CONTENTS

Inkoduction
Chapter I

- French Figured Bass from Roughly 1690 to \720

Excerpts from Michel de St. Lambert: Noutseu Triti. de I'Accompgnement du Clt:ecin (L707)
Excerpts from Jean-Franois Dandrieu: Principes de |Accompgnement du Clt:ecin (1719)
1. The Triad or Basic Chord - Practicing the Basic Chords
2.
3.
4.
5.
.
7.
s.
9.

Simple Six-Three Chord (Sixth Chord), or First-lnversion Triad - Practicing the Simple Sixth Chord . . . .
Petit Aord: with 3 and 4 (the Four-Three Chord) - Practicing the Petite Sixte .
Diminished-Fifth Chord - Practicing the Diminished-Fifth Chord
Sixth Chord with Permissible Doublings - Practicing the Sixth Chord with Permissible Doublings
Six-Five Chord (Perfect Fifth with Added Sixth) - Practicing the Six-Five Chord
The Five-Four Suspension Chord - Praclicing the Fourth Chord
The Augmented Fourth or Tritone - Practicing the Chord with the Tritone
The Second Chord - Practicing the Second Chord
10. The Seventh Chord - Practicing the Seventh Chord
11. The Suspended Ninth - Practicing the Ninth Chord
12. The Fourth as a Consonance, or the Six-Four Chord - Practicing the Chord with the Consonant Fourth . . . . .
13. The Nine-Seven Suspension - Practicing the Nine-Seven Chord
14. The Augmented-Fifth Chord - Praclicing the Augmented-Fifth Chord
15. The Diminished-Seventh Chord - Practicing the Chord with the Diminished Fifth and the Added Major Sixth
1. Some Basic Remarks on Realizing French Basso Continuo . . .
17. Selected French Compositions as Praclical Examples of Thoroughbass Realization

The
The
The
The
The

Chapter II - Getman Figured Bass from Roughly 1710 to 7735

Excerpts from Johann David Heinichen: Der Generl-Bss in der Composition (Dresden,'1,728) and
Georg Philipp Telemann: Singe-, Spiel- und Generl-Brst-bungen (Hamburg, 1,733-4)
1. The Basic Chord

2. The Sixth Chord and the {Ch"rd

3. The Second Chord with the Figure 2
4. The Suspended Fourth
5. The Six-Five Chord
. The Seventh Chord
7. The Suspended Ninth
8. Unusual Dissonances, including Augmented Intervals
9. Another Way of Interpreting 7 or 9 (Passing Notes)
.

10. Unaccented and Accented Passing Notes

11. When Should Chords Be Repeated? . . .
12.

A General Example from Heinichen . .

10
1.2
1.4
1.6

18

20
22
24
26
28
30
32
34
36
38

40
54

62
64
68
7'1.

/5

76
81
83

86
87
89
93

13. Some Basic Remarks on German Figured Bass .

14. Twelve Arias from Telemann's Singe-, Spiel- und Generlbss-bungen
15. Selected German Compositions as Practical Examples of Figured Bass Realizafion

III - Other Essential Aspects of Figured Bass Playing

Three- and Full-Voiced Realizalions, Recitafives, and Ornaments
Playing Figured Bass in Recitatives
Ornaments (Agrments) in French Basso Continuo . . .
Ornaments in German Basso Continuo . . .

100

L04
121

Chapter

1.
2.
3.
4.

Postface
Sources and References

't32
739

744
747

754
755

100
1"04

121,

Ce qui cncerne le gott ne doit nnus lccuper que lorsque nous possdons prfitement le fond,
"Nothing that concernJtarte should occupy our attention until we have a perfect command of the rudiments."
J.

p. Iameau , Dissertation sur

les

diffrentei Mthodes de I'Accompgnemenl pour Ie Cltsecn 0u pour I'Orgue (1732)

L32

INTRODUCTION

139

744
147

L54
L55

This book is a detailed guide to the basics of figured bass playing on keyboard inskuments. Knowledge of these basics was considered essential for
all lrained musicians in the late seventeenth and early eighteenth centuries.
Not being able to cover the entire age of the figured bass, nor even all of its
nalional ityles, I have chosen to fotus on France and Germany in the years
roughly be-twe"n 1-690 and 1,735. I chose these geographical and. chronologi.d tr.,it, for two reasons: firsl the range of major sources available for this
period is particularly broad; and second, it was only at the turn, of the eighteenth century that the teaching of basso continuo became kuly systematic
and rooted in u hur..ronic context as a series of chords. That is why this
period is especially well suited for novices today.
There are relatively few pre-180 sources on figured bass. Those that exist
do not convey a uniiorm and consistent picture; on the conhary, they tend
to be confusing and thus cannot be recommended for beginners. Many later
sources, on th other hand, such as Carl Philipp Emanuel Bach's Versuch ber
die whre Art ds Clt:ier zu spielen (7753-62), describe a new glnt style that
frequently has little in common with baroque music per se. These sources,
too, are f secottda.y importance for the music we wish to sfudy'
The Italian s$le of figured bass playing changed considerably in the course
of its history. In its day, it was unquestionably the most influential, if the most
complicate, of all the national performance styles. However, it was taught
unsystematically. The variefy, complexiLy, and special musical demands of
the italian style not only make it the most challenging of all for today's players, but plucl lt beyond the confines of my book. Most Italian music from
i.690 to IT4O can,hw.ve., be played with the guidelines I present for the advanced German sfyle, which was heavily influenced by its Italian counterpart
(see Chapter II, sections 9-L2, and Chapter III, seclions 1-3)'
Today, the inshuction in theory and harmony that music sludents receive
at colleges and conservatories falls far short of what is needed to convey an
adeq,raie picture of the problems of voice leading and harmonic struclure in
figuied bass playing. My book is intended to filI thls embarrassing void. It
does so by deliberately following the sources.

Bass figures in seventeenth- and eighteenth-century continuo parts were

frequentlliincomplete and somefimes nonexistent. That is why the historical
treatises still offer excellent guidelines even today, for they present continuo
playing as a combination oitwo factors: an ability to read bass figures, and

u k.,owledge of "standard harmonizations" for typical bass progressions.

This knowledge is very useful for today's players who wish to play from a
modern "urteit" or facimile edition while adhering to the characteristic features of seventeenth- and eighteenth-century sfyle.
The approach I have adopted is to let students teach themselves almost
exclusively from historical sources. Chapter 1 offers complementary exercises and explanations from Michel de St. Lambert (1707) and Jean-Franois
Dandrieu (I'i19). Chapter 2 combines excerpts from the writings of Johann
David Heinichen (172S) and Georg Philipp Telemann (17fi) alongwith supplementary quotations from many other sources (see bibliography). unless
ttherwise indicated, each exercise and sample realization presented in my
book has been taken from an historical source.

The Layout of This Book

This lutor follows Dandrieu's principle of proceeding in small learning increments. Each new chord is inlroduced in a bass progression and a realization
provided by the original author. Turning the page, the reader will find the
,u-" progr"ssion without realization. Now the task is to repeat the realization directly from the figured bass part. I have also adopted this method of
inskuctionior exercises not based on this principle, i.e. those taken from St.
Lamberl Heinichen, and Telemann. This method helps to lay the cornerstones of figured bass playing in such a way that, as Dandrieu explains, "one
learns, without noticing it, how to arrange the chords in a manner that is at
once both correct and beautiful, and how to alter the posifion of the right
hand in such a way that the resulting harmonies are well connected, this
being indispensable for attaining a perfect command of figured-bass-play-

i.9."
7

For the sake of clarify, I have kept the national styles separate and disfinct.

Students can discover the sometimes subtle differences between them by

comparing the simple inhoductory examples in the French and German
sfyles. These differences become all the more apparent in the sections that
follow.
My musical terminology closely follows eighteenth-century "thoroughbass argot." Some terms otherwise familiar today have been deliberately
avoided. In parficular, this means that every interval is calculated from the
bass and not in relation to a root-position kiad. For example, the 3 (third) in
a six-three chord really does refer to the interval of a third above the bass
note. In today's theory books, this same note is often called a fifth, this being
the position it occupies when the six-three chord is conskued as the first
inversion of a root-position triad.
Moreover, to discuss the bass progressions, I have adopted the terms and
symbols from the so-called "theory of scale degrees," in which the notes of
the diatonic scale are identified by the symbols I, II, III, IV, and so forth.
Sometimes I also refer to the terms tonic, subdominant, and dominant,
which were already in use in France around 1700.
The art of thoroughbass playing is, of course, mainly an art of accompaniment. Only when the player has mastered all the elementary technical and
practical aspects of thoroughbass will attention be given to such "purely
musical" topics as rhythm, articulation, and supporting the soloist. However,
a heatment of these problems would go beyond the limits of my book, quite
apart from the fact that they can hardly be dealt with adequately in wriling.
(This may explain why so few seventeenth- and eighteenth-century treatises
discuss them.) To be sure, many aspects of performance praclice also apply
to thoroughbass playing; we need only think of French notes ngles. But I
have left them out since they have already been discussed at great length
elsewhere by other modern writers.

How to Use This Book

This tutor is not intended to be rcad "rom cover to cover." On the confrary,
it is laid out so that readers may choose and combine the chapters and
sections they need to suit their own interests and learning requirements.
However, a few words on using the book are called for. First the two opening chapters on national slyles may be worked through separately. Readers
may begin with either the French or the German slyle as they see fit (the
French sfyle, being less complicated, is perhaps better suited for beginners).
Alternatively, they can work their way successively through the chords and
8

their various realizalions (the explanalions for the German style are generally
more detailed). Readers who choose the second approach will find the corresponding seclions they need in chapters 1, and 2 and the table of contents.
To emphasize the above-mentioned pedagogical layout, the sample exercises appearing at the end of each subseclion are listed again at the end of the

respective chapter. Readers working their way through these chapters

should follow the order of the subsections, since each new chord is inkoduced according to the eminently sensible arrangement of the sources.
The "General Remarks" on the fwo national slyles (Chapter I, section 1,
and Chapter II, seclion 13) are very important for playing the practical examples. They should be thoroughly studied and consulted time and again as
the need arises.
Chapter III should not be attempted until the reader has a fair grasp of the
material up to, say, Chapter I, section 8, or Chapter II, section 5. Some of the
French embellishments (Chapter III, section 3) may be tried out as soon as
the reader has practiced a few of the brunettes (Chapter I, section 17). Another
possibility is to work through a few more sections and return to the first
practical examples later in order to play them with embellishments. Avoid
starting out too soon on the German embellishments: they are considerably
more complicated than their French counterparts. Before launching out on
three- and five-voice realizations (Chapter 3, section 1), readers should practice the four-voice realizations-the bedrock of all thoroughbass playing-so
carefully that they becomes almost second nature.
All these remarks are only meant to be general suggestions. It is my hope
that the examples and exercises in my book will whet the readers' curiosily
and lead them to draw their own conclusions and impressions from it.

wish to thank Brenreiter Verlag (Kassel) and especially its editors

Dorothee Gbel and Dr. Jutta Schmoll-Barthel. My thanks also extend to
Stefan Altner (Munich) for actively participahing in the writing of this book,
from its original conception to the finished product, and for typesetting the
German version on computer. And I want to thank Dr. Bradford Robinson
for the excellent Enghsh kanslation.
Basel,2oo2

Jesper Bje Christensen

rerally

Editorial Note

corre-

to be immediately
The hanslations of all the sources are so conceived as
odd to many of
seem
may
style
vwiting
eighteenth-century
Since
All the
".."*iUf".
t"a"Vt r"a"rr, *"iu,r. refrained iro* p.*iding literal hanslations.
be
,"*r.r q"rt"d in my book are easily obiainable so that the originals may
ren,""ll, .fr,r,rlt"d. t tn" newly engraved music examples have been

.tents.
e exer-

of the
rapters
I

infro-

modern clefs and follow modern usage in their handling of

u."id""tulr and thoroughbass figures. The words of the French arias have
not been translated; in ih" G"r-n arias, only the htst sta'o,a is reproduced,
sepaalong with an English kanslation. In many cases we have retained the

dered

in

the parts.
rate iote-stemr, ,,lhi"h make it much easier to follow the motion of

rq

ion
.

1,

exam-

gain as
r of the
e

of the

oon as

mother

he first
Avoid
derably

out on
ld prac-

dng-so
ry hope

uriosity
r

it.
editors

ctend to
is book,
;ting the

obinson

'istensen

I
French Figured Bass from Roughly tOO to 1720
Excerpts from Michel de St. Lambert: Nout.,eu Trit de l'Accompgnement du Cloecn (1707)

(All citations from the source are enclosed in quotation marks. All music examples not expressly marked 'J.B.C.'are taken from St. Lambert. In Chapter I,
excerpts from St. Lambert are reproduced on the left-hand pages.)

1. The Triad or Basic Chord

"The placement of notes in a chord is determined by the initial position of
the accompanying [right] hand. Here the rule is that the hand, once placed in
its initial position on the keyboard to play the first chord of an air [piece],
should play all subsequent chords as close to that position as possible. Thus,
the placement of voices will change each new chord, the upper note being
given to the octave, fifth, or third as applicable."
"When playing a figured bass, it is important to observe a few rules for the
movement of the two hands. The hands must always move in contrary motion. In other words, when the bass rises, the accompaniment [in the right
handl must descend, and vice versa. This will prevent any voice from forming consecutive octaves or fifths with the bass, which is strict prohibited."

most important basic rule of figured bass playing. Even when the top voice
repeats the same pitch, it is left to the inner voices to supply the contrary
motion (mm. 2-3). Occasionally one voice will remain on the same pitch
while the other fwo move in conkary motion or even parallel with the bass.
This latter option usually occurs when the bass rises a fourth (as in mm. 2-3
and 4-5 of the example) or descends a fifth.
Skict contrary molion must always be applied when a bass harmonized in
root-position chords (as in the preceding example) proceeds in stepwise
motion within the diatonic scale (mm. 3-4). Otherwise, the result will be
parallel fifths and octaves at once.

0.8.c

f*

-rg--

{{_--+{- {}----

a)

-Tt-

This, to quote St. Lambert, is "shictly prohibited."

As St. Lamberfs own example shows

(see above), the principle

of contrary

mofion cannot always be strictly applied. Nevertheless, it remains the single

10

Note, however, that Si. Lambert expressly speaks of "consecutive octaves or

fifths with the bass." This implies that greater leeway is sometimes granted to
the voice leading in the middle parts of the right hand, as we shall see later.

I
French Figured Bass from Roughly t}OO to 1720
'**o,f'nl:iJffi ':i:"3i#l;"ir':::l:::::tr:,#':L:if '*T;:n(171e)
apter I,

)p volce
rontrary
ne pitch
he bass.

mm.2-3

Adopting Dandrieu's pedagogical approach, we present each exercise twice: 1) Dandrieu's realization, in which the exact placement of the notes in each chord
is indicated in the bass figures (e.g. $ means that the third appears in the top voice, the octave in the middle, and the fifth in the lower voice of the right hand,
each interval being defined exclusiveiy by its relation to the bass); and 1a) an unrealized version with standard baroque thoroughbass figures. In the latter case,
the figures are incomplete and the voice leading is left unindicated. First, however, you should play this version with Dandrieu's inilial realization. Memorize this
realiiattonin order to grasp its inner workings and to "get it in your fingers." Each new chord in the sections that follow is indicated by a lozenge-shaped note
head (r) and an asterisk (") at its first occurrence in the bass figures.

Practicing the Basic Chords

"The basic or root-position chord consists of the third, the fifth, and the octave. It is generally played on the first degree of the scale (1, the tonic) and on the fifth
(V, the dominant). Basic chords are seldom indicated by bass figures. However, as the dominant always requires a major third, we often find one of the following
signs: #, il3, \3.'Sometimes the bass figure may also read s, !, or I .

,nized in
stepwise
:will be

oo

It

wg

I
5

r1

"8

.5

(l

(r.

-t

J
ts

.t

*!J

6
4s

lt
;l

JI

.
x

5
J
B

5
3

s
3

I3

3
I

a'l

l
jt

ctaves or

ranted to
see later.

tt

?t

-e
11

Repeat St. Lambert's realizalion of the following bass line

Now hy the two other oplions of the first chord, placing either the third or
the fifth in the soprano voice.
Remember "to play all adjacent chords as close to each other as possible.
Always check to see whether some of the notes in the previous chord may be
retained in the next one. If so, leave them unchanged." But skike them again,
of course. More on this point can b found on pp. 40-42.
Remember the rule: play chords in conkary molion with the bass wherever possible.

2. The Simple Six-Three Chord (Sixth Chord), or First-lnversion Triad

In conkast to the teachings of modern theory, musicians of the early eighteenth century had no qualms about doubling the octave (in relation to the
bass) of a sixth chord, not even when it was in the soprano. Later we shall see
that other doublings are of course equally possible. The choice of which note

66

L2

666

to double generally depends on the voice leading (see section 5).

Thus, Dandrieu's contention that the simple sixth chord is normally
played only on the third degree of the scale (lll) should be taken with a grain
of salt.

Lhird or

Ia: Repeat of example for practicing basic chords:

,ossible.
may be
n again,

is wher-

IN
E

*.

+
2. PracLtcing the Simple Sixth Chord
"This chord consists of the sixth, the octave, and the third.

It is usually played on the third

degree

of the scale, the so-called mediant (lll). Its figure

is

wrltten:6."
6*

8*

{6

rly eighton to the

:

shall see

hich note
.t

normally

It

th a grain

13

i'
')

Repeat St. Lamberfs liftle example on all possible bass_notes.

l
I

3. The Petit Accord: with 3 and a (the Four-Three Chord)

il
ti

-4- d-t-

l
.

rj

__*H{_}t__

t tt

-:J-t----i!+----.{-

trt

---J--------------l6

#e

I
I

The reason for inkoducing this relafively complex chord so early in the book
is probably that it, too, is indicated by the number . Conhary to modern
theorists, who explain it as a second-inversion dominant ,",r".rih chord, the
petit ccord belonged to the family of sixth chords in the eighteenth
century.

i
I
I
I

li

I
I

1.4

fie

--.t#l-

rTr
r
rr
--F1fr

-+l--

It is important to remember this, for normally the chord (although it is

never written with these figures) is always played when the occurs-on
the
second degree of the scale (ll) and leads to I or III, as in the above
example.
The 3, here played along with a 4, is a dissonance that must be resolved
downward by one step.
$lB: Th9 third quarter-note in bar 3 is, of course, not vl of c but II of G.)
This is the first example in which the bass figure omits a defining note of
the harmony. Dandrieu and such later writers s
Jean-phirippe Rarrieau and
Michel Corrette regarded the 4 as mandatory; st. Lambert s-eH*es lea.,res
it out,

2a:Repeat of example for practicing the simple sixth chord

3. Practicing the

Petite Sixte

"This chord, comprising the sixth, the third, and the fourth, is generally called the pette sixte.lt is usually played on the second degree of the scale when
[the bass]
proceeds downward to the tonic. The sixth is almost invariably major. It is normally left unfigured except in one of two ways: il6 or O." Another alternalive is !.

I
o

+!6,

ts

cugh it is
lrs on the

*-3

*3

6?

6'

*3

(t
TI
l

example.

I(

bt

6*

5
7

rg note of
meau and
nes leaves

, resolved
rt II of G.)

--

11

.t

I4

I
tl

I6
tt

6*
f-)

-1.5

il6

Repeat St. Lamberls realization and learn all

three positions of the petit ccordby heart. Then
practice the example using the other two positions, beginning first with the third in the soprano, then with the fifth.

#o

i
I

4. The Diminished-Fifth Chord

rtl

t-----------l--

S-#

tl

bs

bs

--l--

rr rr

----l--------F-

r
---f---

ilhbr

i
I

In this figure , players are tacitly expected to add a although thts digit does
not specifically occur in the figure. However, the chord is often written correctly as I
in the sources.
", ,Erefers
Modern theory
to this chord as a first-inversion dominant seventh.
The diminished fifth (.8),beingthe 7 in a dominant seventh chord, is a dissonance that must be resolved stepwise downward. In his preface Dandrieu
says: "The 15 beneath the bass note means that the player must not only
shike the diminished fifth, but add the third and sixth as well." In short, the
is mandatory.
St. Lambert mentions one important exception to this rule: "The diminished fifth is combined with the third and the octave (in lieu of the sixth)
whenever the bass line, rather than rising a semitone (as usually happens),
moves either up or down by a larger interval." In other words, when the bass
1.6

tone marked .l does not function as a leading tone to the tonic, the must be
played as notated, namely, as a diminished triad.

r
il

learn all
:art. Then

3a: Repeat of example for practicing the petite sixte:

two posi-

in the so-

-*

T
6

.*

.--_

-----

(,

+
b

6
(l

+
4. Practicing the Diminished-Fifth Chord
"This chord consists of the diminished fifth, the sixth, and the third. It is usually played on the seventh degree
of the scale
proceeds to the tonic (VII-. The dlminished-fifth chord is written in one of tlre iollowing two ways, g obs.,

(t

Zmustbe

*
at

It

*l

It
3

-{-F

(t

.f

the leading tone

provided that

it

at

I
s

xI<)

uso

t)

,f

8"

(t

4
36

s
3

:+

(t

17

Repeat St. Lamberls realization and

hy out the other two positions:

tpt

bs

5. The Sixth Chord

bs

with Permissible Doublings

very poor

Harmonically, this chord is the same as the one described in secbion 2, that
is, a first-inversion kiad. Besides the bass note doublings menlioned in sechon Z, other permissible doublings and their associated problems are discussed below. Although it does not alter the basic harmony, the choice of
doubling has a considerable impact on voice leading, for it may easily produce parallel fifths or octaves. Accordingly, St. Lambert discusses it in great
detail.
1) "When the bass ascends from the

leading tone to the tonic, the third

or the sixth must be doubled."

The position of the hand determines which note to double. This

rule implies that you must never
double a leading tone in the bass.
2) "Never play
i

i
I
I

two consecufive
sixth chords with
doubled voices
unless the doubled notes remain
the same."

'------ea)

= -_{-

a)
t-

ts--g-

--10-

r-r

#-

66

stepwise motion:

I B.C
a

66
good

::::::fr-

a) The same VI-

VII-l progression
can be played

"with a simple or
doubled sixth on
--(t-

66

3) "When the bass ascends in stepwise motion, play a simple sixth chord on
the first bass note and a doubled sixth chord on the second."
This is a very important rule, especially for all VI-MI-I progressions, since

lwo consecutive doubled sixth chords would produce parallel fifths and par18

second example above

6
may easily be corrected
with the aid of this rule,
even when the bass does not proceed in

r r

tLt

poor

d r-r

or
---+-----------

allel octaves at once. The

rule can also be applied
to other bass progressions. The realization referred to as "poor" in the

the first note and a

5 on the second,"
even when the figures read 6-6.

or

lb--,t----a)
I'
r

t rT

l*----------4-

r
--1-

66

This is exactly what happens in mm. 5-7 of Dandrieu's example a). Note also
the parallel fifths in the middle voices of example b). They occur fairly frequently in this form in Dandrieu's next examples. St. Lambert seldom shows
parallel voice leading of this sort, although he permits it in principle.

4a: Repeat of the example for the diminished-fifth chord,

&
',

(l

II

a-l

.l

It

al

b"

bs
y poor

tc

()

--

at

(l

a.rl

I.I
--

ft

5. Practicing the Sixth Chord with Permissible Doublings

"This chord is formed entirely of the sixth and the third. However, depending on the position of the hand, one of the notes may be doubled at the octave. Such
doublings are usually applied to scale degree VII or VI insofar as the bass notes rise or fall, as is illustrated in the following examples. The chord is identified by
the number ."
.,

36

a)

6
4
Dt

ao

It

3
85

)3I

It

(-)

(!

b)

4-

3.

I,'3

Note also

fairly freom shows

ple.

c)

,-

5
3

B
I

i*

n'l

:t

I3

,I..5

(l

I
I

rxl t

(l

19

Dandrieu apparently regards

the { chord in a minor-mode

In bar 3 of example c) Dandrieu, with no previous explanafion, inlroduces

another version or the petite sixte inwhich a 4 is added to the customary 6 and
3 while the bass descends from VI to V in the minor mode. (Modern theo-

VI-V progression as mandatorY.

St. Lambert, in contrast, allows

rists refer to the resultant chord as a second-inversion supertonic seventh, or

II?.) Note that the fourth is augmented. Like the petit ccord we have already
met, this chord is generally identified by the number . It is tacitly assumed
that the thoroughbass player will add an augmented fourth'

players

to

choose between

doubled sixth chord and a

or

C#

--z*-

--l-------|=l-

--t-

tf

Petit

4r!#

ccord:

(See p. 1.46 regarding the

--I+------+l--

*r

tr

hill in

the bass.)

. The Six-Five Chord (Perfect Fifth with Added sixth)

leading tone and is sometimes likewise written I
This chord must not be confused with the chord indicated by !s (see section 4), which occurs only on a

-f--f-i--

l-l

t-

-----t--f6

6
5

6
6

$il6

Note that st. Lambert invariably prepares the six-five chord in a IIIIv-v
progression by preceding it with a simple sixth chotd (with doubled S). In
ihis"pol"t he is in agreement with Dandrieu. Moreover, the 5, which forms a
dissnance with 6, , always prepared by the preceding chord and resolved
downward. The figure b3 is missing in the original igure 3 in bar 2.7t ts,
however, tacitly asiumed in the modulation shown here (to D minor).
In Dandrieu's example c) we encounter three-voice chords for the first
time (see right-hand pge). Sometimes the reduction to three voices results
when the bss note is firly high and the hands are so close together that
there is no room left for a fourth voice.
20

6
5

{>

However, St. Lambert emphasizes that "the omission of a voice does not
actually imply that it is absent, but only that two voices have coincided on
one and the same string [i.e. key1."
Incidentally, the thir and final oplion for playing the petite s_ife is demonskated in bars 1,1,-72-1.3-'14 of Dandrieu's examples a), b), and c). Dandrieu
passes it by without a single word!

In the V-Vl-lV-V progrssion typical of the pette sixte, the { chord- on VI is

clearly an inversion of tl* following I chord on IV. All three examples show
that the petite sixte, indicated simply by the number , can occur in both major
and minor.

5a: Repeat of the example for practicing the doubled sixth chord:

6
tl

-t

II

t\

.&

(l

T
&

,'

(l

fl

. Practicing the Six-Five Chord

en 65.

"This chord is formed of the fifth, the sixth, and the third. It is generally played on the fourth degree of the scale, the subdominanl when followed by the
dominant. The corresponding figure is !. As the third is frequently lowered, the figure may also appear as uu ot uu.'

8"

a)

X6
4

6
3

J*
3

6*

l.3

(,
3

does not

8,

It

b)

6*
.f *
3

5
3

It

,'

.Y, -

t'^(,

be

b.r

b36

6
.+

(t

*3
"8

(,

(t

,f

Yt

*
*

,,

-+
3

Lcided on

c)

ionVlis
>les

show

rth major

a,

It

demonDandrieu
s

4
3

I6
(,

6i

.t *

I
.t
c

.)

t3

-+

*r4

(t

(t

6,
5*

I
5

.5

2'1.

chord. Then play the entire example using the other two positions
Repeat the realization and memorize the three different posilions of the six-five
6

9nG

6,
5fi
{>

book to the first of

Having mastered this section, you can now play a real composition. open the
40'
however, read the introduction on page

the brunettes

(p.

44).

Before proceeding with your realization'

7. The Five-Four SusPension Chord

L--ffi1d

\.'/

rt

-f2t-q---'t-

_----.a

r tt

t-

"ln this chord progression, known as a cadence , a 4 is always playe{ on the

first of the thre bss notes and a 7 on the second... Regardless if the notes
a." figu."d or not, the chords illushated in the above example must be

The only exceplion is to use an I in lieu of the 7 that I generally play

penultimate ci,o.d. The T, however, sounds much better. Always
make sure that the third in the penultimate chord is major"'
Remarkably, only once in th examples that follow does Dandrieu add a
voices- (section
Z in the final cadences, allowing the right hand to play in four
chord for
dominant-seventh
15). Rameau and Corrette toot the fur-voice

ftuy.

""

granted.
(A detailed healment of the 7 can be found in section 10')
22

ab

rr

-ffi

,,

r
-+--

In this example, St. Lambert shows that the five-four suspension chord is not
limited to caences. It also shows that the 4 must be prepared by the preceding chord and resolved stepwise. dornmward. Outside of cadential progrirrio.tr, the resolution may be either a half step or a whole step downward
depending on the context.
ot" tut in Dandrieu's examples, the five-four chord is prepared with a
six-five chord on IV. This sequence of chords is a very common cadential

formula.

a: Repeat of example for the six-five chord

---+-

x
I ilr

I t\ (t

{
(,

ft

-o-

ilization,
b

be

b.r

bc

,'6

-6

6
I

--

*a

-+

7. Prachcing the Fourth Chord

"The chord with the fourth also includes the fifth and the octave. It is a dissonant chord that very frequently occurs on the dominant, but only when it can resolve
to a major third on the same bass note. Its hgure is 4."

I.,

8-

.)

-=-

,'

4*

--+-

(t

-U
rrd is not

e preced-

g
3

-#

rtial prorwnward

,5

<)

-eed with a

cadential

bs-

.t

Io

Bt

8-

4*

-
23

4b

Repeat the realization for the example to the left. Then play the exercise in the

other two positions, beginning at one of the following starting points:

Make sure to prepare

or

and resolve the 4 correctly.

Now you can practice

Brunettes

Nos. 2 and 3 on pages 44 and 47 and

Hotteterre's Cournte on page 59.

8. The Augmented Fourth or Tritone

-r-_flfa)

t
il+

r [l

ln
4

"The tritone (*4) is found in conjunction with 2 and 6 when the next bass
note descends by a half step or a whole step." This chord almost invariably
resolves into a sixth chord.
Modern theory refers to this chord as a third-inversion dominant seventh.
In this case, the 7 of the dominant seventh chord lies in the bass. As shown
in the above example from St. Lambert, it results from two similar bass
progressions: either the bass prepares the dissonance by repealing the note
and resolving the dissonance into a (see the first four bracketed passages),
or it introduces the il4 chord by descending stepwise from an exisling dominant, likewise resolving into a (see the final bracket).
Somewhat confusingly, several different figures exist for this chord: il4,

*,
24

t,

r+, and sometimes merelY 2.

rr

rr rrtr

fi+ -------L

St. Lambert mentions one exception in which the resolution in the bass is not
stepwise and thus requires a different realization: "The hitone is joined by
the octave and sixth when the next bass note descends a fourth and supports
a root-posilion triad occurring on the first beat of the bar."

&rtffia

rrr |rI
l+

tr

+-

ill+

In Dandrieu's examples to the righl note once again the petit ccord found in
bar 3 and just before the cadence.

se

in the

7a: Repeat of example for practicing the fourth chord

rts:

47 and

-{-

-+b

-6

()

<)

-8. Practicing the Chord with the Tritone

"ln this chord, the kitone is combined with the sixth and the second. It is generally played on the fourth or subdominant degree of the scale (lV) when followed
by the mediant (lll). Its figure may read il4 or 4." Another alternative is h4.
a

uz

tg

8"

+
3

(,

(t

not
rined by

4-

ss is

supports

o_

4-

.t

-L

rf

(t

(,

at

8"

I
I

8-

*3

,'

(,

,ta

4-

bs

found in

bs

I
I

L.

(l

(l

at

25

Having practiced St. Lambert's example, ky out the two other positions as before, using the unrealized bass given below.

l+

f+

l+

Itr

4,

Once you have mastered this section, you should carefully study Brunetts Nos. 4 and 5.

9. The Second Chord

The complete figure for the second chord is f. fnit may seem confusing in
view of the preceding sections. However, the-crucial difference between the
figures is that in this case the 4 is not augmented. The second chord also
o.utt in the form of a more or less incomplete figure, i-e-, t, l, or simply 2.
These chords can be distinguished only from the perspective of the bass.
Normally, as both Dandrieu and St. Lambert demonshate, the second chord
is played in a IJ-VII(I) progression.
Dandrieu maintains that the 2 is played along with 4 and 6' In conkasl
the rules in St. Lambert (and in Delair and Boyvin as well) are more elaborate:

1) "The second is doubled and coupled.with the fifth whenever the next
bass note descends a half step and has a or no figure at all. The fifth may
also be doubled in lieu of the second",

or
4

-*---t1-

a
--t+

r r

___+____---+-

26

26

r
-+-

2) "The second is joined by the fourth and the fifth whenever the next note
descends a half step and has the figure !5":

-t-

1-*a)

t-

4--.<-

rlrt

2b6

t-t-

fr--T =t-

il

t-

.a-

--#
----l-

--l.--t-

---.{.-_-.t-

zbe

2b5

--f--

8a: Repeat of the example for practicing the chord with the kitone:

xd

a,

9_

4-

X+

6
a

I'

tt

e,

,)

*a

6
I

b5

be

6
.f

(t

aa

rext note

ba

(t

9. Practicing the Second Chord

"The second chord is composed of the second, the fourth, and the sixth. This dissonant chord is quite frequently played on the tonic whenever this note is
prepared and resolved as shown in the following examples. It is given the hgure 2.'

5
4

(l

'I

-l

a,

(l

I'

lr

I4

be
4

,*

It6

(t

I4

5
(l

N\(t

.:t

(t

(t

b+

2*

,'

,4

5t

!
4

II

,
L

-+

(l

74,

()

tl

{t

+
27

Next, practice the other forms of the chord and their

.o..".i resolutions, l.e. f or . goth resolve onto the '
You are now ready to fearn Brunete No. and Hotteterre's

zbs

zbs

zbt

First, repeat the realization for the example to the

right. As always, practice the other posilions as well'

Gtotte enRondeu.

10. The Seventh Chord

ii

The seventh occurs in one of two ways:

either it is added to an existing chord as a

ll

passing note, as very often happens on the

dominant in a cadence (section 7):

"lt is better to play the third and the fifth

with the seventh rather than the third and

the octave. The 3 and 8 should only be

played when otherwise

a)

unavoidable."

As for example:

I
I

lt

or it may occur as a suspension prepared

in the preceding chord and resolved

"Nevertheless, a third and fifth may also

be played with the seventh as follows,"

stepwise dornmward,

e----a-

Tf-tna)

t-

?
##

--1
--'-"+

-]+-+-

--tr -+-l'
t-

-+F--------+r-

+
-+-

rr r

--t---------+ -+:---+
7

Although composers were not always particular in vwiting out the figures,
the
- dissonant 7 must always be resolved. This can be seen in the above
example, where the 6 is regularly omitted following the 7.
Like Dandrieu, St. Lambert gives two ways of constructing the seventh
chord: 7 wlth t, and z with !. He explains:

4t-

-6--

"r

"This possibilily does not, however,

skictly satisfy the rules of composilion,
whereby the 7 must always be prepared in
one and the same voice. Granted, it becomes permissible when explained as an

example of voice crossing (voice exchange), but it should be used sparingly.

"Wh; the bass line ascends in stepwise motion, it sometimes becomes necessary to double the third so as to avoid parallel fifths:"

+-

-z1F-1F-

--4rr---1-

r r

rt

_l-

4-------4>*-

_4F-

76

-F1--41-

4
-l+

7b6

In Dandrieu's example on the right-hand page, you should carefully study the consecutive seventh chords alternating between and !- This chord progression
(p. 110).
is very common. To add a fifth to each oi these chords, you will have to expand the realization to five voices. See Telemann No. 10
28

9a: Repeat of example for practicing the second chord

:f

G.)

'l

bo
2

x (l

<,

--

6
.f

'tl

.6

4
'l

tt

-
b+

bs

'!

.fl

4-

410. Practicing the Seventh Chord

"The dissonant seventh chord is formed in either of two ways: the seventh is combined either with the third and the fifth, or with the third and the octave (the
so-called petite stme). The examples below illuskate the various forms and their application. They are identified with the hgureT.'
3

I
5

3a*

(t

7*.
J
3

4
2

&
3

.t

.t

.6

,3

-.

It
3

a*

3
.,*

,r

.)
3

a*

*3

s3

I
.f

JI

rmes nec-

I6

*.a

3r
2

.f

I,.1

<e

r
3

42

t
I

:ogressron

'l

rt

<)
ft

.t

.t

29

an, Gigue

bY Hotteterre'

Ninth

11. The Suspended

"Themajorninthiscombinedwiththefifthandthethird'theminorninth
observed'l It
;t th;t""*th and th" tttit"' lThis distinction is not always
is major or
ir-"oi.i.", from the bass figure alone whether the ninthNBI
nir ..itit" must be left t the thoroughbass player'"

b)

a)

minor.

el

I5

l
T_-l-

__---4r-,_e

TT
r7t

---

TI

are
t-

I5

being a dissonance' must

Like the other suspensions dealt with above' the 9'
stepwise downward'
and.resolved
p."..i.,g chord
- - p";" by the
voice exchange in section
of
technique
the
i.u*U"riul."ady b.orrglt up
example' His examples.
Dandrieu's
in
10. Let's now examine it mo"re clls"ly
out the three brief
written
have
I
that
are at once so importaJu" r".p.iui"g
to,acquire a
reader
the
help
to
as
to
ourrun., dealine with voice "*tl'u'tg"
bracketed
are
question
in
bars
rhe
it'i' t".n"tiue.

ti

<>

-I-

=F------1-

in andrieu', ."u..,pI"t on the right-hand page'

---<r-

-!

Iit

""#;"d;;;;;ffi;

8
5
b3

EL-

t-

;;

b3

.)

c)

.......].-ll
rt
t

-ffi

T:i*-

lI

Tl

a-

3
5

30

Repeat St. Lambert's realization' Pay close attention

leading when you practice it in the other
i. i"
"i..
two
- posifions, as idcan be quite.kicky'
..
t* pf"V BrunetteNo' 7 and the Petit Air' Srbnde'

b
3

btt

the resolution of
Note that the voice exchange occurs simultaneously with

thedissonance.Inexamples"b)andc),afifthvoicehasbeenaddedsoasto

iii

t;i"

corItigl-t". register. The dissonances have been resolved

"
rect in all three examPles.
that the voice leading
Remember, as St. i..,bert already pointed out'
applied'
seldom
be
should
d"r.rlb"d here, although permissible,

10a: Repeat of example for practicing the seventh chord

(t

11

T'

at

tl

^f

T
6

()

+
7

T'I

()

4
(,I

'

il
rl

11. Practicing the

Ninth Chord

,,The
5

dissonant ninth chord consists of the ninth, the third, and the fifth. The only rule we can state is that this chord should be used as shown in the following
examples whenever the same circumstances apply. It is indicated with a 9."

*6

't

a,

9Jt

3.

3
T'

o*
(s

.
J

3"

(l

at
tl

(l

(t.

(l

at

.,

E
5

()

;t

o:a

T'

(t

,1

xxf,

lution of

lsoasto

t.

I3
I

9rt
.,

lved cor'
leading

il

(t

4-

-e31

Having repeated St. Lambert's example, you should play it in the other positions. Practice the use of voice exchange and the addition of a fifth voice in
order to change register in the cases Dandrieu mentions.

72. The Fourth as a Consonance,

Surprisingly, neither Dandrieu nor St. Lambert discusses the six-four chord
in its most common form, namely, as a substitute for the suspended fourth
chord in a cadence (i.e. as a cadential second-inversion hiad).
St. Lambert even uses it this way in one of his examples without so much
as mentioning it:

or the Six-Four Chord

In the absence of examples from St. Lambert and Dandrieu, I have written
some examples of my own to illustrate the two basic patterns for inkoducing
six-four chords in cadences. The six-four chord should either be prepared
beforehand (like the five-four suspension) or reached by stepwise motion. In
both cases it must resolve dor,rmwards:

]BC
.t(tl--a)

l-

,L-

2 +L7

rr

rffi6#

-1--

t-

t-

-J<-

.+-

413

Here the player might just as easily have played a suspended fourth chord,
which is likewise often indicated with a 4. Note the five-voice final chord,
which St. Lambert occasionally uses after a dominant seventh.

il

Occasionally we find the figure ft on a passing note between VI and IV. In

most cases, either a middle voice or the top voice must proceed in conkary
motion:

],8 C

ffi

Qr

f Lrr f r r rr

-----+--1.-.-+r-

rr

-{-----------
6

JA

,*l

6
5

:her posir

11a: Repeat of example for praclicing the ninth chord

voice in

2
t
T

()

al

'8

bo

H--

43

T'

(-,

tl

I
b

b+

9
()

xxf.|

(l

I'

,e wriften

roducing
prepared

b+

bs

b+

rotion. In

-e

-+

+
4-

12. Practtcing the Chord with the Consonant Fourth

"This chord consists of the fourth, the sixth, and the octave. It is frequently used on the tonic and the dominant in the manner
shown in the example. The chord

with the consonant fourth is identified with the hgure f."

*
*

4
2

a-l

6
T'

.'..._

:nd IV. In
r

+-

----

conhary

tr

T
*

I,
3

ft'
It

-+
f

t*

()

at

_3i

Repeat the example to the

righl

once again in all posilions.

Having finished this section, you can now study Brunettes Nos. 8, 9, and to,
where you will encounter everything you have learned to this point.

13. The Nine-Seven Suspension and the

Dandrieu describes the complete nine-seven chord with both 3 and

5,

thereby producing a five-voice chord. St. Lambert, in contrast, retains a fourvoice texture in his examples, dispensing with the fifth but retaining the

Chord

-4H+-

tr rr

-J.------lt41--_-t1-

r r

a)

third:

--I-----+-

---1-

--{-------f------

-+-

--1*--------:l-

t{*#

t
------

tr

-tat-r4-

-z*

li-+

_H.{-

4--I-1*-

-----Et---{------t----

--+---t--

98
76

rr

--)*------+1#

---l--'------'--

r
-+-

more convenient and at times even more pleasing to the ear." NBl Nevertheless, his realizah.on is a rare interpretation of the 7 figure' It gives us an
inkling of the harmonic colors that thoroughbass players were allowed to
add to a predefined figure by applying their skill and personal taste.
34

4{-

Note the strong similarity between this example and the first example in
Dandrieu on the right-hand page (mm. 7 ff.). What we have here is in fact
two authenfic realizations of the same bass notes and the same figures, one
in four voices and the other in five!
St. Lambert continues: "lnstead of adding a third to the T it is permissible
to repeat the entire preceding chord on the bass note marked with i. This is

98
78

98
7E

chord is often simply indicated with a 2. Take care not to confuse it

with a "normal" 7, which must be prepared and resolved stepwise downward. Not only is the [Tunprepared, it must resolve upward on the same bass
note. In other words, it is a passing dominant-seventh chord above a pedal
poin! a progression that occurs very frequent in recitatives:

The!

+t>+a)

t-

t-

24

4ils$

Iru

--

Note the unprepared five-four chord in the cadence. Normally this would be
considered a mistake. The correct solution would be a six-four chord, as in
the above example.

12a: Repeat of example for practicing the chord with consonant fourth

6
4

+
&

d\

_T
6

tt

4
t

.,

-,

tl

(-l

13. Practicing the Nine-Seven Chord

"The chord with the seventh and the ninth consists of these two notes together with the third and the fifth. In order to use it correctly, pay attention to the
circumstances under which it arises in the examples below. The nine-seven chord is identified with the hgure1z."

cnfuse

it

a)

+f a-3l"t

I6

.t

4-

e down-

b)

b6

{-

*
*

5'
3
I

.t
j

4-

(t

rme bass
: a pedal

I'

?r

{3

5
3

-+

Dandrieu describes the "superfluous" seventh as follows, "This chord is composed of the seventh, the second, the fourth, and the fifth. It is usually played above
a tonic in the manner shown in the examples below. Its figure is f7." (*See the next secfion regarding the il5.)

I,

9s
3
I

ould be
>rd, as in

It
3

*3

()

(t

(t

(l

(l

(t

i5

986
i64

98
76

989898
77676

Once you have repe-ated St. Lamber(s realizahons, carefully practice the
other positions. The 7 - 3 progt"ssion illushates better than any other the
.,".d to choose the right posifin at the beginning of a phrase. Since the ?
must always be resolved downward, it will inevitably collide with the bass if
you place the first chord too low on the keyboard, leaving no room for the
chord of resolution. Once again, the voice-exchange technique can be applied to resolve the 7 in a higher position (see seclion 11).
Try out Dandrieu's five-vic" realizatton of theT chord in example 2, if

,,...rru.y

saving the fifth voice for the

resolution.

14. The Augmented-Fifth Chord

We have already encountered this chord in the preceding section (see
Dandrieu, Ex.b, p.35). Basically, it is idenlical to the nine-seven chord. We
discuss it again here as it is often identified solely by the figure $5:
a

a)

rnr

5[6

4+a)

-------**---{----

t-

36

il

'l

---?

--ts--l----#
6

5il6

il

" s

"The augmented fifth is combined with the 7 and 9, both of which occur as
major intervals."
Note that St. Lambert, unlike Dandrieu, does not expressly call for the 3.
Nor is it always necessary to prepare the fl5 as shown in bracket a. It can also
be inkoduced with a stepwise motion, as in bracket b.
Since the fi5 assumes the funclion of a leading tone, it should resolve
upwards when played in the top voice, as shown in Dandrieu's example at
the bottom of page 35.

:tice the
rther the
rce the ?

if

Le

bass

for the

13a: Repeat of example for pracficing the nine-seven chord

+
ff

z?

I
.+

-+

I7

--+- 4

-{-

al

at

n be ap-

ple 2, if

bc

ba

*.r

()

1'

a,

occur

a5

(l

rl

.&

9,

at

I'

TI

{(

the 3.

can also

()

I
or

I6

(l

Repeat of example for pracficing the chord with the "superfluous" seventh

*z

resolve
:ample at

*6
I'

(,

6
I

I'

TI

74. Prachcing the Augmented-pifth Chord

"The augmented fifth is combined with the seventh, the ninth, and the third. Occasionally the seventh or the ninth may be omitted, depending on the position
of the hand. The augmented-fifth chord is normally used on the third degree of the scale (lll) in the minor mode. Its figure is 15."

*)

,'
t

(q

at
1'

*) See
the next seclion regarding the

3/

43[

il

fl

Having practiced the various positions, try adding the 3 to the $s chords either by playing a five-voice texture or by leaving out the 7 or, more rarely, the

9.

15. The Diminished-Seventh Chord

"ln this chord, the diminished seventh is combined with the minor third and
the diminished fifth. Taken by itself, the figure does not say whether the
seventh is minor or diminished. This decision is left to the thoroughbass
player."
b)

a)

Ht#

E,---------4*-

al

a)

St. Lambert only lreats the root position of the diminished-seventh chord,
probably because it is by far the most common. Dandrieu, on the other
hand, takes great pains to explain the three inversions. The following overview may be useful for the sake of clarity. The diminished seventh chord
consists of three minor thirds stacked above a leading tone in the bass:

----*---------:9-

r
------

It generally occurs in minor keys. The leading tone is useful in identifying

the key, for by definition it represents the seventh degree of the scale. The
inversions on scale degrees II, IV, and VI are thus formed as follows:

.--l-

b7b

47b

zb

1st inversion

a)

t-

t-

fe
tDJ

2nd inversion

il 4
b

3rd inversion

$z

bz

D minor

f
The above example clearly illushates this point: a) is a diminished seventh
taken from the diatonic scale, while b) is a lowered seventh, i.e., it only
becomes diminished through the addition of a flat sign.
38

IIIIVVIVII
Occasionally the diminished seventh chord will occur on an interpolated
leading tone. Although this may change the harmonic context, it does not
alter the nature of the chord.

14a: Repeat of example for practicing the augmented-fifth chord

4r

-.-F

-o-

,the9

15. Practicing the Chord with the Diminished Fifth and the Added Major Sixth
,'This chord consists of the major sixth, the third, and the diminished fifth. Its hgure isif ."

,f

h chord,
he other

...._ +-

I
---e-

ng over-

th chord
)a95:

Chord with hitone and minor third: "This chord consists of the tritone, the sixth, and the minor third. Its figure is

s3
I

bs-

.t

4-

----

[a."

--

+- +

4-

entifying
cale. The
VS:

Chord with the augmented second: "The augmented second is combined with the hitone and the sixth. This chord is indicated by the hgrre il2."

(1

-e

46

+ -+

tJ

h3

6s

-+-

(t

-o-

Chord with the diminished seventh: "ln this chord, the minor third and the diminished fifth mustbe added. ltsftgtreisbT."

B^

erpolated
does not

(t

bs

x4

*()

-+

bs

-4* --

+-

A ?6

-f

(l

(l

*3

v39

Praclice all three posilions

6

47b

Now learn BrunettesNos. 11, 1-.2, and13 as well

in sections 1,3 to'L5

b7b

7b

as Hotteterre's Allemnde "L Cscde de St, Cloud." They provide a useful summary of all the difficulties encountered

1. Some Basic Remarks on Realizing French Basso Continuo

l

Before you set out to realize figured basses in actual pieces of music, it is
essential to take note of a few basic questions that we have not yet discussed,
I

ji

i'
l

l
I
I

I
I

I
!

l
I

I
I
il
li

ti

i
i

How high can I play the chords?

According the St. Lambert, "the upper voice of the chordal accompaniment
must never go beyond e" or l' except when the bass moves into the alto
register, in which case all the notes become very high." Indeed, e" is the
normal upper limit. Usually, however, chords in the French slyle of continuo
playing are played shghtly lower, if we can believe the many sample tealizafions not only in St. Lambert and Dandrieu but in d'Anglebert Delair, and
Boyvin. The ambitus seldom goes above c" or d". The lower limit normally
Iies around d', with c' and b represenling exceptional cases.
Does the solo part influence the position of the chords?

course of the melody.

If some high notes in the bass happen to coincide with a low passage of
the melody, reduce the number of voices in the chords to three. However, as
we have already seen in Dandrieu's examples (sections and s), you should
never play more than three or four such chords in a row.

No French source provides confirmation of the commonly held modern

When and how often should chords be repeated?

view that the chordal accompaniment must always lie beneath the solo part.
Indeed, it is nowhere stated that the position of the chords stands in any
relation at all to the solo part. Nor is there any warning against occasionally
doubling a note in the solo part. The position of the chords is always keated
exclusively in relation to the bass. The important thing is to find the best
voice leading and "to connect the harmonies in the best possible manner, this
being the sine qu non of perfect thoroughbass playing" (Dandrieu).
As we already mentioned in section 1, once you have chosen the initial
position at the beginning of a phrase, the other chords should follow automatically from the natural course of the voice leading. One of the player's
most important tasks is, therefore, to "anticipate" the course of the bass line
at the beginning of a phrase in order to determine whether it will be unusu-

I
I

40
I

ally high or unusually low (although the latter possibility has little effect on
the realization). This will help the player to find the right position from the
very outset.
Somelimes, of course, players will have a certain amount of leeway to
make their decisions. In such cases, pay attention to the tessitura of the solo
part: if the top voice is generally high, play the chords in a somewhat higher
register (but not beyond the permissible limit); if it is generally low, play
them in a lower register. This does not imply that you must slavishly play
beneath the melody. Rather, this practice will help you roughly to follow the

The best way to answer this question is to point out the differences between
the organ and the harpsichord as a thoroughbass instrument: "On the organ,
all dissonances must be tied by leaving the finger down lon the keyl. On the
harpsichord, in conhast, everything is clearly articulated" (Boyvin). On the
harpsichord, in other words, not only the dissonances but all other notes
between the chords must be skuck again. St. Lambert agrees: "On the organ,
one does not repeat the chords, nor does one play arpeggios. Instead, the
lchords] are connected very closely by allowing the hands to glide smoothly
from one to the next."
Quite apart from this extremely important rule for playing on different
keyboard instruments a rule that has a decisive effect on the rhythmic

15a: Repeat of examples for chords

with major sixth and diminished fifth'

l\( I

'untered

with hitone and minor third:

b

:ffect on
iom the

*t

x4

at

1'

bc

*7

I
.t

eway to
the solo
rt higher

rw, play
hly play

with augmented second:

4 +

rllow the
Lssage

of

{(

fiz

L
v

6
4

TI

*
&)l

vever, a5

T'

,*

u should

with diminished seventh:

between
re organ,
l. On the

. On the
rer notes
e organ/
tead, the

X-

x4
at

6
4

\z

7
ft

tt

I'

(t

(,

II

*
I
I

rmoothly
different
rhythmic
41

drive" and the general sonority of the continuo - the problem of note repetilion should also be viewed from the standpoint of harmony. Here the
question is: Which notes in the bass have to be harmonized, and which,
"

depending on the tempo, meter, bass progressions, and bass figures, can be

skipped? The discussion of this point

summed up in the following rules'

in Delair and St. Lambert can be

In a quick lriple meter, it even suffices to play one chord per bar, again
assuming that the bass line is stepwise:

ffi
a)

Whenever the bass proceeds in stepwise motion, it suffices to harmonize

the notes that fall on the main beats of the bar and to heat the notes between
them as passing notes. If the unaccenluated notes have bass figures, they
should be harmonized in the usual way, even if the bass should suddenly
proceed in larger intervals instead of stepwise (St. Lambert):

a)
t-

r
--?-I-----*-

-4--#

-+t--+-l{-

--t---

---r**-

tt

t-

t-

-1-

H1a)

-i-

-4?-

ta

--

(ln St. Lambert's example, note that the two hands proceed in strictly contrary mofion. This helps to prevent parallel octaves or fifths from occurring.
The top voice of the chords is taken to its upper limil f". In this case, there is
no other alternative unless you start with three voices.)
It also suffices to play one chord per bar in fast triple meter when the bass
intervals move inside the harmony (Delair):

ffi.

-4--

-+-

a)

-#.

-zriY

t-

+'
-*----1-------

42

-+--+------{------

rr/ agaln

Normally, only the first and third beats of a kiple-meter bar

are realized
a)

.)

t,r

-4t:-

r*:1.

_+_--=J-

ctly conccurrinS.
:, there is
L

the bass

--+++-

t
t:

--=---+-

------|---

r
t.

----+.----

-+'F-

In this example Delair, like Dandrieu, occasionally uses five-voice chords

and even one with only three voices. The latter obviously results from two
voices coinciding on a single pitch due to the relatively high bass.
In the last two examples, the chords marked with an asterisk (*) are not
shuck again with each change of harmony in the bass. Delair offers the
following explanation: "ln pieces in a quick tempo, it is sufficient, for those
lbassl notes falling on the latter half of a downbeat, to skike only those
pitches not found in the harmony occurring on the downbeat, thus retaining
every note in the previous chord that fits the new harmony."
As only Delair describes this practice, we can make no pronouncements
as to its universal validity.
By the same token, it should be expressly emphasized that eighteenthcenlury thoroughbass players never lied notes over the bar line from an
upbeat to a downbeat.
Finally, it must be slressed that this technique of reducing the number of
chords is closely related to the piece's meter. For example, if the first example
were in slow common lime rather than cut time, every guarter-note, and
indeed several of the eighths (in the VI-VII-I bass progression), would probably have been realized:
].B.C

This example, of course, merely illuskates one of several ways of harmonizing this bass. The harmonies may be deduced either from the bass figures or,
in the absence of such figures, from the relafion between the solo and bass
parts.

That said, most French composers roughly between 1,690 and the end of
the Age of Thoroughbass were fairly fastidious about figuring their basses.
Like Dandrieu in the following brunettes, they even used a horizontal dash
(-) to indicate the exact duralion of a harmony, thereby rendering superfluous the quesLion of how long to harmonize unaccented bass notes. Accord-

ing to Dandrieu, the dash also meant that the right hand must hold the
chord without repeating it. His remark should, however, only be regarded as
a rule of thumb. Sometimes the voice leading makes it unavoidable to
change the position of a chord, e.g., to avoid parallel octaves or fifths or a
poor harmonic progression.

Due to their common subject matter, the following pieces should

be

practiced after the seclions indicated:

Brunette(s)

No.
a)

t-

+++-

---J1-

r t[
t'

r
66

LJ

Nos. 2-3 and Hotteterre: Cournte

Nos. 4-5
No. and Hotteterre: Gootte
No. 7 and Hotteterre: Petit Air, Srbnde, Gigue
Nos. 8-10
Hotteterre: Prlude
Nos. 11-13 and Hotteterre: Allemnde ,,L Cscde de St. Cloud"

after sec.
after sec.7
after sec. 8
after sec. 9
after sec. 10
after sec.-12
after sec. 13
after sec. 15
43

J. F.

brunettes fuom Principes de I'Accompgnement du Clttecin (1719)

Dandrieu: Thirteen

x
L

f)

-l

-l

ll

l)

Twct et C/t:ri hlt.rentent c/za q u e 'o u r' e /euL tto up eaur,E t to

6I

a
I

t/ o

tu:r Crandtttent

A /bn4u e cu'!,rcru.t'
6.-

I
I at

-p-+

6x
I

/"gr- ,J[onTircts nb.rt po int lcA cr. Ah't q ue ''aune rna Brye-re

l4a Clor

.a

hinte nt,':t ugct'.

Ah.lt7ue

6-

*
.l

,.

6-

x
l\l

-)

T (ut tre lour u-tle

.lJer

1frc l\,nt1c

ltcr..ltturc

L"

4-

-#

I'

-l

/o' ,

l4c
)

-ott

rr

fru gclz'Tira^

|a-

-t6

I
I

/c

/t'Au??,e (/e

tol

Jc nc

Jc're

ltoint

/e

'it C .TC , Ah:

tt(

/a

,|.:

7
st-

44

ri.r t'a.r'ot(/'
a

*d-

6-

tttcr
t,

43

'-

The following realizations were all provided by the author (J.B.C.). They make use of the typical chord positions and voice leading found in Dandrieu's
examples.
.f

a)

rr

rr rrr

-f----'T---6

rr

---T---f-- -r------T--d-

r rr rrr r
b)

a)

rr r

Yr

*)

rr

C-

66

FFFI

6
5

FI-FI

rr r
'+

f4

---{------)--

a)

l-----F

C-

------_

rr trrr rr
-----Fl----|,l--

6-

-J-*

----1#l-

_]_

6
5

a)

-ffi

1--.-1-+
+

-----F-----

--l---+l-t--

6-

a)

a)

a)

6h6

r^6

a) Petite sixte

b) The addition of a 5 above ihe leading tone in the bass results quite nalurally, being prepared by the preceding chord. It goes without saying that instead of
the 5 you can also play a sxte double (doubled sixth) by substiluting d' for f.
*) Another alternative using the lowest possible register:
,.)

+-

r 4f

rr
l--Ft

r rr

-+F-

ffi
665

6_

6
h6

A-

**) Here, for once, the sixth chord on the supertonic (ll) is not heated
as a petite sirte. Otherwise the tenor would have to play a c', which would make the b'
in the top voice seem harsh and unprepared.
45

b)

a)

rr

f r

a)

4
4

r fI

-d1L-i

t-

-#1

---t-

-l--

65

,8

c)

a)

t-t

f-

r-

rlr

d)

a)

rf?+* - r
I

r/r'r

---+--------+i-+--

6-

f6-

a) Petite sixte
b) Always add a 6 to the 5 on VII.
c) You could also play a petite sixte here

d) Here the three-voice texlure is a consequence of the very high bass

46

-1-

flo

a)

6-

6-

---J+

(
---i--

43

z-:*-

-*e----'r

ct

'Itr/'lci LcJ Jon.f

y'rei -

/?A

ttc Pr.r c t,ctt t'ot?t y''a

re - uJ - J
6

+
a)

Af;r-

t4ai ,ri 1'e /,et

{c

tem

ne

-nc

Nc /c terez uor' pal

*r-

aJ -J

.a

b)

b)

a)

Petite

sixte

b) Add a to the 5 on a leading tone.

l+

eL

c/armante lrrunePour qui/e nlelt,Jt 'e uou^ritnVo-fu'n

r(--

conzule
3

6-

*
x

;futte a ert
4

De nze largtu.eurc, Ia

A tour

1z creur

La,-rftutc e/'t et-

6.&

cotnn

A tot [e

c&Lrc

(A realization of thls example can be found on the next page.)

47

0.8.c.)
a)

?'+

*ti*-

-----!-------._-

-{--------+-------

---*'-

t-

t
e?

_-----.---------

6-

b)

10

-4----------4-

----,1----------

L--sJ

--#-------------

IV

I r[

t
--#

-t_________-+-

4s_6

'-+--

66

6
5

6
5

a) Here you have to change posilion in order to avoid parallel octaves between
the bass and soprano (c$-d).
A
b) See sec. of Dandrieu regarding the i chord to be played before aIV g.

c) Alternatively: (see St. Lamberl sec.5,4)

or with the parallel fifths typical of Dandrieu

Continue playing in this register

kffi
a)

r:
+-----r-

48

--#-

5.

r(

.J

Dan

/^e

frn2

ce

-l

ca.

1" , nrcb et Clo-ru

a)

b)

u.tL

3e

,/o"

P"rb bnt
6

a)

3e

*6-

b)

a)

}ht//' a-n?DLY, 0
6

-7re kngage-

te

Dlct

.v

c)

a)

a) Remember to add the .

b)

Petite sixte

6
4

c) Petite sxte onthe

VI-V progression in minor' {

; between
x

alY

9.

6.

..v,n

elt
t\

i '/t,t tlt
2-&

t-

0nt

x
I

t t t t :\; t'i tr t tt i 'c

6 ---

(,
r

/' tounnenl, A/t!1ut,,

.t

6
J

tai.r ut inmnt ! lbut et p[alt mnrc

*
x
6
*_f&

1,tr.fr

(,

\_

e.

I I,

imt-/( ttrna ttn

*6

t'

an?ant/-lWot rr Jur.r

+?
.,1

-1r

*a

49

(t

7.

-I.toi ,zt-nt'

nc. /eun-e a'.,e-r'e,t[at ,\

6

tJ

.a- -d-:-lrl'cJent.ntjtt a - mour /ut t/rt it.

i .-

,1

.4h.'7tt'c//e at

1,

,'/1,

c'tc

inJ -?i la

Q t 'c.11c

6,*

nic ,/ait [irttte it

6

--|-

t/f{Z'

'; '/t(

'r11t

ct.

8.

Danno oi .fl-t,tuzrc b - u'ic,I),tt"'nrr-r lroir' il rat t ,rn/

.iu; .fictutznt,tl
.--6
66
6
6

?iurt7c.rxu,r" r1trc /,i4',

tr

7
x

?--z;=

ntourHe-/a./ /ze-hrl'L'rtuascrrc/a t'i.a,.ficctttrtrturl?,1yerrt,.t'rttcl)4nnurt{e/a! /tc/at)tnrtt., r1)1

6

50

*e

.e-

- --

.6

7,
J

-r--?- +

Ia

er-ge -re tTttt nlc,4gqge,

Et etz - i - /rla a

u"

. Da

b)

a)

?
X

I
Ell,:

ce

2,t.=
{ra-\

tEt
x

-h

{rgte,

cc)

l',:

rlrit tat lctt! /r'r' t,cvtt. rt/! i mon c,ut' n'etc,t

d)

e)

*'

z,o

.&

Lt-,7c,

[l

+*

e -roit tn mn//zanrat,r
43
6

46

e)

Compare the exercises in Dandrieu:

a) Simple sixth chord on III before IV (secs. z and 6)
b) Petite sixte '0, on VI before IVf (sec. )
c) Doubled-sixth chord on VI before VII5 (sec. 5)
d) Doubled-sixth chord on III before II (sec. 5)
e) Petite sxte on II before I (sec. 3)

57

10.
L'rznrcr

tt rne
a)

y''re're

Catta

nta lattgtmu',

"e nte

/-) /tirt

cn

cee I)e
-*

z,o

-tre

/'l

#
..-.H.
6-

b)l

(/o ttctu'la el/e

ma'lree Ruu)ez tnnL

ctLr.

t/L('tz
I'

a)

6-

a) See sec. 5 regarding voice

Sarabande de Mr. LullY

T

D Er/r a E gfrrs Ee/n"r

6

)uo

i
l

ffi
d

leading.

b)

!2,

91,

by St. Lambert)

f,
-l

u nLer eil, Ce/le que 'c raLatqtuitzto c/tah.rl/tfircez u fuq:ru La {or c'u ,
;-

nre'z Jer /tcruoul,{ez mtan.

cl/e.Et nz ,reparez pa.Dcu, ,"turg-3e/1ar.0u ront'cz tu lcn.r,Ou lrrucz [u n|at.r.miens0u
-1
6
6
t

See sec. 10 regarding voice leading (final ex.

*-

11.

6
'I

52

--l-

t2

-4

Pour utz et^y' aa', ?oti-te

*
I

, .Ic

t re.n2 rc

/e .ro tn

A eg ar?

er zo mnu.ton. toru. AouVourz a/er

-t-

I\

t'
a

II
I

tt

/o rt

u"'u

t,

t.t^l

lt

I Ll

ll
I.

a.

-l

9ere, Chantcr

u oj,,,

atnm^b

/e c/tao
I

A/t./ i ce

n..

/c.ro

-'F

inEt ar cl' t,oJ t t o to tt.c.

)
6

*4

- -a

t)

13.

tl

Jat Py* 'eua: lirurL' JznLJ uoJ z,otl'Pu a"urJ /t'otl nc ts - ;

6*o-

-[c a^ou nutrt c

ere.t',o

i' 1itt t c

'

---ix

l-l

--o-

a .a

lnry uz a^lr'en-ce . Hc/rulBrtt'tzc - te ltLCJ alfttttttt,Ne

66

4_+I

't,trtu t,oit' tot /tr /()u./:r. /ott/t,

6+*

--53

17. Selected French Compositions as Practical Examples of Thoroughbass Realizahon

Hotteterre's Table of Embellishments (for the execution of ornaments in the solo part):

Coulement

Port de voix
double

Accent

Figures des
agrments

Dmonstra-

tion

Demie Cadence Tour de

apulee

gosier Double Cadence

Double Cadence
coupe

<\9

Battement
I

Tour de chant
+

54

Port de voix
Y

(paris, 1"71-5). One very useful exercise is to transpose them upward by a minor third. Hotteterre suggests precisely this transposition for performances with
recorder.

Petit air tendre

+
a)

tutl

il6

IJ

a)

+J

)
ho I

--

.ffi

l)7

---+1---lfr+6

----i-i

[u)]7

Delair:
a) In cadences, sometimes only the 3 of the unaccented IV? is played, the 7 and 5 being tied over
from the preceding chord. Delair shows how this is done. Note that his example even omits the 7
in the bass figure.

-.e)--

43

55

From Suite No. 2:

Gootte en Rondeu "L Millebos"

+\t

l-'l

a)

iJ

-*t
q

2l

66

lJfv-

l-l-l-l
66
12

4g

il-

il6

rlJ

c.til

l+-4
t

il

3p6fi6

2l

54f,

18

r{

I
I

d#vt

^l+ - -

66

56

v?

FFI-I

-----
2t

---4-

66

6
6

43

From Suite No. 3: Allemne "L

a)

Cscde e St. Cloud"

Pique.

+
e6

x
5

6
5

43

ft

1t- ---"'#

-+- r.-t

a,Ll

rT']

e
I

6
5

Fr-Frt

--=a=-

cr9

llrrrrr

L_J...LJ LJ.+r

x
Reprise.

---t-----

I
7

x
t3

+--

il

fr

8
6

664

il

6-

6-

l-)

a)
-J

\z-

6-

il

-l

4$

6-

7-

7-

657

18

ffi

r{

a)

l.

ut

*{

+
7

6-

7-

-*

6
i)

-_l

lu

[+]

+$

From Suite No. 3: Srbnde "L Guimon"

--atl
f

a)

,.-

IJ

ll

--ffii
4q

.6

i)

Io

---j-l---r-

-T.r-r-?-?

xf

6
)

5+

X8

Ipetite reprise]

c\9

6il6

t.

-;--6-

t
6fl

3.

2.

+
+

zl-

+--/-

<9

___l_-_.{___t_

58

fl

17

x
[petite reprise]
_+

?.

--

L..LJ...J-J

Ipetite reprise]

fnetite renrise]

-T--.--J
5-66

From Suite No. 3: Cournte "L'indit'erente"

+

*-+l#):

Legeement.
-r.r

t
.8

d+

-?-t-?-l--f-

+---t---.t-

l4

|--.J4.LJ

1p--1-

---V-

+
---J--+6
i)

15

,f I

_.i6

6A

6 64

#O1

a)

.F

il

6fi6

6,
54il

23
+
)prise]

:prise]

t+

+,.---\

--.-_7-?-

--+-

.t

a)

+
6

--7+-_---t-

-l-----1E

+-

59

From Suite No. 3: Gigue "L'lfalienne"

1-4-4s-+
Ylll
t

a)

-+

::!-ffi
I

Fl-r

l.u

fe

zt

fl6

C t
6

*J

l-

-J

66

4il
t

77

7 7

77

67

r+J

a)

l-l-l

6
5

60

t+r

t-,.L

13

66

6
6

6
5

l/--\

From Joseph Bodin de Boismortier's Cntte Vox Seule: t'Etl l"summer'l Gzzs); see also the notes on recitative style on p. 139
Recitatif:

ffi
f

L'ar- den

a ta-ri

cule

te

nos fon- tai -nes, Des-ech nos

bois

champs. Les doux Ze-

phirs, ref -

fu-sentleursha

a'

6+

et nos

7f7f

ffi
a)

lei - nes;Toutlan

guit,

tout lan

guit,

tout

,ftf

pe-rit

dans

ces cli-mats bru-lans

+l6

11

Une e-pais - se va-peurqui por-te le t

l-

43

i)

+
r

a)

ner

r,

S'a

xa

le

TI

du Sein de la

ter

- r,

Pour

r
77
r
al-lu mer mil - le feux dans

Et l'on di

airs;

-roit qu'unnou-veau

te -me-

14

a)

77

les

rai - re,

r
Va

con- dui-sant

1e

7rr
f
char duDieuquinous-clai - re,

fi

6t

t
u

ne

a'

Se-con-de

fois

\--jz
em-bra - zer

I'u -ni

vers.

<>
6

il
6T

il
German Figured Bass from Roughly 1770 to 7735
Excerpts from johann David Heinichen: Der Generl-Bss in der.Compositon (Dresden, 728)
and.Georg Philipp Telemann: Singe-, Spiel- und Generl-Bss-Llbungen (Hamburg, 1733-4)
(For the sake of easy reference, I have adopted Telemann's original numbering of the examples and songs. Unless otherwise indicated, all music examples and
all citations enclosed in quotation marks are taken from Heinichen.)

1. The Basic Chord

Generally speaking, the basic chord, or root-position triad, does not have a
figure. When it does, the figure may be any of the following:

3, 9, ,t,s,

z, z*,

3b,

kiads:

3\, il,b, \

The three isolated accidentals at the end relate, of course, to the third.
Thus, the basic chord is only given a figure when it resolves a dissonance,
where doubts may arise regarding the harmonizalion of a bass note, or when
the bass line is completely figured. Frequently, however, the figures are quite
sporadic, and players are' expected to determine the progression of the harmony themselves. It is in this context that you should view Heinichen's and
Telemann's sometimes exkemely detailed explanations and descriptions in
the sections below. Their remarks also prove that pieces with sporadically
figured bass lines were not necessarily meant to receive the simplest of
harmonizations, and thus pose an even greater challenge to the figured bass
player.

To begin with, players should take note of a basic tenet that Heinichen
merely conveys in a footnote: when practicing the examples below, it is extremely important to hanspose them into all twelve keysl As Johann

-173L),
even if
Mattheson explains inhis Grosse Generl-Bss-Schule (Hambwg,
very few pieces are set in the most remote keys, these keys will always crop
up in modulalions, not to mention recitatives, which are not subject to rules

at all.

The first example involves a bass to be realized enlirely in root-posilion

Two rules must be observed: "The

first rule is that, in music, two voices
must never proceed in octaves or
fifths with each other. Such parallel
octaves and fifths must be avoided,
especially when they occur between
the outer voices." (See St. Lamberl
Chapter I, sec. 1).

---*{a)

"To avoid these and other clumsy and inadmissible progressions, pay heed
to the second rule: the hands should never make unnecessary leaps, but
should always find the nearest chord, using small movements as often as
possible."

ffi
a)

t-

J-IF

62

poor

----- ffiffi

fItl

The right hand should also be "played an octave lower"

a)

tl

e *=

) rl

rI

As you can see from the above example, the "bass notes may be played one
octave higher or lower than written, especially when the hands get in each
other's way. Occasionally they may even be taken in unison with the lowest
voice in a chord." It is interesting to note that Heinichen alters his realizalion
at the very spot where the bass is hansposed an octave lower. He probably
did so to heighten the contrary motion and to keep the realization from
becoming too low in register.
As in most of the following exercises, the same bass line is now presented
with Heinichen's other two realizations, i.e., with either the third or the fifth
in the soprano:

aa -' -' -a

aF+

-1---1#1-

a)

However, when played on a stepwise bass, basic chords in parallel molion

do indeed produce parallel fifths and octaves. In such cases, they should
therefore always be played in conkary motion:

--1:-#

leaps, but

s often

as

r rt

--t+-+-11.-

11---H]---J]-

I r [r t r rr

a)

t-

"All in all, conhary molion is extraordinarily advantageous in thoroughbass

playing, for it automatically avoids all poor progressions. As this principle is
of cardinal importance... the next example should be studied very closely:"

Praclice this realization too an octave lower, altering the bass as in the above
example.

good

poor

ffi
pay heed

rr

--4--------e}_-

---=--------4

r r

{--r---+------+-

skate that the hands may move in

parallel as long as they do not produce parallel fifths or octaves:

r,r, I'lt)

rples and

:-posilion

The preceding examples demon-

i<4t
---l:l;----..t...--.-

rrr

--t-

ffi
t

--+------t-----i----+--- -----+-----+-----+-----F

rr

-----+------t--

rlr

*+--Jl--t-

----*1-

63

Repeat the examples for the basic chord. Practice the chords in the other two
positions as well, beginning in either of the following two ways:

or

t-

t-

2. The Sixth Chord and

The Sixth Chord:

"When a lbass] note is given

the figure , the resultant har-

mony usually comprises

-44j_

third (3) and an octave (8) in

addition to the . The octave
may be taken in any kind of
conkary and parallel mofion
provided that no incorrect
l
I

6il

progressions ensue:"
"However, use conkary motion when the sixth chords ascend or descend
stepwise":

the f Cno.a

(Note the similar parallel

sixth chords in Telemann
No. , pp. 15-16. Ornaments are discussed in
Chapter III.)
To play such progressions in a four-voice tex-

tave, as can be seen in the

following exercise by Johann Sebastian Bach. In

__)4#1_

Ir

66

I
666

I
66

"Omit the octave in a sixth chord whenever it causes poor and thus clumsy
progressions, e.g. in ascending or descending sixth chords, or where made
necessary by the convenience of the hand, the voice leading, an added embellishmenl or some similar factori'
64

f-

t-

t-

6666

all such progressions, descending and ascending

alike:

6666

ture, you have to double

either the sixth or the oc-

essence, this rule applies to

ffi

a)

f-

Indeed, the best and most natural way to play sixth chords is by doubling

the sixth or the third, as illustrated

in the following

examples from
Heinichen. These examples also demonstrate how to avoid parallel fifths and
octaves and poor voice ieading:

correct

a
f-

3a
6

correct

poor

poor

l-_fr+a

'I

The following realization is correcl the note in the bass not being a leading
tone (observe Heinichen's elegant voice leading):
good

lr

-----+i:---flo

Most of the principles discussed up to this point can be found in the following excerpt from a realization by Telemann (No. 3Z):

lll

correct

trr

right

wrong

or

66

right

r
6

rt

66

?
6

a)

wrong

or

a)

-a

Finally, never double a chromatically altered note that funclions as a leading

tone. This rule is extremely important:

.nicht ver

rin-gern,

correct

die

man fr

haus und

kin-der

-*.{---}-

-)4"1-

rr

a)

t)

+t

66
6

L-J I-J

r
6

f-

t-

Now transpose all the preceding examples of the sixth chord. Make sure to
play the good versions rather than the poor onesl
65

the {chord'
,,lt

shuld also be mentioned, in connection with the chord consisting of the

minor third and the major sixth, that a fourth can be played instead of the
octave, provided that this note occurred in the preceding chord'" This is

lowing three excerpts from Telemann's realizations, where none of the figures (all supplied by Telemann, of course) contains a 4:

Dandrieu's and St. Lamberfs pette sixte, or what modern theorists call a second-inversion dominant seventh (see Chapter I, sec. 3):

TT)t

| )t

I tr

a)

a)

t-I

6B

6B

66
I

r ''lr I

a)

Gelddeckt zwar ma

Note that Heinichen adds a fifth voice to the 6 chord. Although expansions
from four to five voices frequently occur in Heinichen's realizafions, he has
nothing at all to say about them. You should regard such expansions as an
ever-present oplion in four-voice texture, comparable to the occasional
omission of a voice for reasons of voice leading, as discussed above.
"similarly, the major third may also be played with an augmented fourth
in some instances. This augmented fourth is likewise taken from the preceding chord." Here Heinichen is referring to VI-V progressions in the minor

Magst
I

,'r [nr

,---{.]_--{l-l-l-

ler

,r
t

t tJ

4l

63

4
il

fehler

-1,----1+

-.IJ
L-

al -ler-ehr-lich -ste

-t---4]--_4{-

{ffi
-+------f-----+-- __*____1-----F-

ne

der

i,

t*
3

du, was mei -

6- h6-

;r--a----t-r-

-tH-

mode:

feh

'- chen

+l#

*-----4--

'1l--&t1

---F

"This irregul ar 4 or 4* in sixth chords is not always expressly specified on

the lbass] note in question. It must be found and properly applied by the
thoroughbass player himself." This point is amply demonshated by the fol-

66

In facl considering Heinichen's and Telemann's unequivocal explanations,

failure to use a f chord in such situations must be regarded as a mistake.

f the fig-

The following two realizations, both by Heinichen, summarize all the preceding rules governing the sixth chord. They also inkoduce passing notes to fill an
interval of a third between two chords. In both examples, these passing notes are found in the upper voice. However, as we will see later, they can also be played
in the middle voices, provided that they produce no parallel fifths or octaves or any other errors in voice leading. Pay special attention to Heinichen's
"unnecessary" changes of position, especially in bars 2-3, 5, 7, and 9 of the second example. They allow him to give a more melodious character to the upper
voice.
Test yourself to see whether you have understood all the permissible options of voice leading, doubling, and the occasional addition or omission of a voice,
and finally the chord itsell whether figured or unfigured. And don't forget to transpose the examples!

a)

ttrt

6
4

6fl

t66

a)

I
I

t4

ilo

66

6il

666b

t-

666

t-

t-

a)

t t tf

t4

-1

planations,
mistake.

4
3

66

6
b

666b6

'r

66
-l

l-

rr I
6il

I
6

ffi

t I rl

666
'/

:
Repeat of examples for the sixth and { chords. As in actual practice, the { chord is sometimes marked i or simply
It
is more important to understand the inner
realizations.
Heinichen's
to
possible
.lor"ly'us
as
to
adhere
hy
g,ren
below,
pu.t
from
the
bass
When playing
by starting with the fifth in the top
workings of .,irot.. leading u., htJ.hoi.e of .ho. position than to l"rn thu- by rote. Practice the third position as well

*,
forget to transpose this examplel
voice of the opening chord. Try to add a fourth on the b marked the only VI-V progression in the minor mode. Don't

6il

66

6$

66ab

6f

666

3. The Second Chord with the Figure 2

"The second is used in either of two ways:
the bass tied over from the prehalf or whole step'" "There are
a
by
downward
resolved
ceding note and
second:
the
suspended
harmonizing
three ways of

ffi

I. As a suspension or syncopafion, with

al -lbl
z1

sn

b)

--4-l.t--

-tY

c t

<--------i-

a)

a)

----+-

'ffi

c)

4-------J6
6

ilb2

.4

t-

-----t

-#-

{i-----{-

{>

4t-5

----

---- ----*
4
q

f,

"Each of these three chords usually resolves into a sixth chord'"

"The figure is often abbreviatei, the chords b-eing merely indicated by
or 2. SomHmes you can choose between iandto. The figure \4 or 14
always refers to a.,d e,r"r, the figure may indicate i'

68

a)

6.6

A---

Occasionally the
the inner
n the toP
mple!

lThe

I or i chord resolves into a

chord

chord js discussed in secfion 5.)

a)

r
...._
---?-

+.!-_f-

-#----4Fif

,6

b+

'the ichord may also resolve into a f chord

bs

*-11-

l
}l'#
6

t)

2. "The second is also used as a passing note (trnsitu. when the bass descends diatonically by three steps. In this case, the first chord, a root position triad with the figure !, is repeated on the second note:"

a)

--r--q-t

I r[

t
6

*a
$

In such cases the figure on the second bass note is often replaced with a
dash. This dash is very common in the French music of the period. Also

a)

Telemann uses it extensively:

4
t

4
2

[''[
4
n-

Now and then, rather than resolving one step downward after a l, the bass
leaps to a different note. Although Heinichen does not expressly condone
such progressions, he adds that he "wished to include them so that the

a)

beginning thoroughbass player will be aware of them, however rare their

occurrence." (NBl)

-----+------

.z------1-----z-8

.6t
5H44
323

--

69

Heinichen's example illustrates all the variants of the second chord. Pay special attenlion to the two standard sequences in bars 2-3 and s-g

-l

ffi

!t

a)

I r-r r

l++

2641

ffi

I I

t-

ffi

ffi

6h+lfs

he

\z

4+6

ffi

+
6

ffi

-4t

Play this realization once again an octave lower, occasionally hansposing the bass down an octave
W
as discussed in section 1. The two other positions, with Heinichen's realization of the opening, are
a)
shown at the right.
Repeat of the example for the second chord:

fl

6b
4i4
2g

l++

it
I

--=------F6
4

26

4
2

i)
q

le

Study Telemann's Arias Nos. 30 and 44 (p. 105) in connection with this secfion.
70

\+

6
fi+

46

sz
I

4
6

r*+
26\463

lL+

t*6

t4
I

il

4. The Suspended Fourth: tnot

Heinichen discusses the five-four and six-four chords in a single context. He
regards them both as opfions for realizing the 4.
The Five-Four Chord,
"Pay special attention to the rule that the fourth occurring in the upper or
middle voice of the preceding chord is always sustained in the same voice
and resolved downward to the neighboring third (-). In this case, voice
exchange is prohibited. The fourth is usually combined with the fifth and
the octave."
"Good resolutions"

----

"lf only the 4 is written on a note [i.e., if the bass continues without waiting for the resolutionl, it is resolved on the next bass note in accordance with
the rule and without voice exchange - that is, one step downward:"

t '
a)

'! \ --r--9------{tdl'"1 r

rr

-T_

----<ts

---r-

+fi

43

The Six-Four Chord:

"The fourth may also be combined with the sixth instead of the fifth. In this
case, it is not necessarily tied over from the previous chord, but it is resolved
downward as usual":

"Voice exchange"
a)

"Poor"

t -

---

46

rt+

-#ra
_<+

"Bad resolution"

_{l-

--f-

43

1"7

-------r--?-r46

--Jr,-

-.-{E'--

rl

_____1_

65
43

l)
3

65

4l

"Moreover, it may also occur as an ascending passing note, which, of course,

need not be resolved [downward]:"

Note that Dandrieu would probably have accepted the "bad resolufion" as a
proper instance of voice exchange (see Chapter I, sec. 1I, p. 31).

_189-

l-

l)

4+

71

when not expressly

Both the five-four and the six-four chords occur most frequently in cadences. As Telemann explains, they should be played in cadences-even
the g' [the fourth]
emphasizes
forcefully
and
clearly
the
singer
since
ornament
(r)
pluy"i
ur
an
"At
is
chord
[suspension]
the six-four
called for in the bass figures:
before starting the hill."

No.

gu - tes

tlt

f'f

mi findt

an

tl
H

--41'-:

tt

tt

Telemann probably assumed that the melodic

cadence would sound as follows:

No.

19

oft am ru - der

-]_-.--.+.
fl

G)

a)

The final cadence in Telemann's Aria No. 19 shows that a five-four chord may also be played in lieu of the
six-four chord,
Note that Telemann's figure in the first example shown above is merely a $ although he obviously expects
a six-four chord!
In the next example, from Heinichen, pay close attention to the very fine voice leading, especially in bars 5-8

zieht

-)'l-

----+

ffi
T

43

66

t-

t)

4+

fl66

4+

--{-----7f.fr-

W
a)

t-

t-

t-

-{D-

I I

-?---t---l--a6

$6
72

4
2

65
4g

46