miniature ascending t r i l l for which i t may be substituted over short
notes. I t might be called an ascending t u r n . Its indication and
execution are illustrated i n Figure 139. When it is used instead of
an ascending t r i l l over the second of two slurred notes, a better effect can be achieved by tying the preceding note to the first note of
the turn as illustrated i n Example a.
Figure 137
a.
A
Figure 139,2S
foirHi^^
2 2
23
24
26
27
THE
Allegro
Moderato
e.
forrar
m
22 Remainder of paragraph from ed. of 1787.
Cf. % 37-* Cf. C h . I I , " T h e Compound Appoggiatura."
25 Example d to end from ed. of 1787.
3 3
Figure 140
-4*-
I I
MORDENT
I I
/2,V
EM
i E I. L 1 S 11 M E N
li E L LI S II M EN
EM
TS
TS
Figure 14 2
Figure 141
a.
1 =1
b.
1-
ES
U '
1 J
4=i
w*
b
' *
'
01
^-9i-m
1p r
y>
p r
>
~m
r
m
~m
=E=P=
11 PJ
_
' *
1
EMBELLISHMENTS
EMBELLISHMENTS
190
A.
i)UJj}l>lf I H j p
*
b. +
d.
dk
Figure 145
Adagio
1 A *
C*~
4"
r r
/} 2
E M i E LIA
Sil
M E N T S
E M RELEI
15. Wliilc discussing inordents, I must make mention of an arl)itrary dccoration often performed by singers in slovv movements
al the beginning and before fermat.e and rests. Characteristic passages and their execution are illustrated i n Figure 147. Since the
tones are identical with those of the mordent and the situation is
one that favors its use (except that as usually performed the ornament would be completed too soon) it may be regarded as a slow
mordent, which, however, has no use aside from these few cases.
149
T S
3 3
=fP^=^4jJ
S II M EN
suave expression
4. A dot often appears after the first small note of the second
type, but the first type is unvariable and appears only in more delibrate tempos when two notes are separated by an ascending leap.
A few characteristic passages are illustrated i n Figure 150.
THE
COMPOUND APPOGGIATURA
Figure 150
Figure 148
3. The first type is less rapid than the second, but both are
played more softly than the principal tone (Figure 149). Melodies
grow i n attractiveness through the use of this ornament, which
serves to connect notes and, to a degree, ful them out.
2
1787.
& M liELLI
S H MEN
T S
EMBELLISHMENTS
Figure 152
ta
--
fia b J I J W J_1
b
1r>-
II j
#
'
r r
d.
|
1
<
A d
agio
11= )
jg=
Jh~
T
1
r
MI
1J
3J
wrong
J>J
11
. g
n
h t
execution
notation
9. I t is easy to avoid errors i n performing this dotted ornament
once its origin is known. When a note stands one step above a preceding variable appoggiatura (Figure 154, Example a) and a short
appoggiatura is inserted between them (b), the first appoggiatura
acquires a dot and our embellishment is complete (c), on condition
that there is a subsequent descent of one or more notes.
Figure 154
=N=
Figure 153
d.
K ^hY~h
TL
u3==
c.
135
being variable, they have all been caref ully expressed in the Lessons.
The following note loses as much of its valu as is needed for the
performance of the decoration. Example d illustrates its correct
and incorrect notation.
8. I t never appears i n rapid movements but is well used i n affettuoso passages. Correct uses of i t occur before the repetition of a
tone (Figure 153, Example a), or i n an ascending step (b), both of
which must be followed by a descent, comprising an appoggiatura
(b) or some other note (a). Example a often appears as a caesura i n
adagio movements. The asterisked example of Figure 79 is better
with this ornament than with an appoggiatura, owing to the long
/. Its execution is illustrated i n Example c of the present figure.
b.
v
10. I n performing this kind of compound appoggiatura observe that although the dotted tone is emphasized, the others are
played softly. The second note is connected as rapidly as possible
with the principal tone and all three are slurred.
T h i s sentence from ed. of 1787.
T Example d from ed. of 1787. I n the original of the example marked " r i g h t " the
ornament is notated
. T h i s differs from its notation in E x . a and b and in
Figs. 420-425, thus suggesting a most unfortunate misprint.
/ 76
E M li E E El Sil
MEN
EMBELLISHMEN
T S
TS
'37
Occasionally the slide is indicated in the manner of Example a, and
frequently it will be found i n large notation (b).
4. The two-toned slide is distinguished from the three-toned
in that (1) it is always used i n a leap which i t helps to fill i n , as i n
Figure 156; the three-toned slide, as we shall see presently, performs
other duties i n addition to this one; (2) the two-toned slide is always
played rapidly (b), the three-toned is not.
Figure 155
Figure 156
^#
# r F 0
TTir-rJp
-"-iH
- E - i
* = t =
TlXf
(i)
m ~>-
a.
b.
j t -
J -#
^)
-yy{
J,J
m.
Figure 157
b.
a.
0 0
1
TJ t* i
THE
J
9
1
SLIDE
P m
=i=H
' L
1. The slide appears both with and without a dot. Its execution
is suggested by its ame. Melodies are made flowing through its
use.
2. The undotted slide consists of either two or three small notes
which are struck before a principal tone.
3. When i t consists of two notes they are notated as small thirtyseconds i n the manner of Figure 156. I n an alia breve they may also
appear i n the form of sixteenths, as i n the asterisked example.
1 Der
Schleifer.
V0T~0V
E M
'38
rigure O H
EMBELLISHMENTS
B E L L I S II M E N T S
I J i
<*>
3 9
Figure 159
*L
tznTTu
Figure 160
i J jy
1 1
L 1 S ll MEN
EMBEL
142
TS
SNAP
EMBELLISH
MENTS
H3
descent. Undoubtedly this is because its second tone and the principal tont resemble an inverted suffix. Nevertheless it is different
from all trills i n that i t is never enclosed and never appears under
a slur.
4. I t must be assiduously practiced before it can be made to
sound as i t should. Because only the strongest, most dexterous fingers execute it effectively, i t is often necessary to play the following
tones with a finger that w i l l not interfere with the staccato character of the ornament, as illustrated i n Figure 163, Example a. I t is
often used at caesurae (b).
Figure 163
a.
Figure 162
THE
1787.
ELABORATION
OF
FERMATE
144
& M li
EE E
S II M EN
E M li E L L I SU MEN
T S
T S
'45
61
_A
f TT f
f t
1 ^
f" ? r 1
2.
1 m
6 5
1=
rf f
ir
f *f f
~sr
si/
creased, and the Orchestre grows tired; but on the last Cadenee, the Throat is set
a going, like a Weathercock in a Whirlwind, and the Orchestre yawns."
I<f6
E M li E L L I SU MEN
T S
t m
CHAPTER
T H R E E
PERFORMANCE
m
r
/./.v
CE
P E R F O IMAN
2. W h a t comprises good performance? T h e a b i l i t y t h r o u g h singi n g or p l a y i n g to make the ear conscious of the t r u e content a n d
affect of a c o m p o s i t i o n . A n y passage can be so radically changed by
m o d i f y i n g its performance that i t w i l l be scarcely recognizable.
3. T h e subject matter of performance is the loudness a n d softness of tones, touch, the snap, legato a n d staccato execution, the
v i b r a t o , arpeggiation, the h o l d i n g of tones, the r e t a r d a n d aco d e r a n d o . Lack of these elements or i n e p t use of t h e m makes a
poor performance.
3
' Starcke und Schwache der Tone, ihr Druck, Schnellen, Ziehen, Stossen, Beben,
Brechen, Hallen, Schleppen und Fortgehen.
C E
iy>
PERFORMANCE
PERFORMANCE
1787.
PERFORMANCE
/' E R E O R M A N C E
to rcach an understanding o their correct performance. T h i s way of
learning is of lar greater valu t h a n the reading of v o l u m i n o u s
tomes or listening to learned discourses. I n these one meets such
terms as N a t u r e , Taste, Song, a n d M e l o d y , although their authors
are often incapable of p u t t i n g together as many as t w o n a t u r a l ,
tasteful, singing, melodic tones, f o r they dispense t h e i r alms a n d
endowments w i t h a completely unhappy arbitrariness.
7
lj}
11
PERFORMANCE
%*
1 3
1 4
m \rrn
Figure 167
166
I '
155
PERFORMANCE
in. g
Figure 1 6 8
15
sr.B.
1 3
J i
Allegro
I T
y
* d
assai
757
PERFORMANCE
/' /< /{ F O R M A N C E
/ 6
2 0
T"'TI
Figure 170
17
18
1 9
Figure 169
Figure 171
1787.
2 2
i 8
PERFORMANCE
PERFORMANCE
J'J- JI
-HT
J3
J- J
J-d
J'
Figure 174
II j
Figure 1 7 5
*J0 f*-
Figure 173 i
*59
JjJ
25
|J
J J ^ i V
%z
2:
J. n *
7^
' 0m
1 II
0'*
\ jrpl \
J-
Ai,
T
f "
Tff*
tfJ3
1787.
PERFORMANCE
C E
27
Figure 177
161
,(,
p i<:
/'
RF O R M A N C /<;
the solo kcyboardist. T h e reason for this is the one just stated. I f
necessary, the solo keyboardist may alter the bass, b u t not the harmony. Most keyboard pieces contain r u b a t o passages. T h e divisin
and i n d i c a t i o n of these is about as satisfactory as can be expected.
H e w h o has mastered the tempo r u b a t o need n o t be fettered by the
numeris w h i c h d i v i d e notes i n t o groups of 5, 7, 11, etc. A c c o r d i n g
to his disposition b u t always w i t h appropriate freedom he may add
or o m i t notes.
80
R l< O I{ M A N C E
163
hand there must not be too m u c h restraint. I t is not possible to describe the contexts appropriate to the forte or piano because for
every case covered by even the best r u l e there w i l l be an exception.
T h e p a r t i c u l a r effect of these shadings depends o n the passage, its
context, and the composer, w h o may i n t r o d u c e either a forte or a
piano at a given place for equally c o n v i n c i n g reasons. I n fact, complete passages, i n c l u d i n g t h e i r consonances and dissonances, may
be m a r k e d first forte and, later, piano. T h i s is a customary procedure w i t h b o t h repetitions and sequences, particularly w h e n the
accompaniment is m o d i f i e d . B u t i n general i t can be said that dissonances are played l o u d l y and consonances softly, since the f o r m e r
rouse o u r emotions and the latter q u i e t them
(Figure 179, Example a). A n exceptional t u r n of a melody w h i c h is designed to crate a
v i o l e n t affect must be played l o u d l y . So-called deceptive progressions are also b r o u g h t o u t markedly to complement t h e i r f u n c t i o n
(b). A n o t e w o r t h y r u l e w h i c h is n o t w i t h o u t f o u n d a t i o n is that a l l
tones of a melody w h i c h lie outside the key may w e l l be emphasized
regardless of whether they f o r m consonances or dissonances and
those w h i c h lie w i t h i n the key may be effectively p e r f o r m e d piano,
again regardless of t h e i r consonance or dissonance (c). Because of
the brevity of E x a m p l e c, I have been obliged to crowd the forte a n d
piano indications. I k n o w that this constant changing f r o m l i g h t to
dark shadings is of n o valu, f o r i t leads to obscurity rather t h a n
clarity and i n the end turns a s t r i k i n g relationship i n t o an o r d i n a r y
one. A l t h o u g h each forte and piano i n the Lessons has been carefully
marked, i t is i m p o r t a n t to keep i n m i n d that certain ornaments as
discussed i n the chapter on embellishments are very m u c h charac3 2
namics. T h e terms crescendo and diminuendo appear in his later compositions, but
only sparingly. Modern signs for graded changes were only evolving in his time. Cf.
R . E . M. Harding, Origins of Musical Time and Expression, Oxford Press, 19558,
C h . I V , and Harvard Dictionary of Music, Cambridge, Mass., 1945, "Expression," I I I .
Bach's older practice is the use of successive abbreviations, such as ff, f, p, pp, or a
more widely spaced ff., pp.
32 Bach writes here with reference to an elabrate theory of shading advanced by
Quantz (Versuch einer Anweisung die Flote traversiere zu spielen, 1752). It appears
in translation in Arnold, Art of Accompaniment from a Thoroue;h-Bass, pp. 407 ff.
T h e leading point of the theory is that the dynamic level at which chords are to be
6
played is determined by the kind of dissonances that they express. For example, 4*
6
6
2
is played mezzo-forte; 4f , forte;4v; fortissimo. Bach has many reservations; so many,
that he accepts the theory only in its broadest sense, relieved of all particulars. I n
this broadest sense it represents a common practice of the eighteenth century.
V E li /' O l\ A N C E
I(>l
PERFORMANCE
terized l)y dynanik: shadings. I I (lie Lessons are played on a harpsic h o r d w i t h two manuals, only one manual should be used t o play
detailed changes of forte and piano. I t is only when entire passages
are differentiated by contrasting shades that a transfer may be
made. T h i s p r o b l e m does n o t exist at the clavichord, for o n i t a l l
varieties of l o u d and soft can be expressed w i t h an almost u n r i v a l e d
clarity a n d p u r i t y . A l o u d , boisterous accompaniment must always
be balanced by a stronger melodic t o u c h .
33
34
Figure 179
a.
^
i>
f p
-1
*t
p / p f p
fe|K
#6
f p
Pf P
ff
P
P f7 P
i r n J Jf iJp J 7 Jp J f Jp JJ
f P
P
9 8
4 3
i(>
37
31.
T h e F m a j o r Lesson is an i l l u s t r a t i o n of the present practice of varying extemporaneously the two reprises of an allegro.
T h e concept is excellent b u t m u c h abused. M y feelings are these:
N o t everything should be varied, for i f i t is the reprise w i l l become
a new piece. M a n y things, p a r t i c u l a r l y affettuoso or declamatory
passages, cannot be readily varied. Also, galant n o t a t i o n is so replete w i t h new expressions and twists that i t is seldom possible even
to comprehend i t immediately. A l l variations must relate to the
piece's affect, and they must always be at least as good as, i f n o t
better than, the o r i g i n a l . For e x a m p l e , many variants of melodies
i n t r o d u c e d by executants i n the belief that they h o n o r a piece,
actually oceurred t o the composer, w h o , however, selected a n d
wrote d o w n the o r i g i n a l because he considered i t the best of its
k i n d . Simple melodies can o f t e n be made i n t o elabrate ones a n d
3 8
33 Johann F r . Cramer, in his Magazin der Musik (Vol. I , p. 1217), wrote, " A l l who
have heard Bach play the Clavichord must have been struck by the endless nuances of
shadow and light that he casts over his performance."
T h i s material is discussed at length i n C h . V I , "Performance," f f 5-1335 T h e common eighteenth-century term was "cadenee," which had several meanings, all but one of which have dropped out f use. T h e Italian word "cadenza,"
which carne to acquire a specific, and henee clearer, meaning, has been adopted here.
I n defense, a quotation from Quantz (op. cit., C h . X V , f i) revealing the varied
meanings of "cadenee" i n his own day, should suffice: " B y the word 'cadenee' I understand here neither the end or the interruption of a melody, much less the trill
which is called 'cadenee' by some Frenchmen. I shall treat only those elabrate embellishments which are furnished by a concertizing part out of free will and pleasure
at the conclusin of a piece over the penultimate bass note, namely the fifth of the
key of the piece." Bach's discussion of such cadenzas from the point of view of the
accompanist appears in C h . V I , "Closing Cadenees." T h e soloist's cadenzas are treated
in the last section of C h . I I .
39
38 Sonata I V , second movement, and Sonata V I , second movement. Cf. Pt. I , I n troduction, Note 17. A similar dialogue cadenza appears in J . S. Bach's Werke, 36.4,
p. 31, where, in the D major Toccata, the section marked con discrezione begins.
Quantz gives many examples (op. cit. X V . Haupstck, f f 19-31).
37 Cf. f 25 of the present chapter.
38 Sonata V , third movement. Cf. Pt. I , Introduction, Note 17.
3 T h i s sentence from ed. of 1787, footnote.
l>
E O R M A N C E
vice versa. A l l this mus be clone w i l h no sinall deliberacin. Consum attention mus be given to preceding and succeeding parts;
(here must be a visin of the whole piece so that the v a r i a t i o n w i l l
retain the o r i g i n a l contrasts of the b r i l l i a n t a n d the simple, the
fiery and the l a n g u i d , the sad and the j o y f u l , the vocal and the i n strumental. I n keyboard pieces the bass too may be m o d i f i e d so l o n g
as the h a r m o n y remains unchanged. Despite the present p o p u l a r i t y
of elabrate variations, i t is of first importance always to make cert a i n that the lineaments of a piece, by w h i c h its affect is recognized,
remain unobscured.
40
FOREWORD TO PART
bcr
>te
iDQt)re
TWO
3frt
fcer
frecen
^antajte
abge^antiflt roir.
5Ser(egung
6(6 2(uctori.
rtrucft
6e?
<org<
u&ereig
nter.
Playing
ijo
E O R E W O R I)
T O
r A It T
T W O
I f I had restricted the illustrations i n the first chapter to the matter at hand, I w o u l d have been obliged to o m i t certain essential observations or at least strip t h e m of their context, and many harm o n i c changes based o n preparation and resolution c o u l d n o t have
been treated. A n e x a m i n a t i o n of various i n t r o d u c t i o n s to t h o r o u g h
ticipated in it; those who remember all this will understand that only a virtuoso
like Bach could transform a stiff thorough bass into a fine accompaniment and
show the world of music how it must be played sensitively after the nature of the
piece."
* Telemannschen Bogen. A sign, 5, which indicated that the diminished triad
was to contain in realization only its three original tones without the sixth which was
customarily included. (cf. Chapter V, " T h e Diminished T r i a d , " f 3). I n its more
general sense it indicates a three-part accompaniment. As suggested by its ame, the
sign is said to have been introduced by the prolific composer, Georg Philip Telemann,
C . P . E . Bach's godfather and his predecessor at the Johanneum in Hamburg.
5 Cf. C h . V, " T h e Six-four Chord," I , f 9.
E O R E W O R i)
T O
V A R T
T WO
JI
7
INTRODUCTION
INTRODUCTION
TO PART TWO
i
' H E O R G A N , harpsichord, pianoforte, and clavichord are
the keyboard instruments most c o m m o n l y used for accompaniment.
2. I t is u n f o r t u n a t e that the bowed clavier, H o h l f e l d ' s fine i n v e n t i o n , has n o t yet come i n t o general use. U n t i l i t does, its characteristics cannot be described i n detail. Certainly, i t w i l l prove a
useful accompanying i n s t r u m e n t .
3. T h e organ is indispensable i n c h u r c h music w i t h its fugues,
large choruses, a n d sustained style. I t provides splendor a n d m a i n tains order.
4. However, i n a l l recitatives a n d arias i n this style, especially
those i n w h i c h a simple accompaniment permits free v a r i a t i o n o n
the part of the singer, a harpsichord must be used. T h e emptiness
of a performance w i t h o u t this accompanying i n s t r u m e n t is, unfortunately, made apparent to us far too o f t e n .
1
5.
cal music.
6. T h e pianoforte a n d clavichord provide the best accompaniments i n performances that r e q u i r e the most elegant taste. Some
singers, however, prefer the support of the clavichord o r harpsic h o r d to the p i a n o f o r t e .
i j o h a n n Hohlfeld (1711-1771), originally an apprentice passementier, invented a
machine for the recording of improvisations and a Bogenklavier whose strings were
bowed rather than struck or plucked. T h i s was one of a long series of attempts, reaching as far back as sketches by Leonardo da Vinci, to produce a sustained tone and
graded dynamic changes at the keyboard. It was demonstratd at the Royal Court in
1753, on which occasion Bach played on it and praised it highly, as did Marpurg.
Bach wrote a sonata for the instrument and a song to its inventor on his death (Wotquenne, No. 65, Andantino, Hamburg, 1783, and No. 202c). Cf. C h . V I , "Performance,"
15-
178
TO
'ART
TWO
jyj
2 Bach is obviously not inveighing against unaccompanied duets, at which he himself tried his hand (cf. Nagels-Archiv No. 35) s early as 1752 (Wotquenne No. 141).
Rather, it is something like the Opus 4 of Emanuele Barbella (1704-1773), Six Solos
for a Violin and Bass or T w o Violins, published by R . Brenner. T h e score contains
a prefatory "Scale for teaching to play the Bass part on the V i o l i n , "
3 Handsachen. Cf. Pt. I , Foreword, Note 2.
7 4
I NT
RO
DUCTIO
TO
PART
TWO
INTRODUCTION
TO
PART
TWO
26. Three- a n d fewer-voiced accompaniments are used i n delicate works where the taste, performance, or affect of a piece requires
a husbanding of harmonic resources. W e shall see presently that
such pieces often allow for delicate accompaniment o n l y .
T
s Marpurg (Der critische Musicus an der Spree, p. 216) writes, "Most Symphonies,
Fugues, and Trios are played in a manner that might be called the most usual kind
of musical expression. I include those Symphonies, etc., in which nothing magnificent,
noisy, playful, or very impassioned is sought. Neither the heart or the understanding
is touched to any great degree."
Telemann (Singe-Spiel- und Generalbass bungen, 1734, p. 9) writes: " W e have
not given place to the unisn, another consonance, because through its use one of
the four voices which we are using here is lost." T h i s expresses the view of the older
school, from which Bach departs, at least in this respect (cf. C h . V, " T h e Chord of
the Seventh," I , f 18, par ex.).
7 T h e learned style of f 24 and that described here, and identified elsewhere as
the galant style, are the two chief objects of Bach's discussion of thorough bass. T h e
tj6
l N T R O D UCTION
7 O
P A R T
T W O
10
11
distinction is maintained throughout, as it was by most writers of the time, for these
were the two prevailing styles of the period. T h e distinction is elaborated by Arnold
in The Art of Accompaniment from a Thorough-Bass, p. 359, note 11, where the
terms "strict style" and "free style" are used in the same sense as our "learned" and
"galant" styles.
*Nachschldge. Cf. C h . I I , " T h e T r i l l , " Note 2.
Cf. C h . V I , "One-Part Accompaniment for the Left H a n d . "
10 Cf. C h . V I , " T h e Unisn."
" For a description of the manner of playing thorough-bass exercises see C h . V I ,
"Performance," \.
INTRODU
C T l 0
T 0
V A R T
T W O
177
12 "In alien Lagen"; i.e., with each tone of the chord taking its turn in the upper
part. See f 37 of this section.
iy8
IN
T RO
DUCTI
ON
TO
PART
T W O
IN
T RO
DUCTION
T O
PART
TWO
C H A P T E R
INTERVALS
F O U R
AND
THEIR
SIGNATURES
1
4 L L composers who desire good accompaniments to their works
/ \t make certain that the bass is correctly and fully figj V ured. The rules which pertain to unfigured basses are often
wrong and, in addition, leave many questions unanswered.
2. When the upper part of solos is written in over the bass, or, in
larger pieces, when all parts are scored, the keyboardist can, of
course, fashion his accompaniment from an unfigured bass, provided he has had experience in composition. If, in addition, an exact
figuring is included, the accompaniment may prove to be good. By
good accompaniment, I mean only the very best. But aside from
this, I know that unfigured basses are often given to a certain keyboardist who is not always able to disentangle himself from the accompaniment.
3. With this in mind I shall discuss means by which an experienced accompanist will find it much easier to make a satisfactory
realization of unfigured basses. However, my principal concern will
be figured basses.
4. Pupils must learn the figures with dispatch. For this reason, I
am no defender of great masses of numeris. I oppose everything
that makes for unnecessary trouble and destroys incentive. At the
same time, no one can gain a comprehensive knowledge of thorough
bass or learn to accompany properly who does not have an exhaustive vocabulary of figures. Once the executant has triumphed
over his fear of signatures, he will be ready to direct his attention to
the refinements of accompaniment. These refinements require
morefiguresthan were formerly needed for the usual realization of
180
basses./ Can
present-day
disclose hisTintentions
all
N 7 the
E R
V A L S composer
AND
SIGNA
U R E S at 181
Wthout recourse to figures?
5. Teachers should let their students accompany pieces with
chromatic basses, for these require an ampie use of figures. With
this purpose in mind, I have assigned many of my father's basses to
students, without endangering their lives. Also, they do no harm
to thefingers.It' is good practice to use the correctly figured works
of many composers, so that the student may grow familiar with the
various types of signatures and chromatic changes. These should be
analyzed, once the student's understanding is adequate, for the insight which is gained hereby will later prove very useful. Such an
undertaking increases his knowledge offiguresby making it an indispensable part of the study.
6. Thorough bass would be an easier and move agreeable study,
if there were general agreement on the matter of figuring. The
main contribution to this cause must be made by accomplished
keyboardists who themselves can fashion a good accompaniment.
There are many excellent composers and musicians who, while
appreciative of a good accompaniment, might find it difficult to indicate their intentions with regard to the keyboard in an idiomatic
and requisite manner. The followirig are among the principal
points on which all should agree: Everything essential must be
indicated exactly; neither too many or too few figures should be
written; figures must be chosen with an eye to performance; they
must be correctly placed; where there are no figures, it must be
made known by some sign; all styles of accompaniment, especially
the three-, two-, and one-part, must be specified at the point where
each is to be used, etc.
7. The relationship of one tone to another is called an interval.
8. All signs in thorough bass that pertain to accompaniment
are called signatures.
9. All intervals are measured upward by steps from the bass and
are identified by the resultant numeral.
10. The most usual intervals are those in Figure 18o.
11. An interval retains its ame as long as its step is not changed,
regardless of changes in accidentis. Thus, all seconds are on the
second step, all thirds on the third, etc.
12. Differences in the size of intervals of the same step, whether
182
INTERVALS
AND
SIGNATURES
Figure 18JL
Thirds
Seconds
minor
major
augmented diminished
J |[J II J
minor
BF=IB
1
y i
1 Rr IIJ 1 s
II IN1H ifi
1
^-
4*
diminished
g IiJ
H
II
Sevenths
major
II J
m e n
t e d diminished minor
II J
IIJ
H.
B-|
perfect
major
11 i
N i i uhs
Octaves
1J
augm ented
minor
IIJ
Fifths
Sixths
diminished
major
I J
U11J
Fourths
H-i
INTERVALS
1\im
H^
=F=fc
H
augmented
minor
1 r
ii
major
1 JigiJi
AND
SIGNATURES
183
tionship of adjacent keys is called a half tone. Two half tones make
a whole tone.
14. The minor second comprises a half tone, the major, a whole
tone, and the augmented, a tone and a half.
15. The diminished third comprises a whole tone, the minor, a
tone and a half, and the major, two whole tones.
16. The diminished fourth contains two whole tones; the perfect lies a half tone above the major third; the augmented comprises a whole tone more than the major third.
17. The diminished fifth lies a half tone above the perfect
fourth; the perfect comprises a whole tone more than the perfect
fourth; the augmented lies a half tone above the perfect.
18. The diminished sixth contains the same number of tones
as the perfect fifth; the minor sixth lies a half tone above the perfect
fifth; the major sixth lies a whole tone, and the augmented sixth a
tone and a half above the perfect fifth.
19. The diminished seventh contains a half tone more than the
minor sixth; the minor seventh lies one tone below the octave; the
major, a half tone below.
20. The diminished octave is a half tone lower than the perfect;
the perfect contains five whole and two half tones; the augmented
lies a half tone above the perfect.
21. In practice the minor ninth and the minor second, the
major ninth and major second express the same tones. Actually an
octave separates each ninth from its parallel second.
22. Primes, tenths, elevenths, and twelfths are nothing more
than octaves, thirds, fourths, and fifths. They are denoted by the
numeris, 1, 10, 11, and 12, and appear often in galant notation and
three-part accompaniment. Suchfiguresare used to specify the exact
progression of voices, as in Figure 181. It can be seen that the succession 1-2 or 2-1 is more natural and easier to read than 8-2 or 2-8
(Example a). The same applies to 10, 11, and 12 (b). Successions of
these numeris are written as a general rule only before or after a
simple 7-8-9 (c). Also, by this means it is possible clearly to determine whether two voices should progress in thirds or sixths (d), a
point not always to be decided on arbitrarily in a fine accompaniment.
23. The unisn in its narrow sense occurs when two or more
voices occupy the same key. Henee, it cannot very well be called an
184
INTE
li V A L S AND
S I (', N A T R E S
Figure 181
8 4
1 2
5
3
10 11 11)
9 8
9 8 7
7 6 5f
b. 8
- 21
'
*=r-1
,f_^jH lf
-^r-
6 !>7
C. 4 5
8,9
6W
"
10 11 ,12
5 6 7
56 ka'. 3 4 2
12 11 10
10 9 8
i 9 8 1,7
1,7
6 5
1f=
8 9 10 111211 - 10
3 4 5 6 7 - - 8
r r r r ' r r r r *r ? T T
interval. Very often it denotes an octave, a meaning which we shall
later discuss in detail. Some use the term "unisn" instead of
"prime," designating it also with the numeral i .
24. Intervals express the same tones and retain their ames in
all octaves.
25. The second and ninth express the same tones but otherwise
differ greatly from each other, as we shall soon learn.
26. With regard to quality, intervals follow the construction of
the staff. They are thus affected by key signatures without any
further indication in the figured bass. For example, if the key signature contains an /-sharp, the sixth above a is not f, but /-sharp, and
this is indicated simply by 6 over the a.
27. However, all chromatic alterations, aside from those included in the key signature, must be expressly indicated.
28. An interval is said to be naturally major, etc., when it agrees
with the key signature, and artificially major, etc., when it is altered by an interpolated accidental.
29. A stroke through a figure or a sharp next to it raises an interval a half tone, as in Figure 182.
1
INTERVALS
AND
SIGNATURES
185
JJ
J J
-fw1
1
1-6
If
6V-4
$,7
fi
Figure 182
5
8 #8
1 Cf. C h . V , " T h e Chord of the N i n t h , " f 5, and " T h e Chord of the Major Seventh"
iS6
INTERVALO
Figure 186
J
r
AND
SIGNA
INTE
T U R ES
The large flat, despite its convenience, is not yet widely used.
34. The combinations of natural-flat and natural-sharp which
follow a double alteration and restore an interval to its normal size
are not as frequently met as would be required by an exact notation. But since they do appear occasionally I mention them here i n
order to forestall the performer's alarm on meeting them.
35. I t should not be considered strange that some write fats or
strokes where naturals should appear. T h e double meaning of the
natural sign, which raises and also lowers tones, is responsible for
this practice, as i n Figure 187.
Figure
187
\instead o f t)
m r
t
instead o f 1)7
& instead of 5 t)
iW'-
R V A L S A NI)
SIGN
AT
U RE S
187
37. Strokes, and fats and naturals which are drawn before the
figures, are the easiest to read and, when figures appear i n cise
succession, elimnate all uncertainty over the figures to which they
pertain.
38. Unless an accidental is canceled i t contines to be effective.
39. This rule also applies to figures which appear over repeated
tones each one of which expresses a chord. The first figure is effective until another appears, as i n Figure 189.
Figure 189
6
^ rr r r r r i
1
I n this example the sixth is struck on each of the first four notes,
after which i t is replaced by the fifth.
40. Figures that are placed directly over a note are realized immediately; but when they are placed to the right they are realized
after the note has been struck, although they pertain to i t and are
measured from it, as i n Figure 190.
Figure 190
-4L
&\instead o f 6tj
Figure 188
41. I t is not good to place figures under the notes, tor this position should be reserved for piano and forte signs. But at times i t is
not possible to write them elsewhere; for example, when two voices,
one for the cello, the other for the keyboard, are written on one
staff.
42. When the subject of a fugue is given to the bass, play the
notes as written, omitting chords until figures appear. The same
rule applies to short passages where the right hand plays an obbligato accompaniment, which is usually written i n small notation,
as i n Figure 191.
43. Figures that appear over the dots that lengthen notes are
realized at the point where the dot takes effect, although they pertain to the preceding note.
iSS
INTER
VALS
A N I) SI (N
ATURES
Figure 191
7
INTER
Figure 193
U RE S
189
ir
t.
SE
JV^
MU
SI GNAT
45. Figures over long rests are also played on the rest, but pertain to the preceding note, as in Figure 193.
S AND
If three successive figures appear over such a note, the first figure,
directly over the note, is given half of its length and the others take
ecpial parts of the remaining half, as in Figure 196.
Figure 196
44. Figures that appear over short rests are played on the rest
but pertain to the following note, as in Figure 192.
Figure 192
VAL
"iT
'7
48. These are the usual divisions; any departure from them
must be expressly indicated, as in Figure 199.
Figure 199
r i- V
<2
|7
6 -
7
6
io
9
INTERVALS
AND
SIGNATURES
figure clearly expresses the desired divisin. Some omit the dash and
seprate the last figure from the others. This is not a reliable practice, for it may prove ambiguous. Often the performer cannot be
certain whether the composer or the copyist made the grouping, as
in Figure 200.
Figure 200
,I
II
9
1 ,1
|J
SIGNATURES
1
[7
AND
Figure 202
INTERVALS
41
I | - I|
f
Parallel motion occurs when two or more parts move in the same
direction upward or downward (Figure 203, Example a), and contrary motion, when they move in opposite directions by leap or
step (b):
Figure 203
II
50. Because the position of figures is so important, the composer as well as the copyist must be careful to leave enough space
in the score to be able to write them in their proper place, especially when there are a great many slurs and other signs relative to
performance.
51. Intervals are either consonant or dissonant.
52. A consonant interval is one that may be played without
preparation (that is, without being present in the preceding chord),
that may be doubled, and quitted by ascending or descending leap
or step.
53. This may be done with minor and major thirds, perfect
fths, minor and major sixths and perfect octaves. Consequently,
these are the consonant intervals.
54. In this connection, observe that the octave and fifth are
called perfect, first, because they cannot be altered and remain consonant (as soon as they are made smaller or larger they become
dissonant); second, because, struck once, they satisfy the ear to such
55. It is obvious that the parallel octaves rule .does not apply
to those places where good reason prompts a composer to lead two
voices in unisn. It does apply to chord progressions.
56. Thirds and sixths are called imperfect consonances, because
both forms of them, major and minor, sound well; the ear will accept successions of both intervals.
57. Basically the remaining intervals can not be treated in the
manner of consonances as described in paragraph 52. Henee, they
are dissonant.
58. The basic characteristics of dissonances are suggested by
their ame, which expresses the fact that they sound bad. From this
it follows that they may be used only under certain conditions.
Their natural harshness must be mollified by preparation and
resolution; that is, the dissonant tone must be played, previously,
as a consonance and it must succeed to a consonance. By itself, a
3
T h u s the perfect fourth, which has shifted its allegiance from consonance to dissonance many times in theoretical writings, becomes a dissonance here. Cf. C h . V ,
"The Six-Four Chord," I , f 7.
i2
9
INTERVALS
AND
INTERVALS
SIGNATURES
Figure 206
" 1
J.
AND
4
4
SI GN AT
6
UR E S
6
'r
A !l _I
9
6,
flJ
9 3
4 3
- i r f B-f
rj r
A
V
5b
8
-
6
4
(
5
Figure 204
Vi
Figure 207
(5
a.
y J)|J1 i r r f l
-^
64. A moving bass often causes dissonances to resol ve to dissonances (Figure 206, Example a) or to remain stationary (b). Eventually, however, there must be a resolution to a consonance.
* Cf. f 77-79.
b.
b.2
3
6
Figure 208
4+
. 11
11 r l r f,
"4pm
Figure 205
a.3
-6
4
3
67. When the bass strikes the tone to which a dissonance in the
right hand should resolve, a transferred resolution is said to oc8
Harmonie.
Auflsung.
9 4
INTERVALS
AND
SIGNATURES
INTERVALS
AND
SIGNATURES
ip
cur. The dissonant tone is freed by this action of the bass, which
satises the need for resolution, as in Figure 209.
Figure 209
Figure 211
6
5E
5\>
Our aim here is merely to introduce the accompanist to these liberties; we leave it to the composer to employ them with discrimination.
68. It is rare that each tone of a succession of rapid notes takes
a seprate chord. Such unaccompanied notes are said to pass.
69. A single passing tone is not indicated by a sign, but several
in succession are denoted by a dash which extends to the point
where the right hand resumes. Passing tones appear in all styles,
meters, and tempos. Sometimes half of the notes are passing (Figure
210, Example a); sometirrjes fewer (b); but often in rapid tempos
with short notes most of them are passing (c).
9
i-
71. In certain cases which will be treated later, the intervals may
be said to pass. This happens in three ways: (1) Over a stationary
bass (Figure 212).
Figure 212
8 \fl
(2) Over a moving bass with a stationary right hand (Figure 213).
Figure 213
Figure 210
Sie gehen durch; later, f 69, die durchgehende Noten. These terms are general
in meaning and apply to all types of connecting or lling tones regardless of whether
they proceed by step, leap, or simply repetition (cf. % 72). T h e passing tone in its
narrow meaning is Der Durchgang, standing for a stepwise transition from one tone
to another (cf. f 73). It can be seen that the terms overlap, since both are concerned
with stepwise motion, the first partially, the second exclusively. We have no ready
English equivalent for the broader concept unless we extend the connotation of our
term passing tone. T h i s proved to be the most advisable thing to do here, especially
since Bach uses both terms loosely. For the accompanist, it is important to distinguish
between principal tones that require chords, passing tones which are not accompanied,
i6
INTERV
AL S A N I) S I G N A T U R S
/ N T E R V ALS
SI GNAT
UR E S
197
Figure 218
r r 1i r r ' ^gf
79. The same freedom of treatment applies to dissonances
which become consonances through an enharmonic change as in
Figure 219.
Figure 219
i>7
AND
6l>
7b %
Figure 216
7
5
2
7
4
2
5 " /
2
3- 6 5 " 4
6 ~ 5
10 T h i s is a reference to an o d dilemma of thorough bass. A l l intervals were computed solely from the bass, and their consonance or dissonance was determined by
this relationship. T h u s , in the six-five chord, the second formed by the fifth against
the sixth is not mentioned as an interval. Instead Bach writes: "Die Quint wird wie
eine Dissonanz gebraucht; sie lsst sich . . . von der sexte binden und gehet allezeit
herunter." (The fifth is treated as a dissonance; it is restricted by the sixth and always
progresses by stepwise descent). T h u s does a consonance lose its freedom. T h i s statement recurs in all cases where chords contain a tone which is consonant with the bass,
but dissonant in its relation to another upper part. Cf. in C h . V : " T h e Four-Three
Chord," I , f 4; " T h e Six-Five Chord," I , f 4; " T h e Seven-Six Chord," f 5; " T h e
Chord of the Major Seventh," I I , f 2; " T h e Five-Four Chord," f 4. T h e fourth in this
last chord is a dissonance, but a mild one, and is not always obliged to descend in other
contexts.
THOROUGH
CHAPTER
FIVE
THOROUGH BASS
TRIAD,
1
HE most perfect consonant chord, that with which most
works begin and all end, is the triad.
2. It consists of a ground tone, fifth, and third.
3. When the octave is added it becomes the common chord, the
fifth of which must be perfect. It is only the third that is variable,
appearing as either major or minor.
4. The chord is major when its third is major, and minor when
its third its minor.
5. The unnatural triad contains either a diminished or an augmented fifth.
6. In the first case it is called the diminished triad, in the second,
the augmented.
7. These chords, which contain dissonances, will be discussed
on the completion of our study of consonant chords.
8. The tones of the common chord may be distributed in three
ways: with either the fifth, octave, or third in the upper voice (Figure 220).
Figure 220
1 1
from a Thorough-Bass,
198
pp. 498-505.
99
#
THE
BASS
Vr B r
11. According to circumstances, the octave of the bass may be
omitted and either the third or the fifth doubled.
12. However, when the third becomes major by chromatic alteration it is not doubled.
13. In three-part accompaniment the octave of the bass is
omitted, although a resolution or the melody of the principal part
may require that the fifth be omitted instead.
14. In two-part accompaniment, other things being equal, only
the third is played.
15. In order to recognize the common chord from its notation,
observe that its tones fall on adjacent lines or adjacent spaces.
16. When I strike two notes which are separated by three keys,
I play the major third; but separated by two keys, the minor
third.
17. Contrary motion makes the best and safest accompaniments,
especially when triads are employed. With it, open and hidden
fifths and octaves can be avoided.
18. Hidden fifths and octaves become apparent when two voices
which move in similar motion are filled in, thereby creating open
fifths and octaves (Figure 222).
2
T II O R o u C II
zoo
r II O R O II C, II
li A s s
Figure 222
f f ' r" r r
11
T^TJ
Jj-
li A s s
201
:i
/ . i
r r
11
r r
s Known as Bassetto or, in Germn, Bassett, Bassetgen. Cf. Arnold, op. cit., pp.
THORO
U G H li A S S
31. Here, as in other exercises, the student must be asked numberless questins about intervals so that he will develop the ability
to recognize them automatically without reflection. This suggestion
is based"&T*experience. There are many who by virtue of long practice and a good ear realize chords and figures, and even accompany
entire pieces without any knowledge, intervals as well as rules being
little known to them. Useful and essential as a good ear is, it will
prove undependable and harmful when the executant depends on it
alone without exercising his mind.
32. Chords succeed to each other in the most direct manner.
This should be observed in all accompaniments.
33. Henee, when the bass rises a third, retain the intervals common to both tones and take anew only the fifth over the second tone
(Figure 227).
202
Figure 227
THOROUGH
35. When the bass ascends a half step and both chords have
major thirds, the fifth and third of the first chord move to either
an octave or unisn. Henee, the second chord has a doubled third
and no octave (Figure 230).
Figure 230
w r - l
F9^Fi
B =
And when the bass falls a third, only the octave of the second tone
must be sought (Figure 228).
Figure 228
BA S S
Figure 229
1 1
11
1m
Played in reverse, the first chord must have a doubled third and no
octave (Figure 231).
Figure 231
34. But when the bass rises or falls a second, all upper voices
must move contrary to it (Figure 229).
Cf. C h . V I , "Accompaniment," f 14.
II O R
O U G II li A S S
Figure 232
T 11 O R O U G II
li A SS
205
36. In a final cadenee the fifth must never appear in the upper
voice. The octave is the best interval when it can be reached; next
best is the third; but the closing note of the principal part must not
lie below this third.
37. When the hands come too cise to each other, or the right
hand moves too low, the chord may be shifted to a higher register
by repeating it over a single bass note, provided there is sufficient
time; if there is not, a new voice my be added on top, and the
lowest one over the bass relinquished. These expedients may be
used, first, only in an emergeney, for I believe that under normal
conditions the accompanist should restrict himself to four parts and
not increase their number; second, only with consonances, for dissonances impose limitations on the accompaniment.
THE
TRIAD,
II
m
3. It can be seen in Figure 233 that it is good to lead the upper
voice in parallel thirds with the bass. The major third has a tend-
5. Most disposed to an ascent is the chromatic major third (Figure 237, Example a). Therefore when the octave of such a chord
THOROUGH
2C)6
T H0 R 0 VGH BASS
BASS
3E
b.
1 s
TTHP
i f iffifirJif
i.t
207
9 8
43
4 3
8 7
5 4
3 2
6 5
43
,
8 t7
8 7,
5 5l>
b.
JF3C
Figure 238
5
- i J J rf ;i
MI
f r
\
1
8 7
j
8 7
.
IIP
241).
Figure 241
3
Figure 239
J
Z
H\
908
T 11 O R O 11 G U
7' / / O R O II (. II
li A SS
J II
94#
- r
9H
,j
\S
&"
i
r r
rTS
1
- ,
-n
**
tf
THE
ir ?
4
11. The following short examples will perhaps suffice to illustrate the meaning of Paragraph 10. The numeris denote the best
intervals for the upper voice (Figure 243).
Figure 243
3
8 5
8
3
8 5 3
5
*n
*r-n
3 5 3 5
=(=F
- m
8 5 3
ff%=
-J
-IM
i
3 5 ^ 8
\> j
y 1*
-q:
* 0 J -*
8 5 8
$ 8 5
0: r J1 *] 1 i
J 1 J
J1
5 8 5 3
41
1 1f f f Pin* 1
11
3 5 3
1
i
~ ==iti
F gal
H
njti
1 i.
8 3
"IT*f
II
2<HJ
j J- rrh
I.J 1 . J
],
12.
li A SS
CHORD
OF T H E SIXTH,
01
=N=
I
y
rTTTTf
But by means of this position many errors can be circumvented and
good voice leading maintained, as we shall see later.
Cf. C h . I V , | f 22-23.
1 Cf. Arnold, op. cit., pp. 516-533.
no
THOROUGH
li A ss
y f i 1
(2) When a diatonic or chromatically raised sixth is major, but
the third is minor, the sixth is not doubled (Figure 246).
T H0 R0
li A S S
111
oceurs when the principal part moves piano in notes that lie a sixth
above the bass while the accompanist plays thirds (Figure 249).
U (' 11
Figure 249
L_
Jd
r r r r 14
1 j
1
10. When the bass of the position of the sixth moves through
successive steps or thirds, the doubling must be alternated with a
duplicated bass in order to avoid octaves (Figure 250).
Figure 246
6
y r 1J 1
(3) When a chromatically raised sixth and third are major,
either may be doubled. Also when only the third of this chord is
raised chromatically, it may be doubled (Figure 247).
Figure 247
...
t,
8
(4) When the bass is raised chromatically it is not duplicated
(Figure 248, Example a) unless the sixth is similarly raised (b):
Figure 248
a. 6
II
I T l T | 3 ' ? II f
f
6 6
6 6 6 6
gj J l
6 6 6 6
6 6 6 6
6 6 6 6
6 6 6 6
6 6 6 6
3, 4.
Til
2/2
13.
O R O II C, II
M I
i \ U i i i \
rr rr rr rf rr rr
6*
T6 T5 T
(; // li A SS
and a u n i l o r m disposition
li A SS
setting.
16. W h e n the accompaniment is i n four parts, errors are easily
avoided by d o u b l i n g , since the progression consists entirely of consonances. Best are the examples i n w h i c h the two kinds of d o u b l i n g
are alternated. A n exception to such a u n i f o r m procedure occurs o n
the appearance of the d i m i n i s h e d fifth (Figure 253, Example a).
Further, the leap of an augmented f o u r t h should be avoided (b). A
leaping accompaniment w i t h or w i t h o u t a d o u b l i n g i n the r i g h t
hand is acceptable, b u t not always attractive (c). Example d illustrates a d i v i d e d accompaniment.
Figure 253
5 6
6 5
65
65
65
J J
hk
6 5
65
r
5
h
5
r r
6 5
? ' j
r r
5
i$h-*L
i V J i
r r f v r r
m
6 5
65
65
65
6 5 6 5
65
m k s B S
piogrcssion, can be e l i m i n a t e d
maintaitied (Figure 252).
15. W h e n 5 6 appears over a bass note, the c o m m o n c h o r d is
slruck and its fifth moves to the sixth w h i l e the other voices are
held. W h e n this progression appears i n succession, a three-part
accompaniment is the easiest. Also i t is the best fitted for the accompaniment of r a p i d notes i n pieces w h i c h do not cali for a f u l l
r
6 5
21
T 11 o 11 o u
65
65
T H O i O VGII
BASS
TH OROUGH
B A SS
2/5
ful to distingus!) the one sctting from the other. A sign of differcntiation would be helpful here, for the indication by itself is
ofi.cn ambiguous. The figures are found over basses which, if not
sel in three parts, might take for the fourth part a third (Figure
255, Example a) or a fourth (b); and at times any additional interval would sound extremely harsh.
^ i"
rT
7T
1-U &
r
5
pi
51
'
9 8 8 7
4 3 6 5
J > U
-1
9 8
7 6
lishing 6.
2l6
II
o nO
U V, I I
li A
T I I O li O II (l I I
s s
Figure 257
li A
SS
T H E CHORD O F T H E S I X T H , II
I?
6 5 *
5 *
W,f,r ,if,r i
1lJ
J
6
h'8
6
7
5
ll
7
5
7 l|8
5 6
6
4
21.
T h e augmented sixth is a dissonance w h i c h appears w i t h
preparation (Figure 258, Example a) or w i t h o u t i t (b) and always
ascends. T h e r e q u i r e d accidental is i n c l u d e d i n the signature. I f n o
other figure appears, the t h i r d is added i n three-part accompanim e n t and d o u b l e d i n four.
Figure 258
T
Wm
i A
r-r*-
3J
44-
6t*
jt
5
4
J f
6
5 6
U f i f
9 8 9 8
7 6 5 6 7 6
11 r
"fr"
ijr' 'rJ'j'
y
/ non o v c, ti n A
TllOHOin.ll
SS
BASS
Figure 264
"^
44- 6 -6-
'jt
'#
'#
trtftr i*rf r t fV r r r f - 1
6
- 6 6
i
le
11 L
l^e
5 4
- 6 6
J.M^-A"^
p |
'
6 6
7 6
f cr
11 1H
le \
5
6
4
1
6
2 20
T II O R O U G II
li A SS
TU
Figure 266
%
M
I
6,
7 -6~
riTFf M r r f K
O H O U C, I I
li A
221
SS
Figure 267
18. A t times a succeeding chord or progression necessitates a
five-part realization of the c h o r d of the sixth (Figure 270).
Figur 270
6
r
14. I t has been stated repeatedly that the augmented second
must n o t be used i n an accompaniment. Yet, since this progression,
w h i c h is as good as the d i m i n i s h e d t h i r d , is often used as a melodic
refinement, there are times w h e n the accompanist cannot be taken
to task for e m p l o y i n g i t . I n fact, i n such cases, an attempt to e l i m nate i t w o u l d distort the setting (Figure 271, E x a m p l e a). B u t aside
f r o m such a s i t u a t i o n i t is correctly avoided.
4
Figure 268
w
7
5
*". . . Which is as good as the diminished third" inserted in ed. of 1797. Since the
accompanying Figure 270 included, in the original, examples of the diminished third,
it would seem reasonable to conclude that the clause had been overlooked.
T // O R O U ('. I I
222
li A SS
ir
Figure 271
# rrrr
.
6l>
r f
6
r r i L
k
t
6^1
r*
T*~1*
O R O II (', I I
TU
6
4
7
*
r e
6
6
5\ 5
5t
):
^=
TH
Ef
t_r
6
ff
l Ir
*>
J
1 -
r
*
11
rr
6l>
4+
T H E DIMINISHED T R I A D
1.
J \H ii
f*i
f
d i m i n i s h e d fifth (5b). I n sharp keys a n a t u r a l sign (5^) sometimes replaces the flat. Occasionally the r e m a i n i n g figures are i n c l u d e d i n
the signature.
3. For the sake of convenience the sign of the d i m i n i s h e d fifth
is often placed over a bass w h i c h is to be realized as a six-five chord.
Henee, voice leading alone must be the judge of whether the d i m i n ished t r i a d or the six-five c h o r d is intended. For the first m e a n i n g
Kapellmeister T e l e m a n n wisely places a bow over the 5 ('5 ).
W h e n necessary the accidental is i n c l u d e d (5^ ) . By this means confusin is ended, and novices w h o lack a penetrating knowledge of
voice leading are spared embarrassment.
22)
li A SS
T-
5 6
T#
1 J r, J 1 J1J j ii J 1 J J1J
R
rs
6 5t4
3-
r 1" r
1
RR
rg
toa
11
4;
5t>
3
7 6
^
5
9 8
2 2./
T II O R O U C II
T I I O R O II C U
li A S S
Figure 274
00
'
Figure 276
wrong
5
225
a.
BASS
" J.
Figure 275
Adagio
1^ T^-
44- -5- 6
a.
1*
^ J
}
f r
1
1
T H E A U G M E N T E D TRIAD
* r r
J
1
r - r
Adagio
|6
i5
J> , J M I
sS
T
-5-
16
-5-
'6
T II O II O U C, II
22f>
li A S S
T H E SIX-FOUR C H O R D ,
r 11 o no
1.
Figure 280 g
6
4
ucu
227
IASS
m
i n i r r r i p r m
U
3
6
4
ir
6
|7
i
6
Figure 279
.1..
II
I.
II
I.
II .1
rr T T T T TTr'r'rr"
43
43
6 4 3
46
2
6 4 6
2
6 4
b. 4
2
II
H
H
6 t>7
4
5
65
4 - 3
p
II
1|
6t 5
4 3
A/ *
/
8 7 6 5 4 - 3
6 7 4 - 3
1 2 1
8 7 1>7
6 5 4 - 3
5 6
3 4
^ w
4
2
11
^6
; //
2<V
T II o no u
li A ss
l i l t h . A l l three kinds Of Eourth and the two consonani sixtlis may be
employed, provided that the fourths are prepared and move by
Stepwise descent. T h e progression is m u c h used i n our present,
agreeable style, b u t i t never contains the octave. H o w essential
therefore is some i n d i c a t i o n that m i g h t make i t recognizable to the
6
u n i n i t i a t e d ! W e shall choose the sign 4.
10. W h e n the f o u r t h is d i m i n i s h e d , the sixth is m i n o r (Figure
282, Example a); w h e n i t is augmented, the sixth is major (b); b u t
when i t is perfect, the sixth may be either q u a l i t y (c) as we have already learned. W i t h regard to the asterisked example, i t does n o t
occur freely unless the bass first ascends and then descends. I n the
4
6
last t w o examples the best d i s t r i b u t i o n is that w h i c h follows 3 and 5
i n open p o s i t i o n .
A
A
Figure 282
6 5 \
6 a.
43
4 3
3
43
5 l>
6
4
4 3
44
5i>
3
4 3
4-
4 3
44 3
O RO
IJV.II
HASS
Li
6
5i> 4
5b
3
6
51 4
5
3
5t>
6 5 b
5i 4 S
G
T h e 4 i n the examples of F i g u r e 283 is a passing chord. T h e underl y i n g relationships are those of Figure 284.
Figure 284
6
b7
-fe
12.
5 \> -
7 6
5 \>
5 \-
r| s
L=i*
1
-.
4-
6
43 5
285).
Figure 285
9
r ir
44 3
Figure 283 A
l> 7
6
5t> 4
w
A
TU
#
/
\>
Y
6
m
m
r
4
m
r
rn
s ~ m
m
r
m
r
5
KI
" pm
1
13. W h e n the augmented f o u r t h is used i n a passing relationship, the bass is not always r e q u i r e d to progress by stepwise descent
(Figure 286, Example a). T h e second example takes only a threepart setting. I n b the augmented f o u r t h over / anticipates its n o r m a l
entrance, w h i c h is o n the f o l l o w i n g e i g h t h , c, where i t functions
as a passing tone m o v i n g to a major sixth. I n the last example tlie
sixth above / may be d o u b l e d w h e n the t h i r d above b lies o n top.
T h i s is the best disposition here.
r no
o v c u aA ss
i j > i y ,H;.J
i
8 7 - 6
6 5 - 4 +
- 7
5
144
2
6
4
a. 5b
r r rr
' r
6
4
44
63 -4
Figure 287
6 5
4 3
4, 3
5
4 *
6
4
5
3
15. W h e n the bass of a six-three chord ascends a step to a sixfour chord, the bass may be duplicated or the other intervals
d o u b l e d unless the t h i r d lies o n top. W h e n i t does lie o n top, this
t h i r d should be d o u b l e d i n either the octave or u n i s n (Figure 288,
Example a). I f this is not done, even opposite m o t i o n cannot prevent fifths (b). W h e n the sixth is major and the t h i r d m i n o r i n this
progression, the octave of the bass may be taken, provided that the
sixth, i f possible, b u t not the t h i r d , is placed i n the upper part (c).
a.
5b
9 8
6
4
a.
Ai
a.
w aij
JiPig
16
4
16
'6
4
5
3
b.
b.
Vi
4,
5b
I J If p
b.
5b
IJ |
9 8
6 4 3
Wrong
Figure 288
16
S S
T H E SIX-FOUR CHORD, I I
Figure 286
15
6
3 4 4
li A
T H O R O If C, H
M
6
4
better
6 6
T u o n o u r,
2 ?2
II
ti A ss
T I I O li O U (1 I I
SS
Figure 294
" r r ?
4t
1.
r c. c
44
U
5.
16 ^
4jf q5
1)5
6
4
33
?6
6 4
6.
2??
li A
2.
5.
2^4
T 11 ORO U G 11
liASS
|-1
6.
1 r
-6.
4
4
3
35
4f
O R O (7 G 11 li A SS
-6-
II
1 I~=*J
44
3
'
|p* | |4 | 1
1
|F = j =
- > >
J Ji
t
4
3
11
6
4
JL
'
6 5
4
a.
4
3
2}6
T II O R O U G II
/* A
SS
T II O R OUC,
Figure 300
6
Figure 299
-Ai
5 6b 4
5b
6
b>
rN
LL\I
^ 4
5&3[
11.
"Jal
6
m
p *IH
in
SS
237
pp
44 7 6
3 -5- 6
44
3
a.
p
# 3 6
4 b7 6
5,
b7
6b
li A
4-1
44
II
5b-
1S
i
10 9
4 - 3
3 2
3
6 7
4 -
J J
4
3
4t-
6.
4
3
= =
-fr5b
4 ^
=
^ ^ >J
6
6
= = :
=F-m
m-yt
tri
3
II
t
3
2fS
T II O Ii()
UGH
T H O H O U (i II
BASS
Figure 302 *
&
A
3
^
w[ p
~64
3
* 8
6 5
4 #
K r.
A
44
6
3
.
n(
w 1 i t U
-4
6~64
4 f}
3
11 F
?p1
6 8
4 7.
A S . 4 j
5
tt
6
4
y J r r r r^nTT
^64
3
11
Figure 3<34
y
8
-41
Iti
7 8
5 6
3 3
w rong
} ni f t
'tr' i
s 11
- f M i
\: .
-6'6
4
* r
44
9 3
< V
M
4
]e
1
= t =
rr
r rr
1
5
6
4
|6
5
'6
5
wr ong
J L = I =
r-
11 !
Hr1
1
-t
8
6
443
le
a.
II
H^-
<
]f
wrong
a.
4#
FOUR-THREE CHORD,
8
y -6.
5 44
4 3
239
chord, w h i c h accounts for the lcaping rather than stepwise movem e n t of the bass.
THE
78
liASS
11
:, 1
IB
r r
II
II
*
-
1 i-
T I TT
w
240
T 11 O R O U G H
li A S S
THORO
contines m e l o d u ally i n thirds w i t h the bass. Kxample b, set simply, suffers neitlier a d o u b l e d t h i r d above d, or an ascent of the
t h i r d to g, for this t h i r d , f, is also the seventh above the second
eighth, g, and must therefore be p r o p e r l y resolved (c). T h e dissonances of Example d are conveniently prepared by the four-three
chord:
^
poor
Figure 305
^ '
'6
6
|7
~"
'-*s^
'6
5
17
UGH
liASS
241
2
e
/ -
r 1 m -i
3.
cjjr
3
4
5.
242
THOROUGH
IASS
TH
6.
(b):
ASS
presupposes
an
ac-
Figure 311
LL ' C
Figure 309
44*^
Pe'
O R O V C, II
4+
gil
44
J'
g j .
61
, J .
rr T
Figure 310
6
pal
*r, r f r r f r
m
6
7. O n e of the best uses of the augmented f o u r t h w i t h the augm e n t e d s i x t h is the f o l l o w i n g . I n other cases this latter i n t e r v a l
usually sounds better w i t h the fifth or a d o u b l e d t h i r d . T h e b,
t h r o u g h its presence i n most of the chords, provides an i n t e n d e d
.
obstinacy w h i c h heightens the effectiveness of 4 (Figure 310).
= |J
. J
r r 1f
g JJJi nf ifrnrrnf
r r r
r r
THE
i.
SIX-FIVE
CHORD,
T h i s c h o r d consists of a s i x t h , f i f t h , a n d t h i r d .
244
T II O RO
U G II
Ii A S S
T II O R () V ; //
6
5
Figure 313 6
5
a. 6
-f
V:
m
a.
1
= M
>
*F=t
<
6
5
ff=+
m
5b
0
6
5
c.
11
-75
s.
5b
t u
4=
a.
i
1
5 1
b.
5b
6
5
c.
=t
> 6
'
>
jt
m i
6
5
1 p
= F
c.
5b
,si
4
2
5b
P
'" r
=** -J1
7
5
d.
4 3
4 jt
'r., r
4 #
6 5
fi
-6.
5b
1i
H
1
rr
'44.
3
S i
2
6-6-
6 5
4 |
g 8"
4-1.
1i
5b 5b
5s
5 b
1>b
*JF=
-64
3
6 5
4 }t r.
6
5
7
5
.1
5
5
>C
f=Ff=
-K-
b.
6
5
6
5
c. 6
1=1
2 I.e., except when the sixth is omitted, when the fifth is diminished (in which
case it is already a dissonance, henee, restricted anyway), or when the chord is a
"passing chord" (cf. f 10 here).
"6,
6
5
6 5
4 tt
b.
6 b9 8
/
, 5 7 *-5,b7|6-'
)t
>
2J
TII
O R O U
II i A S S
the u n d e r l y i n g construction is simply a six-four c h o r d w i t h its
f o u r t h retarded by a fifth. I n such a case the fifth is perfect a n d prepared (Figure 315, Example a). B u t should the fifth succeed n o t to
T b u t to some other signature (b) or should the bass move s i m u l -
7*7/
0U
G II
1u
17
6
5
lk
1<
51'
TT
i fe 1 j j
J 1 =\
;j
fe W-
4 - 3
**
9-
jjt
1
f
(>
t
7
6
5
6
5
44
3
H"H*7
76 6 T J
jt
^ F i
M I
a
*t t
5
7
5
5 r
c .
4 jt
7 6 4 4
I
6 t|
5b
a.
8 7 6 4 - t l i r
||
p b7 6 6
~t~\>7
-o-
b.
Figure 316
a.
-
87
6-6.
8 7
Figure 315
Isb
J s ^ j J
^^^^^^
SS
c>i
li A
8
5
h
1
-. 6 6
5
5
-6-
' t t i h
I 1
r, f 7
F*
5
II
2./.V
T II O R O II G II
HA
T II O H O (I (, II
SS
when i t is r e q u i r e d , t h e o m i l l c d intctval mus be dccided u p u n caref u l l y . T h e t h i r d , the perfect fifth, or the sixth, especially w h e n the
last-mentioned is accompanied by the d i m i n i s h e d fifth, may be
o m i t t e d according to circumstances. W h e n the chord is used as a
passing construction, the fifth does n o t resolve. I n such a case the
t h i r d serves n o good end and may be o m i t t e d i n favor of the sixth
SS
Figure 318
5b
* 6
5b
1h
and fifth. I n the examples of Figure 317, the chords that preceed 5
and provide its sttionary fifth are set u n i f o r m l y i n three parts. Inasm u c h * as we have made use of the T e l e m a n n bow i n other situations i n order to distinguish a three- f r o m a four-part realization, i t
may be i n c l u d e d here i n the signature of a six-five c h o r d whose
t h i r d is to be o m i t t e d .
li A
1 V
6
5
5b
5b
6 * 6
9
~~6-
3 5b 6
6 5b
H 1i
J
5
c 8 7
THE
SIX-FIVE
CHORD,
II
I J J
5
8 7
3Z
"
ii
55b
9
6 5
6 5
r r f r1
wrong
250
TU
O R O V C, II
li A
SS
TU
O R O II C II
li A
SS
25/
m
7
6
5b
5b
5b
poor
5^
5b
'6
not good
u
4
6
5
poor
9
4
'6
5b
*r r r
*y
a . = =
b5
k
m
11
7b
5b
T II o n O U C, II
2^2
If A
SS
THORUGR
Figure 323
U
9
9
5
6
4
3_
6
44
3
6
4
5
*
*
n A
ss
5
THE
1.
2.
CHORD
OF
T H E SECOND,
jt
'7
b,
3. T h e chord may c o n t a i n the major or m i n o r sixth, the augmented or perfect f o u r t h , the major, m i n o r , or augmented second.
1 Cf. Arnold, op. cit., pp. 648-672.
k5
U
4
3
(6)
4bJ ,4k
b.
le
T II O R O U C> II
- T*1
i-
"T
h=f
4
0;
i-
2 b 6
b
44 6
ffg
'2
Mi id ;J liaj
g
-de fl
1
j J i.
t 4 i- 0
"V r
i j . i
'
15b
44
"^2|> bl7 -6
5b -
H=rJ| i d4
5b
-M
f KE
1
b
r J
i~il-.jp |
'2b
^y.|-
'
2b >7
Ir r
Figure 527
a.
m||_
^ .p.
2
6
IT V -
w
.
9
6
'6
-A
:trX
2
ni
2
1
b
5b
Ui 1 I i]T
ir r e1
It 1
11
" r~
8
6
J| j J J
f
^
f
r
1?
9: W j 1 j
a.
+1
a.
2b >6b 5
44-
BASS
... Z
2b
11 CU
HrfHhl
f
<
1 H F
riIORO
^=4
j.
M
*
v-
n A s s
l.r
256
T II O R O U V, II
li A S S
T II O R O U ('. II
li A SS
257
"4 b
2
44-3
'44
not good
poor
wrong
'-6
1 i \yj
1 i1
t
better
44-
2 5
TIIOROUCll
liASS
T II O R O II ('. II
li A SS
259
Figure 331
a. 4 4
a.
b.
44
b.
2b
yt'i.J i r S i r B
c.
c.
)i
J
^
Figure 333
II*):,
n y i>
11
p J^
s >
5=1
441-
' a
4
2
1 ^ - =
r i"
9
5
3
i'
lol.l
it
fe
4
T^4H
6
5
3
b>7
5b
> *
5
4
2
II
I7
5
(9^pH
5
3
11
JcJ
"8
'6
5
3
N 1 Jlli !
- r r * r r
6
{ =4 ~T|
II 1
ntH
>:
>6.
4
5
3
4
2
5l>
7 ^ - 5
4
2
'
14.
or 4 w i l l be f o u n d inter-
2O
r i o n o 11 c, II
n A
T 11 O li O II C 11
ss
li A
SS
261
Figure 336
wrong
wrong
frf r
'6
THE
CHORD
O F T H E SECOND,
II
ir c r ^+"^T 4 ir r
2. I t is w r o n g to w r i t e the signature of an augmented f o u r t h
alone i n the f o l l o w i n g examples. T h e c h o r d of the second, w h i c h is
specified by this i n d i c a t i o n , cannot be realized i n the first example
of Figure 336 because of the preceding g-sharp, or i n the second
because of the necessity of resolving the preceding dissonances. T h e
six-four must be taken i n b o t h cases. I n the n o t a t i n g of parts i t is
sometimes forgotten i n haste that the signature M- is an abbreviated
sign of an entire six-four-two chord rather than the six-four.
1-17
9
7
8
6
41,
t r T
^
4t|
r
, l
3. W h e n the fifth and t h i r d of 5b are retarded by a slow twopart appoggiatura and this rather discordant embellishment must
4
5b
262
T II O R O V (', II
Figure 337
a.
6):
li/SS
Figure 339
j |*J:
rrr
T II O R O 11 C II f A S S
Id
r
5b
2 3
4 5b
2 3
b.
i4k
4.
T"'" 6
l ~ l
.
#8
4
f.
1
*3
J)
1 i
i
1
g v , . . ^
r
3
-1-
.2
6
4
^||
6
must be d o u b l e d i n F i g u r e 338.
Figure 338
-^4
1 hju
1 r 1 i m i J j ij
THE
FIVE-TWO
CHORD.
2
7. T h e five-two c h o r d w i t h an augmented fifth sometimes results f r o m the action of an i r r e g u l a r passing tone or changing note
(Figure 341).
Figure 341
&
tus i
1.
2.
n i
o n o
THE
FIVE-FOUR-TWO
IIASS
l i a n
CHORD
T n o n o n a 11
265
n A ss
34?)-
4
2
4
2
4. Because i t appears o n l y i n works that requir a f u l l accompaniment, i t is always realized i n f o u r parts; a l l the more so,
because none of the intervals may be o m i t t e d .
5. T h e c h o r d can be located by p l a y i n g the six-five c h o r d o n the
tone that lies one step below the w r i t t e n bass note.
THE
THREE-TWO
CHORD
THE
CHORD
OF T H E SEVENTH,
1 Cf. Arnold, op. cit., pp. 711-712. T h i s chord is not to be confused with the FiveFour Chord, to which a seprate section is devoted.
2 Cf. Arnold, op. cit., pp. 713-714.
T II O R O II (l II
266
li A
SS
THO
b.
6
4
5i
5
3
8,!>7
R 0
(' li
liASS
267
chromatically, even the augmented fifth may be taken i n a 7 6 progression, and w i t h o u t being indicated, p a r t i c u l a r l y w h e n i t stems
f r o m a preceding unresolved augmented f o u r t h . T h e d i m i n i s h e d
fifth appears occasionally i n this progression a n d may also be taken
w i t h o u t i n d i c a t i o n o n c o n d i t i o n that i t resolve properly. Examples
of a l l of these variants w i l l illustrate m y meaning.
11.
I n Example a of Figure 346 the octave of the bass may be
taken as w e l l as the d o u b l e d t h i r d . I n the case of the f o r m e r , the
t h i r d i n the r i g h t h a n d moves against the left. T h e disposition w i t h
the f i f t h of the first c h o r d o n top is the poorest; the octave o n t o p
is the best. Should the t h i r d be d o u b l e d i n the octave, b o t h hands
progress i n parallel m o t i o n . I n Example b o n l y the d o u b l e d t h i r d
is possible because of the r u l e against the augmented second.
N e i t h e r Example a or b can be realized w i t h the fifth because the
aseen t of the first tone i n the bass w o u l d crate fifths. I n c, the fifth
being perfect, i t may be played i f necessary, a l t h o u g h the other accompaniments are preferable. I n d the fifth cannot be i n c l u d e d because i t disagrees chromatically w i t h the augmented s i x t h over the
f o l l o w i n g tone. T h e octave must be taken, since, according to Paragraph 8, a d o u b l e d t h i r d is n o t permissible i n this c h o r d . I n e the
Figure 346
*
b.
7 6
* J 1r
7
=
F
76
II < ) !
II /
&
76
c.
p
P
s 1 H H y
- - f
II'
d
f.
7
7 6
1 r ' r 1r 1r1
^lUf 1
r r r
M * - l
\r
u
*
"6
5
J
'
268
T II O RO
U ( II
liASS
Til
O l O U(
II
li A
SS
269
thein." Consequently the Other two Corma of the chord are safer
here (b). Example c is n o t e w o r t h y : T h e d o u b l e d t h i r d is not to be
used here according to Paragraph 8, and the octave of the bass does
not go well w i t h the f o l l o w i n g g-sharp. T h e r e f o r e only the f i f t h is
possible. I n d the easiest accompaniment is the octave of the bass,
b u t the f i f t h may also be used. A d o u b l e d t h i r d is r u l e d o u t . A
unisn d o u b l i n g may be used to good ends i n this example.
Figure 347
4*
J-
a. 6,
7-6.
te
r
6
r
8
'7
I_I
5
= H =
"T
5
Ilijjl j
j i
M
p-3i
r
1
g r 1 r 1 r
d.
d. b7 6
5b-
d.
6
5
7 6
r
6 b
*3
g t
in " Hif r h * - l j J
'_
[J
JJ
l|
ij
b7 6
15-
5b
6 U
7 6
270
II
O It O U (i II li A s s
r no
no
in:
27/
HASS
Jfl
J - l H|-f
r r r
"i
f
76
76
76
76
T h e examples from b to the end appeared originally in the text in the form of
signatures. I have realized them in order to make them more immediately comprehensible.
5
* T h a t is, a doubling within the right hand in alternation with the octave of the
bass.
successive 7 6 progressions
than four parts. T h e r i g h t
and t h i r d accompany b o t h
the best, a n d more n a t u r a l
272
O li O U V,
II
II
li A SS
V / / o / o
i 1 11 1 111 1 J 1 J 1
f ir ' T i
*
b.
\ ~ \
Ii | y
*-
'
9
7
4
1r
=
7
Y
7
b:
a.
1-
||
4
3
' H0
a. %
-t
1 : ; j
C
a.
]_ I
27j
jf
11 <-; / / / { / i ss
rf "
7
|7
ft
i 7
1-ti*
- h
-9j-
-4
m
b
I I
u r
'
T II O i O U C, II
O
I
-o6 7
8
4 - 5
3 2
3
SS
r iio
l>7
8 7
m <-m
1
li A
8 7 b7
4 - 3
3
-
THE
CHORD
OF T H E SEVENTH,
II
Figure 355
a.
a.
r" rr y
2. T h e examples of Figure 356 r e q u i r e the octave of the bass
w i t h the seventh. I n a, fifths are created by the fifth w h e n i t is i n cluded w i t h a seventh that lies i n the upper part. Henee the octave
replaces i t i n this disposition of the c h o r d . I n the other dispositions the fifth may be used. T h e fifths of Example b caused by the
11 o v c, 11 HASS
275
7
over b. I n o, i f 5 is expressly called for, the octave must be taken as a
f i f t h voice over / i n order to prepare the f o l l o w i n g d i m i n i s h e d
seventh. I n p, the octave is r e q u i r e d w i t h the seventh i n order to
prepare the f o l l o w i n g fifth. I n q the octave is better t h a n the fifth,
for i t eliminates octaves against the d i v i d e d beats i n the bass by
creating contrary m o t i o n . I n r the octave eliminates an u n m e l o d i c
progression w h i c h w o u l d be i n t r o d u c e d by the fifth.
2J6
11 C
T II O li O
V // O li O U C, II
li A SS
II
Figure 356
n.
II
j3
7
It
fc>: p
*-
7
tt
-f1
H H
7
5
6
5
' 'm
7
5
7 6 7
tt
6
5
9%
6 5
4 tt
5b
tt
f. 6
- t t
- -
=tJ=
7
7
=
- Y -
it
<
II
1J
| J
Z3
rr
-f,
II
'jt
-64
3 o.
277
good
wrong
fcl!
6
5
li A SS
: = h = _ p
__d
JL_
65
<*
>: -
-p1
-&'
7
6 5
4 3
2 3
d.
!>7
r-
not good
*
6
4
5
3
3
9 8
7 6
6
; s
/tt
ti
4 3
9 8
9 8
4, 3
27<V
T I I O 11 O U C, I I
li A S S
T II O li O II ('. II
HA
SS
270
seventh may be used, provided that the fifth over e does not progress
to the fifth over / as illustrated i n the first realization of this example. T h e correct accompaniment of Example / is shown i n the
first of each pair of illustrations. I n short, the octave is taken w i t h
the first seventh, and the fifth w i t h the second i n order to prepare
the last one. Should this preparation be overlooked u n t i l the c h o r d
has changed, the r i g h t h a n d may play t w o chords over the second
seventh i f its length, as here, allows, and take the proper accompaniment o n the second c h o r d . I n using this acceptable expedient care
must be taken n o t to d i s r u p t any preparation. I n g the first seventh
takes a d o u b l e d t h i r d and the second a t h i r d and a f o u r t h . These
latter intervals are played so that the four-three c h o r d w i l l be complete o n the r e s o l u t i o n of the seventh to the major sixth. T h e fifth
cannot be taken w i t h the first seventh because of the f o l l o w i n g
sixth, c-sharp. or can the octave be taken, since i t w o u l d cause
fifths i n the other parts (gg). T h e progression is illustrated i n x
w i t h o u t the retarded resolution. I n h the t h i r d of the seventh must
be d o u b l e d , for the chromatically raised bass may not be d u p l i c a t e d ;
or can the fifth be taken. Example i contains t w o extraordinary
examples w h i c h I have come u p o n . I n t r u t h , they should be figured
i n the manner of ii. As they stand i n i, errors cannot be avoided
w i t h o u t resorting to a fifth part or the illustrated d i v i d e d accompaniment. I n / care must be taken to avoid unmelodic and i n correct progressions. T h e illustrated dispositions are good; i n the
r e m a i n i n g one, fifths are struck over the second and t h i r d bass notes.
I n k, too, only t w o dispositions may be used; the t h i r d w i t h the
octave on top over c leads to errors. I n l, an alternated d o u b l i n g is
r e q u i r e d . I n m, the chromatic m i n o r t h i r d is taken w i t h o u t indicat i o n i n a four-part realization. A n unaltered d i m i n i s h e d t h i r d above
an altered bass must be indicated. T h i s i n t e r v a l is n o t unsuited
to chromatic contexts.
8
Figure 358
t:
c
o
c
o
->
t- ia
c - ta
t-
mi
XX:
ta
km
co
to t a -
ta
t-
oo
t-
00
ftfc
;:
2(92
///
o no
u o
T II O
ss
l{
O II (', II
A SS
li
2Vj
T
THE
SEVEN-SIX
CHORD
1,7
4 3
5b
j i i
6 5
3
k
"
3a
OL
1
^
5
$
6
7
5
6
44-
YL
7
6
"1?
4
1
V ~ ^ ~
5
H
y *
g
6 5
4 3
T II O li O
Figure 361
11 C
7 ( 5
4 3
7
6 5
i
7 5 6 6 5
3 4 4 3
1i
7
6 5
Til
li A SS
II
6 7
34 6 5
i
1o
2(V
Figure 362
1
7
5 6 6 5
jt 4
7
6
2
6
4
(5
3
6 _
5 5
5 6 7 #465
4
li A SS
TV
6 5
4 jt
O l{ O II C, II
6
5
I'J'I'I',
6
5
5
3
T6
5
4
2
3
8 t>7
5b
g 0
i J|iJJ|.^iiJ ffl 1
*
h
9 8 ,"7
7 6 5b
6 5
6 5
4 $
Kv
K
s
-4^^^
6 b - 5 b 4 #
.
.
h
r K *
i>7
rrwrr
'
5
4
/
-^-=
-7
#f
4^
7
ffe
r
[7
286
T II O li O
11 C
II
TU
li A SS
THE
SEVEN-FOUR CHORD
1 3 >
O l{ O II (', II
li A SS
287
288
T II O R O
"4i J
< ) : ^ s f ( ~ -
'
6
4
"JJ
U ('. II
c.
li
Mil
6
ji;
r 1
f-JLfT
3
|74 6
144
^6.
5
wrong
i
'7
T5 *
5
1)
li
289
ss
aa.
I- . J J
i4
7
4
11 a 11
o no
Figure 365
1i
-9
7
-65b, 4
3
^ j y
'
J
A SS
J-F
L
h-Jh 4
>1
m1
m
7
4
5b
7
5b
4
3
5.
7
4
b7
5b
4
10. I n Figure 365 the f o u r t h resolves directly to a t h i r d w h i l e
the seventh awaits the f o l l o w i n g bass note. W h e n the accompanist
is free to take either the fifth or the octave w i t h an unprepared
seventh, i t is better to take the fifth because i t creates a complete
c h o r d on the resolution of the f o u r t h (a), whereas the octave makes
5b
5b
T II O ROU G II
po
ASS
li
sion w i t h contrary m o t i o n (5) is better than its cxecution w i t h similar m o t i o n (6). Except i n the galant style, only 1 and 2 should be
used.
11. W h e n the seventh is prepared, choice of a f o u r t h part is
m u c h more l i m i t e d . I n Figure 366 there are b u t few examples
where the fifth or the octave is o p t i o n a l . T h e progression i n the
asterisked example sounds best i n the notated d i s t r i b u t i o n of parts.
TU o no a c u HASS
Figure 367
Figure 36C
'JUMO,
\
=9=k
4 3
ong
11
i r "
4
6
3
i ]
r
4 = 1
7
4
11
-Y
'4
1.
4 3
i - i
u
- 4 1 ?
r f
f
7 1?" 7 F
43
3
43
4 77
7 7
4343
4
i 1343
S: J "
1 r 14 = 1 4
P
r
1 p* 1i 4 =
7 u
6
7
4 . 3
01
ji3
r~ j 1
t-3-
\HIf-
ffti
11 ?
21)1
11
r
7
4
11
Figure 368
292
Til
li o a
; //
li A SS
seventh is usually m i n o r , b u t the f o u r t h is always p i r l e c t . Both i n tervals resolve d o w n w a r d , the seventh before the ourth. The signa. . .
.
. 76
ture of this progression is 4 .
15. Figure 369 provides more detailed i n f o r m a t i o n about this
progression. I n a the bass remains stationary, a n d neither the
seventh or the f o u r t h is prepared. I n b the seventh is prepared b u t
7
8
not the f o u r t h . Over the first note, 5 or 7 may be taken. I n c, b o t h
6
intervals are prepared. 3 should be taken over the first note. A
6
d o u b l e d t h i r d w i t h the s i x t h (ce) creates h i d d e n octaves, and 8 direct
3
O II O
Til
(I
C II
29 J
li A SS
i
iJ J " j J
l " ' rE = M = s j
"
9-
u
7
m 1
1|23
'8
7 6 .
d.
II f
It1
16
7
6 /
4 - 6
4 -
<r<
G
=
6L
'7
wrons
| ce. j
J
wrongj |
-6 f
c.
may be realized as 5 , 3 , or 5 . T h e t r i a d w i t h the octave is excellent b u t n o t w i t h the f i f t h o n top, f o r this d i s t r i b u t i o n causes errors.
I n e b o t h dissonances, seventh a n d f o u r t h , are prepared. Over the
7
3
,
first tone 5 or 7 may be taken. Because the octave is r e q u i r e d over
3
o. 6
* 5
7 6
4 -
ggp
AL
h.
7 6
4 -
1J If-t-g
the second tone, i t cannot be taken over the first. I n / the seventh
tr-ri
r
1
76
4 -
5
3
7 6
4 -
-f-
-9-
-9-
7 6 5
4 - 3
1f
J^V-
i
11 1 |
THE
1.
1
r-
T-J
1
w
CHORD OF
1
1
THE
MAJOR
L = ? F = *
r r
SEVENTH,
perfect
f o u r t h , a n d major second.
7
2.
T H O R O U G II
294
li A S S
T II O R O V. II
w i t h accidentis as r c q u i r c d . Confusin is caused by those who expect a four-part realization b u t o m i t 2 f r o m the signature or specify
only 7.
3. T h i s c h o r d appears as a passing relationship over a stationary
bass, and also as the retardation of a t r i a d f o l l o w i n g a m o v i n g bass.
I n the first instance, a l l three intervals are taken freely and ascend
(Figure 370, Example a). I n the second, the seventh and second
must lie i n the preceding c h o r d ; the f o u r t h may (b), b u t need n o t
(c), be prepared. T h e second and seventh ascend; the f o u r t h descends. W h e n the f o u r t h i n Example a lies o n top, i t too descends.
Figure 370
a.
Ai1
l
1< Us
-
8
3
fl
7
4
2
8
3
%w
r
7
5
-**
M
T .
2
IT4
2
8
3
li A SS
295
a.
T II O II O U G II
II A S S
T II O li O II C, II
1
f
16- I*
5 6 65
4
i m \^ i Y ir 1
6 5
4
#
6 5
* I
8
5
"r>
5
7 8
6 5
4 I
|7
6
3 55
8
5
jt 8
7 8
6 5
4
4
33
6 7 8
4 5 5
4 3
2
-O-
5 6
3 4
1
5
4
2
IT
l
5
4
2
THE
5
3
te
1.
mu
8 6 5
4 - 3
7
4 5
4
2
8
-6>
4*
3
l
5
4
8
3
3
-6-
CHORD
H A SS
7
5
4
8
3
OF THE
11 1 .
*
5
4
MAJOR
IIL^J -
-5IM^f
1
8
8
-6.
5
4
8
3
S E V E N T H , II
> r r
1
'
wrong
T II O R O
2i)8
1/
GH
II
ASS
t h i r d . Henee, this latter interval, like the octave, assumcs the characteristics of a dissonance. I n b only the second is retarded, again by a
t h i r d . T h i s t h i r d may be d o u b l e d i n the preceding t r i a d (c). T h e
notated d i s t r i b u t i o n of parts is the best i n a l l of the examples.
3. W h e n the f o u r t h , l y i n g i n the p r i n c i p a l part, is retarded by a
7
fifth, the accompanist plays, o n the entrance of the bass note, j, 4,
7
2
or simply 2, according to the need for a f u l l or t h i n accompanim e n t (Figure 375).
Figure 375
Puf
As
(5
a.
i 3
w
7
2
6
4
99
i
1
'8r
-p-
9
7
8
6
11
8
>
iN-r-^
1 1
7
2
es
rfl
'r
BASS
b.
-
H OROUGH
* m
'
7
3
7
4
2
8
3
3
Figure 376
THE
CHORD
OF THE NINTH,
8
3
8
3
5
4
T II O It O U ( II
00
li A S S
T I I O It O II (', 11
Figure 379
6
- 5
a
/ .
Ai
Figure 378
i:
1, '
jf
9
8
^ 6 1 8
6
5
9
5
9 8-6
'
r.
II
9 8 6
5 6 5
\nm
8
*
f
X
*(1
6
5
f
1
v
Vi 6
5b -
*V
9 5
' r 1 r f r ir
p
TTf
(g).
8. I n Figure 380 w i t h its a l t e r n a t i n g n i n t h a n d six-five chords
the only disposition free of errors is that i n w h i c h the n i n t h is placed
i n the lower m i d d l e part. T h e fifths that oceur i n the other two dispositions, n o matter how ardently they may be defended, are a n d
9 8
&- 6
f f
'
9 8
-S- 6 ' -6
-6
:
1 . -r
0
r r r P P
liASS
J ,J J J j
11
-m7
T h e object of this remark is Marpurg (Cf. Arnold, op. cit., pp. 401 ff.), and
possibly Cari Heinrich Graun, whose support of greater tolerance i n these matters is
cited by Marpurg.
3
T II O R O U (, H BASS
T I O R O U G H li A S S
o2
stead (a). Otherwise the realization i n b, e m p l o y i n g a d i v i d c d accompaniment, should be noted and used whenever possible.
9. T h e fifth is o m i t t e d f r o m three-part realizations. Because one
i n t e r v a l is thus lost, the accompanist must exercise the same care i n
using this k i n d of accompaniment as we have f o u n d necessary i n
other s i m i l a r cases.
THE
CHORD O F T H E NINTH, II
J)
1 13
, ,
8 7 6
S 8
li a.>'
j ** _4_j
>
1 m
II
J)
Aiih
"^4 &==
^ 1
9
J>J.
"t
II2
.. j > , j
ie*
- 4
etc
r
6
*~T
6
5
3. T h e n i n t h may n o t be prepared as a n octave over the preceding bass. Henee Figure 382, Example a, is w r o n g . R e s o l u t i o n
of the n i n t h t o the octave is the cause of this r u l e . Henee, w h e n the
resolution is n o t t o an octave, the r u l e may be ignored. Formerly,
musicians wrote thoughtlessly i n the manner of Example b. These
octaves o n the after beat sound n o better than the octave preparat i o n and resolution of the n i n t h . Proof that this r u l e was introduced
because of the resolution rather than the preparation is provided
by the fact that other dissonances may be prepared o n the octave
(c). Despite this, octave preparation of the n i n t h is never attractive.
I t must be avoided: (1) i n the outer parts; (2) i n t h i n settings; (3)
except for c o n t r a p u n t a l reasons. T h e bass must always be changed
o n the resolution, i f this use of the n i n t h is t o be allowed. I believe
that the direct fifths of Example d (which some defend by c l a i m i n g
that they are covered, i n the notated d i s t r i b u t i o n ) sound worse than
the after-beat octaves of Example a. However, b o t h are poor.
5
a. and b.
d.
*. h -
y
1-
~
<fc
303
r
7
5b
=J=
4=f
-T*
W H
Figure 382
A 5 6
8 b.
J-'i^i-jU-
11J*
(Br. u. H.) No. 209, Jess Meine Zuversicht, bar 1, bass and tenor.
Cf. Arnold, op. cit., pp. 397-406.
7 Examples from b to end from ed. of 1797.
O R O U (',
V //
y>4
11 li A SS
j.
5b
THE
1.
f r
CHORD
3
1
2. Its signature is 6 w i t h appropriate accidentis. T h e resolut i o n of the n i n t h leads to a chord of the s i x t h w i t h the bass d u p l i cated. Henee, those f a m i l i a r w i t h this latter c h o r d can easily find the
nine-six.
3. T h e three intervals that comprise the chord may be major
or m i n o r , as i l l u s t r a t e d i n Figure 383. T h e disposition w i t h the
n i n t h on top is generally best. T h e three examples that bear the
letter a sound rather poor even i n this disposition. A n i m p r o v e d
progression follows each example.
Figure
38?
--f
1,1
9
6
9
6
a.
9
8 tp !>7
6b
5i>
8
6
J I
I J 1 p *p
better
6
4
5
tt
6
4
5
jt
8 Vi
6b 5b
1 f fHrJ4j*-*p
7
5
9
6
t
8 - 7
5
% ~
I I I| II i
9
%
better
384
a.
Gf.
'
1i
s
4
8
3
7
5
6
5
9
4
8 8
- b7
3
5b
4. T h e n i n t h may be major or m i n o r ; the fifth, augmented, perfect, or d i m i n i s h e d ; b u t the f o u r t h , as we shall see i n the f o l l o w i n g
examples, is always perfect. I t is better to prepare the d i m i n i s h e d
f i f t h than strike i t freely. T h e augmented fifth, too, must lie i n the
preceding chord (Figure 385).
Figure
385
9 8
6
5
"r'r r "i
(>
better
Figure
4=^
9
5
C:HORD
j 1 e
1
ss
/< //
0
9
5
NINE-FOUR
THE
1.
2.
NINE-SIX
o li o u ; //
//
9 8 7
4
98
4)1
5 6
4 3
9 8
5b
6
5
4 3
98
4 3
y M Ulf If ir UN IJ IJ i
5.
) i f i t is to be
1 C f . A r n o l d , op. cit., p p . 6 9 7 - 6 9 8 .
o6
T II O R O U G H t A S S
TU
11
9
6
8
- TS
9 8
6 -
[I
JJ
^ 6 5
'5
4
9 8
6 -
if"
J
8
|J
r
9
7
9
6
b7
5b
MhJ-J
8
5
3
7
5
9
6
4=J
&
JEBN
r
6
b.
a.
DI
6
5 66 5
9 8
4 3
4
4!
r
'5
T H E
NINE-SEVEN
CHORD
1. . T h i s c h o r d consists of a n i n t h , seventh, a n d t h i r d .
9
2.
Figure 387
a.
a.
|JJ
HASS
/(;//
a,
5
7
5
n o
Figure 388
distribution
9
6
r r
'6 5
'6 5
4 3
9
9
8
8
f
|6
8 7
9
7
8
6
b. ,
7
%
9
7
b.
8
7
b7
5b
8
-
pp. 699-701.
T I I O li O II C, I I
n g u r e 3 90
M
J
V:
1)
(
l>7
8
r 6
8
6
5b
i A S S
TU
8 7
7 6 r
II '
H
5
4
9 8 7
7 6 5
*^~\ H*
6 5
II y
9
7
8
6
O It O II C. I I
li A SS
309
a.
=H= J J i IIII
f
r tf
tf
9 8
7 6 . 7
9
7
8
6
7
5b
b.
- c
10
8' 7 6
5
4
6
2
5 b
--
d.
Hf=S
>
'- T. Uf f 11
i
*F=f
v ,
'
e.
II *
I
6
~ ~ i
9
7
r ~ r
|II 1=f H
10
rr
'r r r
T
6 1
3
87
76 5
/
6
Ltt '
1 1
117
T I I O H o u r. I I
3 io
T H E
1.
FIVE-FOUR
If A
CHORD
ss
T I I O H () II (, I I
m o v i n g bass, 4 or 4 is sufficient. I n the first case, 3 is often replaced by an accidental w h i c h specifies the size of the t h i r d . T h e
accidental must be separated f r o m the preceding 4 i n order to i n dcate clearly that i t refers, n o t to this n u m e r a l , b u t to 3.
3. T h e perfect and d i m i n i s h e d fifth, the perfect f o u r t h , and the
octave are the intervals w h i c h may appear i n the five-four chord.
4. T h e f o u r t h is always prepared and resolves by stepwise descent. T h e fifth, w h i c h restricts this dissonance, is n o t always present
i n the preceding chord, being struck freely at times, even w h e n i t
is d i m i n i s h e d (Figure 394).
Figure 394
3LL
4
**4
6*
ti
43
5,
4, 3
- f H h *
-rHhd
11
1
7
11
h
1r
-i
BASS
3"
J * 'J
1_
"9*
i
6
5
4
dd'
wrong
11
(5
wrong
cit.,
pp. 694-698.
C H A P T E R
S I X
CCOMPAMIMEMT
T H E
UNISON
1
H E octave is i n c l u d e d i n the meaning of the t e r m unisn.
T h u s w h e n parts progress either i n real unisons or i n octaves, they are said to move i n unisn (aW unisono),
even
w h e n the figuration of one of the parts is different f r o m that of the
other (Figure 397).
Figure 397
xn m
C f . A r n o l d , The
Art
of Accompaniment
from
313
a Thorough-Bass,
C h . I I I , Sect. 12.
C C O M PA N 1 M E N T
2 I.e., o n e n o t e for e a c h h a n d .
s W i t h r e g a r d to t h e t r e a t m e n t of d i s s o n a n c e s i n a unisn a c c o m p a n i m e n t , see C h .
V I , " S o m e P r e c a u t i o n s " o f A c c o m p a n i m e n t , " f 3 , w h e r e B a c h takes a freer v i e w of
t h e n e e d for r e s o l u t i o n s .
// C C O M I ' A N
1 M E NT
375
Figure 398
Adagio
uns.
8. T h e second case that calis for unisn accompaniment concerns a l l b r i l l i a n t passages for the lowest part i n the setting of w h i c h
the composer has a special purpose i n m i n d . T h e y may be fashioned
o u t of leaps, runs, b r o k e n chords, successive trills, and countless
other figures. F r o m our p o i n t of view, such passages must stand o u t
clearly, and this is achieved less by a chordal t h a n a unisn accompaniment. I t is n o t yet a general practice to desgnate this case,
unisoni or all'unisono;
henee, the manner of support is left to the
discretion of an understanding accompanist. Experience has proved
to me the effectiveness of a unisn accompaniment i n such passages.
9. B r i l l i a n t basses are usually p r o v i d e d w i t h a chordal acc o m p a n i m e n t only i n two-part pieces such as a solo or solo aria.
10. T e r m i n a t i o n of a unisn accompaniment is indicated by
figures placed over the bass at the p o i n t where a chordal setting is
resumed. S hould the first note express a t r i a d that is indicated
o r d i n a r i l y w i t h o u t any figures, at least one of its intervals must be
designated.
* O n e of the m o s t s t r i k i n g l y e x p r e s s i v e e x a m p l e s , w r i t t e n l a t e r b y B a c h , is t h e
o p e n i n g of Die Auferstehung
und Himmelfahrt
Jesu ( W o t q u e n n e N o . 240).
ji6
A C C O M TA
ONE-PART
ACCOMPANIMENT
1M E N T
F O R
T H E
L E F T
A
11AND
C C 0 MPA
NIM
E N
317
while the other bass instrumenta play softly i n the notated register
along w i t h tire keyboard. The examples of Figure 399 are typical.
4. O n the other hand, w h e n such passages are d o u b l e d and the
thirds or sixths are widely separated, the accompaniment i n unisn
or all'unisono may be used, the bass being d o u b l e d . I f this p a r t does
not go too low, the d o u b l i n g should be i n the lower rather than the
upper octave. Such settings can be f o u n d i n symphonies and concertos. T h e first and second v i o l i n s play together w h i l e the violas
and basses move i n unisn (Figure 400).
Figure 400
Allegro
, j m m n mn,
rgn^
cit.,
C h . I I I , 12.
2
C f . C h a p t e r I I , " T h e A p p o g g i a t u r a , " f 7.
7./.V
C C O M P A N 1 M I: N T
r u i n s the passage. T h i s k i n d o i setting occurs in concertos for lowpitched instrumenta, arias for low voices, etc.
7. T h e f o l l o w i n g a d d i t i o n a l instantes o tls k i n d of accomp a n i m e n t should be noted (Figure 401). I n a, where the p r i n c i p a l
voice starts i n actual unisn w i t h the bass, the first note should be
played t.s. I n b, the r i g h t hand is silent at those places where t.s. appears, even w h e n there are figures. Performance i n a slow tempo
w o u l d suffer here were the accompanist to anticipate the change of
harmony of the p r i n c i p a l part.
C C 0 M P A N 1M E N T
319
T H E
ORGAN
POINT
1. T h e organ p o i n t or point d'orgue occurs w h e n various harm o n i c changes, orten i n v o l v i n g tied notes, are made over a h e l d or
repeated bass note.
2. I t appears generally i n learned things, especially fugues, near
the end over the d o m i n a n t or over the final note. Occasionally i t
w i l l be f o u n d i n the course of a piece over the d o m i n a n t or tonic
of a key reached by m o d u l a t i o n . I n the first case, composers often
introduce a l l manner of contrapuntal devices i n stretto.
3. T h e organ p o i n t may be i n three or more parts. T h e harm o n y is usually complete even w i t h o u t the bass, w h i c h however,
adds a final, appropriate gravity. I n order to comprehend or e x p l a i n
the chords and the unusual combinations of intervals the bass
should be disregarded. W h e n this is done, the strange signatures
t u r n o u t to be indications of n o t h i n g more than the ordinary progressions of t h o r o u g h bass.
4. I t is not easy to figure organ points, so they are usually set
tasto solo. Those w h o do figure t h e m must accept the fact that they
w i l l be played tasto solo anyway. T h e reason for this can be
ascribed not only to a justifiable simplification of the accompanist's
tasks b u t often to the impossibility of reading the figures. Assumi n g that the r i g h t hand could accompany all organ points, gratitude
w o u l d never compnsate for the expended anxiety and t r o u b l e .
cit.,
Ch. X X .
jao
A C C O M > A N M E N I
A C C O M
1' A N I M E N T
321
M u ^ r i i T r
^
4
t
4 7 6 2 5
5
i i n r r
'6
4
32:
8
4
f
-
l>7
^
6
4
5
4
7
3
~
8
,2
^
6
5
6 7 2
7
5
4
.6 -
6 5P5 4
!>7
6 j7
- 4 4
3
3
2
6
5 2 5 5,
b7
5
81>7
r i
- r i r r
4
7 6
4 I,
"f
5 3
4 4
1 J 1 M;-
8
3
26
4 ^
76
7 6 44 t K
A^A
1 *T~^9.
:
Lj
" gm
= M = F
4f 6
#4 2 5
-F-T-H
^5-1
6 15
Allegro
j H
1 = 1 ==1 U
le
l>?
6
4
5
3
6
5
3
2l> 8
f
6b
4
2
5 6 7 6 5 8 7 6
j } 4 5 4 $ 6 5 4
5
#
9 8 7 6 8 7 6
7 6 5 4 6 5 4
5
#
J22
ACCOM
P A N I
APPOGGIATURAS
MENT
ACCOMPANIMEN
F.gure 403
323
1. I t w o u l d be superfluous to repeat the discussion of the appoggiatura w h i c h is contained i n the rst part of this Essay. I assume
that the reader has read this material carefully, for i t is inseparable
f r o m the present remarks.
2. I t is rare that an accompaniment can be constructed w i t h o u t
reference to appoggiaturas, for they are i n most cases an integral
part of i t . T h e y appear most f r e q u e n t l y i n pieces where taste rules,
for they are one of its outstanding refinements. Such pieces r e q u i r e
a delicate accompaniment w h i c h aims to b r i n g the appoggiatura
i n t o relief rather than to obscure or destroy i t .
1 C f . A r n o l d , op. cit.,
I'I'I
'7
6
6
i AS
' I . '6[
6 '7
6
fll
g ( |
7
ij! 1 j. gpil
4 3
6
5
6
4
uJJ
5
3
" r r r r
4=^
A C C O M VA N l M E N T
ACCOMPANIMKNT
3*4
5t
2 3 7-6.
4 3
J MLM ,
325
leases are accompanied i n g. A slur must be placed over ^ t o i n d i cate omission of the sixth. I n h, a n eighth rest w o u l d be too short,
were the accompanist to o m i t the ornament; henee i t should be
played, especially since i t is present i n the preceding c h o r d . I n i, the
second cannot be treated as a n i n t h because of the f o l l o w i n g /-sharp
5
)26
C C O M PA NIM
E N T
A C C
resolution w i t h complete reedom. This detail is one of the refinements that are reserved for the p r i n c i p a l part. I t should be observed
here that accompaniments must be so contrived that they clarify or
at least do not obscure the various refinements of melodies whether
these consist of chromatic intervals, retarded and anticipated resolutions, or, above a l l , syncopations, especially i n slow pieces of an
affective nature. C l a r i t y is attained t h r o u g h rests, and obscurity can
be avoided by t h i n n i n g the chords. W e r e all refinements realized o n
the keyboard, listeners w o u l d n o t be able to t e l l whether i t was
being played as an accompanying or a solo i n s t r u m e n t . I n q, the
t r i a d is retarded by a c h o r d of the major seventh w h i c h expresses a
descending appoggiatura o n the second above the bass. W e have
already seen several such examples. T h i s retardation is o n l y occasionally good, b u t bad taste makes constant use of i t .
Figure 405
g" ' r f
1
I76
I7
4f
44 '6
17
"6I
2
3
56
^ T
6 6
5
7
2
6 6
3 5
r'r
7
'
5b
--3
7 6
5b
Andante
T
a
fe 2r -3
rf f
56
F- ? r
2 3
327
rr Tr y i r T r * r r
0 M PA NI M E N T
r'
4
r
4
r'r r r r'r
"C
6
5
5b 6
3 5b
r'rr
4 3
-2- 3 5b
TTTT
frrrTf r T
0 0
6
9 8 9 8
9 8
^5,
7
5b
&
A C
J2$
C O M PA
ACCOMPANIMENT
EN T
NIM
3*9
3 T 6
4r
&
17
-2"
L J
6
4
6 5 7 5
4
# j|
-2-
H tt
jjj,j-,i.jji,j,,Hr v
j
6 5b 4
1
6 "6s
6 ^ 6
-2-3
. I
fe:
tf
ai v m -
6 -
-T 3
5 -2-3
i l i1
7
5
6
2 3
7
5
J ^E
9
4
5b
r r Tr
9
8
4
2
I J J l.jjfl'W
l j J
-9-*
5b
'7
5b
Si
r
bass note and 5 over the second, or the appoggiatura and relase may
be o m i t t e d and, i f necessary, o n l y 4 3 played. T h e two-part appoggiaturas of c are accompanied as illustrated. I n a delicate setting the
7
6
-2-
6
4
5
3
8
5
5 - 6
3
Adagio
f
-
6
4
'P'r
5
3
7
5
appoggiaturas are replaced by a quarter rest and 5 b is played afterwards. Examples d and dd are alike, the difference between t h e m
b e i n g o n l y that dd contains a two-part appoggiatura. T h e accompaniments to b o t h are almost i d e n t i c a l . Rests are n o t used i n the
accompaniment to dd, because the notes of the o r i g i n a l are slow and
legato; b u t i n the more r a p i d tempo of d they are effective. Example e and its accompaniment are i d e n t i c a l .
10. I n the examples of Figure 407 the c h o r d of the second is
4
A C C O M P A N
33"
Figure 406
Andante 6
1 M li N T
ACCOMPANIMENT
7 6
J J
7
5b
6.
and ollowed by the major t r i a d on e. I n b, 5 is taken over the second
b7
5b
6 7
4 3
Allegretto
o
7
5b
6
4
}}
"5
7
5b
b7
5b
6 5
4 i
J
8
6
7
5
6 5
4 It
W<
# W
5b
,J|J
6
44
7
5
*
6 5
4 | JJ
b7
5b
44
rttp-S
^
44 5b
1
6 5
#t
kd
?
6
7
5
44-
7
5
and its accompaniment are identical, b u t 5 may be taken as an accompaniment to the appoggiatura.
11. I n the examples of Figure 408 the c h o r d of the sixth is retarded by appoggiaturas. I n a, a f o u r - p a r t realization may duplicate
A C C O M /' A N I M l: N T
taz
k.
/7\
3 b
0-0-05
3
111
r r r r
4i
2T
44
--JX.
<7\
. S
c f r
6
5
/.j.
441
5 6
3 4
5
3
5
3
6 5
4 3
the bass of the t r i a d over e or, better, double its t h i r d . I n a threepart setting o n l y the fifth and t h i r d are taken; b u t i f only one p a r t
is played by the r i g h t h a n d i t should be the t h i r d , subsequently
held. I n aa w i t h its allegretto a n d p i a n o indications, the accompanist may employ either of the illustrated settings. I f the passage
is to be played l o u d l y , the appoggiatura a n d its relase may be i n cluded i n the first accompaniment. I n b only three parts at most
should be employed, f o r the undecorated chords r e q u i r e n o more.
I f the accompaniment must be soft the bass should be accompanied
by thirds alone; b u t the register of the upper p a r t must be watched
carefully i n order to prevent the fourths w h i c h i t forms against the
p r i n c i p a l p a r t f r o m becoming fifths. As indicated i n Example c a n d
its illustrated accompaniment, i t is a matter of opinin whether
a m n i m u m of three parts or f o u r are to be employed. T h r e e parts
are correct for d; b u t i f a delicate accompaniment is decided u p o n
for reasons similar to those addressed to Example j , Figure 407, the
t h i r d alone, subsequently held, should be realized over g-sharp. T h e
accompaniments to e and / are identical w i t h the originis. A very
A C C O MPAN
134
/ ; C o MPANIM
l M E N T
EN
*.l
Allegretto
9
7
i i
1
44
2>
8
6
44
3
8
3
4
44
3
'6
g- 6
44
3
12.
44
44
3
fe
t.s.
44
5-6 2
'5 6|
- 4 i , JJ
16
, i J i ^ J Ji
i n b only 2 is realized, f o l l o w e d by 3 . Either of the illustrated accompaniments to c may be realized. B o t h have been discussed w i t h
their signatures i n Chapter V . T h e r e are five accompaniments to
d, of w h i c h the last t w o are the most delicate. T h e y have been p u r posely assembled here, even t h o u g h each one has already appeared
separately. N o t h i n g should be struck against the chromatic appoggiatura of Example e; henee the r i g h t hand, its parts replaced by a
quarter rest, does n o t play.
5
r T T f O rr
Figure 409
r,.
6
rrx,uf.r
II
C f , ir. [ r
44
*
' J
B - 4
|1
II
&
d.
j-
-H-n l
II
'6
3
9
C f . sections o n 4 a n d 4 c h o r d s .
Ti
// C C O M
17
1' A
A C C O M /' A N I M E N T
N I M E N T
le
6 -5
5
>
'99 8
6 5
4 3
4
2
Ir
3
3
te2
337
5s
3
rr
4
2
realized and followed by the seventh while the fourth and second
are retained. If it is decided not to play the appoggiatura (since it
Figure 411
-X
jj
7
4
3
F'i
> 4X
7
2
8
3
5b
r- r 1
a
-frpr
r i"r r " r
L
<>>!
7
4
2
8
5
3
ir. r f
4
2
5
3
d.
-*
i
6
5
It
IT
IT
r7
4
2
8
3
f.J.
4
2
5
3
ACCOMPANIMENT
ACCOMPANIMENT
.
339
6 5
4 3
5 6 5
3 4 3
6
4
- 5
- 3
ee. K
0
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A C C O M r A N I M /; N T
/ i c ; O A/ /' A N 1 M E N T
f,
^4
_
7
5
6
4
7
5
6
4
Figure 413
.11
r.
44-
IFT- 11 j
1 iiJ1
11 J
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5
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le
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r
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su
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34'
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1 = 1
1 y
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11
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4
II
A C C O M VA
N I M E N
/'
A C C 0 M I' ANIMEN
good i n F i g u r e \
Figure 414
l .
i J
4
m '
7
4
6
-
7
4
6
-
:-7,,,*,^,.*7,,,jr
7
4
ilu un
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34)
18. I n the examples undcr a (Figure 415), w h i c l i are met occ a s i o n a l l y , the lirst o each p a i r ol eighth notes i n the bass should
be lengthened by the a d d i t i o n of a dot, as shown i n the illustrations w h i c h f o l l o w each passage. A literal performance of the appoggiaturas w o u l d prove that the example is w r o n g , its errors being
caused by ignorance or absent-mindedness o n the part of the composer. I f the ornaments were w r i t t e n o u t i n their correct vales, such
errors w o u l d never arise. Performed as notated, the ornaments
clash i n t o l e r a b l y w i t h the bass and i n so d o i n g lose their essential
charm. Even rests f o r the d u r a t i o n of the appoggiatura are i n the
m a i n n o t very h e l p f u l , for the r i g h t hand must re-enter o n the dissonant relase, since b o t h appoggiatura and relase disagree w i t h
the m o v i n g bass. T h e examples suggest no m i d d l e parts or, at most,
no n a t u r a l or good m i d d l e parts. T h i s is an unmistakable sign of
a poor or poorly conceived piece. Those w h o wish to t h i n k correctly
about composition must give simultaneous consideration to melody
and harmo ny. I t w o u l d be difficult to find examples that present
so many ready opportunities to w r i t e fifths. However, the a d d i t i o n
of dots to the bass makes the signatures and the accompaniment
n a t u r a l and simple. I n those cases where only one acceptable accomp a n i m e n t can be realized i t has been appended, b u t i t must never lie
above the p r i n c i p a l part. A t times the accompanist w i l l find himself
i n a situation where n o t h i n g may be altered. I f i n such a situation he
finds i t impossible to fashion an accompaniment, he must resort to
tasto solo. I n b, i f an accompaniment were realized f r o m the figures,
w h i c h u n f o r t u n a t e l y are f o u n d far too often, i t w o u l d sound exceedingly ugly. I n the appended accompaniment the correct figures
are given. I n the bass of c the first eighth note of each bar can be
easily replaced by a rest as a means of a v o i d i n g the miserable accented fifths." Passages l i k e this can be f o u n d i n l i g h t , present-day
I t a l i a n works. Experienced accompanists w h o can and dar make
m i n o r extemporaneous corrections i n a composition should receive
f u l l credit for their deeds, b u t this should n o t lessen the composer's
responsibility for such blemishes. I n o u r example i t is advisable that
b o t h hands pause for the d u r a t i o n of the appoggiatura. I n d the acc o m p a n i m e n t is similar to the o r i g i n a l . T h e dissonances are passing
and the r i g h t h a n d should be an exact d u p l i c a t i o n of the m o t i o n
> Perhaps Bach's o w n direct fifths of similar type are misprints! Cf. Prussian
Sonatas, no. i , last movt., bars 5 - 8 8 , 75-76 (Nagels A r c h i v ho. 6).
I < < O M VA N 1 M E N T
J44
/ c; r; o
-4
M v A NI M EN
345
9 80 5 6 6
r f ^ . V .
>
Figure 415
6 6
6 6
- 4
JJ,
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9 8 6 6
5
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7 6 6 7 6 6 7 6
p T
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11
4
2
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9
7
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10
8
6
^1
6
4
5
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6
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A C C OMPAN1
M / N T
A C C O M r A NI M E N T
Figure
b.
a.
-
6
4
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7
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416
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348
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O M PA
A C C O M P A N I M E N T
N 1M E N T
349
FTTTT
6
5
98
JW>J JM
than to strike disagreeable ones. Rests are needed i n e f o r the reasons stated i n b.
20. Unless an appoggiatura i n the bass is set w i t h its o w n signature, i t is accompanied by the c h o r d w h i c h belongs to the relase.
SYNCOPATED
NOTES
m
6
M>J J J
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M TT TTrTTt rrf
5
fe
43
98
3 2
4 b-
1.
5t| 6
7 6 '
9 8 7
7 6 5
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Is
l rf r
6-5
4 - 3
3. R a p i d syncopations are never played as such by the accompanist b u t are supported by chords c o n t a i n i n g anticipations or retardations according to the n a t u r e of the m a n i p u l a t i o n . Regardless
A C C O M I' A N 1 M /<, N T
A C C O M I' A N I M E N T
of wliether they lie i n the p r i n c i p a l part or iti the bass, the accompanist plays i n an even r h y t h m as, for example, i n Figui e.418, where
each of his chords has the valu of a quarter note. T h u s w h e n the
bass is syncopated the r i g h t h a n d holds to the r h y t h m of the bar (a).
Figure
418
jLjqi
a.
pr p 1 r
J I
6
5
5 b 2
4. T h e accompaniment to chromatic syncopations must be delicate i n order to b r i n g t h e m i n t o relief and avoid ugly clashes. I n
Figure 419, Example a, the t r i a d w i t h o u t the octave d u p l i c a t i o n is
taken. I n b the accompaniment consists of a nice i m i t a t i o n of the
chromatic tones (bb). Should a f u l l e r setting be r e q u i r e d , the intervals of the p r i n c i p a l part may be i n c l u d e d as indicated i n the signatures of bb. A l l of these examples presuppose a slow or, at most, a
modrate tempo.
Figure 419 k
mn 1
-JT TI
pr^ ^p 1
r
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i>
y
b7
1|
5b
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bb. 1
=
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Allegro
THE
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A C C O M l' A N I M E N
A C C O M I' A N I M E N T
/'
the nrst quarter over b, and the six-live chord eniets later. T h e correct divisin or the o r n a m e n t can be seen i n a and its usual notat i o n i n x. Example b has the same accompaniment. I n c the seventh
alone is played o n the entrance of b i n te bass, and the t h i r d
comes i n later. I n d the seventh and d i m i n i s h e d fifth are played first
and the six-five chord is taken afterwards. I n e, i f a t h i n accompanim e n t is called for, the seventh alone is played first and the t n i r d
afterwards. B u t i f a f u l l e r c h o r d is r e q u i r e d , the second is struck
w i t h the seventh. These remarks apply to a l l similar cases. I n f, the
d i m i n i s h e d f i f t h is played alone, the second being i n c l u d e d i f necessary; the s i x t h is o m i t t e d . I n g the r i g h t h a n d pauses and then plays
the c h o r d of the s i x t h . I n h the sixth is played and, i f necessary, the
second. I n i the chord of the n i n t h and ii the nine-four c h o r d are
struck and f o l l o w e d by their usual resolutions. I n a l i g h t accomp a n i m e n t b o t h chords may be o m i t t e d and triads played o n the
second quarter. I n / and k the fifth, alone or i n company w i t h the
second, may be taken. I n a d d i t i o n , k may be accompanied by a passi n g c h o r d of the second f o l l o w e d by a t r i a d i n three or f o u r parts,
whichever is appropriate (x). I n
after an eighth rest, the fifth
enters alone f o l l o w e d by the t h i r d . I n m there are three possible accompaniments: T h e seventh may be played alone and succeeded by
the augmented s i x t h and the t h i r d ; or the second may be struck w i t h
the seventh; or 3 may be taken after an eighth rest. A l l three are
good depending o n the r e q u i r e d v o l u m e of the performance and
6
(X)
r
I
16
16
'7 6
5b-
r'
r r t
5b
7 6
5b
fi
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m 1?
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5b
5 b
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t.s.
6
4
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16
11
16
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56
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5b
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5
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3
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6
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5
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6
554
A C COMPANIM
/ ; C O M I' A N I M E N 7
E N T
I ^ 4
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-
7J|J^.J i i j | ^ J ^ J
r rr
ii
r r r f
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7
7 - 6
6
44
44
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4
8
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4
3
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eighth rest a n d strike 5 \ afterwards i n three parts. I n c the illustrated accompaniment may be used or, i n its place, an eighth rest
'6
re rr U.
r r n r
2- 3
i g i
rr
J,
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T I
755
A C ; O M /* A N I M /< N 7
57
eighth and on the second take r> or ;i i n three parts. T h e reason for
the omission of an i n t e r v a l f r o m the chord of the seventh is the l i g h t
manner i n w h i c h the last note of the ornament and the p r i n c i p a l
tone are p e r f o r m e d .
7. I n Figure 422, Example a, the c h o r d of the second is retarded
by o u r ornament, w h i c h o w i n g to its length makes the passage rather
unattractive. A shorter c o m p o u n d appoggiatura w o u l d be better.
T h e t r i a d is taken o n the / and f o l l o w e d by the chord of the second,
b o t h preferably i n three parts. I n b, c, and d the chord of the s i x t h
is retarded. I n b the t r i a d is played and f o l l o w e d by the c h o r d of
the s i x t h . O r the t h i r d alone may be taken over f, followed by the
sixth. I n c i f the accompanist does not wish to use an eighth rest,
he may play either of the illustrated accompaniments. T h e accomp a n i m e n t to d is l i k e that to b. T h e examples under dd, i n w h i c h a
three-part eight-six c h o r d is retarded, are a l l accompanied i n the
manner of the appended i l l u s t r a t i o n . I n the r e m a i n i n g examples
7 8
? r r r f\H| rrifirl
6
6
4
6
6
54
5 42
6
6
5 6 6
Ah4
6
6 '6
5
5 6 ^
>4
le
J5<V
A C C O Ai
P /l
e; c o
/V / A i fi JV 7
Figure 42}
prrpp^ i
r
'5
r i mi T
r
-
7 78
5
7
5
t.s.
6
4
-6.
5b
r r r f r p-m
1
17 8
2 3
'6 5 b
8
3
8
lf
Ijt
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5
3
5
3
L r ' T r "r'r p T r
F F 'r-'ij 'r
1i 4M
159
5 b
- - 7
7
5
gEg
A/ /*,/ N I A /; N T
5
3
Ai.
5
3
6
4
le"
8
5
3
11
5
3
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r r
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5
3
ni J
Ir 'IT
4
y.^y
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4 5b
3
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rr r r r r
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1-
11
^=F
ACCOMPAN!MENT
6o
A C C O M
'5
f
4 - 3
N T
361
9,
/',
10. I n Figure 425, Examples a and b, the five-four c h o r d is retarded. Example a is n o t good, for o u r l o n g ornament destroys the
beauty of the i n t e n d e d dissonance. A short c o m p o u n d appoggiatura
w o u l d be better. T h e accompaniment must r e m a i n i n the notated
disposition; otherwise an eighth rest must be i n t r o d u c e d over g,
f o l l o w e d by a complete five-four chord. I n b the accompaniment is
' r l ^ l / l f l K ' l .
5
I N I M
eighth rest over the second r; of Kxample b is not used, the appended
accompaniment should be taken. The rest is r e q u i r e d i n c. T h e acc o m p a n i m e n t to d must r e m a i n i n the notated disposition; otherwise, an eighth rest accompanies the entrance of the ornament. A
rest is r e q u i r e d i n e and /. B u t i f i n d, e, and / the t r i a d on c replaces
the i n i t i a l c h o r d on /-sharp, the illustrated accompaniments are to
be retained.
Figure
1'
'4
'3
r4
'5
d.
F F
1
t.s.
r"
5
\i
4 3
if
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16
15
6
4
5
3
7
5
6 5
4 3
r~ r r *r r r
'7
5
H? f
T
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5
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5
6
4
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rr
6
4
9
4
t.s.
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3
8
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68
75
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6
5
5
t
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9
7
7
5
)2
ACCOMPANIMENT
A C C OM P A N IM E N T
3<)
Figure 426
THE
DOTTED
SLIDE
mm i
1. A l l that has been said i n the first t w o paragraphs of the preceding section about p r i o r knowledge of the d o t t e d c o m p o u n d appoggiatura as discussed i n the first part of this Essay, the i m p o r t a n t
bearing that the ornament has o n harmony, a n d the consequent
need f o r a clear i n d i c a t i o n of its presence, applies equally to the
dotted slide.
2
6
5
4 8
a.
wm
4
6 - 4 6
2 5
4
2
b.
"i'iu'i; ! "
1
'6
6
4 3
rr r rJ J J f l l f l f l f l U l J
6
4
5
3
11
7
4
2
r rr
4
2
5
3
7
4
2
8
5
3
8
5
3
7
4
2
J I
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r
7
5
8
5
3
)6
(1
C O M V A N IM E N T
h.
1 i -=t=
U- 7
m
y
8
4 3
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T=F=\ -H
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r r"
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4
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9
4
6
5
11
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- 3
43
4
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= F
7 6
n'
363
1 ,lili 1
1r r r
f
4
2
16
P.
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A C C O M I' A N I M E N I
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4
9 8
4 3
S-b
6 5
66
ACCO
1JU
r *r
A C C O M P A N I M EN
MPANIMEN7
1 r
r i
967
an accompaniment. This l a t t t i lias inore eletnents w h i c h are concerned w i t h the rules o! good performance t h a n solos have, for an
accompanist is responsible for more than a correct realization of a
bass; he must make i n t e l l i g e n t adjustments w i t h respect to the
v o l u m e and register of chords. As stated i n Paragraph 1 9 of the I n t r o d u c t i o n to Part T w o , i t is r e q u i r e d of the accompanist that he
fit to each piece a correct performance of its h a r m o n y i n the proper
v o l u m e a n d w i t h a suitable d i s t r i b u t i o n of tones.
r, r cr cccc ce Ct
5
8
6
'-7
-5
2. T h e fewer the parts i n a piece, the finer must be its accomp a n i m e n t . Henee, a solo or an aria provides the best o p p o r t u n i t y to
judge an accompanist. H e must take great pains to catch i n his acc o m p a n i m e n t a l l of the nuances of the p r i n c i p a l part. Indeed, i t is
difficult to say whether accompanist or soloist deserves greater
credit. T h e latter may have taken a l o n g t i m e to prepare his piece,
w h i c h , after the present fashion, he himself must compose. Nevertheless, he cannot c o u n t o n the applause of his audience, f o r i t is
o n l y t h r o u g h a good accompaniment that his performance w i l l be
b r o u g h t to l i f e . O n the other hand, the accompanist is usually
given m u c h less t i m e ; he is a l l o w e d only a cursory e x a m i n a t i o n of
the piece, b u t must nevertheless support a n d enhance extemporaneously a l l the beauty o n w h i c h so m u c h t i m e and care have
been expended by the p r i n c i p a l p e r f o r m e r . Yet the soloist takes a l l
bravos to himself and gives n o credit to his accompanist. B u t he is
r i g h t , f o r he knows that i g n o r a n t custom direets these bravos to h i m
alone.
2
i Handsachen.
368
ACCOMPANIMENT
of the p r i n c i p a l par. 1 le need lee 1 no anxiety over 11 is being forgotten i f he is not constanily j o i n i n g i n tlie t u m u l t . N o l A n understandi n g listener does not easily miss a n y t h i n g . I n his soul's perception
melody and harmony are inseparable. Yet, should the o p p o r t u n i t y
arise and the nature of a piece p e r m i t i t , w h e n the p r i n c i p a l part
pauses or performs p l a i n notes the accompanist may open the d r a f t
o n his damped fire. B u t this demands great a b i l i t y and an understanding of the t r u e content of a piece. I n t r u t h , i t suffices to realize
an accompaniment w h i c h does n o t h i n g more than meet the requirements, whether expressly called for or not, of Paragraph 19
of the I n t r o d u c t i o n to Part I I . T o this end we shall proceed to relate
these precepts, along w i t h questions of pur style, to the construct i o n of a fine accompaniment.
4. I t is sometimes necessary and n o t really i m p r o p e r for the
accompanist to discuss a piece w i t h the performer of the p r i n c i p a l
part before its performance and let h i m decide o n the liberties that
are to be taken i n the accompaniment. Some w a n t the accompanist
to be greatly restricted; others not. Since opinin varies so greatly
and i t is u p to the p r i n c i p a l p a r t to decide, the safest procedure is
to seek a p r e l i m i n a r y understanding.
5. W e shall open the subject of performance by discussing
v o l u m e . O f a l l the instruments that are used i n the p l a y i n g of
t h o r o u g h bass the single-manual harpsichord is the most p e r p l e x i n g
w i t h regard to forte and p i a n o . T o make amends for the imperfect i o n of the i n s t r u m e n t i n this respect the n u m b e r of parts must be
increased or reduced. B u t care must be exercised to i n c l u d e a l l
necessary tones and avoid incorrect doublings. Some resort to a
h i g h l y detached touch i n order to express a piano, b u t the performance suffers tremendously by this; and even the most detached
staccato performance requires pressure. I t is better to reduce the
v o l u m e by using the r i g h t h a n d less f r e q u e n t l y over passing tones.
T h e fine i n v e n t i o n of o u r celebrated H o l e f e l d w h i c h makes i t possible to increase or decrease the registration by means of pedis,
w h i l e playing, has made the harpsichord, p a r t i c u l a r l y the singlem a n u a l k i n d , a m u c h - i m p r o v e d i n s t r u m e n t , and, f o r t u n a t e l y ,
3
A C C O M P A N I M E N T
369
A (COMPAIA!
A C C O M P A N I M I:N T
E N T
Figure 429
JTT1
fia
[7T
?7'
Allegro
b.
r r r
r 'r r r
to play one note somewhat louder than indicated and thereby ret a i n order i n the ensemble, t h a n to observe a l l indications w i t h
exaggerated exactness and f a i l to give an indispensable signal to
the others. T h e r e is a possibility that the resultant confusin m i g h t
r u i n a considerable p a r t of a composition, i n t o w h i c h the composer may have i n t r o d u c e d especially b e a u t i f u l effects. I n such
places the i n s t r u m e n t that first resumes is the leader, even i f i t
should be the viola.
12. Notes that i n t r o d u c e closing cadenees are played l o u d l y regardless of whether they carry express indications. By this means
the p r i n c i p a l part is i n f o r m e d that an elaborated cadenee is expected, for w h i c h the accompanist w i l l halt. T h i s signal is especially
necessary i n allegros, for elaborated cadenees are more usual i n
adagios. I n the latter the p r i n c i p a l p a r t o f t e n plays the note before
the cadenee w i t h a retarded forte so that the accompanist may k n o w
that the cadenee is going to be elaborated.
13. W h e n the p r i n c i p a l p a r t has a l o n g h e l d note w h i c h , accordi n g to the rules of good performance, should commence pianissimo,
grow by degrees to a fortissimo, and r e t u r n s i m i l a r l y to a pianissimo, the accompanist must f o l l o w w i t h the greatest exactness.
Every means available to h i m must be employed to a t t a i n a forte
6
voce.
?72
//
C C O M VA
A C C O M V A N I M E N T
N l M E N I
373
placing them between notes. It is stiange that tlu-y have been overlooked despite the fact that 0111 present elegant taste must make the
need for them q u i t e obvious. I l o w m u c h unevenness i n resolutions
can be caused by their absence! A n d h o w the performance and
character of pieces sufferl H o w ceaselessly attentive must be the
ear that w i l l p e r m i t n o error! Figure 431 w i l l illstrate m y meaning.
Figure 430
+.
+-2
Figure 431
Adagio
"C.
4.
5
3
C
4- 5
2 . 3
6^
4
7
3
a.
"
i
i.
'fffff
'r r "
cJrrlrruficLjLfr^^ccJ
\ = = =#==)
9 = 4
Dots in signatures were used much earlier by Johann Staden (Kurzer una einfltiger Bericht,
1626). T h e i r use is described in Arnold, op. cit
p. 105. Neither
Staden's or Bach's practice was widely followed.
6
-J'
-J
# J
--
L U J
374
A C COMPAIA!
E N T
A C C O M P A N I M E N I
175
i -
11
p r *p
1
21.
Closing t r i l l s are o f t e n extended, regardless of the tempo.
B u t i f a piece has reprises, the extensin of t r i l l a n d accompanying
bass note takes place only at the end of the final r e p e t i t i o n . By this
means weight is added to the conclusin a n d the audience is made
to feel that the piece is about over. T h i s k i n d of cise, however,
despite its good uses, cannot be i n t r o d u c e d i n t o a l l contexts. Henee
the accompanist must be extremely w a t c h f u l , especially because
some closing t r i l l s m u s t be played strictly i n tempo due to either
the b r i l l i a n t or the reflective character of a passage (Figure 434,
Example a). I t is understood, moreover, that the accompanist does
not h o l d back w h e n the t r i l l appears over a m o v i n g bass (b). B u t i f
A C C O MPA
37*
A C C O M P A N 1M E N T
N I M E N T
the last of these bass notes is the f i l t l i of the key, it should be held
u n t i l i t is observed that the p r i n c i p a l part or the other executants
are ready to conclude their t r i l l (c). T h e same procedure is to be
f o l l o w e d w h e n solely the fifth of the key is repeated i n the upper or
lower octave after the entrance o f the t r i l l ( d ) . B u t i f a piece ends
w i t h o u t a closing t r i l l , i t should be played i n tempo w i t h o u t h o l d i n g back (e).
Figure 434
Andante
Allegro
Pf mr f r r r
Adagio
I* I'
"
" 1
r-
d.
Figure 435
"
>y
P
1
377
i ip ce
2
3 3
17
44
3
3
r T ^ r f
r
r B m i i ^T^m i
r
r rr
1
A C C O M I' A N 1 M E N T
379
5l
i
4
- 6
8.U7
6,
I J
i I r i r i i r i'
5j
1.
CADENCES
f80
A C C O M VA
N I M EN
the present sed ion we shall instruct the accompanist i n the treatment of b o t h kinds.
2.
O n the entrance of an elaborated cadenee, the accompanist,
regardless of whether a fermata
appears over the bass, holds the
six-four c h o r d for a w h i l e and then pauses u n t i l the p r i n c i p a l part,
at the end of its cadenza, plays a t r i l l or some other figure w h i c h
requires r e s o l u t i o n of the c h o r d . A t this p o i n t the t r i a d is struck
at the keyboard, the seventh being taken as a fifth part. F r o m
adagio m o l t o to andante the six-four c h o r d and the succeeding
t r i a d are arpeggiated u p w a r d either slowly or rather r a p i d l y acc o r d i n g to the requirements of tempo and affect.
3. W h e n the bass of a piece i n more t h a n t w o parts has a rest
after the b e g i n n i n g of an elaborated cadenee, the accompanist
strikes the t r i a d o n the d o m i n a n t at the conclusin of the cadenza,
regardless of whether i t is announced by a t r i l l , or l a c k i n g this,
some other figure, or a pianissimo, and then pauses again i f other
rests f o l l o w .
4. A t times the bass enters i m m e d i a t e l y after the conclusin of
a cadenza or a cadenee prolonged simply by means of an extended
t r i l l . T h e entrance must be made w i t h firmness and an assured res u m p t i o n of the tempo as soon as i t is observed that the t r i l l i n the
p r i n c i p a l part has been sufficiently extended and i f c o n t i n u e d may
grow weak. T h e tones w h i c h the bass plays must be p e r f o r m e d
strongly and l o u d l y , even i n the absence of an i n d i c a t i o n , so that
the other performers w i l l grasp the restoration of the n o r m a l tempo.
I f such bass notes are m a r k e d piano (a case w h i c h arises o n l y
rarely) at least the first of the tones w h i c h precede the approaching
bar should be struck l o u d l y , or some m o t i o n of the body should
be made as a means of i n d i c a t i n g the divisin of the bar (Figure
438).
Figure 438
A C C O M V A N 1 M E N T
381
(he long, sustained bass note ,1 series ol short notes similar to the
previous ones, as a means o m a i n t a i n i n g good order and l e t t i n g the
other performers hear the u n i n t e n upted c o n t i n u a t i o n of the tempo
(Figure 439).
Figure 439
11 1
i i
va
4
6
4
6. W h e n , as i n Figure 440, a composer, u n m i n d f u l of elaborations, allows his bass to continu its m o t i o n t h r o u g h a closing
cadenee, the accompanist holds the first g and repeats i t o n the
t r i l l , after w h i c h he begins the f o l l o w i n g bar. T h i s case, w h i c h often
oceurs i n allegros, requires an attentive ear.
3
Figure 440
5*
6
6
4
5
3
8i
ACCOMPANIM
A C C O M I' A N 1 M E N T
E N 1
w h i c h the p r i n c i p a l performer commences his elaborations i m mediately after the six-four c h o r d , he usually holds the fermata f o r
a w h i l e i n order n o t to be too greatly restricted by the reverberati n g six-four c h o r d , a n d begins his cadenza only after the sound of
the keyboard has almost e x p i r e d . T h i s execution is good, f u r t h e r ,
because the listener w i l l be p r o p e r l y prepared, the preceding sixf o u r c h o r d h a v i n g been w e l l impressed u p o n his ears.
8. I t is m o r e custom t h a n musical law that leads the c o n c l u d i n g
t r i l l of cadenzas to be played on the fifth above the bass, or o n the
sixth, occasionally, i n the m i n o r mode. Because the accompanist
awaits this t r i l l and strikes his t r i a d d i r e c t l y o n its entrance, he
must be extremely careful, i n the case of cadenzas that are fashioned
out of a series of t r i l l s , to a v o i d c o m i n g i n w i t h his chord o n the
entrance of a long t r i l l on the t h i r d . Such a t r i l l is usually a clear
sign that the cadenza is n o t at a l l ended, a n d i f he plays the t r i a d
p r e m a t u r e l y there is a danger that many subsequent tones w i l l appear that disagree w i t h i t . A competent p r i n c i p a l p e r f o r m e r w i l l
make every effort i n such a s i t u a t i o n to shorten and conclude his
part so that n o one w i l l hear ugly sounds. B u t accompanists should
not provoke such a change. Should i t be a p e r f o r m e r s pleasure to
conclude his cadenza w i t h a t r i l l o n the t h i r d , i t must also be his
pleasure to w a i t for an accompanist w h o does n o t play his t r i a d
immediately, b u t listens to the t r i l l f o r a m o m e n t to make certain
that the cadenza is g o i n g t o be ended by i t . Some p r i n c i p a l performers take satisfaction o u t of p l a y i n g a l o n g t r i l l on the fifth, leadi n g the accompanist to enter w i t h his r e s o l u t i o n of the six-four
chord, after w h i c h they continu w i t h elaborations w h i c h very
often do n o t harmonize w i t h the r e s o l u t i o n . T h e accompanist
should c o n t a i n himself i n the face of so b o l d a stroke, i n the assurance that n o justifiable c r i t i c i s m can be directed at h i m . A n d he
should gainsay his leader neither his pleasure or the credit for an
effective v a r i a n t .
9. I n the examples of F i g u r e 441, w h i c h are f o u n d at times, the
t r i a d , i n a r a p i d tempo, is struck over the first note and retained
u n t i l the last appears, at w h i c h p o i n t the h o l d occurs. T h e intermediate notes are played w i t h o u t any change i n the r i g h t hand,
despite the signatures (a). I n a slow tempo the signatures are m o d i fied as indicated i n b a n d the h o l d s.tarts over d.*
T h e reason for the modificador! is that the first b in each example is extended
>9)
Figure 441
r r r " r r r r r r rrr
r
7
5
7
5
65
43
11
65
43
jJ I
6
I .1
II
11.
W h e n an aria or other piece i n the m a j o r mode changes to
m i n o r i n the second section a n d a da capo follows, the final c h o r d of
Figure 443
7kn
Andante
\7
6> 5
\
4
beyond itsiwritten length arid thereby delays the entrance of a until the last quarter
of the bar. Further, since this is a closing cadenee, the a is trilled beyond its written
length, henee the hold starts on the last quarter. Cf. Arnold, op. ext., pp. 289 and 293,
where this deviation is related to eighteenth-century practice.
jfy
A CC
O A i PAI
A <; C O
M E N T
the second section ai'ter the cadenza must be major even i n the absence o an i n d i c a t i o n . S i m i l a r l y , care must be excrcised i n pieces
i n the m a j o r mode, for composers sometimes approach the cadenza
by way of the m i n o r of the o r i g i n a l tonality. A l t h o u g h the m a j o r
sixth a n d seventh become m i n o r , the last chord, f o l l o w i n g the
cadenza, must be major (Figure 4 4 3 ) .
5
A/
P A N
/ A/
E N I
,V
other ernbellishinenis are I I I I K K I I K <<l, tasto solo becomes indispensable. If a l o r i e appears al 11 imclei the held bass, the r i g h t hand
may strike its c h o r d , sharply delached or very r a p i d l y arpeggiated,
against the bass note.
Figure 445
a.
4 3
THE
FERMATA
mm
5 I.e., the six-four chord and the seventh of the chord of the seventh on /-sharp.
r T h i s is the "retard ad libitum"
mentioned by Quantz (cf. C h . V I , "Closing Cadenees," Note 1). T h e present section treatS cadenzas that oceur in the course of a
piece and is thereby distinguished from the preceding section, which discusses only
final cadenzas.
2 Cf. C h . I I , " T h e Elaboration of Fermate."
4. W i t h regard to h o l d i n g a n d c o n t i n u i n g i n tempo at
fermate,
the accompanist must f o l l o w exactly the precepts that have been
stated i n Part I of this Essay.? T h e p r i m a r y concern is that the p l a i n
notes as w e l l as the embellishments of the p r i n c i p a l part, w h i c h
precede the fermata, harmonize p r o p e r l y a n d enter simultaneously
w i t h the bass a n d its chords.
5. Fermate w i t h o u t appoggiaturas or elaborations, and passages
i n w h i c h the h o l d is placed over a succeeding rest, are realized
f o r t h w i t h and p l a i n l y .
6. Figure 447, s i m i l a r to F i g u r e 433, is sometimes p e r f o r m e d
i n the manner of a fermata,
even t h o u g h none is i n d i c a t e d . For
s Cf. Note 2 above.
j86
A C C O M I A N I M I: N I
A C C O M I' A N 1 M /<. N T
Figure 447 , - 3
Adagio
JjJ-l ^ jj
a r\
9
SOME
66 -4
2 -
'B
REFINEMENTS
OF
ACCOMPANIMENT
j8y
4. T o accompany w i t h discretion means also to make adjustments to others' errors a n d to give way before t h e m . T h i s may oceur
out of politeness or necessity, as, for example, i n the usual performance of a large piece whose numerous players are n o t of u n i f o r m a b i l i t y . T h e best leader must give way i n such a s i t u a t i o n , a n d
so must the accompanist.
j88
C C O M I> A N I M
/: a ; /
A C C O M I' A N I M 1: N T
98$
j JJ J i J
Figure 448
Figure 449
* r
>6
i i 1
-4f
W^u \ 1 r M
P
m P
7
5
"mh"Ha, - f - f
r
mfl
"
6
4
A C C O M /' A N I M E N T
ACCOMPANIMENT
391
hand against the bass are best when the p r i n c i p a l part has a held
note (Figure 450, Example ), a repeated note (>), slower notes (c),
or notes w h i c h are at least again as last as those i n the bass ( d ) . I n the
last case the precautions which are always f o l l o w e d where thirds
are used must be d o u b l e d i n order to avoid an ugly clash (e) or forb i d d e n progressions (/).
pm
y
* f f f
l'i
LJ
' t / m
6
6l>
A CO
394
OMPANIMENT
"1
r; ; o
,J5.
m. 0 F
A N I
A /<; A/ T
395
'Irf ' i
Presto
Presto
Ti
V
0 1
i
i
- I
J - \
>
g+
?
t K i
a.
fl
i !
1* i
r
=ra
1
1
f l :
7 6 5b7
7 6 5
7 6 5
ji
88
II
ra.
1
. 1 -A'-Jra.
r | *
Adagio
AM
i > g f l
'iriLii''j
4
ib Jli
6
ra.
166
Adagio
Andante
AL
j6
A C C O M PA
1M E N T
Andante
Andante
n.
r' r
r f
5
* f
\5
16
194
9. A n elegant accompaniment that is n o t restricted to a u n i f o r m n u m b e r of parts may express certain leaps at times i n the r i g h t
hand. These often provide variety. T h e most frequent o p p o r t u n i ties to i n d u l g e this l i b e r t y occur i n passages w h i c h allow for i m i t a t i o n (Figure 452, Example a) or w h i c h c o n t a i n h e l d notes (b) or repeated figuration w i t h (c) and w i t h o u t transposition ( d ) . I n the case
of these last t w o examples, the justifiable demand of the ear for
v a r i a t i o n , w h i c h is caused by the excessive u n i f o r m i t y of the figurat i o n , can be met very easily and w i t h great freedom by an understanding accompanist. I t can be observed generally that those passages w h i c h contain only slight changes i n themselves are most
adaptable to v a r i a t i o n i n the realization of the chords. B u t even
though pieces w h i c h contain such passages can be aided by an elegant, free accompaniment, caution must be exercised to avoid excessive and u n t i m e l y employment of such nuances.
Figure 452
a.
^fc l.
0
&
6
'
1 J^JTII
'
r
1
r.
A C i,' O M P A N 1 M E N T
ACCOMPANIMENT
399
Figure 453
i?
T u .
- 5b
# "T
-6-6
16
5
r*r
'9
4
8
3
4
2
65
65
6 5
Mi
d.
6 5
_ j J
65
i
)!
5 5
5 '
| J-
ri
r
'
f
r
t f 1
JJ
7
d.
17
n
g
frr
7
'7
"
9 9
5
3
11. T h e filling o u t of slow notes is one of the refinements of accompaniment. W h e n the tempo is slow, turns may be inserted over
the dots i n F i g u r e 454, Example a. W e r e this o r n a m e n t played i n
the bass also, the effect w o u l d be unclear. Because the tone of a
harpsichord does n o t always last l o n g enough, a n d slow or sustained
notes usually sound a b i t empty, an accompaniment that filis o u t
4<><>
A C C O AI PANIA
A C (,' O M f A N I Ai E N T
E N I
401
ever, transitional passages ptovide e n l i c i n g challenges to an accompanist's inventiveness. Itui his i n v e n t i o n must be i n accord
w i t h the affect and conten o a piece. So m u c h the better i f part of
a preceding phrase can be r e i n t r o d u c e d , even i f this requires a
m o d i f i c a t i o n of the bass and a revisin of the transition. R a t i o n a l
sovereignty must be granted to the accompanist i n this case, so l o n g
as the p r i n c i p a l part is not thereby hampered. I n c either of the
appended accompaniments may be employed to fill o u t , b u t the
tempo of the second must be slower t h a n that of the first. T h e p r i n cipal part may have a h e l d note or a rest. Should i t be desired to let
the p r i n c i p a l part stand o u t i n d (whence the accompanist w o u l d
avoid a d u p l i c a t i o n of the tones w h i c h enter after the bass), the acc o m p a n i m e n t may be either of the settings u n d e r 1. B u t i f the p r i n cipal p e r f o r m e r varies this example by h o l d i n g the t h i r d above the
bass t h r o u g h o u t the bar (2), w i t h or w i t h o u t a t r i l l , the accompanim e n t u n d e r 3 should be chosen.
3
\ *
6.
17
5b
7 7
|l 2
'5
3 4
Mi
H
4 |6
1
A C C O M r A N 1 M E N
IMITATION
A C C O M I' A N l M E N I
// C C O M r .1 N I M E N T
that his i m i t a d o r ] w i l l remain clear and lose nonc ol its attractiveness. T h e accompaniment must be patterned as closely as possible
after the leading part (Figure 456).
he must deny himself the delighls ol variation and play the notes
simply. I n Figure \ the bass leads the i m i t a t i o n .
3. I f the accompanist has an incompetent leader w h o precedes
h i m w i t h inept or even w r o n g variations, he must choose the safest
way o u t and, again, play the notes only as w r i t t e o . H e thus frees
himself of c o m p l i c i t y , k n o w i n g w e l l that i t suffices to hear a poor
v a r i a t i o n b u t once.
Figure 456
Andante
ir
405
Note that the preceding paragraphs have dealt exclusively with an imitation
specified by the composer, the point of the discussion being the ways in which accompanist and soloist can work hand in hand to vary the prescribed relationships.
In flf 6-7, however, the discussion centers on the ways in which middle and upper
parts may be constructed so that they form voluntary imitations of the principal part.
Figure 452 provides an additional example. Heinichen's discussion and illustration of
such techniques appear in Arnold, op. cit., pp. 383 ff.
1
4o6
ACCOMPANIMENT
A C C O M P A N I M E N T
4"7
figure 439"
Figure 458
SOME
PRECAUTIONS
OF
ACCOMPANIMENT
A C CO
.f<>S
MPAN
A ; C O AI r A N I A E N T
I M li N T
better
9 8
b.
' rr
fr'rf
-E
Ms- aN
1
r
-4r#K-^
Ai
7
6
4 6
6
6
pr
fd.
1 J 11
frr
1
111
J l l l
. 1
3.
sonus
Resolution of a dissonance can be disregarded w h e n uniis prescribed, since the unisn must be played by b o t h hands.
io
ACCOMPA
A C C O M P A N 1 M E N T
N I M E N T
NEED
FOR FIGURED
BASSES
411
2.
Some have gone to gtrat t r o u b l e to systematize the realizat i o n of u n f i g u r e d basses, and I cannot deny that I have u n d e r t a k e n
s i m i l a r experiments. B u t the more I have t h o u g h t about i t , the
richer have I f o u n d harmonic usages. A n d these are increasing to
such an extent, what w i t h the fineness of o u r tastes, that i t is impossible to formlate h a r d and fast rules w h i c h w i l l at once shackle
free creations a n d enable one to surmise the o p t i o n a l twists of a
composer to w h o m b o u n t i f u l n a t u r e has granted a glimpse of the
i n e x h a u s t i b i l i t y of the art. Even g r a n t i n g that some f o r m u l a t i n g is
possible, are we to rack o u r memories i n l e a r n i n g rules w h i c h by
their nature must be numerous a n d n o t always valid? A n d h a v i n g
finally learned the given rules, are we t h e n to squander endless t i m e
and energy o n the mastering of exceptions? Even i f we d i d a l l of
this, the results w o u l d be of only small valu, f o r the ablest musiran can err w h e n presented w i t h o n l y one alternative, let alone
several.
3. A n d so i t remains i r r e f u t a b l e that a correctly figured bass is
an indispensable a d j u n c t to the good performance of a piece'. T h e
composer w h o wants his works to be played as w e l l as possible must
take every step to reach this end. H i s n o t a t i o n must e x p l a i n everyt h i n g w i t h such c l a r i t y that each detail w i l l be understood. T h i s is
the very least t h a t can be demanded, f o r we have stated repeatedly
that exact i n d i c a t i o n of an accompaniment includes something
m o r e t h a n signatures. W e have even shown that there is s t i l l a lack
of signs f o r certain situations. H e r e we have clear p r o o f that an acc o m p a n i m e n t made f r o m n o indications at a l l can only be poor. W e
already have signatures; let us use t h e m a n d t o r t u r e neither ourselves i n the f o r m u l a t i o n of inadequate rules, or o u r students i n
the l e a r n i n g of t h e m . Those w h o are too i n d o l e n t or i g n o r a n t to
figure their basses as r e q u i r e d f o r a good effect s h o u l d let an able
accompanist do i t f o r t h e m .
4. O f course signatures are n o t needed f o r every smallest detail,
and a figured bass should n o t be made i n t o a solo. Nevertheless,
n o t h i n g that is necessary a n d essential should be overlooked. M a n y
are too sparing i n t h e i r use of figures because they w a n t to a v o i d
an o v e r t a x i n g of the accompanist's eyes. B u t an experienced accompanist can easily sean basses w h i c h c o n t a i n m o r e indications
t h a n are usually given, for, l o n g before his study of accompaniment,
he h a d to read i n t w o staves c o n t a i n i n g many notes, accidentis, a n d
42
A C C O M /' A N l M E N T
ACCOMPANIMENT
413
PASSING TONES
7
b.
asJJ
c.
OJJM 1
5l>
Figure 463
6
6
6 5
rf
6
5
11
g JJ I
1 Von durchgehenden
Noten. Cf. C h . I V , "Intervals and their Signatures," f f 69 ff.
and Note 9. A n exhaustive study of the accompaniment to passing tones in the bass
appears in Arnold, op. cit., Chs. X V I I I and X I X . C h , X V I I I is concerned especially
with Heinichen's rules to which Bach is alluding at the beginning of f 2 here.
c.
d.
6 e.
"ME
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A C C O M I' A N I M I; N T
ACCOMPANIMENT
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4iS
A C C O M P A N I M E N T
ACCOMPANIMENT
CHORDS
THAT
PRECEDE
THEIR
BASS N O T E S
1. I t is often necessary to strike chords over short rests i n advance of their bass notes, as a means of r e t a i n i n g order a n d w i n n i n g
variety.
2. Some figurists f o l l o w the commendable practice of i n d i cating such chords by placing over the rest the signature or dash
that pertains to the f o l l o w i n g bass note. I t w o u l d be excellent i f
everyone adopted such an exact means of i n d i c a t i o n , for i t w o u l d
l i g h t e n the tasks of many accompanists.
3. I n the absence of p r o p e r signs, t w o observations can be made:
first, the rests discussed i n this section are n o t greater t h a n a sixteenth rest i n an allegretto; second, parts that enter o n the rest
must agree w i t h the tones of the anticipated c h o r d . T h e examples
that f o l l o w w i l l clarify m y meaning.
4. I n order to catch the beat w i t h certainty, a beginner is allowed to strike the C major t r i a d over the rest i n F i g u r e 465, Example a, b u t an experienced accompanist w i l l let the rest and the
first c pass, and wait u n t i l e appears before p l a y i n g a c h o r d of the
sixth i n the r i g h t h a n d . I n b, there is no alternative to t a k i n g a
c h o r d over the rest, unless half the bar is a l l o w e d to pass unaccompanied. I n a fast tempo this means of establishing the beat is as
m u c h needed by the p r i n c i p a l part as by the accompanist. T h e
r i g h t h a n d may enter after the rest only w h e n the tempo is n o faster
than andante, for otherwise confusin of beats m i g h t be caused by
i t . I n c, regardless of the tempo, the c h o r d may n o t be struck before
the entrance of the first bass note, since the / i n the p r i n c i p a l part
does n o t harmonize w i t h i t . I n d, the chords must be played i n an
eighth-note r h y t h m , even i n a slow tempo, i n view of the stationary
p r i n c i p a l part and the syncopated bass. B u t the first eighth of the
bar may be allowed to pass i n order n o t to obscure the usual soft
b e g i n n i n g of h e l d notes. I n e, a c h o r d over the rest is indispensable, especially w h e n this example appears i n a piece f o r a
large, heavily d o u b l e d orchestra i n w h i c h a l l instruments enter o n
the r a p i d notes. T h i s s i t u a t i o n is c o m m o n l y f o u n d i n operas, where
i t occurs i n dramatic, accompanied recitatives, w i t h singers w h o ,
because of the constant, vigorous action, may be d e c l a i m i n g u p stage, downstage, at the sides, or i n the center, w i t h a d d i t i o n a l
1 Von dem
Vorschlagen
Hand.
419
Presto
b.
2
5b
Presto
6 1,7
4 5b
Allegro
legro
e.
C J ' T
cur
A C C O MP
A N I M E N T
A C C O M I' A N I M E N T
421
ki
tr
ms.
2. Some recitatives, i n w h i c h the bass and perhaps other instruments express a definite theme or a continuous m o t i o n w h i c h does
not particpate i n the singer's pauses, must be p e r f o r m e d strictly i n
t i m e for the sake of good order. Others are declaimed now slowly,
now r a p i d l y according to the conten, regardless of the meter, even
t h o u g h t h e i r n o t a t i o n be barred. I n b o t h cases, especially the latter,
an accompanist must be w a t c h f u l . H e must listen constantly t o the
p r i n c i p a l performer, and w h e n there is action, watch h i m as w e l l , so
that his accompaniment w i l l always be ready; he must never desert
the singer.
Allegro
crtrf
6 6
t;
y JI
- 6
5
THE
RECITATIVE
3. W h e n the declamation is r a p i d , the chords must be ready i n stantly, especially at pauses i n the p r i n c i p a l part where the c h o r d
precedes a f o l l o w i n g entrance. A t the t e r m i n a t i o n of a chord, its
successor must be struck w i t h dispatch. T h u s the singer w i l l n o t
be hampered i n his affects or t h e i r requisite fast execution, for he
w i l l always k n o w i n good t i m e the course and construction of the
h a r m o n y . W e r e i t necessary to choose between t w o evils, i t w o u l d
be preferable to hasten rather than to delay. Indeed, the better is
always better. A r p e g g i a t i o n must always be w i t h h e l d f r o m r a p i d
declamation, especially w h e n there are f r e q u e n t chordal changes.
For one t h i n g , there is no t i m e for i t , and even i f there were, i t
m i g h t very easily lead accompanist, singer, and audience i n t o confusin. F u r t h e r m o r e , arpeggiation is n o t r e q u i r e d here, for it finds
its n a t u r a l e m p l o y m e n t i n q u i t e different situations, i n slow recitatives and sustained chords. I n such cases i t serves to r e m i n d the
singer that he is to r e m a i n i n a given chord, and prevens h i m f r o m
l o s i n g the p i t c h because of the length of the c h o r d , or f r o m assumi n g that the c h o r d has changed. These fiery recitatives o f t e n occur
i n operas where the orchestra has a w i d e range w i t h Dasses p l a y i n g
divisi, w h i l e the singer declaims upstage, far removed f r o m his ac1 T h i s refers to the type of recitative which is discussed in Heinichen, op. cit., Pt.
I I , C h . I I I , pp. 769 ff. He writes: " I t is generally known that the recitative, unlike
all other styles, has no regular key, but rather casts its tones quite irregularly, moving
abruptly and without order forwards and backwards to the most remote keys."
22
A C CO
MPANIM
A C C O MPANIM
/'. N I
/<; N T
4*3
* J>J>
6
o-
424
A ; C
// C C O M I' A N I M E N T
A N I M E N I
simply forgetfulncss. I n m e m o r i z i n g their parts, singers often confuse the many similar patterns of recitatives, for (hey are more i m pressed by the u n d e r l y i n g harmony than by the melody. I w o u l d
be less apt to forgive an accompanist w h o hesitated over a modificat i o n of a, t h a n I w o u l d one w h o was startled by b, a case that arises
occasionally, where signatures m i g h t be lacking, the tempo m i g h t
be r a p i d , a n d half of the passage, perhaps d i r e c t l y after the beginn i n g , m i g h t be w r i t t e n o n a new stave.
8. O n the last arpeggiation of a preparatory c h o r d i t is wise
to place i n the upper part the singer's i n i t i a l tone. T h u s placed i t
w i l l be most clearly heard and thereby ease the singer's task. Rather
t h a n abandon such an expedient, i t w o u l d be better to tolrate cert a i n irregularities w h e n they cannot be avoided, such as d i s r u p t i n g
the p r e p a r a t i o n of a dissonance, or placing its r e s o l u t i o n i n the
w r o n g part, the a i m b e i n g simply to reach the r e q u i r e d d i s t r i b u t i o n q u i c k l y . However, i t is o f t e n easy to do this by means of a r a p i d
arpeggio w i t h o u t i n d u l g i n g i n such liberties.
9. W h e n , i n a recitative w i t h accompanying instruments, the
bass enters ahead of the other performers after a cadenee or pause,
the keyboardist must strike his c h o r d a n d bass note strictly o n t i m e ,
w i t h a sure, f u l l attack, especially w h e n the orchestra is large (Figu r e 467, Example ). However, i f a l l the instruments attack simultaneously, the keyboardist does n o t anticpate, b u t signis w i t h his
head or body i n good t i m e so that a l l w i l l enter together (b). I n
Example c, a six-four c h o r d is r e q u i r e d over the first bass note,
425
CHANGING
NOTES
5
a.
4
2
7
a.
a.
6
5 # 5
g
5
/ 3
y JTJ"JIIJ jgppgjggig
instead o f
3. I r r e g u l a r passing tones are to be regarded as appoggiaturas
that have been w r i t t e n o u t a n d g i v e n an exact l e n g t h . Against
these appoggiaturas the r i g h t h a n d plays the c h o r d that pertains to
the f o l l o w i n g bass note. Henee i f a tone that is n o r m a l l y consonant
forms a dissonance against the changing note w i t h w h i c h i t is struck,
i t retains its o r i g i n a l freedom and character. I t may be d o u b l e d
(Figure 469, E x a m p l e a), a n d i t requires neither p r e p a r a t i o n or
r e s o l u t i o n (b). S i m i l a r l y , dissonances do n o t forsake t h e i r basic
ways w h e n they are m o m e n t a r i l y made i n t o consonances b y the act i o n of a changing note i n the bass (c).
2 Cf., par ex., J . S. Bach's Werke, 11.2, pp. 164 ff.
See C h . V I , "Passing Notes," Note 1.
1
426
ACCOMPANIMENT
ACCOMPANIMENT
4 J
I '
/
'
I |{ I
1
i i
b.
~ 3
TT
I 5 b. V ,
.6
6 c. /r- /
98 r.
471
7.
7. 6 7 6
76
4. 3 4 3
r-^L*
43
-9*i
-A
-
BASS
427
6
9, 8 5
r.
9 8 5
G
6
1
1
11
Ffj
6
5 5
THEMES
1 Of the three G r a u n brothers, two, Johann Gottlieb and Cari Heinrich, were active at the court of Frederick the Great. T h e former was Konzertmeister and the
latter, to whom Bach is referring, Kapellrneister. Since Bach refers to him as still
alive, or at least since his death in 1759 is not mentioned, it would seem that the
present section was written before this year.
428
A C C O M
A N
M E N I
// C C O M I' A N I M E N T
429
IMPROVISATION
C H A P T E R
S E V E N
IMPROVISATION
THE
FREE
FANTASIA
1
F A N T A S I A is said to be free w h e n i t is unmeasured and
moves t h r o u g h more keys than is customary i n other pieces,
w h i c h are composed or improvised i n meter.
2. These latter r e q u i r e a comprehensive knowledge of composition, whereas the f o r m e r requires o n l y a t h o r o u g h understanding
of h a r m o n y nd acquaintance w i t h a few rules of construction. B o t h
cali for n a t u r a l talent, espedally the a b i l i t y to improvise. I t is q u i t e
possible for a person to have studied composition w i t h good success
and to have t u r n e d his pen to fine ends w i t h o u t his h a v i n g any g i f t
for i m p r o v i s a t i o n . B u t , o n the other hand, a good f u t u r e i n compos i t i o n can be assuredly predicted for anyone w h o can improvise,
p r o v i d e d that he-writes profusely and does n o t start too late.
3. A free fantasia consists of varied harmonic progressions w h i c h
can be expressed i n a l l manner of figuration and motives. A key i n
w h i c h to begin and end must be established. A l t h o u g h n o bar Unes
are employed, the ear demands a definite relationship i n the succession and d u r a t i o n of the chords themselves, as we shall see later,
and the eye, a relationship i n the lengths of notes so that the piece
may be notated. T h e r e f o r e , i t is usually assumed that such fantasas
are i n a f o u r - f o u r meter; and the tempo is indicated by the words
w h i c h are placed above the b e g i n n i n g . W e have already learned of
the fine effect created by fantasas i n Chapter I I I of Part I of this
Essay, to w h i c h I refer m y reader.
2
4.
1 A detailed study of this chapter and an analysis of the appended Fantasa (Figure
480) appear in Heinrich Schenkers Das Meisterwerk in der Msik, Drei Masken Verlag, Mnchen 1925, Vol. I, p. 11 ff.
2 In
15.
430
a T h e upper signatures of the first ascending and descending scales in major and
minor agree with the older Regola deW Ottava, which was used by i7th- and i8thcentury theorists to instruct beginners in the proper chord for each step. It was
adopted with minor variants by Rameau, Heinichen, and Mattheson, among others.
It formed the first step of instruction in the reading of unfigured basses, and was
4 3
/ M ' RO
I M r R O V ISA T 1 O N
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-
IMPROVISATION
IMPROVISATION
8. W h e n the performer is allowed adequatr l i m e lo liave attent i o n directed to his work, he may modulate to remoler keys. B u t
f o r m a l closing cadenees are n o t always r e q u i r e d ; thcy are employed
at the end and once i n the m i d d l e . I t suffices i the leading tone
(semitonium
modi) of the various keys lies i n the bass or some other
part, for this tone is the p i v o t and token of a l l n a t u r a l m o d u l a t i o n .
W h e n i t lies i n the bass, the seventh chord, the c h o r d of the sixth, or
the six-five c h o r d is taken above i t (Figure 473, Example a); i t may
also be f o u n d i n chords w h i c h are inversions of these (fe). I t is one
of the beauties of i m p r o v i s a t i o n to feign m o d u l a t i o n to a new key
t h r o u g h a f o r m a l cadenee and then move off i n another d i r e c t i o n .
T h i s and other r a t i o n a l deceptions make a fantasa attractive; b u t
they must n o t be excessively used, or n a t u r a l relationships w i l l become hopelessly b u r i e d beneath t h e m .
Figure 474
Figure 473
a.
a.
6
ti
11J
6
5b
3415 443
b.
.65
b.
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1J J
6b b7
-fr
2j
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6
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4
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5
6 * b76 9 7
4 5b 5 4 5
65
4#
s T h e Circle of Keys was invented by Heinichen, on his own testimony, after hearing from Kuhnau about Kircher's method of moving through keys by fourths or
4}6
i M r a o v i s A r i o N
/ M i' / <> I I S A T I O N
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fifths. Mattheson was scornful of Heinichen's Circle and offered an improved construction. Both are reproduced in Arriold, op. cit., pp. 268 and 277.
* 1# ' - n i
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1 M P R O VI S A T I O N
IMPROVISATION
*
**
b7
5
4* b7
>
5 b 2j.
-'NMJij
b7
6 b
b7
S.b
>
5^
I||J
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4 4
21.
|b
t-
5 4
ll|J
5 b l>
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b7
5b
jt
1||J
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6 b 6b
b 4
5b 6
i V )
'
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7
b 7
2
wrong
i>7,
b?
5b
right
44
I M r ItO
1 M r H O V I S A T I O N
IIS
A I I O N
II'
14.
i<*>0
00
J O
ampies of a l l k i n d s , w i t h a clear and useful conception of the construction of a free fantasia, 1 refer h i m to the Lesson m e n t i o n e d i n
the preceding paragraph, and Figure 480. B o t h are free fantasas;
the first is interspersed w i t h m u c h chromaticism, w h i l e the second
consists largely of n a t u r a l and usual relationships. T h e f r a m e w o r k
8
Si*gf-
s T h i s paragraph will serve to illustrate Bach's views on musical analysis as described i n a letter to a friend, dated from Hamburg, Oct. 15, 1777 (cf. Bitter, Cari
Philipp Emanuel Bach und Wilkelm Friedemann Bach, und deten Brder, Vol. I, p.
348): " I n my opinin, in instructing amateurs, several things could be omitted that
many musicians do not, indeed, need not know. A most important element, analysis,
is lacking. T r u e masterpieces should be taken from all styles of composition, and the
amateur should be shown the beauty, daring, and novelty in them. Also, he should
be shown how insignificnt the piece would be if these things were lacking. Further,
he should be shown how eFrprs, pitfalls, have been avoided, and especially how far a
work departs from ordinary ways, how venturesome it can be, etc."
442
IMPROVISATION
I MP
y t i f t H 0
OHhi
" 8
HIm
43
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7
5
2,
6b 6
2
1
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4
2
L
c L_m>
(4.)
(5.)
H O V 1 S ATI
O N
li 1 li I I O (. R A l> II Y
447
BIBLIOGRAPHY
]j A r n o l d , F. T . The
London, 1931.
Art of Accompaniment
from a
Thorough-Bass,
Allgemeine
Friedemann
Bach,
London [n.d.]
of the
and
Sinfonie
des
Grossen,
Hamburger unpartheiischer Correspondent, Hamburg. (Contains a n i eles and notices pertaining to C. P. E. Bach during the period of his
Hamburg residence, 1767-88. Cf. N o . 7, January 11, 1773.)
Hase, H . von, "Cari Philipp Emanuel Bach u n d Joh. Gottl. I m .
Breitkopf," i n Bach Jahrbuch,
1911.
Hoffmann, H . Die Norddeutsche Triosonate
und C. Ph. E. Bach, Kiel, 1927.
Jalowetz, H . "Beethovens Jugendwerke i n Ihrem melodischen Beziehungen zu Mozart, Haydn, u n d Ph. E. Bach," i n Sammelbnde
der
internationalen Musikgesellschaft,
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