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Bach Carl Philippe Emanuel Essay On The True Art of Playing Keyboard Instruments PDF
Bach Carl Philippe Emanuel Essay On The True Art of Playing Keyboard Instruments PDF
Bach Carl Philippe Emanuel Essay On The True Art of Playing Keyboard Instruments PDF
ESSAT "'ARO
W I L L I A M J. 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
o DEPARTAMENTO p t-jg
Ob 7i
'ON 1 '
PREFACE
T
HE PRESENT edition of Bach's Versuch ber die wahre
Art das Clavier zu spielen is the first complete English
translation, having been preceded only by excerpts and
sc( tions which appear principally i n books by Dannreuther, Dol-
inctsch, and Arnold. I t is also the eleventh i n the complete series
o printings, reissues, and editions going back to the publication
i 111 1753 of the original edition of Part One. Published privately by
Bach, i t was set up by the court primer to Frederick the Great,
(iliristian Friedrich Henning. A second printing was made i n
1759 at Berlin by George Ludewig Winter, agair with the author
as pblisher. The same pair produced the first edition of Part Two
in 1 7 6 2 . Remaining copies of both parts along with manuscript
nipplements were sold to Engelhardt Benjamn Schwickert of
I .cipzig, who reissued the work i n 1780, the year of the transaction.
1 lie nature of this edition w i l l be discussed i n the Introduction
that follows. The first and only revisin of Part One was published
A 1 111 1787 along with an unaltered Part Two by Schwickert, who also
issuecTPart Two, revised, i n 1 7 9 7 . Thus, on the face of i t , the
Essay appeared four times during the eighteenth century.
I n 1 8 5 2 Gustav Schilling edited the Essay " i n the raiment and
iiter the needs of our time." But raiment and needs combined to
produce only a curious distortion of the original. I t was published
in Herzberg by Franz Mohr, and reappeared i n 1856, published by
1 anz Stage of Berlin.
I n our own century, Walter Niemann prepared an abridged
rdition, disrespectfully ignoring Bach's stern reproof of all "com-
(icndium writers." This publication, based on the editions of 1 7 5 9
nd 1 7 6 2 , first appeared i n 1906, published by C. F. Kahnt of
Leipzig. I t was reprinted i n 1 9 1 7 , 1920, and 1 9 2 5 . I t has not been
viii r It E l A C E P II E l- A C E IX
possible to secure additional inormation about a projected new i>> I01111 .111 iniroduction to the more challenging earlier pieces.
Germn edition " w i t h manuscript supplements," which was an- I l i e 1 -l.il ivcly large format that would be required for a practic-
nounced several times during the last decade. I t is to be published i s . 1I111011 of all of these made it impossible to include them here.
by Gustav Bosse of Regensburg. I l i i w r v c - i , they are available i n modern editions, the Probestcke
The present translation combines the original and revised edi- l u i v i i i K been published by Schott, and the Sonatine Nuove by
tions of the eighteenth century. A l l of Bach's alterations, addi- N i < |. Also, all but the first sonata of the Probestcke appear i n
f
tions, and footnotes have been incorporated into the main text, v >111111c* 11 o Le Trsor des pianistes, Paris, 1 8 6 1 - 7 2 .
but are identified i n the editor's notes. For the rest, the organiza- l i.uiilation and editing of the Versuch would have been a far
tion of material i n Part One follows the Germn text i n all de- i i i m r difhcult, if not an impossible, task had i t not been for the
tails. Part Two, however, has been slightly altered i n order to H< i i o o u s assistance of my colleagues, members of our library staff,
make i t more accessible to the reader. The original edition and Hi.l my students. I am particularly indebted to Professor Erich
all subsequent ones consisted of forty-one seprate chapters, some l l r i t / m a n n for much wise counsel, to Mrs. Susanne Morse, who
hardly a page i n length. The sequence of these suggested a larger n l i i c d the manuscript with great care, to Miss Jane Paul, who pa-
organization. Thus, without altering the order of these chapters, ly trailed and captured many elusive details of information,
but simply by demoting many of them to the rank of sections, the i . 1 to Mr. Wolf Franck of the Music Divisin of the New York
total has been reduced to four. The first and last alone retain their I'uI.Ik Library, who brought to my attention several choice tems
original status. But twenty successive chapters, following the first, (tul would otherwise have escaped me.
have been grouped under the heading Thorough Bass, and the
next nineteen under the heading Accompaniment, this being the W.J.M.
subject matter of these originally seprate chapters.
The musical examples for Part One were originally engraved
and published under seprate cover. These have been placed i n
the text and numbered serially throughout. The examples for
Part T w o were originally printed i n with the text, but were un-
numbered. For purposes of easy reference and maintenance of
order these also have been numbered i n continuation of the ex-
amples to Part One. I n preparing them for the present edition,
the Gclef which Bach used for the right-hand staff, after the dy-
ing fashion of his time, was discarded i n favor of the more familiar
G-clef.
As part of the illustrative material for Part One, Bach wrote
Achtzehn Probestcke in sechs Sonaten. Bound originally with the
examples, they are an integral part of the entire work. W i t h respect
to technical and interpretative problems contained i n them, they
range from fairly easy to quite diffkult. A t least one of the pieces,
the free fantasa of the last Sonata, is among the finest of Bach's
works. I t achieved immediate and lasting fame i n the eighteenth
century. T o the revisin of 1 7 8 7 Bach added VI Sonatine Nuove.
Written i n his broad, later style, they seem to have been designed
COMTENTS
Vtrfntr vii
/ nli odllt liori 1
PART ONE
l'iiirword to Part One 27
/til 1 oduttion to Part One 30
I M A I ' I I R O N E . Fingering 41
iiiAi'ii'R T W O . Embellishments 79
(.I'.NERAL 79
T H E A P P O G G I A T U R A 87
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 127
T H E C O M P O U N D A P P O G G I A T U R A 132
T H E S L I D E 136
T H E S N A P 142
T H E E L A B O R A T I O N O F F E R M A T E 143
B H A P T E R T H R E E . Performance 147
PART TWO
t'oreiuord to Part Two 169
/ a 1 roduction to Part Two 172
BHAPTER F O U R . Intervals and Their Signatures 180
<;IIAITER F I V E . Thorough Bass 198
T H E T R I A D (i) 198
T H E T R I A D (il) 204
T H E C H O R D O F T H E S I X T H (i) 20g
T H E C H O R D O F T H E S I X T H (il) 217
T H E D I M I N I S H E D T R I A D 222
T H E A U G M E N T E D T R I A D 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 (l) 226
T H E S I X - F O U R C H O R D (ll) 231
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 C H O R D O F T H E S E C O N D (i) 252
T H E C H O R D O F T H E S E C O N D (ll) 2 D O
T H E F I V E - T W O C H O R D 262
T H E F I V E - F O U R - T W O C H O R D 264
T H E T H R E E - T W O C H O R D 264
T H E C H O R D O F T H E S E V E N T H (i) 265
T H E C H O R D O F T H E S E V E N T H (ll) 274
| 11,,1,,,,, hmanuel Bach Frontispiece
T H E S E V E N - S I X C H O R D 283
|H raving by F. C. Krger, Sons
T H E S E V E N - F O U R C H O R D 286
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 (i) 293
| lili I ' . I K C of the First Edition of Essay on the True 6
T H E C H O R D O F T H E N I N T H (ll) 3O2 t 11I1 I'.IK<- <> ibe First Edition of Essay on the True 168
T H E N I N E - S I X C H O R D 304
|f| ,./ Playing Keyboard Instruments, Part I I
T H E N I N E - F O U R C H O R D 305
T H E N I N E - S E V E N C H O R D 307
1 i f i l c r k k the Great with His Musicians 3*
1
T H E F I V E - F O U R C H O R D 310
/ ri| irin by P. Haas
C H A P T E R six. Accompaniment 313
T H E U N I S O N 313
O N E - P A R T A C C O M P A N I M E N T F O R T H E L E F T H A N D 316
T H E O R G A N P O I N T 319
A P P O G G I A T U R A S 322
S Y N C O P A T E D N O T E S 348
T H E D O T T E D C O M P O U N D A P P O G G I A T U R A 351
T H E D O T T E D S U D E 362
P E R F O R M A N C E 366
C L O S I N G C A D E N C E S 379
T H E F E R M A T A 384
S O M E R E F I N E M E N T S O F A C C O M P A N I M E N T 386
I M I T A T I O N 403
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 407
T H E N E E D F O R F I G U R E D BASSES 410
P A S S I N G T O N E S 412
C H O R D S T H A T P R E C E D E T H E I R BASS N O T E S 418
T H E R E C I T A T I V E 420
C H A N G I N G N O T E S 425
BASS T H E M E S 426
C H A P T E R S E V E N . Improvisation 430
T H E F R E E F A N T A S I A 4 3 O
l i m i t Bach's influence solely to those who studied directly with h i m . /write Auflage" of the edition of 1759.
His fame as the founder of a school was achieved much more sig- I he 260 copies of Part One must have been largely sold by 1787,
nificantly through the agency of his music and the Essay. The latter w l u n Schwickert issued the revised edition, and the 564 copies
was called by Haydn "the school of all schools." And Mozart, I Part T w o had been, exhausted by 1797, when i t reappeared i n
Beethoven, and Clementi added their endorsements, speaking uni- irvision. This represents a yearly average sale of between 30 and
formly of Bach as one whose music must be studied, not simply ,|o < opics for each part, which, if extended backward to the original
played. Beethoven, after hearing the*young Czerny perform i n 1801, yrurs of publication, would suggest that up to the appearance of
turned to the father and said, " T h e boy has talent; I shall take h i m the revisions between 1000 and 1500 copies of each part had been
as my own student and teach him. Send h i m to me once a week. Be piintcd and sold. A modern publisher would sniff disdainfully at
sure to procure Emanuel Bach's instruction book on the True Art mu li paltry figures, but i t should be kept i n mind that the reading
of Playing Keyboard Instruments, so that he may bring i t to his public in the i 8 t h century was far smaller than i t is today. Also,
next lesson." Czerny goes on to relate that Beethoven's method inethods of printing and distribution were extremely modest. The
followed the Essay closely and included the playing of the Probe- piihlisher Gschen later ( 1 7 8 7 - 9 0 ) printed 2000 copies of Goethe's
stcke. A l l of these men, especially Haydn, who discovered Bach Werke, but could find no more than 602 subscribers to the series.
early i n life and never forgot h i m , can be called his pupils i n this And sales of the individual volumes were even smaller. The Jena
broader sense of the term. I illeratur Zeitung, a very popular and widely read journal of the
The Essay became famous as an instruction book almost imme- time, achieved its success on issues of 2000 copies, according to a
diately and reached many students throughout the latter half of letier written by Gschen to Wieland. For a work like the Essay,
the 18th century. No record is available of the number of copies that designed for a very limited public, to reach our suggested, con-
were printed, but an idea of the rate of its distribution can be gained iiei vatively estimated number of copies, is indeed impressive, when
by consulting a letter that Bach wrote to Engelhardt Benjamin compared with these other figures. I t must also be remembered that
Schwickert, A p r i l 10,1780. I n i t he expressed his willingness to turn the copying and borrowing of books were widespread practices at
over control of the work to this Leipzig publisher. He wrote i n part: this time. Henee 1000 to 1500 copies served many more than the
" I can now say with certainty that I still possess 260 copies of Part cquivalent number of readers.
One and 564 of Part T w o . " For these 824 copies, with the examples Other indications of the spread of Bach's Essay, but with totally
4 INTRODUCTION / N T R O I) ll (', ION 5
unsatisfactory results, are round in an opon letter of protest, that the JIM 11 ilni).', statement, is not always dcpendable; but i n this case he
author published i n the Hamburger unpartheiischer Correspond- 111 he 11 usted, simply because h e lacked the insight necessary for
ent, 1773, No. 7. Dated January 11, 1773, it runs i n part: lili 1 111 lat ion of so penetrating an observation.
I h a v e observed w i t h greatest satisfaction t h e change t h a t has come over the ii 1. n o t pointless to inquire after the teachers of this teacher.
w o r l d o f k e y b o a r d p l a y i n g since the p u b l i c a t i o n o f m y Essay. I can assert w i t h - 1' 1 < b u les llurney i n his Present State of Music wrote of Bach:
out 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 . I I . n v h e loimed his style, where he acquired all his taste and re-
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
i . i i . nirnl, would be difficult to trace; he certainly neither inherited
a n d even worse b a r b a r i s m s . V a i n a n d selfish addlepates are n o l o n g e r satisfied
w i t h p l a y i n g t h e i r o w n f a b r i c a t i o n s c r e d i t a b l y a n d f o r c i n g t h e m o n t h e i r stu-
i.loptcd L h e m from his father . . ." But i n his History, he as-
dents. N o ! T h e y m u s t seek i m m o r t a l i t y t h r o u g h a u t h o r s h i p . As a r e s u l t so K lia, " l l appears from Hasse's operas, where Emanuel Bach ac-
m a n y s c h ool a n d t e x t books h a v e a p p e a r e d since m y Essay t h a t n o e n d o f t h e m ijii i < i l his line vocal taste i n composing lessons, so different from the
c a n be seen. I have been i n j u r e d m o s t b y those t h a t c o n t a i n s t o l e n passages . h \ laboured style of his father." Philipp Emanuel was in-
b o t h w i t h a n d w i t h o u t a c k n o w l e d g m e n t . P l a g i a r i z i n g is free t o a l l a n d I h a v e
ileed .1 gieat admirer of 77 caro Sassone, as the Italians called that
n o t h i n g t o say against i t . B u t i t is m o s t h a r m f u l t o s t r i p p l a g i a r i z a t i o n s o f t h e i r
1 ivmed (omposer of operas, but it is certain that the Essay owes
p r o p e r c o n t e x t s , a n d e x p l a i n o r a p p l y t h e m i n c o r r e c t l y . E v e r y o n e k n o w s the
d a m a g e t h a t can be d o n e b y a n i n c o r r e c t fingering, a wrong explanation and h to Johann Sebastian. " I n composition and keyboard per-
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 [01 manee, I have never had any teacher but my father," we are told
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 - n i the Autobiography. Repeatedly i n the Essay he mentions his in-
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 ilrbtedness to his father.
I say can be p r o v e d i f necessary.
Km a large part of the practical wisdom contained i n i t must
However, the Essay i n its uncorrupted form reached all parts of hive been gathered during the years that he spent at the court i n
the Continent. "Sale of my works is chiefly i n the North, i n Russia, l l e i l i n . Engaged informally i n 1738 by Frederick, the crown prince,
Livonia, Courland, Sweden, Denmark, Holstein, Hanover, Meck- In was appointed to his position as chamber cembalist on the new
lenburg, i n Lauenburg, and Lbeck wrote Bach i n the let- I Ing's accession i n 1740. We read i n Emanuel's Autobiography: " I
ter to Schwickert. But it also made its way southward. Czerny, for . . . had the honor to accompany alone at the harpsichord the first
one, procured his copy i n Vienna. Thus the seed of the Bach in Ihue solo that he played as king at Charlottenburg."
fluence was widely scattered. Some concept of the impact of his lUch absorbed much through his duties at the court. His presence
music and Essay on the i 8 t h century can be gained from Mozart's was t equired almost daily, for he played the accompaniments at the
famous sweeping statement, as quoted by Rochlitz: "He is the lling'8 prvate concerts. These chamber concerts were held from 7
father, we are the children. Those of us who do anything right, lo o P.M. except on Mondays and Fridays, when Frederick the
learned it from him. Whoever does not own to this is a scoundrel." Great attended the opera. Punctuality was the king's rule i n all
The evidence that is provided by such testimony from many .illaiis, henee the musicians found i t advisable to be assembled be-
sources, and by the sale and spread of the Essay, makes it clear that bu e t h e required time. Precisely at 7 he would appear and sound
Emanuel Bach's contributions were no small part of the forces that llie pitch. Earlier, the waiting musicians could hear h i m rehearsing
directed the leading musical activities of the time. I t should not be the more challenging passages of the evening.
necessary to seek for superficial thematic similarities between his There was not much variety over the years. Usually the main fare
works and others' i n order to prove this. Mozart gave succinct ex- c onsisted of about six concertos played by the monarch. Later this
pression to the relationship of the music of his generation to Bach's: number was reduced to three or four. Most of these were composed
"We can no longer do as he did; but the way i n which he did it by Johann Joachim Quantz, ilute virtuoso, whose playing had
places him beyond all others." I t takes a true student to make so uroused the young Frederick's interest i n that instrument. Frederick
profound an observation. Rochlitz, the source of this as well as the had received ilute lessons from Quantz regularly since 1727, and the
6 I N T R O 1) 11 C T 1 O N TNTROD C TI OH 7
teacher wrote approxiniately 300 concertos for the exclusive use < a n d the execution of his dutiei in the service of the king, were
of the king. Occasionally, Frederick played one of his own works. iipplcinented by a third, his association with many of the leading
Quantz and other instrumentalists played too, their performances m u s i c a l figures of his day. At the court were two of the brothers
being varied with arias sung by the court singers. (.laun: Cari Heinrich, music director and celebrated composer of
Emanuel Bach's music was not popular at the court. Burney, / he Death of Jess, and Johann Gottlieb, conductor of the royal
after his visit of 1773, made no mention of the performances of >i< hestra, composer, and eminent violinist. Quantz, already men-
Bach's music, but wrote: " T h e compositions of the two Grauns lloned, was present as chamber musician. His Versuch einer An-
and of Quantz, have been i n favour with his Prussian majesty for in sung die Flote traversiere tu spielen (Berlin, 1752) was a spur
more than forty years . . ." And later: " I t must be owned that t o Bach. Five members of the Benda family played at the court, in-
many of the passages, i n these pieces of M . Quantz are now become 1 luding Franz and, for a shorter time, Georg. Johann Friedrich
od and common; but this does not prove their deficiency i n novelty, Armla, too, was there as court composer, "more corpulent than
when they were first composed, as some of them have been made | < > i i i c l l i , or than his relation Handel," according to Burney, who
more than forty years." v M i t r d him later.
Burney give us an intimate picture of one of the prvate concerts: I n Berlin was also the quarrelsome Johann Philipp Kirnberger,
M . Q u a n t z b o r e n o o t h e r p a r t i n t h e p e r f o r m a n c e o f t h e concertos t o n i g h t , t h a n Hite Agrcola a student of Johann Sebastian Bach. Engaged as vio-
t o g i v e t h e t i m e w i t h t h e m o t i o n o f h i s h a n d , a t t h e b e g i n n i n g o f each m o v e - I m i s i in the court from 1751, he left to become musical director to
m e n t , e x c e p t n o w a n d t h e n t o cry o u t bravo! t o his r o y a l scholar, a t t h e e n d o f tli< l'rincess Amalie i n 1758. He wrote several important theoret-
solo p a r t s a n d closes; w h i c h seems t o be a p r i v i l e g e a l l o w e d n o o t h e r m u s i c i a n o f -ti works and contributed many of the musical articles to J. G.
the b a n d . T h e cadenees w h i c h h i s m a j e s t y m a d e w e r e g o o d , b u t v e r y l o n g a n d
Sul/cr's Allgemeine Theorie der schnen Knste (Berlin, first edi-
s t u d i e d . I t is easy t o discover t h a t these concertos w e r e c o m p o s e d a t a t i m e w h e n
h e d i d n o t so f r e q u e n t l y r e q u i r e a n o p p o r t u n i t y o f b r e a t h i n g as a t p r e s e n t ; f o r i n
t 1771-74), the remainder being written by his pupil Johann
some o f t h e d i v i s i o n s , w h i c h w e r e v e r y l o n g a n d d i f f i c u l t , as w e l l as i n t h e closes, A l n . i h a m Peter Schulz. On adding the ame of Friedrich Wilhelm
he was o b l i g e d t o take h i s b r e a t h , c o n t r a r y t o r u l e , before t h e passages w e r e M . i i p u r g to this roster we have reassembled the group of writers
finished. w h o made Berlin the hub of musical theory. Burney i n The Present
There is no strong reason to believe that this concert which Burney State of Music writes of Berlin:
attended after Bach's departure for Hamburg was very different, 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
except i n unimportant details, from earlier ones. 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
From other contemporaries, chiefly Johann Friedrich Reichardt
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
and Cari Fasch, Bach's altrnate at the harpsichord and later Kapell- 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.
meister, we w i n more information. Fasch asserted that the king,
along with Bach and Franz Benda, was a great artist i n adagio play- I l e proceeds to enumrate, not without errors, writings by Quantz,
ing, but that his rhythmic sense was not always dependable, espe- B.u l i , Agrcola, Marpurg, Kirnberger, and Sulzer.
cially i n rapid passages. As monarch he retained and exercised the With the exception of Quantz's Versuch and two publications
right to bring the ensemble into agreement with his wayward tempos h y Marpurg, all of the writings of these men appeared after Bach's
by beating time forcefully. A story goes that a royal admirer on one Fs.uty. Its influence is apparent i n many of them, just as it is i n still
such occasion exulted, "What r h y t h m ! " T o which Bach replied I n t e r works such as Trk's Clavierschule (1789) or Milchmeyer's
dryly, "What rhythms!" The fruits of these daily experiences appear Die wahre Art das Pianoforte zu spielen (1797). But trafne i n ideas
throughout the Essay. They can be found i n the many details of rnn in two directions; Bach met his associates frequently and ex-
practical advice that Bach gives to his reader. 1 lianged opinions with them. I n his Autobiography he wrote: " M y
These two sources of Bach's artistic education, his father's instruc- Cumian duties never left me enough time to travel i n foreign
<v / N T H O 1) 11 C T 1 O N I N T R O I) U C T I O N o
countries. . . . This lack . . . would liavc been harmful to any- For the second g r o u p , the a m a t e u r s , t h e re is i n d e e d n o i n s t r u c t i o n b o o k , i f
this r o u l d once be impressed u p o n t h e i r teachers. I n s t e a d , o n e s h o u l d p r o c e e d
one i n my profession, had I not had the good fortune from my
U I used t o , u n w i l l i n g l y b u t o u t o f necessity. Before each p e r i o d , I w r o t e o u t t h e
youth on to hear at cise range the finest of all kinds of music and
lesson t h a t I i n t e n d e d t o give a n d c o n c e r n e d m y s e l f o n l y w i t h t h e m o s t essential
to meet masters of the first rank, many of whom became my friends." p r i n c i p i e s . N i c e t i e s of, a n d p r o p e r c o n t e x t s f o r , e m b e l l i s h m e n t s , r e f i n e m e n t s o f
Bach absorbed much from these friendships, the results of which, .i< < o m p a n i m e n t , t h e d i v i d e d a c c o m p a n i m e n t , etc. h a d t o be o m i t t e d ; t h e y w e r e
carefully evaluated and recast, appear throughout the Essay. Most ROI needed. T h r o u g h o u t , t h e s t u d e n t was n o t a l l o w e d t o c o m m i t a si n gl e e r r o r
easy to discover are those points on which he and his contemporaries l i k c those t h a t are accepted as postulates i n m a n y books. I f t h e s t u d e n t was p r e -
keyboard. But the Introductions to both parts show clearly that to be c o n s i d e r e d a n a c c o m p l i s h e d composer t h r o u g h his g o o d c o m p o s i t i o n s .
Bach was well aware of the general state of musical instruction, in- I n Der critische Musicus an der Spree, the weekly that Marpurg
deed tht he wrote with i t i n mind. Especially is this true of the In- published i n 1749, there are two more letters, satiric i n nature and
troduction to Part One, where he writes caustically of the preten- probably written by the publisher, that refer to keyboard playing
tiousness of the average teacher, his abysmal ignorance and un- and instruction. These give us more information than is revealed
musicality. in many textbooks of the time. The first, attributed to an anony-
A few contemporary documents give us information on keyboard mous young lady, appeared i n the issue of March 11, 1749. I t runs,
instruction at the time. The first, a continuation of the open letter in part:
that has already been quoted, states Bach's views on teaching the
M y d e a r P a p a a c q u i r e d a n e x c e l l e n t i n s t r u m e n t a t a n a u c t i o n f o r 1 5 grosc h e n
serious and the casual student: a n d 6 p f e n n i g e . I a m i n s t r u c t e d o n i t b y a v e r y clever c o u n t r y o r g a n i s t f r o m a
T h o s e w h o assert t h a t m y Essay is t o o l o n g , say n o t h i n g a n d a t t h e same t i m e near-by t o w n . W e l e t h i m v i s i t us a t h i s c o n v e n i e n c e every t w o weeks, a n d o n
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 . each t r i p he gives m e a h a l f - h o u r lesson. H e is n o t e x p e n s i v e ; we p a y h i m r o u g h l y
I n t h e first are those f o r w h o m m u s i c is a g o a l , a n d i n the second, a l l a m a t e u r s s o r 3 ducats a m o n t h , a n d each year m y d e a r M a m a gives h i m a b u s h e l o f
w h o seek t h o r o u g h i n s t r u c t i o n . M y Essay is i n t e n d e d f o r t h e first g r o u p ; n o 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 .
p a r a g r a p h is superfluous. I n fact i t w i l l be seen f r o m t h e s u p p l e m e n t s soon t o 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
a p p e a r t h a t far f r o m h a v i n g said t o o m u c h , I have n o t yet said e n o u g h . T e a c h e r s h o w t o get a l o n g w i t h p e o p l e . H e always sits o n m y l e f t w h e n I p l a y a n d n e v e r
m u s t k n o w e v e r y t h i n g t h a t a p p a r s i n m y Essay a n d be clever e n o u g h t o select forgets t o b o w w i t h a few l i g h t steps after each lesson. I n o r d e r t o r e l i e v e m y
t h e m a n n e r a n d o r d e r o f i n s t r u c t i o n best a d a p t e d t o the s t u d e n t s t h a t they 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
teach. N i c e t i e s come last, as expressed i n o n e o f m y I n t r o d u c t i o n s . already b e g i n n i n g t o recognize t h e c-clef o n t h e first a n d o t h e r l i n e s . H e can-
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 n o t bear t h e g-clef. I t was i n t r o d u c e d a b o r t i v e l y , he says, b y m u s i c a l f r e e t h i n k e r s ,
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 n d h i s teacher's g r a n d f a t h e r was t h e i r s w o r n e n e m y . H e considers fingering
be l e a r n e d t h o r o u g h l y . W h a t is t h e r e t o say a b o u t those false i n s t r u c t i o n b o o k s 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
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 ? the t h u m b , a n d o f t e n expresses a n n o y a n c e a t those w h o m a k e so m u c h use o f i t .
10 1 N T R O I) U CT 1 O N
INTRODUCCION u
Because he has n o i n t e r e s t i n o r n a n u - n t s a n d does n o t w a n t t o delay m y progress linrsl and subtlest topics to the hroadcst and most basic. If it disa-
f o r t w o o r t h r e e years, he disregards a l l o f t h e m , asserting t h a t they h a m p e r
Hirrs with Quantz, or echoes Couperin, it also lashes the local pe-
r a p i d p l a y i n g . A l s o , he assures m e t h a t I s h a l l soon b e g i n t o p l a y the latest arias,
ilanlic music masters.
since I a l r e a d y have u n d e r m y fingers a b o u t a h a l f dozen c h r a l e s , i n a d d i t i o n
t o t h e S m i t h y ' s C o u r a n t e , some p o p u l a r songs, a n d t w o P o l i s h dances. So I a m The Essay is first and foremost a practical book that was designed
p r e p a r e d f o r m o r e d i f f i c u l t pieces. I m u s t n o t f o r g e t t o t e l l y o u t h a t m y resource- I C M for discussion than for instruction. Its ancestry runs back
f u l master carries w i t h h i m a Jew's h a r p o r a p i p e w i t h w h i c h h e o f t e n ac- through works like Mattheson's General-Bass Schule, Heinichen's
c o m p a n i e s m e so t h a t , as he expresses i t , h e c a n g i v e m e a few ideas a b o u t c o n - (eneral Bass, to Niedt's Musicalische Handleitung, the text on
certos.
Which his father's teaching was based. Also i n the background is
The second letter appeared i n the issue of May 13, 1749, and is I' rancois Couperin's L'Art de toucher le clavecn. There is no trace
signed Musenhold. The body of i t describes a projected method of o the speculative temper of the Age of Reason that brought forth
financing an orchestra i n a small town by means of contribu- I rssing's Laokoon, Sulzer's Allgemeine Theorie . . . , or earlier,
tions and the novel imposition of fines for such transgressions as a (liarles Batteux's Les Beaux-Arts reduits a une mme principe. For
lady's premature wearing of a new coiffure or a husband's with- works that pronounced first principies and the governing laws of
holding of a small service from his spouse. The correspondent pro- esthetics, Bach had only the practitioner's scorn. "They dispense
ceeds to describe the sorry personnel of the incumbent orchestra and their alms with a completely unhappy arbitrariness," he writes i n
the Essay.
concludes as follows:
Primarily the book seeks clarification and improvement of the
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
keyboardist's lot through a painstaking ordering and exposition of
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 the several factors that relate to the practice of his art. The author's
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 (|ualifications were eminently suited to the requirements. Of his
second a n d t h i r d fingers, r e f u s i n g t o a l l o w t h e t h i r d a n d f o u r t h t o p l a y o n a n y ac- practical experience and wisdom we already know. His contempo-
c o u n t . I n p l a y i n g t h r e e - p a r t c h o r d s i n t h e r i g h t h a n d i n w h i c h t h e lowest tones raries set the highest store on his expressive playing. As a composer
l i e a f o u r t h a p a r t a n d t h e u p p e r a t h i r d ( p a r ex. d, g, b) he uses t h e second, t h i r d ,
he was the leading exponent of the Empfindsamkeit, the Germn
a n d fifth fingers, even t h o u g h t h e m i d d l e t o n e m u s t be p l a y e d b y t h e f o u r t h . A n d
so, f r o m t h e b e g i n n i n g , h e r u i n s his s t u d e n t s ' h a n d s . A l s o , he is so b a d a t
eounterpart of the style galant. Beyond this he had an enduring
thorough-bass t h a t h e k n o w s n e i t h e r t h e tones o r t h e t o n a l i t y o f t h e c h o r d o f interest i n all music, as well as highly developed critical faculties.
t h e a u g m e n t e d second. I n a c c o m p a n y i n g he is l i k e t h e l o w l i e s t c h r a l e p l a y e r ; In his Autobiography he wrote:
h e leaps a l l o v e r t h e k e y b o a r d f r o m o n e octave t o a n o t h e r w i t h h i s r i g h t h a n d ,
I t is because I h a v e n e v e r l i k e d excessive u n i f o r m i t y i n c o m p o s i t i o n o r taste,
as i f t h e i d e n t i t y o f chords w e r e k n o w n t o h i m o n l y here a n d t h e r e . A n d a n -
because I have h e a r d m a n y d i f f e r e n t k i n d s o f g o o d t h i n g s , because i t has always
o t h e r p r o o f t h a t he k n o w s n o t h i n g a b o u t h a r m o n y : n o t o n l y does he p l a y a l l
been m y o p i n i n t h a t t h e g o o d s h o u l d be accepted regardless o f w h e r e i t m a y
mistakes f r o m p o o r copies o f arias, he transcribes t h e m n o t e f o r n o t e i n h i s
be f o u n d , e v e n w h e n i t appears i n s m a l l d e t a i l s o f a piece; i t is because o f these
students' copy books.
c o n s i d e r a t i o n s a n d t h e assistance p r o v i d e d b y a G o d - g i v e n n a t u r a l a b i l i t y t h a t
I f Bach was unacquainted with these two letters, published i n the v a r i e t y w h i c h is a t t r i b u t e d t o m y c o m p o s i t i o n s has arisen.
y
Berlin by a musician who was well known to him, it made little dif-
Another important qualification: he was a collector by nature. I n
ference, for this famous son and pupil of "od Bach of Leipzig," as
his estte were over 300 portraits of famous men, mostly musicians,
Marpurg called him, this celebrated keyboard player who knew and
which he had gathered together over the years. Many of these hung
practiced at its best the music of Berlin, who knew many of the co-
in his home i n Hamburg, where Burney saw and remarked on
regnant musicians of his time, was also conversant with the com-
them. A n d without his careful preservation of many of his father's
mon day-to-day practices. The content of the Essay provides us with
scores, our knowledge of the Leipzig Bach's music would be far
direct evidence, for the discussions that i t contains r u n from the
poorer. Wide musical experience, catholic tastes and interests, dis-
,2 I N T i O 1) U C T ION / N T R O I) U C T ION n
crimination, the collettor's habita of acquisitiveness, all of these mus for the claim that LArt de toucher . . . foreshadows the
factors contribute to the valu of the Essay and lend to it a unique l r v v c T fingering.
quality. But, finally, there can be found on more than one page a A very mportant innovation of the new method was the turning
sy, sometimes a caustic, wit. Johann Friedrich Doles, a school com- I I I K I C I ol the thumb i n running and arpeggiated passages. The older
panion and one of Johann Sebastian's successors at the Thomas- hngei ing made use of the thumb in large stretches and runs, but i n
schule, once said, "Like many boys of active mind and body, he was iln l.uter its sol function was to strike the key and remain inactive
afflicted from childhood on with the malady of the roguish tease." wliilc the second or rarely the third and fourth vaulted it. Yet the
Symptomatic are his remarks on local teachers, Italian accom- iiiincd thumb i n the Bach fingering must have been known and
panists, the performance of incompletely marked scores. nnployed by Domenico Scarlatti, for one, for the virtuoso passages
Nowhere is Philipp Emanuel's indebtedness to his father more 111 his sonatas could hardly have been delivered satisfactorily with-
clearly expressed than i n the chapter on fingering. The son worked iiul it. For corroborative evidence we can cali on Franz Antn
out the details, but the father fixed the basic principies. However, M . I K lielbeck, i n whose Die auf dem Clavier lehrende Caecilia
it is clear from the reference to fingering as "a secret art, known and (Au^sburg, 1738) the turned thumb is called for repeatedly. This
practiced by very few," that the Bach family did not discover it, but I i< 1 is of special interest here, for Maichelbeck's own keyboard
rather organized and elaborated its technique. Other facts can be woiks incorprate many of the bravura elements of the Scarlatti
adduced to support this view. nonatas.
Of the older fingering, it can be said that it lacked systematiza- I'urther, Marpurg's Die Kunst das Clavier zu spielen (1750/51)
tion. I t was conditioned by earlier musical styles and was charac- rinploys the turned thumb as a basic technique i n the performance
terized i n general by a sparing use of the thumb and fifth finger with ol scales. I t is quite possible, however, that Emanuel Bach had a part
a consequent favoring of the middle fingers. For example, i n run- in the working out of this feature of Marpurg's short treatise. Cer-
ning passages the right hand often ascended and the left hand de- lainly Marpurg did not hesitate to pick plums from the Essay once
scended by repeatedly crossing the third finger over the fourth. As it liad appeared.
the right hand descended the thrd finger repeatedly crossed the II, then, the new fingering was known to some, it remained a
second. The thumb carne into repeated use only i n wide stretches closed book to the rank and file of teachers and students until
and as the left hand ascended, a common fingering being llach's systematic exposition appeared i n 1753. Marpurg's satiric
4,3,2,1,2,1,2,1. The differences from one school to another lay es- Irt t ers, quoted earlier, are clear enough proof of this, and also of the
sentially in the amount of use allotted to the extreme fingers. I n l.ic 1 that the od fingering had outlasted its function. " W h o does
Girolamo Diruta's/Z Transilvano (1593?, 1597) these hapless mem- not know when a new epoch began for music i n general, and for its
bers are almost completely banished. More kindly disposed toward tnost aecurate and finest performance i n particular . . . ," wrote
them were the English virginalists and Germans such as Elias llach i n his Autobiography. The new style demanded a new de-
Nicolaus Ammerbach, i n whose Ein New Kunstlich Tabulatur- I ivery.
buch (1575) the fourth finger of the left hand crosses the thumb i n t Bach's fingering is the foundation of modern technique. Of the
stepwise ascent. I n Francois Couperin's L'Art de toucher le older methods but few details remain i n his exhaustive exposition,
clavecn (1716, 1717) the thumb is employed frequently i n wide ittuh as the crossing of 3 over 4 i n the ascending right hand, but this
stretches, and i n running passages for the left hand, but i n the right only as an alternative to the new method of turning the thumb. As
no more frequently than others had used it. Characteristic for the keyboard style developed, as the pianoforte with its different action
French school at this time is the replacement of one finger by carne into its own, certain extensions of technique were required.
another on an unrepeated, held tone, along with direct repetitions These were provided by Clementi, Czerny, J. B. Cramer, and many
of a single finger i n running passages. A palpable misprint ac- others. I f Muzio Clementi is sometimes credited with introducing
i 4 I NT RO DUCTION INTRODUCCION i 5
modern finger technique, we need only read his own acknowledg- idra o sortingand classifying embellishments was not at all new, for
ment of indebtedness to the Essay i n order to restore the proper ihis was the subject matter of many books and prefatory notes of
sequence: "Whatever I know about fingering and the new style, i n the lime and earlier. Much more original and provocative was the
short, whatever I understand of the pianoforte, I have learned from !><( ilying of the exact musical context that was suited to each orna-
this book." i i i n i i . Here Bach attempted to assist the performer who must know
The most extended contemporary review of the Essay appeared where to insert unspecified ornaments. For, if the practice of pro-
i n the Bibliothek der schnen Wissenschaften und der freyen vid i ng free elaborations was approaching its end, the more modest
Knste (Vol. 10, Pts. i , 2, 1763/4). I n i t Bach's work is ranked as the one of inserting short embellishments was still a vigorous art. Cer-
equal of Quantz's Versuch, Leopold Mozart's Violinschule, and i.unly it met with Bach's approval, where the other did not.
Agricola's translation with additions of Tosi's Opinioni. The review I he chapter on embellishments is a difficult, but an inescapable
is laudatory on all counts save those that refer to the chapter on Iftd rewarding assignment for the musician who would discharge
embellishments, where several exceptions are taken to Bach's treat- ueditably his responsibilities to i8th-century music. Generally
ment and organization of material. Whether these differences of l>e,iking, Bach's contemporariesand later composers did not accept
opinin are entirely justified is less significant than the fact that they his advocacy of a seprate designation for each ornament. Instead,
indcate that Bach did not, as indeed he could not, represent all ihey followed the practice of using a few signs to cover all cases,
practices of the eighteenth century. Taste and style are important when they did not write out the ornament completely. Today we
factors i n his treatment. Further, although Bach's ordering of his have come to believe that each of these signs represents a single, pat
material is clear and logical, it is obvious that a somewhat different foi mua. The often gruesome results of this misapprehension can be
organization might have been undertaken. A l l i n all, the chapter heard from conservatory to concert hall. Bach's chapter is a primary,
on embellishments contains a large but discerning selection of 1:01 rective source work. I n it we are provided with an opportunity
ornaments from all styles. lo study i n detail the exact manner i n which these ornaments were
performed by one of the most precise and sensitive artists of his
Ornamentation at the time of the Essay was of two kinds. There
peiiod.
were first the optional elaborations which performers were expected
to interplate into the pieces they played. Ornamentation i n this In the third chapter of the Essay, Bach writes of performance.
sense was a dying practice. Johann Sebasian Bach had already sub- On the evidence presented by his own keyboard music, it is doubt-
scribed to the writing out of every note that was to be performed. ItiI that he possessed or sought the technical wizardry of Domenico
Philipp Emanuel, following his father's practice, treats free elabora- Scarlatti. His fame derived from other sources. I t was the heightened
r o n only briefly, i n connection with the performance of fermatas rxptessiveness of his playing, the daring originality of his music that
and cadenzas. impressed his listeners. Among those who heard him and remarked
The second kind was the stereotyped short embellishments, the on his performance were the poet Klopstock, the musicians and
appoggiaturas, trills, turns, etc. T o these, Bach directed his full mwsicographers Marpurg, Reichardt, and Burney. The last-named
attention. The task that he set for himself was a twofold one. First wiote i n his Present State of Music: "His performance today con-
he classified each type and designated a distinctive sign, notation, or Vinced me of what I had suggested before from his works; that he is
position for each subtype. For example, the section on the turn 1101 only one of the greatest composers that ever existed, for keyed
includes the turn over a note, after a note, over a tie, over a dot, Instruments, but the best player i n point of expression; for others,
the trilled turn, the snapped turn, and the ascending turn. I n all, he perhaps, have had as rapid execution: however, he possesses every
cites seven types and twenty-four subtypes of ornaments exclusive ntyle; though he confines himself chiefly to the expressive." And the
of slight varants. While the ends at which Bach arrived are, i n cer- niuhor, possibly Reichardt, of Musikalischer Almanach, Alethi-
tain instances, peculiar to his own judgment i n these matters, the nopel (1782) writes similarly: " T o know Bach completely one must
t INTRODUCTION / N T RO I) U C II O N iy
hear the wealth of Iiis imagination, tlie prolound sentiment of his <l<t.i< h< (1 and joined notes, the exe< iition ol the vibrato and portato,
heart, his constant enthusiasm as he improvises on his Silbermann dolted notes, sustained and arpeggiated iones. And like the tempo
clavichord." inhalo and dynamic shading, all of these matters are of importance
As the principal practitioner of the Empfindsamkeit, with its only as they advance the first aim of the performer, to seek and
emphasis on the feelings, the "affections," with the clavichord as its intcrpret correctly the true expressive content of each piece that
best-loved instrument, Bach made technical mastery of the keyboard he performs.
only a contributory factor to the expressive end that he sought. T o many it must seem strange that Philipp Emanuel, modernist
Music here was far removed from a decorative art, from abstract and eclectic of the eighteenth century, did not employ the theories
patterns of sound; it was, above all else, a vehicle for the expression ol Ramean, in writing the chapters on intervals and thorough bass.
of the emotions. Music must languish, it must startle, it must be I le was not ignorant of the writings of the Clermont organist whose
gay, i t must move boldly from one sentiment to another; these were Traite had appeared forty years before Part T w o of the Essay. I n -
the requirements that had to be met by the composer. And the per- deed, the Essay was written after the publication of all of Rameau's
former must understand the true content of each piece that he theoretical works.
played. He must transmit accurately and faithfully its expressive liach and his father were acquainted with Rameau's theory, which
nuances to an audience whose heart must be stirred. This was the has become the basis of most of the modern writings on harmony,
core of the aesthetic doctrine of the Berlin school. Its artistic par- hut they disagreed with it. This was made known i n a letter to Kirn-
allels were the English sentimental novis and the romantic Ger- herger, cited i n his Kunst des reinen Satzes (Pt. I I , Sect. 3, p. 188):
mans of the literary movement that became known later as the "You may proclaim that my and my deceased father's basic princi-
Sturm und Drang. pies are contrary to Rameau's." Extended consideration had been
Throughout the Essay Bach distinguishes between the learned given by the members of the Bach school to the new theories of the
and galant styles i n music. He set no high store on the former, al- lundamental bass, the suppositional root, the triad as the mother
though he wrote his share of polyphonic pieces and had a deep o all chords, and the seventh as the origin of all dissonances. This
admiration for his father's works. His predilection was for the galant is apparent from the analyses i n the Rameau manner which can be
style, French i n derivation. Yet his own music and manner of per- lound, according to Spitta, i n the definitive autographs of the Sara-
formance were far different from the patterned forms, the restrained bande and two Menuets from Johann Sebastian Bach's D minor
elegance and grace of the rococ. His manner of delivery, like his Ki ench Suite, and i n Fischoff's autograph of the C minor Fugue and
music, was replete with personal expressiveness, with song. This I) minor Prelude of the Well-Tempered Clavier. Later, Kirnberger
view is clearly expressed in his Autobiography: " M y principal aim, analyzed the B minor Fugue of Book One and part of the A minor
especially of late, has been directed toward playing and composing l'relude of Book T w o with the avowed purpose of proving the
as vocally as possible for the keyboard, despite its detective sustain- miperiority of his own analytic procedure over Rameau's. I n only
ing powers. This is no easy matter if the sound is not to be too thin one respect can i t be said that Philipp Emanuel made use of any
or the noble simplicity of melody ruined by excessive noise. . . . (i)f the new principies. He speaks several times of chord inversin.
I believe that music must, first and foremost, stir the heart. This Hut this principie was known before the Traite was published, hav-
cannot be achieved through mere rattling, drumming, or arpeg- ing made its appearance i n Andreas Werckmeister's Hodegus
giation, at least not by me." curiosus (1687) and Godfrey Keller's Rules . . . (before 1700).
Thus i n the chapter on performance the points stressed are those Bach's rejection of Rameau can be traced largely to the fact that
concerned with expressive playing, with correct interpretation. I t the latter had pronounced a theory, whereas thorough bass was es-
is only after attention has been directed to these matters that Bach scntially a practice. Certainly, as Bach presents his material, i t is
turns to such technical details as the notation and performance of apparent that the pervasive problems were first tactile and then
iH I N T R O I) U C T ION / N T R O l) V C T ION i 9
artistic, but never speculative. Thus in organi/.ing the chords of thcr behavior is different. The first attempt to reconcile these two
thorough bass, Bach follows an older principie. Chords, regardless points of view, harmonic function and behavior, was made by Kirn-
of their origin, are grouped according to the deinitive interval that lurger, whose works, despite certain obvious shortcomings, should
they contain. For example, all chords that contain sevenths are be examined by all. He distinguishes between essential and ines-
treated successively. They are the chord of the seventh, the seven- scntial chords, and makes the root a determinative factor of a suc-
six, the seven-four, and the seven-four-two chords. Although only ceision of chords rather than a single chord.
the first of these is a chord i n the Rameau sense, all are chords i n I n general, the chapters on intervals and thorough bass are con-
Bach's sense. Each of them must be recognized from its signature cerned solely with the rudiments of accompaniment. Attention
and played instantaneously. The student's task was to lcate at the is directed to chord construction, doubling, and spacing. This was
keyboard the deinitive interval and then to bring under his fingers (lie groundwork that must be covered by every student accompanist.
the various accompanying intervals. Identification of the root, real But it was hardly enough to make a skilled practitioner of the
or supposed, did not aid h i m i n his direct gauging of intervals above keyboardist. So, after treating the raw material, Bach turns i n the
a given bass tone. Moreover, i n thorough bass some chords were chapter on accompaniment to refinements, stylistic matters, and
closely associated, even though their roots were not identical. For special problems of settings, such as the treatment of appoggiaturas,
example, above certain bass tones the six-three and six-four-three passing tones, etc. He writes of the liberties that may be taken, of
chords were regarded as interchangeable. Knowledge of the fact that the amount of freedom from four-part accompaniment that may be
these chords had different roots would have deterred rather than indulged, of the ways i n which a realization might be made into an
aided the student. active, essential part of a composition.
The greatest difficulty with the older system was caused by the On only one final point is his thorough, detailed exposition less
great increase i n the numbef and variety of chords that made than adequatehe did not include a complete piece with a fully
their appearance i n the course of the eighteenth century. Mattheson realized accompaniment. The examples themselves are highly in-
referred scornfully to the thirty-two posted by Heinichen, and Usted formative and shed light on many particulars of construction, but
seventy, but overlooked six of the latter's chords. Bach has twenty, they are, by nature, isolated fragments. While it would have been
but includes many others as subtypes, chromatic variants, and alter- impossible to construct an accompaniment i n which all problematic
nates. It.was this unwieldy bulk of chords that aided the spread of matters would find illustration, nevertheless a single complete
Rameau's system, but i t is not pointless to note that the theory movement would have clarified our concept of the total shape of an
gained unquestioned acceptance only after the period of the basso accompaniment, of its balances and parallelisms.
continuo had passed. Bach's method, the one he inherited from his The extemporaneous realization of a figured bass is a dead art.
father, was the only effective introduction to the musical practices We have left behind us the period of the basso continuo and with
of his time. it all the unwritten law, the axioms, the things that were taken
The crucial difference between Rameau and Bach is most evident for granted; i n a word, the spirit of the time. T o become convinced
i n those places where Philipp Emanuel explains the nature of o| this one need merely play through the effulgent nineteenth-
chords. Where Rameau's emphasis rests on the vertical origins of a century tone poems that were added as accompaniments to eight-
chord, Bach's rests on its behavior. Repeatedly he cites context, eenth-century works; or the shy, halting harmony exercises that are
voice leading, rhythmic and melodic manipulation as the critical prevalent i n our own day. These latter reveal their timidity all the
chord-shaping factors. Thus there are two kinds of six-four chords, more clearly through their small notation. Both types, i t should be
those that retard a following five-three, and those that retard a remembered, were painfully and studiously wrought, but they fail
following six-three. Where Rameau calis the two identical because completely to enter the creative milieu of the eighteenth century.
their roots are identical, Bach differentiates between them because T o be sure there were bad, faltering accompaniments i n the eight-
2O I N T R O 1) U C I I O N I N T R O l) 11 C T 1 O N 21
centh century too. We can rcad about them here and elsewherc. |i|> 17 If. T h i s carefully ediled work contains a realization by K i r n b c r g e r of
But it is illuminating to read first-hand accounts of the accom- thr A n d a n t e from the Trio. T h e r e m a i n i n g movements of the T r i o a n d m i r r o r
paniments fashioned by one of the greatest improvisers of all time. ann (pp. 59 ff.) have accompaniments by an u n k n o w n student of the eight-
r r n t h century. T h e s e accompaniments have i n the past been incorrectly at-
W r i t i n g of Johann Sebastian Bach, Johann Friedrich Daube ex-
nibuted to K i r n b e r g e r (cf. H. T. David, /. S. Bach's Musical Offering,
pressed himself as follows i n 1756:
(. Schirmer, 1945, pp. 99 ff.).
F o r the complete practice of thorough bass it is necessary to k n o w three C . F. H a n d e l , Werke, V o l . 48, p. 115, Adagio. T h e keyboard part is super-
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 II ni ti cmbalo concertato, but is i n the nature of an arpeggiated realization.
character of a melody or a piece; the intricate or c o m p o u n d . |. S. B a c h , Werke, I I , 2, pp. 97 ff., A r i a , Chi in amore. T h i s is the most com-
T h e excellent B a c h possessed this third species n the highest degree; w h e n |iU-x of the accompaniments listed hfe, but even i n its elaborated qualities it
he played, the p r i n c i p a l part h a d to shine. B y his exceedingly adroit accompani- Miggcsts an extemporaneous realization of the " i n t r i c a t e " k i n d . T h e keyboard
ment he gave it life w h e n it h a d none. H e k n e w how to imitate it so cleverly p a n is superscribed cmbalo obligo.
w i t h either the right h a n d or the left, a n d how to introduce a n unexpected V. T . A r n o l d , The 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, C h . I V . T h i s chapter contains suggestive, short, but complete examples
h a d been conscientiously written out. A t the same time, the regular accompani- lioui textbooks by H e i n i c h e n , Mattheson, a n d G e m i n i a n i .
m e n t was very little curtailed. I n general his accompanying was like a concer-
An accompanimit from a thorough bass demands more than a
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 -
arefully gathered knowledge of eighteenth-century idioms. I t re-
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. (|iiires i n additio a highly creative imagination. When these two
Suffice it to say that anyone who missed h e a r i n g h i m missed a great deal. lactors are present much of the elusive spirit of a good setting can
he recaptured. As an example, Brahms' accompaniments to Han-
Lorenz Mizler also listened to Bach's accompaniments. He wrote
del's Duetti e Terzetti may be cited. They appear i n Handel's
in 1738:
Werke, Vol. 32, 2nd ed. Nos. Ib nd X to the end of the volume.
W h o e v e r wishes truly to observe what delicacy i n thorough bass a n d very good Nos. X V - X X were published i n Handel's Duette, Peters, No. 2070.
a c c o m p a n y i n g m e a n need only take the trouble to hear our Capellmeister B a c h
I t is a rare privilege to be invited into a composer's workshop
here, w h o accompanies every thorough bass to a solo so that one thinks it is a
piece of concerted music a n d as if the melody he plays i n the right h a n d were to look on as he fashions a model for us, as i n the chapter on im-
written beforehand. I can give a l i v i n g testimony of this since I have h e a r d it provisation. Partial glimpses of the creator at work are provided i n
myself. letters scattered through the centuries; and many rare vistas are
opened up to the careful student of Beethoven's notebooks. But
Because thorough-bass realizations were created extemporane-
aside from these and the final chapter of the Essay, our only recourse
ously and served only an immediate purpose, there was no need to
is a vast desert of textbooks on the proper writing of inventions,
write them out. Nevertheless, a few have come down to us, some
.K ademic fugues, sonatas, songs, etc. Their authors' compositions
avowed realizations, others that partake so much of the nature of
heing at best of only minor significante, such books represent "but
an accompaniment that they can be used to supplement Emanuel
sccondary sources for those who wish to know intimately of the
Bach's discussion. As listed here they range from the simple,
pioblems and processes of creation.
through the natural, to the intricate, as classified by Daube:
Burney i n his Present State of Music describes Philipp Emanuel's
P h i l i p p Spitta's / . S. Bach (Novello, 1899, I I I , 388 ff.) contains a realization improvising as follows: "After dinner, which was elegantly served,
by H . N . G e r b e r w i t h corrections by B a c h of a Sonata fot V i o l i n a n d Bass by
and cheerfully eaten, I prevailed upon him to sit down again to
T . Albinoni.
G e o r g P h i l i p T e l e m a n n - , Singe- Spiel- und General Bass Uebngen, ed. by
a clavichord, and he played with little intermission, t i l l nearly
M a x Seiffert, Barenreiter, 1935. T h i s volume contains several songs w i t h fully eleven o'clock at night. During this time, he grew so animated and
realized accompaniments. I t was designed as a n instruction book. possessed, that he looked like one inspired. His eyes were fixed,
Musical Offering by J . S. B a c h , prepared by H . T . D a v i d , G . Schirmer, 1944, his under lip fell, and drops of effervescence distilled from his coun-
22 / N T R O I) U C T 1 ON I N T RO I) U C T I O N 23
tenance." Reichardt was bewitched by Bach's communicative im- irmained in manuscript (Wotquenne, Nos. 111, 256, 258). What-
provisations. |VCI merits can be found i n these other works, they contributed
Signihcant i n Bach's exposition is the omnipresence of a ground little to their author's renown. None worked as did the Essay to
plan, regardless of whether the subject of discussion is the short mtablish him as one who "raised the art of performance through
preliminary exercise, modulation, or the complete fantasia. The iraching and practice to its perfection."
improvisatory character of this type of composition is achieved not
by a meaningless wandering from key to key, but by an imaginative
manipulation of details that fit persuasively into a unified whole.
But the relation between execution and plan is bold and free.
Nowhere does the plan obtrude. Its function is to direct the general
course of the work, and this it accomplishes by remaining quietly
where it belongs, i n the background. And when necessary i t yields
to a free twist of the foreground. Under the conditions set by Bach
the sample piece could scarcely turn out to be one of his best works.
His avowed purpose is to show the student how to construct a free
fantasia. Limitations imposed by this aim were severe. Yet for all
its circumscribed, unassuming modesty, it breathes the same atmos-
phere as the famous final piece of the Probestcke, also a free
fantasia.
I n this chapter, as i n many parts of the chapter on thorough bass,
Bach presents himself as an analyst. His procedure is to discuss each
inflection with relation to its normal behavior. I t is instructive
to compare such a method with the present practice of chord-
naming which is passed off almost everywhere as analysis. Where the
latter is mechanical and visual, Bach's approach is aural and artistic.
The requirements of such an approach are keen perceptive powers,
the ability to evalate musical processes, and a long experience i n
the art. Bach had all of these qualities, and having them, he could
never have regarded analysis as a search for chord roots and identifi-
cation tags.
The Essay was Bach's only extended theoretical work. Aside from
it and certain illustrations that appeared i n Marpurg's Abhandlung
vori der Fuge, there was only one paper that carne to print, a Sug-
gestion for the Constructing of Six Bars of Double Counterpoint i n
the Octave (Einfall . . .) which appeared i n Marpurg's Historisch-
Critische Beytrge (Vol. I I I , Pt. 2, pp. 167 ff.). I t is a work more
ingenious than useful. Other writings, some of which were planned
as supplements to the Essay, were concerned with thorough bass,
fingering, embellishments, modulation, and the free fantasia. They
FOREWORD TO PART ONE
still present themselves which cannot be easily demonstrated, much lic has given me the incentive to enlarge the present third edition
less written down, and would have to be acquired by ear alone. with textual additions and six new keyboard compositions i n ful- 4
I n presenting an introduction to keyboard playing it has not i n fillment of the promise made i n the Forewords to the first and
the least been my intention to treat systematically all of the pre- second editions.
viously mentioned tasks and to show how they may be satisfactorily
8 T h i s entence was added to the ed. of 1787.
discharged. Neither the art of improvising or thorough bass is |j * See Note 17, Introduction to Pt. I .
discussed here. These have long since been dealt with i n part i n
many excellent books. I t is my aim to show the performer how he
may play solos correctly and thereby gain the approbation of con-
2
noisseurs. He who has done his part i n this respect w i l l already have
2 Handsachen. Mattheson (Der vollkommene Capellmeister) writes: ". . . Every-
thing that is played on keyboard instruments falls into two classes, solos (Handsachen)
and general bass." However, cf. Pt. I I , Introduction, f % 12-15, where Bach's descrip-
tion of Handsachen would seem to limit the term to certain types of keyboard solos.
INTROD V C TI O N 1 O PART O N E )i
loi nowadays it secms to be scandalous not to compose. Good pieces
ly others which might be studied proitably are withheld under
i lie- pretext that they are obsolete or too difficult. Worst of all, there
|| a malicious prejudice against Frenen keyboard pieces. These
INTRODUCTION TO PART ONE have always been good schooling, for this country is sharply dis-
i inguished from others by its flowing and correct style. A l l necessary
finbellishments are clearly indicated, the left hand is not neglected,
nor is there any lack of held notes; and these are basic elements
ni the study of coherent performance. Our pedants can often play
nothing but their own fabrications; their abused, awkward fingers
tIrlver these stiffly; they can compose only what their hands can
T
i
H E T R U E A R T of playing keyboard instruments depends subdue. Many are held i n high esteem who hardly know how to per-
on three factors so closely related that no one of them can, lorm tied notes. Consequently there arise great quantities of miser-
or indeed dar, exist without the others. They are: correct able works and abominable students.
fingering, good embellishments, and good performance. 5. T o begin their studies, pupils are racked with vapid
2. Owing to ignorance of these factors and their consequent Murkys and Gassenhauer i n which the left hand, its role reduced
1 2
absence from performance, keyboardists can be heard who after lo a mere thumping, is rendered useless for its true employment.
torturous trouble have finally learned how to make their instru- Actually the left hand should be preferentially and intelligently
ment sound loathsome to an enlightened listener. Their playing exercised i n order to attain a facility equal to that of the right,
lacks roundness, clarity, forthrightness, and i n their stead one hears which by the very nature of things is constantly active.
only hacking, thumping, and stumbling. A l l other instruments 6. Should the student i n listening to other music acquire a more
have learned how to sing. The keyboard alone has been left be- discriminating taste, he is thenceforth revolted by the pieces he
hind, its sustained style obliged to make way for countless elabrate must practice; and, convinced that all keyboard music is poor, he
figures. The truth of this is attested by the growing beliefs that to seeks refuge i n arias which, when well set, and sung by reputable
play slowly or legato is wearisome, that tones can be neither slurred voices, are suitable for the development of good taste and the study
or detached, that our instrument should be tolerated only as a of good performance but not for the development of the fingers. 3
necessary evil i n accompaniment. As ungrounded and contra- 7. Teachers feel that they must do violence to these arias and
dictory as these charges are, they are, nevertheless, positive reac- transcribe them for the keyboard. Along with other disparities, the
tions to the false art of playing the keyboard. I n view of the opinin left hand as usual is badly treated. A sluggish or even a drum bass 4
that the keyboard is unsuited to present styles, and the consequent is assigned to i t which, even when it is suited to the character of the
discouragement of many from studying it, I fear that the skill, al- piece, is more harmful than beneficial to the left hand.
ready waning, which has been brought to us chiefly by great per- 8. As a result of all this the keyboardist loses the special asset,
formers, w i l l suffer an even worse decline.
1 An accompaniment consisting of broken octaves.
3. I n addition to the neglect of the three factors mentioned 2 A Gassenhauer was a popular song or vaudeville in Bach's time and later. Cf.
Moser, Musiklexikon.
above, students are taught the wrong position of the hand. A t least
A similar protest was raised by F. W. Marpurg in Die Kunst das Clavier zu spielen:
their errors remain uncorrected. Thus, the last possibility of their " T h e arias which students are given serve to form their taste, but not to crate fa-
playing competently is removed, for it is easy to imagine the kind of cility and dexterity, above all in the left hand."
* Trommel-Bass; a scornful reference to basses fashioned out of repeated tones.
sounds produced by stiff, wire-strung fingers. They were an intermedate step between the older linear bass and the somewhat later
4. Most students are required to play their teacher's own works, harmonic, catapulting bass.
8
?2 /N 7 R O I) U C I I O N l O VA R T ON E / N T R o i) uc T ION 10 rA R T 0N E ^
possesscd by no other instrumcntalist, of keeping time easily and formance of quick rcpetitions in the left hand for the benefit of
enunciating its smallest fraction with exactness, an ability which he those who are charged with the task of playing thorough bass. T h e
acquires i n playing idiomatic keyboard music, for this comprises device, an everyday occurrence in the present style, offers great risk
more syncopations, short rests, and rapid dotted rhythms than any of stiffening and ruining the best of hands. This remark can stand
other type of composition. O n our instrument such difficult ele- as a good argument against those who ask expressly that all notes
ments are quite easy to master because one hand assists the other to written for the left hand be performed. Certainly the right hand is
hold the beat, and this brings i n its train the spontaneous sharpen- not required to accompany all notes, particularly when the bass
ing of the rhythmic sense. 1 know from experience that rapid
5 contains so common a device as the passing tone. The quick repeti- 8
syncopations and, above all, short rests cause great ado among the tions of whose hazards I speak are eighth notes i n rapid, and six-
most rhythmically sure and accomplished of other instrumentalists. teenths i n more modrate tempos. Further, I assume that another
9
A l l enter too late, even though other parts that enter just ahead of instrument is playing the bass with the keyboard. When i t plays
them provide the same assistance as the keyboardist has i n his hands. alone, these notes, like the tremolo, must be performed with al-
10
T o the latter these things are easy even when he omits the left hand ternating fingers. Although the consequent omission of the octave
or accompanies with other instruments. Provided that he is certain w i l l detract from the sonority of the bass, this small defect is to be
of the tempo, his entrance w i l l always be exactly right. Quantz i n 6 preferred to other greater evils. W i t h an accompanying bass instru-
his Flute Method, page 113, even advocates a delayed entrance ment i t is best to omit one, three, or five notes according to the
(which goes to prove that a correct entrance is nearly impossible) tempo and meter and strike the others i n octaves (or double octaves
and thus takes the lesser of two evils. with both hands i n a fortissimo), employing a heavy attack, some-
9. The student i n playing the basses described above develops what sustained so that the strings will vbrate sufficiently and the
a stiff left hand, for the amount of harm done by performing quick tones blend with each other. I n order not to confuse the ensemble,
repeated notes without a change of fingers is nearly incredible. the first bar may be played as written and notes left out from there
Many have suffered this injury as a result of industrious and pro- on. Another means that may be employed when every note must
longed study of thorough bass, wherein they have had to play such be played is to strike the key alternately with each hand. However,
notes with either hand but particularly with the left i n octaves. it has been my experience that, because the right hand usually
9a. 7 I take this opportunity to express my thoughts on the per- comes i n late, this expedient may upset the ensemble, a fact that has
strengthened my conviction that the keyboard is and must always
Remainder of paragraph from ed. of 1787. remain the guardin of the beat. I t is considered correct and indeed
T h e reference is to Johann Joachim Quantz (1697-1773), engaged as flute teacher
to Frederick the Great, and later as his Kammermusicus and court composer. H i s ing to Quantz's Versuch, where we find the following statement (Ch. X V I I , Sect. I V ,
encyclopedic work, Versuch einer Anweisung die Flote traversiere zu spielen (Berln, " O f the Keyboard Accompanist," f 32): " W i t h regard to allegro movements it is im-
1752), reads, in the passage that Bach mentions, " A t short rests which occur on down- portant that the accompanist . . . . possess the facility in his left hand to play
beats i n place of principal notes, caution must be taken to avoid coming i n too soon everything clearly and purely, . . . that when many eighth notes occur on a single
with the note that follows. For example, when the, first of four sixteenths is a rest, tone he play every one with his left hand, and avoid the practice of some who for
the performer must wait half again as long as the valu of the rest, for the following untimely reasons of convenience, strike one note and omit the following three or
notes must be shorter than the first. T h i s applies as well to thirty-seconds." (Ch. 12, even seven, especially in vocal works." When all factors are considered, i.e., the publi-
f 12). A n abridged modera edition, prepared by Dr. Arnold Schering, was published c a r o n dat^s of both Essays (Quantz 1752, Bach 1753), the cise association of both
at Leipzig in 1906. men as fellow court musicians, etc., it becomes clear that Quantz is referring to Bach
1 T h i s long paragraph appeared originally as a footnote and was retained as such and that Bach's paragraph is an elabrate rejoinder and defense of his own practice.
in all editions. At first glance it is puzzling i n both its length and somewhat heated s See C h . I V , f f 68-78, and C h . V I , especially f 3, for a description of passing tones
style, for the practice advocated here pf omitting certain repeated notes from the left in the eighteenth-century sense.
hand was not new. For example, Heinichen (General Bass, 1728) recommends not
Cf. C h . V I , "Passing Tones," f f 4, 7-12.
only the expedient suggested, but also the changing of repeated notes into broken
. . . Wie die Schwrmer. T h e term was used chiefly with reference to the string
1 0
octaves or into a right-hand Alberti figure against simple chords i n the left (cf.
tremolo, although Marpurg applies it to repeated notes at the keyboard. T h e Italian
Arnold, Art of Accompaniment from a Thorough-Bass, p. 774 ff.). Saint Lambert
word was Bombo. Arnold translates literally, "resembling crackers" (Arnold, op. cit.,
makes similar suggestions (p. 196, l.c). However, the entire matter clears up on turn-
p. 776).
?./ 1 N T R O I) U C T 1 O N 7 O PA H T ONE INTRODUCTION TO PART ONE 35
advisable for the accompanist to rcpcat chords which are sustained 10 assist not only the other bass instruments but the entire ensemble
by the rest of the ensemble in order to rnaintain a clear indication i 11 maintaining a uniform pace. And yet the best musician, fatigued,
of the meter; the correetness and advisability of omitting notes
11 m a y find it difficult to guide even his own pace at t i m e s , even though
should be conceded for the same reason; the more so when such he might be the master of his powers under normal conditions. Such
omissions are compared with the hazards and impracticability of being the case with one performer, how much more important it is
literal performance. A n d this latter is really hazardous, for on other that our expedient be employed i n an ensemble; the more so be-
instruments such notes are played with the tongue or the wrist; but cause 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 keyboardist must express these rumblings with a rigid arm the keyboard which, correctly placed, stands i n the center of the en-
when, due to octave doubling, he is unable to employ alternating semble, can b e heard clearly by all. A n d I know that even diffuse,
12
fingers. I n doing this the left hand grows stiff and incapable of per- elabrate compositions played by impromptu, average performers
forming the passage satisfactorily for two related reasons: The first, can b e held together simply by its tone. If the first violinist stands
because i n a prolonged contraction all muscles are employed; the nears the keyboard as he should, disorder cannot easily spread. I n
second, because most of the fingers are inactive. I t can be established arias, the singer's burden is lightened by our means when the tempo
through experiment that the left hand and entire arm grow so changes precipitately, or when all parts scramble while the voice
tired, twisted, and taut from thumping away at a drum bass that i t alone has long notes or triplets which because of their divisin de-
is impossible to play anything active afterwards. This clinking mand a clear beat. The less the bass is preoecupied with difficult,
noise is impossible for another reason: Many of the drum basses that involved runs, the more easily w i l l i t be able to rnaintain a steady
are encountered today cannot be survived because of their sheer pace; the more i t is, the more frequent w i l l be the spectacle of com-
length. I n all styles the other musicians have occasional rests; the positions starting more vigorously than they end. Should someone
keyboard, however, is constantly at work often for as many as hasten or drag, he can be most readily corrected by the keyboardist,
three, four, or even more hours without respite. Assuming that one for the others w i l l be too much concerned with their own figures
were hardened to such labor, even the most dependable musician and syncopations to be of any assistance. Especially those parts
would begin eventually to waver drowsily and unwittingly through that employ the tempo rubato w i l l find herein a welcome, emphatic
fatigue. The drum bass, i n most cases devoid of expression and beat. Finally, i t is easy (and often necessary) to make minor changes
calling for little mental effort, can only annoy and weary a per- of tempo by this means because exact perception w i l l not be hin-
former who, as a consequence, loses the inclination and ability to dered by the keyboard's excessive noise, and, i n addition, those per-
perform stirring passages fittingly. Further, this injurious clinking formers located i n front of or beside the keyboard w i l l find i n the
is contrary to the nature of the harpsichord as well as the piano- simultaneous motion of both hands an inescapable, visual portrayal
forte, for both instruments are thereby robbed of their natural of the beat.
tone and clarity; the tangent of the harpsichord seldom reaets 10. Teachers try to make amends for a stiff left hand by teach-
quickly enough. The French, who understand the keyboard and ing their students to favor the right and garnish adagio or expres-
know that i t is capable of more than mere strumming, take pains sive passages with a wealth of pretty little trills to the revulsin of
even today to inform the keyboardist that i n such passages not all good tste. These are often interchanged with senile, pedantic em-
notes are to be played. Further, broad accented tones contribute to bellishments and fumbling, inept runs i n the playing of which the
the expression of basses that carry dots or dashes over the first of a fingers seem to grow choleric.
group of notes. Many cases arise where a clear, strong attack with
11. Before we proceed to remedy these faults with well-
both hands is not only advisable but mandatory. The keyboard,
grounded instruction, something remains to be said about key-
entrusted by our fathers with f u l l command, is i n the best position
board instruments. Of the many kinds, some of which remain little
i i Cf. C h . V I , "Performance," f 18. 12 a . Pate I V .
36 INTRODUCTION TO l'ART ONE INTRODUCTION TO l'ART ONE 37
known because of defects, others because they are not yet in gen- 10 .1 good tone and the proper tange. The tests of the quilling are
eral use, there are two which have been most widely acclaimed, the neat, facile execution of embellishnients, and an equal, quick
harpsichord and the clavichord. The former is used in ensembles, 1 caction of each key as the thumbnail sweeps over the entire manual
the latter alone. The more recent pianoforte, when it is sturdy and with a light, uniform pressure. The action of the harpsichord must
well built, has many fine qualities, although its touch must be care- not be too light and effeminate; the keys must not fall too deep; the
fully worked out, a task which is not without difficulties. I t sounds lingers must meet resistance from them and be raised again by the
well by itself and i n small ensembles. Yet, I hold that a good jacks. On the other hand, they must not be too difficult to depress.
clavichord, except for its weaker tone, shares equally i n the at- For the benefit of those whose instruments have less than the de-
tractiveness of the pianoforte and i n addition features the vibrato sirable range, I have so constructed my Lessons that they may be
17
at all without the clavichord, and he devised it only for the clavichord. But he who
once masters this instrument plays the harpsichord quite differently from those who in this manner. A few simple pieces at the beginning suffice, after
never touch a clavichord. For him harpsichord compositions may be written which
under the hands of the mere harpsichordist become insipid, often unintelligible, and
which the wise teacher w i l l do better to introduce his pupils
disconnected." gradually to more challenging works. It is in accord with the art of
Also: "Soul, expression, feeling, these things Bach gave first to the clavichord, and teaching and the reason asserted above that by this means the stu-
the harpsichord could not receive the smallest degree of them save from the hand
of him who knew how to anmate the clavichord." dent w i l l be unaware of the increasing difficulty of his tasks. My
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 na-
ture. 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 CHAPTER ONE
the Lessons at sight, I urge them first to study every smallest detail
with proper diligence. FINGERING
T
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 treacher-
ous path along which many have erred. For one thing, there is only
one good system of keyboard fingering, and very few passages per-
mit alternative fingerings. Again, every figure calis for its own dis-
tinctive 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 incor-
rectness of fingering is usually betrayed by the downright impos-
sibility 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 con-
ceivable artistry and good taste. Facility itself hinges on i t , for ex-
perience 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 fin-
4
.2
f FINGERING F INGERI NG
gcring, presen t-da y musical thoughl, so radically difcrent from that lion must be given to them. Stifncss hampers all movement, above
of the past, has devised a ncw method of exccution. all the constantly required rapid extensin and contraction of the
6. Our forefathers were more concerned with harmony than hands. A l l stretches, the omission of certain fingers, even the indis-
melody and played in several parts most of the time. We shall soon pensable crossing of the fingers and turning of the thumb demand
learn that i n this style the position of each finger is immediately ap- this elastic ability. Those who play with fat, extended fingers suf-
parent since most passages can be expressed i n only one way and fer from one principal disadvantage i n addition to awkwardness;
are variable to only a limited degree. Consequently, they are not so the fingers, because of their length, are too far removed from the
treacherous as melodic passages with their far more capricious fin- thumb, which should always remain as cise as possible to the hand.
gering. Furthermore, i n earlier times the keyboard was tuned dif- As we shall see later, the principal finger is thereby robbed of all
ferently and not all twenty-four keys were available as they are now. possibility of performing its services, whence i t comes about that
Consequently, the variety of passages was not great. those who seldom use the thumb play stiffiy, something that those
7. Henee, today, much more than i n the past, no one can hope who use i t correctly can not do even willfully. For the latter, every-
to play well who does not use his fingers correctly. My deceased thing is easy. This can be observed immediately i n a performer:
father told me that i n his youth he used to hear great men who em- If he understands the correct principies of fingering and has not
ployed their thumbs only when large stretches made i t necessary. acquired the habit of making unnecessary gestures, he w i l l play the
Because he lived at a time when a gradual but striking change most difficult things i n such a manner that the motion of his hands
in musical taste was taking place, he was obliged to devise a far more w i l l be barely noticeable; moreover, everything w i l l sound as if i t
comprehensive fingering and especially to enlarge the role of the presented no obstacles to him. Conversely, those who do not under-
thumbs and use them as nature intended; for, among their other
1 stand these principies w i l l often play the easiest things with great
good services, they must be employed chiefly i n the difficult tonali- snorting, grimacing, and uncommon awkwardness.
ties. Hereby, they rose from their former uselessness to the rank 13. Those who do not use the thumb let it hang to keep it out
of principal finger. of the way. Such a position makes even the most modrate span un-
8. Because this new fingering is such that everything can be comfortable, for the fingers must stretch and stiffen i n order to en-
played easily with i t at the proper time, I shall expound i t here. compass i t . Can anything be well executed this way? The thumbs
9. However, before proceeding to the actual use of the fingers, give the hand not only another digit, but the key to all fingering.
I must mention certain points, some of which must be known i n ad- This principal finger performs another service i n that it keeps the
vance of our study, others of which are so important that without others supple, for they must remain arched as i t makes its entry
them even the best rules are futile. after one or another of them. Those passages which, without the"
10. The performer must sit at the middle of the keyboard so thumb, must be pounced upon with stiff, tensed muscles, can be
that he may strike the highest as well as the lowest tones with equal played roundly, clearly, with a natural extensin, and a consequent
ease. facility when it lends its assistance.
11. When the performer is i n the correct position with respect 14. I t is evident that the muscles cannot remain relaxed or the
to height his forearms are suspended slightly above the fingerboard. fingers arcl+ed i n leaping or stretching; and even the snap calis for 2
12. I n playing, the fingers should be arched and the muscles a momentary tensin. These are, however, the rarest cases and take
relaxed. T h e less these two conditions are satisfied, the more atten- care of themselves by their very nature. A l l others follow the pre-
T h e few extant, notated fingerings attributed to J . S. Bach are largely in the
1
cepts of Paragraph 12. Especially children's hands, not yet fully
older style. They may be found in his Werke, 36.4, pp. 126, 224, 237. However, cf.
Spitta, Bach, Vol. I I , pp. 34-41; The Bach Reader (Norton, New York, 1945), pp. 2 Das Schnellen. T h e nature and execution of this technical element of clavichord
223, 306-312; and Dolmetsch, The Interpretation of the Music of the XVIlth and playing are described i n C h . I , f 90; C h . I I , " T h e T r i l l , " % % 8, 36, and " T h e Snap,"
XVIIIth Centuries, pp. 412 ff. Un.
44 F I N G ERIN G FINGERING 4 5
grown, should be trained to stretcli as lar as possible, rather than I shall buik upon Nature, for a natural fingering devoid of un-
leap everywhere with the lingers bunched, as so ol'tcn happens. In necessary strain and extensin is clcarly the best.
this manner it will be easy to strike the keys accurately, and the 19. The shapes of our hand and the keyboard teach us how to
hands will not readily depart from their proper position of swinging use our fingers. The former tells us that the three interior fingers
horizontally over the keyboard, which they tend to lose i n leaps are longer than the little finger and the thumb. From the latter we
by inclining to one or another side. learn that certain keys are longer and lie lower than the others.
15. Pupils need not be alarmed when a passage must be tested 20. I shall follow the usual designations by indicating the
by their teachers i n order to ascertain its best fingering. Oc- thumb with the numeral 1, the little finger with 5, the middle finger
casionally, doubtful cases arise which, even when they are played with 3, that next to the thumb with 2, and that next to the little
correctly at the first reading, might require reflection before the finger with 4.
fingering can be recited to another person. Teachers are rarely 21. I shall cali the raised and recessed keys by the more usual
provided with a second instrument at which they might settle such than correct ame of half tones. 5
issues while accompanying their pupils. From all this it can be seen, 22. I t follows directly from the statements of Paragraph 19 that
first, that i n spite of the endless variety of fingerings, a few good the black keys belong essentially to the three longest fingers. Henee,
principies are suficient to solve all problems; and second, that the first principal rule: Black keys are seldom taken by the little
through diligent practice, execution becomes so mechanical that, finger and only out of necessity by the thumb.
eventually, a stage is reached where, without further concern, full 23. I have found it advisable because of the great variety of
attention may be directed to the expression of more important mat- passages to construct all types of examples; some i n one voice,
ters. others i n several, some i n conjunct motion, and others i n disjunct.
16. While playing, always think ahead to the approaching 24. The scales have been arsanged according to keys in the
notes, for these often necessitate modification of a normal finger- first examples, which w i l l illustrate all twenty-four, ascending and
ing. descending. Thereafter, the order of illustrations will be as follows:
17. The form of one hand being the reverse of the other, I have Progressions i n several parts; spans and leaps, because these can be
found it advisable to illustrate the exceptional cases i h contrary3 more readily gauged after the study of progressions, or even traced
motion i n order to make them identically applicable to both hands. back to chords; and, finally, tied or held notes, a few licenses, ex-
Most of the examples that did not cali for inversin have been fin- ceptional cases, and certain expedients. The Lessons w i l l account
gered for both hands so that they might be practiced i n unisn. for the remainder. I n appending these with their continuous pas-
Every opportunity to practice i n this manner must be seized, as sages of all types, I believe I have served a greater purpose and
recommended i n the Introduction. The clef signatures of each 4 stimulated more interest in the difficult study of fingering than I
example indcate the hand for which the fingering numeris are could have hoped for had I amassed quantities of fragmentary
intended. When numeris appear both above and below the notes, examples, for these would have made the work overlong and unen-
those above refer to the right hand and those below to the left, re- durable.
gardless of the clef. 25. Chrnge of fingers is the most important element i n our
6
18. Having disposed of these preliminary points, all grounded study. Our five fingers can strike only five successive tones, but
in Nature, let us now proceed to the school of fingering. Here, too, s Halbentne. T h e "raised and recessed keys" of Bach's day were not universally
3 As described in f f 86-92. black, henee he could not use the convenient "black keys," which appears from this
* T h e examples for the right hand appeared in the customary descant clef in the point on as the translation of the term that he adopted with easily understandable
original. In order to make them more accessible to modern readers, out of touch with misgivings.
C-clefs, they have been transcribed in the familiar G-clef. 6 Die A bwechselung der Finger.
43
46 FINGER INC F I N G ERING 47
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.
7 8
3 4
r ^>
without his feeling obliged always to use the assigned finger on a
5
1
r
^ J 'ft EJ
given tone.
30. Figure i represents the ascending scale of C major with J U
three fingerings for each hand. None of them is impracticable, al-
Jy r J J J
though 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
I
32. I t can be seen i n Figures 2 and 4 that owing to the neces-
sity 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
7 Das Untersetzen. 8 Das berschlagen. in the examples of scales where its use is specified. Elsewhere its
Observe that one important technique of the older fingering is not ruled out, the
8
place is usually taken by the thumb. I n order to avoid confu-
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. sin with regard to the little finger and to illustrate a more ex-
./S l 1 N G K R 1 N G FIN G F. R I N G 49
tended change of lingers, 1 have led the scales hcyond the octave. Figure 7
Th ? rk*' \ - ? 1 - J
have written two octaves of this scale.
4 3
1
Figure 8
Figure 6 1 ! i
i
% s t
ti
f
-4-
* i ra m
w -f T 1
#4 i 3 ? 1
5 3 a 1 2
35. The ascending G major scale and its three fingerings appear ^
in Figure 8. Those marked with an asterisk are the least usual. The
middle one in the G-clef and the lowest i n the bass present an op-
36. G major, descending, also with three fingerings, is illus-
portunity to state a new rule: Crossing the fingers, that is, passing
trated i n Figure 10. That in which the thumb takes c is clearly the
19 T h i s turns out to be the most usual modern fingering, at least for the right least frequent; the farthest from the notes are the most dangerous;
hand. Perhaps Bach's reservations are concerned with the use of the fifth finger, which
does not appear in the alternative fingerings. 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 finger-
ings in the G-clef and three in the bass, of which those directly
4-4-4. above and below the notes are the most usual. There is nothing ir-
regular about the others. They are to be noted because there may be
need for them at times.
Figure 14
1 1
m1-4--4*- 1
~b, with the thumb unless the succession demands i t . Contrary to the 4 1
rule of Paragraph 33, the thumb must avoid g when the ascending j 1 1 3
2 4
3
2 3
1 2
2 1 2 3
scale ends on the octave, or there will be too few fingers to com- 3
plete it. As we shall see later, this rule suffers a few exceptions, 41. D minor, ascending, as shown i n Figure 15 has three finger-
which, however, do not i n the least reduce its valu i n the complete ings for each hand, all of which are good and should be practiced,
school of fingering. although those farthest removed from the notes are somewhat less
Figure 11 . usual than the others.
9 3 s
f f V
71 3 1
1 ti
A ' ' h m 1 4
3 ] f(T\ " T sm 2
"Y 1 - 3 11 w 1
2
J 3 i #
\
l 3 1
1 1
39. F major, ascending, has only one good fingering for the right 4
hand, as i n Figure 13, but three for the left, all of which are useful
in certain situations and should therefore be practiced. 43. Only one fingering is possible for B-flat major, ascending
and descending, as illustrated i n Figure 17.
Figure 13
Figure 17
-f- T
i
0
if f
ja l< l N G E RING E I N G E R N G 55
44. G minor, ascending, in Figure iK lias two lingerings for 48. 11 minor, ascending, appears in Figure 22 with one fingering
the right hand and three for the left. Those directly above the notes for each hand. When a passage for the left hand begins below the
and farthest below follow the rule of Paragraph 33. However, the first step of the scale, the thumb replaces the fourth finger on b.
others will prove serviceable on occasion. I n this connection note that the fingering for the higher octave
Figure 18 1 2 should be used to play all variants of the beginnings of scales. There
4 3
? 3 J*i
4 \
1
is an unavoidable departure i n the right hand from the rule of Para-
0 1 2
y}g-b-^
fh 0
3 1
mi
0-
*-
BE fT T
#
t 3
i 3
graph 33. Those who have this rule i n their fingers must be careful
m3 " T " ~
mf 4 3 7~ 1
t
2 { 3 8 - 1 not to assign the thumb to d instead of e difficulty that makes the
** 4 3 4 3
2 1 scale rather treacherous.
45. G minor, descending, i n Figure 19 has only one fingering. Figure 22
I t is understood that when a passage does not begin exactly as i l -
lustrated here, the appropriate finger must take the initial tone.
Figure 19
t
fingering for the right hand and two for the left. That which stands
i 1g 011 m 1 =1 just below the notes agrees with the frequently cited rule and i n
most cases is more useful than the one below it, which, nevertheless,
J o J 4
l
2 3
3 2 1 is required at times.
9
w>
*
ni i
7 T y t
3 2
i
1
! 1 } ?^ *= =11
ff
51. A major, descending, i n Figure 25 has only one fingering. I t
1 2 I 2 P3 J - is understood, as previously noted, that when the scale begins above
y/ F I N ( Eli INC, 11 N C. 1: RINC 55
the initial tone of the illustralion (he right hand takes a with the
Figure 28
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 sub-
stituted for 2-3-4.
Figure 25 55. C-sharp minor, ascending, has only one good fingering, as
illustrated i n Figure 29.
Figure 29
=F5=
Figure 26. The valu of the rule cited i n Paragraph 33 w i l l become 56. B major, ascending and descending, and G-sharp minor,
apparent in the forthcoming scales, for as they increase i n acci- descending, take only one fingering, which is shown i n Figure 30.
dentis or black keys, they grow simpler, less treacherous, and The latter, ascending, is different i n the size of its intervals but not
easier to learn. in the fingering, as we can see i n Figure 31.
Figure 26 Figure 30
i S E
#
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 57. F-sharp major, ascending and descending, has one fingering
signatures, the same fingering as major scales whose tonic degrees i n common with E-flat minor, descending, as illustrated i n Figure
lie a minor third above those of minor scales. 11
32. The same is true of E-flat minor, ascending, except for the dif-
ference i n the size of its intervals and the notation (Figure 33). I n
Figure 27
the left hand there is an exception to the rule of Paragraph 33, ac-
cording to which the thumb should take d rather than c.
Figure 32
0 . 1 ; I >
54. E major i n Figure 28 has a simple fingering for both hands,
ascending as well as descending. C-sharp minor, descending, is the 11 n H
same. Because anyone can determine the steps of descending minor Figure 33
scales from the statement i n Paragraph 53, I shall omit their illus-
tration as superfluous unless they have an exceptional fingering.
n Le. a minor third, not as notated, but at the keyboard.
J6 FINGERING FINGERING 57
58. I) llal or Cshaip major, its fingering applicable to ascend- only to progressions within an octave. Note that as scales lose ac-
ing as well as descending scales, appears in Figure 34. B-flat minor, cidentis (which oceurs in the ascending minor before other scales)
descending, takes the same. B-flat minor, ascending, and its finger- the number of fingerings increases.
ings, of which there are two good ones for the left'hand, appear i n
Figure 35. Figure 38
1
Figure 34
te - ' ^ Figure 39
3 *
-9-
a 4 l 1 II
Figure 35 3==
m
4 l \ 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
59. A-flat major i n Figure 36, ascending and descending, has
fourth, but never after the fifth. Note that i n order to rnaintain a
one fingering i n common with F minor, descending. The latter
uniform fingering i n playing through two or more octaves of a
with its ascending execution is shown i n Figure 37. The left hand
scale with its seven degrees, the thumb is usually employed once
has two good fingerings, of which the one directly below the notes
after the second and third finger, and again after the second, third,
is the better, although the other demonstrates anew the remarks of
and fourth. I n ascending with the right hand and descending with
Paragraphs 35 and 46.
the left this action of the thumb is called turning, a technique
Figure 36 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,
Figure 37 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
12
f_ 1 -ar -8-fcr 0 f % 1 study of embellishments i n which the third finger strikes a key
9 t t "y | p 1 4 s 1 ' i after the second. However, this striking must not be confused with
13
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
60. E-flat major is illustrated i n Figure 38. The fingering applies former the initial finger leaves the key and the hand is shifted.
to ascending and descending scales, as well as to C minor, descend-
63. Finally, we learn that scales with few or no accidentis per-
ing. This latter scale, ascending, i n Figure 39 has two good settings
12 See, in the present chapter, f 93.
for each hand, of which the more removed from the notes apply i See C h . I I , " T h e T u r n , " f 30.
FIN ( F R I N (. F I N (' E R 1 N ; 50
m i l the gicatcst varia!ion with rsped to fingering and the tech- cases and licenses will be reserved for discussion at the end of this
niques of turning and crossing. I he others have only one execu- chapter.
tion. Henee, because the former have many fingerings, because both 66. We shall now treat progressions in parts. Leaps w i l l be
techniques must be correctly applied to them without confusing one included in this discussion because under normal circumstances
with the other, and because a fingering, once it has been chosen, they must be devised with a view to an unforced execution by
must be retained in all registers, particularly with regard to the fingers of average length and are therefore fingered in the same
thumb, the so-called easy keys are, i n fact, much more challenging manner as part progressions. Should some find it more comfortable,
and elusive than the so-called difficult ones. These have only one because of their longer fingers, to take chords, arpeggios, or
execution, i n which the thumb soon learns through practice to take stretches with a fingering different from that recommended here,
its tones efortlessly. These keys are called difficult because they they may do so, provided that the comfort is not imaginary. I have
are never or, at best, rarely played or employed i n their own right. stressed leaps and stretches i n a slow movement, the B-flat adagio, 15
As a result, their notation as well as the location of their tones re- in order to make them easier. Those who wish to practice them
mains unfamiliar. Once forbidding, when they were played with- rapidly by themselves may do so.
out the thumb or the correct use of it, the difficult keys have become 67. Adjacent tones, struck simultaneously, are taken by adja-
inviting, thanks to the true study and employment of the fingers. cent fingers. The preceding and following tones determine which
Thus, i n earlier times one of the great advantages of the keyboard, pair of fingers is to be used. Examples of such seconds are contained
the facility with which it can express all twenty-four tonalities, lay in Figure 40. Observe that the thumb avoids black keys. I n the ex-
hidden behind ignorance. While speaking of accidentis, I must
14
amples, notes without fingering numeris are to be played by the
state my opinin concerning their employment. Our forerunners finger assigned to the preceding note. Each clef appears only once
followed the correct practice of placing an accidental before each and remains i n forc until replaced by another.
altered note which did not succeed itself directly. Today, one ac-
cidental is considered sufficient for several such notes. Accidental
signs must be used generously to clarify unexpected modulatory
shifts and their occasional resultant ambiguities.
64. Crossing and turning, the principal means of changing the
fingers, must be applied i n such a manner that the tones involved
in the change flow smoothly. I n keys with few or no accidentis the
crossing of the third finger over the fourth and the second over the
thumb is i n certain cases more practicable and better suited for the
attainment of unbroken continuity than other crossings or the turn.
W i t h regard to the latter, when a black key acts as the pivot the
thumb is conveniently provided with more room i n which to turn
than i n a succession of white keys. I n keys without accidentis cross-
ing should cause no stumbling, but i n the others care must be exer-
cised because of the black keys.
65. A l l runs must be approached i n the light of these scales
and the two techniques derived from them. Certain exceptional
1 4 Remainder of paragraph from ed. of 1787. is T h e middle movement of Sonata I I . Cf. Pt. I, Introduction, Note 17.
6o / N C E R I N G El N CE RING 61
68. Ilrokcn scconds are played l>y altrnate fingers as illus-
Q
i
trated in Figure ,| i . Allernation is better for this kind of passage,
10
} 1 8 s *
as we proceed that the thumb and second finger of the left hand are 5 2 ^ i 8 i
used, generally, in those places where the right hand employs the
second and third fingers. I | 3
4 4 4 i 4 a 4 3 3 i ?
9 ifU!'f=F 3 8 ^ * 3 ! i
3 k 3 \ i 4
i 1 i \ \\
69. Thirds are played by the fingers which are indicated i n the 0 1 i - ! *
i k l li ll
9* %
'ti ftl
several examples under Figure 42. Here, too, attention must be
directed to preceding and succeeding notes. The thumb and the 1 II 1 " II <te 9 ' 'ff 4 ] 11 ' l "
little finger do not play black notes, except when a contextual leap
c.
makes it necessary. Because successive thirds are often encountered,
I have introduced several examples i n order clearly to indcate the TT05 * 1 * n 8 4 * n
necessary finger changes. The little finger may also strike a black -JF .1 im rrr 5 .... 1
note when the accompanying finger does likewise. Viewed i n this giif^is?
8
11 ***** HtHW1
8
light, the fingering for the right hand i n Example a is not as good as 3 4 3 4
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- \ 3 a ' \ 3 1
(d). Normally, it is employed but once and then only on the ex-
treme notes of a succession of thirds (e) unless single tones inter-
4 3 4 eiltft$*m - 8 * Wv f 1 T~4
_, r - f r -~ ff *'|.........
vene, as i n Example /. Note that repeated thirds are played by re-
T
i " ~~ r g
sf
f*m*t J ui
4
/ r - p 11 g-
4
* J
4
3B
11 * C V C
*1 J b. 2 2 2 5 2 1, 4 1
1" i f l LL I
2 5 * J .f. *^
2 | 22 1 4 1
r f 5 2 5
1 2 1 . 5
m 1
r
(,. V INGERI N V. FINGERING 65
of Figure 47. When the thumb <Ktupies a black key it cannot be
CrOSSed by other lingers in the manner of Figure 48.
Figure 1 2 s
1 2 1 4 i 5 1 i ,
_ r~n rT"H i s i Mi 2 4 2 * *2
2
5
1 1 1 J) 11
72. Fifths and sixths may be taken i n three ways, as illustrated i n JE-
Figure 45. Figure 46 indicates the execution of a series of sixths.
& it j'
j 1
0
1
2
*
1
ni
II m
1
1
#
*1
a
2
-0
*2 -U0
0
2
fe. '
m 0
1
20
2
Figure 48
2 1
4 1
5 5 4
5 Tu ! 1m "ai rs^t 2 1 s t i 1
73. Sevenths and octaves are played l . Those who have long fin-
gers 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
r
76. We shall now discuss the execution of three-toned chords.
large intervals to use the thumb as well as the little finger on black Their fingering within the interval of a fourth is shown i n Figure
keys without further ado. 49. The additional tones of examples a and b cali for a special fin-
74. Octaves that leap, particularly in the left hand, where they gering.
appear most frequently, cali for the repeated thumb and little fin-
ger. 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 77. Figure 50 illustrates the execution of three-toned chords
fourth finger to take the place of the fifth, as shown i n the examples within the interval of a fifth. W i t h respect to example a, note that
66 /' / N C. E lil N (, y- / A/ c; /-; ni N c 67
in addition to the minor triad built from /, the same fingering ap- Figure 53
plies 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. able strain. The execution of Figure 51, Example a, is comfortable
18
2
5 5 a. 5
2 3 1
2
Ir 4 H '
2
7? m
1 l# 1 0 II
Figure 52
P 1 1 1 1
2 3
5 5 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, FIN ('. E R I N C,
of the triads discussed in I'aiagraph 77 are lo be taken similarly
when a f o u r t h tone has been added to theni.
80. W h e n either of the outer parts of four-toned chords falls
o n a black key, i t is best to take a fingering i n w h i c h , i f possible,
83. Good performance, as w e l l as preceding tones, calis for an
either the t h u m b or the l i t t l e finger is n o t used. However, since
occasional slight change i n the fingering of b r o k e n chords. T h e
i t is n o t always comfortable to o m i t the l i t t l e finger, whence i t plays
t h i r d finger is sometimes better t h a n the f o u r t h i n descending ar-
black keys more often than the t h u m b , the p e r f o r m e r should be
peggios, a l t h o u g h the latter is to be preferred w h e n the tones are
g u i d e d by contexts and, n o t a l l fingers being alike, seek after an
unforced and n a t u r a l setting, especially i n spans. A slight discom- struck simultaneously (Figure 55, Example 1). W i t h regard to good
f o r t being preferable to a greater one, i t is better to c o m m i t the l i t t l e performance, the keyboardist cannot always expect the degree of
finger or the t h u m b to a black key than to o m i t t h e m and cause an clarity f r o m a weaker finger that a stronger finger achieves q u i t e
excessive, hazardous stretch. Performance of a succession of f u l l readily, for c l a r i t y is w o n p r i n c i p a l l y t h r o u g h u n i f o r m pressure. I n
chords is fcil itated by changing the fingers whenever possible. this respect, those w h o are left-handed possess no small advantage
o n o u r i n s t r u m e n t . I n Example 2, Figure 55, the t h i r d of the
8 1 . W h e n b o t h outer parts of four-toned chords fall on black
19
yfe /M ^V - 1
figure 56 5 5 . s . 5
r J J
trntta
= = # = * JH
r t
M I
Vb-^-r
2 i Francois Couperin in L'Art de toucher le clavecn, Pars, 1717. 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 G F. RING 75
O n l y t w o fingers should be used at a time. The l i t t l e finger is the b u t i n this case r a p i d , crossing. This rule applies solely to those cases
poorest because its weakness retards the snap, a <|iiick retraction i n w h i c h a single tone follows that taken by the t h u m b . Should t w o
w h i c h oceurs w h e n a finger leaves a key as rapidly as possible so that tones f o l l o w , the fingers are to be played i n their usual order. B o t h
the succeeding finger may play its tone d i s t i n c t l y . T h i s k i n d of pas- types appear i n Figure 63. Some employ this device i n passages w i t h
sage is most easily performed o n the clavichord. two succeeding tones, as indicated by the uppermost numeris of
9 1 . A l t e r n a t i n g fingers may be employed to advantage i n slower the t w o final examples. W h i l e this is n o t incorrect, I m a i n t a i n that
repetitions by p l a y i n g the final note of the series w i t h the finger i t is mandatory to h o l d to the n o r m a l order except i n those few
that leads best to the f o l l o w i n g notes, as i l l u s t r a t e d i n Figure 62. cases where a m o d i f i c a t i o n helps to elimnate awkwardness.
Such situations oceur often i n the left h a n d . 93. I n the Lessons there are t w o places where, contrary to the
2 4
Figure 64
_2 1
^=sA1
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.
7 6 11 N a n { i N c, FINGERIN G
Figure 65
a. \ Jr J X
m
r f 2 3 4
3 2 1 2 4
1 J,
2
2
i
1 2
-z-irjr
4
-z-^3 if^lr
T7
- 2 1 I -2-| 5
P 2 1 2 4 1, 2 1 2 4
h - 2 p
#*1 ri 3 r 1 l i g h t e n the beginner's tasks and have seized every o p p o r t u n i t y to
w
1
\9=43 3 ^
3
- J -
indicate t h r o u g h the notes the h a n d assigned to them, n o one
3 should be dismayed to find the vales of certain tones and the
conduct of parts notated u n c o n v e n t i o n a l l y at times. Despite this,
the t r a i n e d p e r f o r m e r w i l l have n o difficulty i n f o l l o w i n g the path
of each voice and d e t e r m i n i n g the note lengths. T h e occasions for
these remarks can be f o u n d i n the D major and A-flat Lessons. 26
28 Sonata I V , second movement, and Sonata V I , second movement. Cf. Note 24.
27 Sonata VI, first movement. Cf. Note 24.
7* /' I N G E R I N G
indicated the notes that helong l o each hand by means of clef
signs. I t is also possible to do this w i t h writt.cn directions. Gomposi-
tions can be f o u n d i n which the cornposer calis for needless cross-
CHAPTER TWO
ing. T h e performer should n o t feel obliged to i n d u l g e i n such i m -
p o s t u r i n g b u t should seek instead a more n a t u r a l execution. Never-
theless, the technique is n o t to be discarded, for i t helps to make EMBELLISHMENTS
the keyboard a more comprehensive i n s t r u m e n t and opens u p new
possibilities of expression. However, the crossing must be so de-
vised that the passage is either unplayable any other way or playable
only w i t h a difnculty that causes an ugly g a r b l i n g or even a dis-
GENERAL
m e m b e r i n g of the parts. For the rest, i t is a v a i n tempest that can
1
N
b l i n d o n l y the ignorant, for the i n i t i a t e d k n o w clearly that, con-
sidered by itself, there is no challenge i n i t save its unusualness, and O O N E disputes the need for embellishments. T h i s is
this is soon overeme. A n d yet, i t is everyone's experience that ex- evident f r o m the great numbers of t h e m everywhere to be
cellent and also difficult pieces have been w r i t t e n w h i c h employ f o u n d . T h e y are, i n fact, indispensable. Consider t h e i r
crossed hands. 28
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 .
98. Comments o n the fingering of embellishments must be
Expression is heightened by t h e m ; let a piece be sad, j o y f u l , or
w i t h h e l d u n t i l the symbols have been explained i n the f o l l o w i n g
otherwise, and they w i l l l e n d a fitting assistance. Embellishments
chapter. W h e n the fingering of f u l l y w r i t t e n embellishments is
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
o m i t t e d i t must be ascertained f r o m the finger assigned to the p r i n -
subject matter. T h e y i m p r o v e mediocre compositions. W i t h o u t
cipal tone.
t h e m the best melody is empty and ineffective, the clearest conten
99. F i n a l l y , I refer m y reader to the Lessons, where continuous
clouded.
examples of a l l types of fingering w i l l be f o u n d .
2. I n view of t h e i r many commendable services, i t is u n f o r t u -
28 I n Bibliothek der Schonen Wissenschaften, Vol. lo (1763), Pt. I, p. 58, there ap-
nate that there are also poor embellishments and that good ones are
pears the following corament on this paragraph: "About forty or fifty years have
passed since such sorcery became known in Germany. A keyboardist by the ame of sometimes used too f r e q u e n t l y a n d ineptly.
Sandoni is said to have started it in a little piece, and a great host of lesser keyboardists
3. Because of this, i t has always been better for composers to
tried to achieve eminence by way of the same kind of fraud."
Today, Pietro Giuseppe Sandoni (ca. 1680-1750) is remembered chiefly as the hus- specify the proper embellishments unmistakably, instead of leav-
band of the famous singer, Francesca Cuzzoni. He reached London about 1726, after i n g t h e i r selection to the w h i m s of tasteless performers.
a highly successful European career at the keyboard. Domenico Scarlatti, whose use
of this technique needs no extended comment, seems to have preceded him in L o n - 4. I n justice to the French i t must be said that they ntate t h e i r
don by some six years. ornaments w i t h painstaking aecuracy. A n d so do the masters of the
As for Bach, he had excellent models in at least two works of his father; the
Gigue of the B-flat major Partita, and the C minor Fantasa. Indeed, Cari Philipp's
keyboard i n Germany, b u t w i t h o u t embellishing to excess. W h o
first composition (1731, Wotquenne No. 111) made use of the device. I n his autobiog- 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
raphy, mention of the work, which he engraved himself, is joined with the following
and kinds of ornaments is the influence w h i c h has led the French
remark: " . . . a natural and at that time much exploited form of m a g i a " T o this
Nohl (Musikerbriefe, 1873) adds, parenthetically, "introduced chiefly by Domenico to abandon t h e i r earlier practice of decorating almost every note,
Scarlatti." 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 BELL1 S H MEN T S 81
fi. Embellislimcnts may be d i v i d e d i n t o two groups: i n the first the portrayal of s i m p l i c i t y or sadness suffers fewer ornaments than
are those which are indicated by conventional signs or a lew small other emotions. H e w h o observes such principies w i l l be j u d g e d per-
notes; i n the second are those w h i c h lack signs and consist of many fect, for he w i l l k n o w how to pass s k i l l f u l l y f r o m the singing style
short notes. to the s t a r t l i n g and fiery ( i n w h i c h instruments surpass the voice)
7. I shall treat the latter g r o u p only briefly i n connection w i t h and w i t h his constant changing rouse and h o l d the listener's atten-
the performance of fermate. T h e r e are several reasons for this. For t i o n . W i t h these ornaments, the difference between voice and i n -
one t h i n g , their use is governed chiefly by taste; as a result, they are s t r u m e n t can be unhesitatingly e x p l o i t e d . For the rest, as l o n g as
too variable to classify. F u r t h e r , i n keyboard music they are usually embellishments are a p p l i e d w i t h discretion n o one need pause to
w r i t t e n o u t . I n any event, there is n o real need for t h e m , thanks
1 2 decide whether a played passage can or cannot be sung.
to the adequacy of the others. I shall discuss i n d e t a i l o n l y those 9. A b o v e a l l things, a p r o d i g a l use of embellishments must be
i n the first g r o u p , for most of t h e m have a l o n g and cise association avoided." Regard t h e m as spices w h i c h may r u i n the best dish or
w i t h the keyboard and w i l l u n d o u b t e d l y always r e m a i n i n favor. T o gewgaws w h i c h may deface the most perfect b u i l d i n g . Notes of n o
the accepted embellishments I have added a few new ones. A l l w i l l great m o m e n t and those sufficiently b r i l l i a n t by themselves should
be explained and t h e i r proper contexts specified insofar as i t is pos- r e m a i n free of t h e m , for embellishments serve o n l y to increase the
sible to do so. I shall fix t h e i r best f i n g e r i n g w h e n necessary and i n - w e i g h t and i m p o r t of notes and to differentiate t h e m f r o m others.
dicate t h e i r correct execution. I l l u s t r a t i o n s w i l l elucdate those Otherwise, I w o u l d c o m m i t the same error as orators w h o t r y to
points that cannot be completely p u t i n t o words. I shall p o i n t o u t place an impressive accent o n every w o r d ; everything w o u l d be
certain incorrect or, at least, unclear signs so that they may be d i f - alike and consequently unclear.
ferentiated f r o t n the correct, and at the same t i m e I shall criticize than a mere pattern of sounds but is, rather, expressive of many passions. It was
poor ornaments. F i n a l l y I shall refer m y readers to the Lessons and therefore considered insufficient for a performer to play a piece solely in a technically
correct manner. He must "rouse and still the passions" by portraying the proper af-
hope t h r o u g h o u t to remove the false assumption, occasionally en-
fect. All writers of the Berln School, Quantz, Marpurg, Sulzer, and Bach, were pre-
countered, of the need for profuse keyboard o r n a m e n t a t i o n . oceupied with the theory of the arfeets. T h e term and discussion of its meaning recur
throughout the Essay. Cf. Paul Lang, Music in Western Civilization (Norton, New
8. Nevertheless, those w h o are adept at i t may combine the York, 1941, pp. 434 ff.). For the rest, the following excerpt from Marpurg (Der Cri-
more elabrate embellishments w i t h ours. However, care must be tischer Musicus an der Spree, Sept. 2, 1749) will serve for general purposes of orienta-
tion: " T h e rapidity with which the emotions change is common knowledge, for they
taken to use t h e m sparingly, at the correct places, and w i t h o u t dis- are nothing but motion and restlessness. All musical expression has as its basis an
t u r b i n g the a f f e c t of a piece. I t is understood, for example, that
s affect or feeling. A philosopher who explains or demonstrates seeks to bring light to
our understanding, to bring clarity and order to it. But the orator, poet, musician
1 It was customary for the performer in earlier times to add his own embellishments seek more to inflame than enlighten. With the philosopher there are combustible
and elaborations freely. T h e practice was changing about 1750 to the modern method, materials which merely glow or give off a modest restrained warmth. Here, however,
whereby the composer specifies every last detail and the performer, hopefully speak- there is but the distilled essence of this material, the finest of it, which gives off thou-
ing, follows orders. Indicative of the widespread nature of the earlier practice is Bach's sands of the most beautiful flames, but always with great speed, often with violence.
Foreword to T w o Trios (Wotquenne No. 161), the first of which is programmatic. T h e musician must therefore play a thousand different roles; he must assume a thou-
He was anxious to have the first T r i o performed as written and in order to attain sand characters as dictated by the composer. T o what unusual undertakings the pas-
this end (which would be taken for granted today) wrote: " I t would be best to play sions lead us! He who is fortnate, in any respect, to capture the enthusiasm that
the first T r i o as notated, without the addition of free ornaments." (Cf. Hans Mers- makes great people of poets, orators, artists will know how precipitately and vari-
mann in Bach Jahrbuch, 1917.) J . S. Bach won the censure of J . A. Scheibe because ously our soul reaets when it is abandoned to the emotions. A musician must there-
of his practice of writing out all detail (Cf. The Bach Reader, Norton, New York, fore possess the greatest sensitivity and the happiest powers of divination to execute
1945, pp. 237 ff.). It should be added that Bach was a master at introducing orna- correctly every piece that is placed before h i m . "
ments of all kinds into other composers' works. Philipp Emanuel's position here is
* Marpurg wrote in Der Critischer Musicus an der Spree (1750-51): " A special dis-
undoubtedly influenced by his father's stand. T h e opening sentence of 8 suggests
tinction of Berln music is that it makes very sparing use of manners and embellish-
indirectly a defensive reason for the stand taken by both. Evidently, not enough
ments; but those that are used are the more select and the more finely and clearly
performers were "adept at it."
performed. T h e performances of the Grauns, Quantz, Benda, Bach, etc., are never
2 T h a t is, there is no real need for them as free embellishments interpolated by charactrized by masses of embellishments. Impressive, rhetorical, and moving quali-
the performer. ties spring from entirely different things, which do not crate as much stir, but
3 T h e premise of the theory of the afleas was that music is capable of being more touch the heart the more directly."
8a E M i El. 1.1 Sil M EN T S EM BE L L I S II MEN T S S3
10. W e shall sce presently that many passages allow for more sight, b u t have t r i e d , rather, to indicate everything t h r o u g h only a
than one k i n d of embellishment. I n such cases, the art of v a r i a t i o n few signs, the study of o r n a m e n t a t i o n is m u c h more t a x i n g for t h e m
may be used to advantage; introduce first a caressing ornament, than i t is for the keyboardist. T h e i r signs have g r o w n ambiguous or,
then a b r i l l i a n t one, or for a change, i f the passage permits, play the indeed, incorrect, a c o n d i t i o n w h i c h even today causes many i m -
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 proprieties i n performance. For example, the m o r d e n t , one of the
and i n accordance w i t h the rules of good performance w h i c h w i l l be most essential and widely used embellishments, is k n o w n by its
treated later. sign to few outside of keyboardists. I k n o w of one place i n a cer-
11. I t is difficult to prescribe the correct context for every em- t a i n piece w h i c h as a consequence is often r u i n e d . T h e passage, i f
bellishment, for a l l composers are free to introduce t h e i r favorites i t is n o t to sound i n s i p i d , requires a l o n g m o r d e n t w h i c h , because
where they w i l l , so l o n g as good taste is n o t thereby assailed. Suffice of the nature of the passage, n o one c o u l d presume, unless i t were
i t i f we instruct o u r reader t h r o u g h a few well-established precepts specified by its symbol. A n d yet, even i n the presence of its indica-
and examples. A t least he w i l l learn that the nature of a passage can t i o n ( k n o w n o n l y to keyboardists), a t r i l l is p e r f o r m e d , o w i n g to
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 the a m b i g u i t y caused by a general lack of signs. W e shall realize
T
have n o need for concern i n those compositions where a l l embel- later i n s t u d y i n g the great difference between the t w o ornaments
lishments are specified, where few or none are indicated he w i l l how a w k w a r d i t is to substitute one for the other.
k n o w h o w a n d where to insert t h e m i n the customary manner. 16. T h e French are especially careful i n setting the signs of t h e i r
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 embellishments. B u t u n f o r t u n a t e l y we have so far removed our-
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,
5 selves f r o m t h e i r music and t h e i r fine style of p l a y i n g that the exact
despite certain established cases, i t is conceivable that exceptions meaning of t h e i r embellishments is vanishing to the p o i n t where
can arise. 6 signs once w e l l k n o w n are becoming unrecognizable even to key-
13. I n order to master this m a t e r i a l w i t h its many m i n u t i a e and boardists.
apply i t i n t e l l i g e n t l y , the ear must be t r a i n e d t h r o u g h constant 17. T h e tones of an embellishment adjust themselves to the ac-
listening to good music. A b o v e a l l , to understand many things more cidentis of the key signature. Beyond this, we shall soon learn that
clearly, the p e r f o r m e r must possess a knowledge of t h o r o u g h bass. at times, preceding and succeeding tones or, m o r e frequently, m o d u -
I t is a matter of experience that those w h o are n o t w e l l g r o u n d e d i n lations r e q u i r e a d d i t i o n a l alterations. T h e t r a i n e d ear recognizes
the study of h a r m o n y f u m b l e i n darkness w h e n they use embellish- such contexts immediately.
ments and must thank their good f o r t u n e rather than insight w h e n 18. However, I have f o u n d i t advisable to f o l l o w the practice of
they are successful. W i t h this i n m i n d I shall add a bass to the i l - a d d i n g accidental signs to the symbols of ornaments i n order to as-
lustrations whenever i t is necessary. sist the p e r f o r m e r . I n the Lessons, they w i l l be m e t singly and i n
14. Singers and instrumentalists other than keyboardists w h o pairs wherever they are r e q u i r e d .
wish to p e r f o r m w e l l need most of o u r short embellishments just as 19. A l l ornaments stand i n p r o p o r t i o n e d relationship to the
m u c h as we do. However, o u r ways are m u c h more o r d e r l y t h a n length of the p r i n c i p a l note, the tempo, and the affect of a piece.
theirs, for keyboardists have given embellishments specific signs the I n those cases where a variety of embellishments is used and the per-
more exactly to indicate the detailed performance of t h e i r com- f o r m e r is n o t too restricted by the affect, note that the more tones
positions. contained i n an ornament, the longer the p r i n c i p a l note must be, re-
15. Because others have n o t shown such commendable fore- gardless of whether the source of this length is the note itself or the
5 T h i s statement refers only to the problem of defining the contexts suited to each tempo. T h e b r i l l i a n c e of an embellishment must n o t be d u l l e d by
ornament at the keyboard and not, as Dannreuther (Musical Ornamentation, Part I I , excessive space f o l l o w i n g its execution. O n the contrary, the per-
p. 5, footnote) believed, to the general description of ornaments and their signs.
6 See, for example, C h . I I , " T h e Appoggiatura," f 16.
former must avoid a too h u r r i e d performance, w h i c h blurs certain
1
E M li E L LI S II M EN T S 85
84 M li E L LI S H M E N T S 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 awk-
ornaments. T h i s is causee! moslly by tlie i n t r o d u c t i o n of embcllish- wardness i n the i n t r o d u c t i o n as well as the execution of embellish-
ments c o n i a i n i n g many tones and the excessive einbellisliment o ments. I t m i g h t seem superfluous to repeat that the other voices
0
u n w i l l i n g to accept anything strange. Certainly severe tests should 1. Appoggiaturas are among the most essential embellishments.
precede the acceptance of the new, for i t is possible that u n n a t u r a l T h e y enhance h a r m o n y as w e l l as melody. T h e y heighten the at-
novelties m i g h t i n t i m e make good taste as rare as s k i l l . However, tractiveness of the latter by j o i n i n g notes smoothly together a n d ,
w h i l e i t is wise n o t to be the first, one should also n o t be the last i n the case of notes w h i c h m i g h t prove disagreeable because of their
to acknowledge new ornaments i n order not to f a l l o u t of style. Do length, by shortening t h e m w h i l e filling the ear w i t h sound. A t the
not t u r n against t h e m because they sound unattractive at first. T h e same t i m e they p r o l o n g others by occasionally repeating a preceding
new, as engaging as i t may be at times, very often repels us. T h i s tone, and musical experience attests to the agreeableness of w e l l -
may indicate the presence of merits that w i l l prove more long- contrived repetitions. Appoggiaturas m o d i f y chords w h i c h w o u l d
lived than those qualities w h i c h at first are entirely too pleas- be too simple w i t h o u t t h e m . A l l syncopations and dissonances can
ant. As a r u l e we soon t i r e of such charms and they end by revolt- be traced back to t h e m . W h a t w o u l d harmony be w i t h o u t these ele-
i n g us. ments?
28; Just because most of the illustrations of embellishments are 2. Appoggiaturas are sometimes w r i t t e n i n large n o t a t i o n and
w r i t t e n for the r i g h t hand, i t must n o t be assumed that I f o r b i d given a specified length i n a bar. A t other times they appear i n small
these adornments to the left. I n fact I advise strongly that a l l orna- notation, and the large notes before w h i c h they stand r e t a i n t h e i r
ments be practiced by b o t h hands, the more so because this develops length visually a l t h o u g h i n performance they always lose some of
a general f a c i l i t y and dexterity. W e shall see later that certain orna- i t to the ornament.
ments are frequently assigned to the bass. Moreover, a l l i m i t a t i o n s 3. T h e l i t t l e that is n o t e w o r t h y about the former w i l l be re-
must be exact to the smallest d e t a i l . Henee, the left h a n d should served for the conclusin of this section. B o t h types ascend as w e l l
practice ornaments u n t i l i t can i m i t a t e skillf u l l y , for ornaments that as descend to the p r i n c i p a l note.
lose their charm t h r o u g h poor execution are better o m i t t e d en- 4. I n execution some appoggiaturas vary i n l e n g t h ; others are
tirely. always r a p i d .
29. I t w i l l be gathered f r o m the f o l l o w i n g pages that the ex- 5. Because of their v a r i a b i l i t y , such appoggiaturas have been
planations of ornaments w h i c h have been added to the second p a r t notated of late i n their real length (Figure 69). P r i o r to this a l l
2
i r r : ' us 11?
txx/r
9 JJ J 11- Ji 1 J11 1 ni 1 J^JJ 1
pnrr " y 1
Ai
fo-H 1 1 w
-i 1
7. W i t h regard to execution we learn f r o m this figure that ap-
poggiaturas 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 addi-
J r rr i U T
i^.
t 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 I>JJ
irtnr*
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 ap-
poggiatura is called the relase.
l
8. Because the sign of the appoggiatura is universally k n o w n
fc) J J J T*
X
(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 -
Jr r
t i o n is usually notated. Nevertheless, since one cannot always de-
pend 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. 11
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
r
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 JJ H J>J 1
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, 1
Example a); before half cadenees (b), caesurae (c), fermate (d), a n d
iu
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 * fa * 1 J>J J- h la l ' l -ti
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.
90 E MBELLISHM EN TS EM HE L L I SU M E NTS 9'
10. The ascending variable appoggiatura is difficult to use ex- Figure 75
1
cept 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
sr=
13. I t is wholly natural that the unvariable short appoggiatura
(Figure 73, Example a), and two-thirds from one of triple length
should appear most frequently before quick notes (Figure 76, Ex-
3
J 1
when the examples are played slowly.
4 1p~ m
- 4 _
pj==q Figure 76
0
0Lj!
t Y. S v
m inb^t
b.
# = 1 n n -
1 r r PH=
1 1 P 1 11 d.
|| pr *f r -
The notation of the short appoggiatura as a small eighth note with a diagonal
5
stroke through the tan was not used by Bach, or indeed by the Viennese Classical
12. The examples under Figure 75 are frequent occurrences. 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
Their notation is not the most correct, since i n performance the gave rise to ambiguities (where variable and short appoggiaturas have the same
rests are filled i n . Dotted or longer notes should be written instead. notation) the later notation, apart from those cases where editors used it indiscrim-
inately for both the long and the short ornament, has the disadvantage of dulling
3 In Chapter VI, "Appoggiaturas," ^4, Bach adds, "The shortest of these is never the performer's sensitivity to subtle variations of length in the short appoggiatura,
more rapid than an eighth note in an allegretto." as described in the following ^| 14. A few short appoggiaturas, notated in the later
i Remainder of paragraph from ed. of 1787. manner, appear in J . S. Bach's Werke, 36.4, pp. 10-11, 14. They are not authentic.
92 E MfELLISHMEN TS E M Ii E I. . SUMEN T S 9$
with all ornaments, the lempo must be a suitable one, for an exces-
sive speed does not allow for embellishment. The asterisked ex-
ample 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
z r r*
When such a tone is an appoggiatura, it too must be played rapidly
(Example c). I n this example, the appoggiatura, which is present
6
only to complete the run, must be very short so that the principal
if
tone, c, which is the cause of the free execution and is therefore al- ir
h.
ways especially important, loses little or nothing of its valu. Ap- 7
f rf
poggiaturas before triplets must also be played quickly so that the
rhythm remains clear (d) and distinguishable from that of Example
e. When the appoggiatura forms an octave with the bass i t is played
rapidly because of the emptiness of the interval (/). On the other Figure 78 Figure 79
hand, it is often prolonged when it forms a diminished octave (g).
I t remains short when it is substituted for a cadential t r i l l (h).
8
| gjj J |>JP1_LUS
15. When a melody ascends a second and then returns_to either
a large note (Figure 78) or another appoggiatura (a), the middle tone
may be readily decorated with a short appoggiatura. I n Figure 79
11 U, /T
there are many such passages containing notes of various lengths i n
duple and triple rhythms. We learn from Example a that a long ap-
S J s_
poggiatura may also be used here. I t is taken for granted that the
phrasing is normally legato i n such a context, since detached notes
must always be more simply performed and also because appog-
giaturas are invariably joined to the following tone. Further, as
This sentence appears as a footnote in the ed. of 1787.
6
| , ^ i y ijp
r r r r
W-0
seventh w i l l sound too harsh.
Figure 80
- a.
t
^4 4 ir
>' |l>J
4" T
l; j
i
<2. Jh
m i'[ i . rmr rr uf i p g
Ji
ii 1 "i > i m ^ 11 4. fl
Figure 82 &
1L
T
16. W i t h regard to the rule covering the length of appog-
giaturas, there are a few situations i n which the ornament must be
extended beyond its normal length because of the affect. Thus it
11 Cf. J. S. Bach, F rainor Prelude, Bk I I , W T C , and the Toccata of the E minor
may take up more than half the valu of the following tone (Figure Partita.
96 E M li E I. L l S 11 M E N T S EM HE L L I Sfl MEN TS 97
melody insipid unlcss they are followed by livelicr embellishments 23. Descending appoggiaturas written i n large notation may be
or are themselves supplemented by additional ornaments decorated by another appoggiatura, long or short, when they re-
19. When an appoggiatura is decorated, the following tone is peat the preceding tone (Figure 86, Example a), or when they do
1 2
best performed plainly. Its simplicity will be happily complemented not lead into closing tones (Example b is therefore wrong). Ascend-
by its usual piano execution. A n undecorated appoggiatura, how- ing appoggiaturas i n large notation do not take another appog-
ever, leads well to a succeeding embellishment. This latter is i l - giatura either from above or from below. (c). They may, however,
lustrated i n Figure 83, Example a, and the former i n Example b. be followed by one (d).
20. The decorating of appoggiaturas leads us to other embel-
lishments which will be explained later. Because these are often
written as small notes, it is better to write the appoggiatura i n such j 11 J> ? J F ^ ^ = - -+
v=4r=
:
cases as a large note with its length clearly notated (Figure 83, Ex- '--
ample c). I n slow pieces the appoggiatura as well as the following
tone may be embellished on occasion (d).
21. However, appoggiaturas are often written i n large nota-
tion as a means of indicating that neither they or the following
-^0-4
P f> p" r r r r
tones are to be decorated (<?).
Figure 83
ir h. r.
fe
24. A few additional incorrect uses of the appoggiatura remain
to be considered. I t is wrong to place a descending appoggiatura
before the final tone of a cadenee when the final tone is preceded by
a t r i l l without an appoggiatura (Figure 72, Example g). However, a
d. a* * t r i l l which is graced by this ornament may be followed by a
similarly graced final tone regardless of whether the final tone
stands lower (Figure 87, Example a) or higher (b) than the t r i l l .
Another error is the separation of an appoggiatura from its follow-
22. Although the note following an appoggiatura relinquishes ing tone either because the ornament is prematurely quitted or be-
part of its length, it does not lose any of its own embellishments cause it has usurped a portion of the preceding note's valu (Figure
(Figure 84). On the other hand, embellishments which belong to 88, Example a).
the appoggiatura should not be placed over the following tone.
Figure 87
They must always be written directly above the note to which they a. ir ir
m
pertain. I f they are to be performed between the appoggiatura and
the following tone the symbol must be placed between the two
notes (Figure 85). r 1? 5te
Figure 84 Figure 85 12 Quantz and Bach are in complete disagreement over the performance of this
a PPgg' a t u r a - The former writes (Versuch einer Anweisung die Fite traversiere zu
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
98 EMBELLISHMENTS EM f EL 1.1 SU M EN TS
25? This latter dislocation is the origin of the repulsive unac- Figure 88
1
cented appoggiatura, so extraordinarily popular, which is reserved,
13
P e
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
iTJT)^sf i.
next accent. Yet a good and frequent use of the unaccented appog-
ffi
giatura is illustrated i n Figure 89, Example a. However, the last bar aa^
is more fashionable than harmonious. Figure 89, Example b, is
-
f=H=i
14
fiares up when Bach (f 25) calis the weak-beat appoggiatura the "hasslicher Nach-
schlag." Cf. note 13.
9 SJJ 1
is Nachschlag. Bach's high-handed treatment of this ornament has brought cen-
sure from many sources. For example, the Bibliothek der schnen Wissenschaften, in
reviewing the Essay in 1763, wrote: "Marpurg [Anleitung zum Klavierspielen] gives ir
us better information on the Accent, dividing it into Vorschlag and Nachschlag, which
** ^
ir
latter, Bach has actually neglected, treating it only superficially here and there." Later, 1 1 II 01 -
9 circir *
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 of the Music of the XVIIth 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 Figure 89 15
of a third in the manner of Figure 87, Example a, here. In France, where it had wide
3% p r
use, it was known as "couler les tierces." Concerning its performance as a Vorschlag
"P
(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 1 ' i
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, ex-
ample b, and, in the Lessons, Sonata IV, second movement, and third movement,
r-jl _ j 9 _ B*
bars 14, 19, 46. A casual examination of the collections for Connoisseurs and Ama-
teurs will reveal others. He always writes it in large notation except when it is in-
corporated 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
26. Other embellishments which are written as small notes w i l l
beat of the following principal tone (cf. Ch. I I , ^ 23, 24). The essential reason for be explained i n later sections.
his disapproval becomes apparent upon reading his description of the func-
tions of the appoggiatura i(i % 1 of the present section, especially the last two sen- THE TRILL
tences.
His immediate objections are directed to the excessive use of the ornament, its free 1. Trills enliven melodies and are therefore indispensable. I n
insertion by performers, and above all its use where the appoggiatura proper is earlier times they were introduced chiefly after an appoggiatura
specified. All of us have suffered on this last score and henee should commiserate
with Bach to a degree. (Figure 90, Example a) or on the repetition of a tone (b). The first
M Remainder of paragraph from ed. of 1787. i Figure 89, Example b, from ed. of 1787.
loo E M i E L L 1 SU M E N T S EMBELLISHMENTS 101
is called the enclosed trill. Today they are used in both stepwise and 6. A t times two short notes from below are appended. These are
leaping passages, immediately at the beginning of a movement, i n called the suffix, and they serve to make a more rapid trill (Figure
2
SUCCession, at cadenees, and, i n addition, on held tones (c), fermate 92, Example a). The suffix is often written out (b) as well as indi-
(b), and caesurae without (e) as well as with (/) an introductory ap- cated through an addition to the symbol (c). However, since the
poggiatura. Thus, this embellishment has become versatile with the long mordent has almost the same symbol, I think it better to retain
passing of time. the m and avoid confusin.
Figure 90 Figure 92
a. <fr b. <tr c. ir
I & ur: 3E
7. Trills are the most difncult embellishments, and not all per-
ir formers are successful with them. They must be practiced indus-
pj>r | i f i P g p i triously 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
2. However, i t is strongly recommended that the t r i l l be em-
contributes much to a melody. W i t h regard to the amount of pres-
ployed circumspectly i n affettuso passages.
sure, the performer must be guided by the nature of the passage, be
3. The accomplished keyboardist has four trills; the normal,
it forte or piano, i n which the trill appears.
ascending, descending, and half or short t r i l l .
8. I n practicing the t r i l l , raise the fingers to an equal but not
4. Each has its distinctive sign i n keyboard pieces, although all
an excessive height. T r i l l slowly at first and then more rapidly but
may be indicated by either the abbreviation tr. or a cross. The per-
always evenly. The muscles must remain relaxed or the t r i l l w i l l
former has no need to be unduly concerned about the proper loca-
bleat or grow ragged. Many try to forc it. Never advance the speed
3
tion of the t r i l l , for its acknowledged symbols are almost always
of a t r i l l beyond that pace at which it can be played evenly. This 4
notated.
precaution must be heeded i n practicing rapid as well as difncult
5. The normal t r i l l has the sign of an m (Figure 91, Example
passages so that they may be performed with fitting lightness and
a), which is extended when it appears over long notes (>). Its execu-
clarity. Through intelligent practice it is easy to achieve that which
tion is illustrated i n Example c. Since it always begins on the tone
can never be attained by excessive straining of the muscles. When
above the principal note, it is superfluous to add a small note (d)
1
the upper tone of a t r i l l is given its final performance i t is snapped; 5
10. No one can succeed without a minimum of two good trills i n Figure 95
i f j f i'D 1 u TrJiTBjp
each hand: The second and third, and the third and fourth fin-
gers of the right hand; and the thumb and second, and second and
third fingers of the left. I t is because of this normal fingering of
trills that the left thumb grows so age and along with the second
finger becomes about the most active of the left hand. 6
I m i
11. Some performers practice double trills i n thirds with one
hand. Various examples of these may be constructed from Figure
42. Such exercise, pursued as far as one wishes, is beneficial to the
fingers, but aside from this it is better not to employ double trills
unless they can be made to sound even and distinct, the two de-
siderata of good trills.
12. When the upper tone falls on a black key and the lower
on a white key it is ot incorrect to perform a t r i l l with the second
finger of the left hand crossed over the thumb as illustrated i n Fig-
ure 94. Also, some find it convenient to trill with the third and fifth 14. Dotted notes followed by a short ascent also alow for suf-
or the second and fourth fingers of the right hand when the action fixed trills (Figure 95, Example e). However, instead of the usual
of the keys is stiff. s
extremely rapid motion into the following note (/), when dotted
o This is in complete agreement with Couperin (L'Art de toucher le clavecn). The
notes are trilled a very short separation must be made between the
thumb of the left hand played a more active role than that of the right in older last tone of the suffix and the following note (g). This separation
systems of fingering. For example, a widely used ascending fingering for the left hand
was: 4, 3, 2, 1, 2, 1, 2, 1, while the corresponding descent for the right hand was:
need only be long enough to show that the suffix and the following
5, 4, 3, 2, 3, 2, 3, 2. note are two seprate elements. Its length is dependent on the
?
104 M l { K E L 1 S 11 M EN TS EMBELL1 S 11 MEN TS 1 0 5
lempo; henee the execution of Example g is only approximately in the slowest tempo. Furthcr, the suffix is not employed over
suggested by the time valu of the last tone of the suffix, for the triplets (e). I t is always omitted from the last of those in Example
note following a dot is always shorter i n execution than its notated e, although it may be introduced into the first three, but only i n
length (a point which will be treated i n Chapter I I I ) . The suffix 7 very slow tempos.
running directly into the following note i n Example h is, of course, 17. The average ear can always tell whether the suffix should
incorrect. The composer who wishes such an execution must cali be used. I have discussed it here only for the benefit of beginners
for it expressly. and because this is its proper place.
15. The suffix must be played as rapidly as the trill proper. A 18. I n very rapid tempos the effect of a trill can be achieved
trill i n the right hand for the thumb and second finger is not favor- through the use of the appoggiatura (Figure 97). The last two short
able for a suffix because it can be added only by crossing the fingers, notes are not an unsatisfactory substitute for the suffix.
which retards its pace. I n this manner the best trill will be brought Figure 97
to a ruinous end.
16. The unsuffixed trill is best used i n descending successions
(Figure 96, Example a) and principally over short notes (b). The
suffix is omitted from successive trills (c) and from trills followed by
19. When accidental signs are not included with the symbols
one or more short notes which are capable of replacing i t (d). I f
of trills and suffixes the correct alterations may be arrived at by
this substitution is made, the asterisked example must not be played
considering the preceding tones (Figure 98, Example a) or the suc-
ceeding (b). Sometimes the ear alone or modulations will dctate the
/) b.
i Uf
necessary changes (c). While we are on this subject, it should be ob-
served that neither trills or suffixes are allowed i n the interval of
1 r an augmented second (d). Aside from the keyboard there is a con-
8
n j-aba II 1 iilg J
a. 1 >
i RI
*i /*' */**"
r - g g II - mP lI
i J M
7 Cf. Ch. III, f S3.
J j j J J J > J
r M T f f
s Remainder of paragraph from ed. of 1787.
EM BEL 1.1 Sil M EN TS 107
to E M B E E LISHM E N TS
pears; plungng directly into a trill without playing a preceding ap-
20. Aniong the errors unwittingly causee! by trills we shall first
poggiatura or properly joining both ornaments; performing such
mention the following: Many burden the first notes i n the examples
an impertinent t r i l l loudly i n a subdued, plaintive context; trilling
of Figure 99 with a trill despite the presence of a slur. No matter
excessively under the delusion that every moderately long note must
how enticing the appearance of such notes, they must not be trilled.
bear a t r i l l . These are the pretty little trills mentioned i n Para-
Why must the finest legato passages be ruined so often by inept
graph 10 of the Introduction.
playing? Indeed, most errors are committed i n just such places.
Trills are introduced i n an attempt to rescue these passages from Figure 100 Figure 101
oblivion. The pampered ear demands such treatment, being in-
capable of perceiving anything but a bustling noise. I t is apparent
Q ~r
that those guilty of these faults can neither think lyrically or
grant to each tone its proper weight and length. Tones w i l l sing
on the harpsichord as well as on the clavichord if they are not 22. The ascending t r i l l with its symbol and execution appears
1 0
detached Crom each other, although one instrument may be better in Figure 102. Because, aside from the keyboard, this symbol is not
constructed for this purpose than another. The French are not well widely known, it is often notated in the manner of the asterisked ex-
acquainted with the clavichord, most of their compositions being amples; or the general abbreviation tr. is written, the choice of
written for the harpsichord^ Yet their works are replete with held t r i l l being left to the discretion of the performer.
and legato notes which are indicated copiously with slurs. Even
Figure 102
when the tempo is too slow or the instrument not good enough to
sustain tones properly, it is better to sacrifice a little of the clear
flow of a legato passage than to disrupt it with trills, for a correct
performance will be ampie compensation for the lack of sonority.
There are many things i n music which, not fully heard, must be 23. The ascending t r i l l requires a long note, for it comprises
imagined. For example, i n concertos with full accompaniment, many tones, including the normal suffix. A rapid suffix is written
the soloist always loses those passages that are accompanied fortis- out. W i t h regard to such details the performer should follow the
simo and those on which the tutti enters. Intelligent listeners re- precepts, previously discussed, of the normal t r i l l .
place such losses mentally, and it is primarily such listeners whom 24. The examples of Figure 103 are noteworthy. Example a
we should seek to Dlease. illustrates a suffix introduced after a tie; i n Example b the suffix may
Figure 99 be omitted because of the sixteenth; likewise i n c, because of the
thirty-seconds; however, i n a sufficiently slow tempo, or at a cadenee
JL 0 M J J 0' m 0 >
or before a fermata (it being permissible to broaden ad libitum i n
3 the latter two), the suffix is included and the succeeding short notes
appended, the final one being played somewhat slower than the
21. There are other errors as ugly as they are frequent: The other (d). I n my opinin, this widely used embellishment can be
appending of a limp suffix to a t r i l l as i n Figure 100; the addition best applied to Example c, although the last notes must be played
to the suffix of a short note, which can be justly included among the occasionally at other speeds. I n passing, note that i n minor mode
worthless unaccented appoggiaturas (Figure 101); failure to give
9
cadenees the t r i l l is sometimes played on the sixth above the bass
trills their full length, which (excepting the short trill) must al- rather than the fifth.
ways agree with the valu of the note over which the symbol ap-
10 Der Triller von unten.
9Cf. Ch. II, "The Appoggiatura," Note 12.
EM BEL LI Sil M EN TS EMBELLISHMENTS 109
Figure 106 Figure 1107
b.
4$. -CZL
P
26. I n successive leaps only the normal t r i l l may be used (Fig-
ure 108). I t is wrong to attempt to bring such a passage into bolder
relief by means of ascending or descending trills. 1 2
r
Figure 108
m
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
T>
is found over a repeated note as i n Figure 104, Example a, i n con- 27. The descending t r i l l is illustrated i n Figure 109 with its
conjunct motion (b), and after a leap followed by an ascending or correct symbol and execution. Apart from the keyboard i t is oc-
descending progression (c). Over long notes of several bars, trills casionally notated i n the manner of the asterisked example.
that threaten to lapse can be revived by means of the ascending pre-
i i g
Figure 109
fix, but i t must be interpolated without causing the slightest dis-
r rr r r
continuity. The ascending t r i l l is well fitted to this purpose of i
resuscitation, for its insertion renews the fingers' strength. I t is pos-
sible 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 28. Because it contains more tones than any other t r i l l i t re-
a manner of approaching it by means of a gradual acceleration, a 11
quires the longest notes. Henee both of the previously discussed
device frequently employed at cadenees. The ascending t r i l l may trills are better suited for a cadenee such as that of Figure 11 o than
also be used i n the course of modulatory changes, as i n Figure 106. the descending t r i l l . I n earlier times it was used widely, but today i t
Figure 107 illustrates its application to caesurae. is restriced largely to a repeated tone (Figure 111, Example a),
descending successions (b), and downward leaps of a third (c).
Figure 104 Figure 110
-a.a. b. Allegretto Figure 111
&rrET'r r rr T
a. W
r
1
Q J <T a. 1 F l g l " e r~ -twr
1 1
TTT
Known generally as the ribattuta.
1 2
r rr rr
Der Triller von oben. Cf. f 27.
T
E M li E L E I S H M E N T S E M E L L SUMEN T S m
/ 1()
29. Because, as already mentioned, ornaments must not cor- in Paragraph 8, but with such exceeding speed that the individual l\
rupt the purity of voice leading, it is better to employ either the iones will be heard only with difficulty. Herein lies its acuteness, -
normal or the descending t r i l l i n Figure 112, for the ascending which stands beyond comparison with the sharpest of other trills.
t r i l l creates forbidden fifths. Like the short appoggiatura, it may appear over rapid notes, but i t
must be played with such speed that the listener will not feel that
Figure 112 **'
/U
the note to which it is applied has lost any of its length, but rather
that it has entered precisely at the proper moment. I t must not
sound as frightening as it looks fully written out. The short t r i l l
T7*r f
adds life and brilliance to a performance. I t is possible, when neces-
sary, to omit any other ornament, even the other trills, and arrange
matters so that easier ornaments may be substituted for them. But
30. The half or short t r i l l , which is distinguished from the
13
without the short t r i l l no one can play successfully. Even if all
others by its acuteness and brevity, is notated for the keyboard i n other ornaments were correctly performed, no one could be happy
the manner of Figure 113. Included i n the figure is an illustration in the absence of this one. ;
of its execution. Despite the upper slur, which reaches from the 33. Since the short t r i l l deniands great skill and speed i n execu-
beginning to the end of the example, all notes are played except tion, it is best performed by those fingers that t r i l l the best. Conse-
the second g and the last f, each of which is tied to its preceding
1 4
quently, it is permissible, as illustrated i n Figure 114, to take liber-
tone by another slur which indicates that it must not be struck. ties with the fingering of a passage and adopt unusual expedients i n
The large slur merely specifies the attendant phrasing. order to execute the ornament. Of course, this must be done so
skillfully that the performance as a whole does not suffer.
Figure 113
Figure 114 _, ,
Figure 116
Figure 117
2. Because it is almost always performed rapidly I have had to
illustrate the vales of its notes in slow and rapid tempos. It is also
indicated by the symbol that appears i n the asterisked example. I
have chosen the other i n order to avoid an ambiguous placing of
fingering numeris.
36. W i t h regard to the execution of this trill, it must be pointed
out that it is almost insuperably difficult to play it lightly at the 3. T h e turn is employed i n slow as well as fast movements, and
pianoforte. Because the snap requires pressure, its performance over slurred as well as detached notes. I t does not appear to advan-
on this instrument increases the volume. Yet it is impossible to per- tage over a very short note because the time demanded for the per-
form our trill without this characteristic element. Henee the per- formance of its several tones may detract from the clarity of the
former is faced with a dilemma, worsened by the fact that the short melody.
trill either by itself or combined with the turn often follows an 4. T h e turn is sometimes found alone, sometimes in combina-
appoggiatura and therefore, according to the rules governing the tion with the short trill, and also after one or two thirty-seconds i n
execution of appoggiaturas, must be played softly. T h e problem small notation which are placed before a large note and differ from
arises i n all snaps, but particularly here, where it assumes its most the appoggiatura, as we shall see presently.
radical form. I doubt that the most intensive practice can lead to 5. W h e n the turn alone is used, its symbol may appear either
complete control of the volume of the short trill at the pianoforte. directly over a note or after it, somewhat to the right.
6. I n the first case it is employed, as illustrated i n Figure 119,
THE TURN 1 in stepwise successions (a), leaps (b), caesurae (c), cadenees (d), fer-
1. T h e turn is an easy embellishment which makes melodies mate (e); immediately at the beginning (/), i n the middle (g), or at
both attractive and brilliant. Its symbol and execution are shown the end after an appoggiatura (h); over a repeated tone (i), or a note
in Figure 118. Leaps of an octave or other large intervals neces- preceded by a repetition regardless of whether the note is reached
sitate the use of four fingers i n order to perform it. W h e n such is by a step (j) or a leap (k); without an appoggiatura, with one, over
the case it is customary to place two fingering numeris over the one (l), after one, etc.
decorated note. C o n t e x t often requires the placing of one or two
2
> E . F . Baumgart (Foreword to his edition of the Kenner und Liebhaber collections,
accidentis over the symbol. T h e y appear on the right- or left-hand Breslau, 1863) expressed the opinin that in the Moderato example /-sharp should be
a sixteenth, the additional beam being an oversight. Cf. Figures 68, 128, and H . Schen-
1 Der Doppelschlag. ker, op. cit., p. 45, note 1.
2 Remainder of paragraph from the ed. of 1787. * Example a from ed. of 1787.
ii4 EM li E l. 1.1 Sil M E N IS EMBELLISHMENTS n 5
Figure 119 would oceupy the entire duration of the note, the turn, much
shorter, would leave a part of the length unfilled.
y p s
1 ^-~~~h? 1 Figure 120
r i.
-4-=1
J)
00
II 1 0 * m*m r^J-
1
j
1 12. I t follows from its similarity to the suffixed t r i l l that the
turn prefers an ascending to a descending following tone. I t is easy
to move upward (but not downward) through an octave or even
further by means of a series of turns. Aside from the keyboard this
frequent use of successive turns is indicated i n the manner of Figure
fe
m 121. The turn should not be applied to rapid, descending notes. I t
may replace the t r i l l i n those cases where the latter is difficult to
s
V ' ' T
length of the notes, i n ignorance of style and touch. Also, the error
of excessive use common to all ornaments applies to this one.
9. A general understanding of its correct use can be gained by
13. Again, like the related t r i l l , our embellishment may be ap-
considering the turn a normal, suffixed t r i l l i n miniature.
plied to leaping notes without further concern. Figure 122 illus-
10. I n most cases the turn is performed rapidly and its upper trates its use i n both ascending and descending leaps.
tone is snapped i n the manner already described. Henee i t is wrong
Remainder of paragraph from ed. of 1787.
to play it instead of the normal t r i l l on a long note. While the t r i l l Example a from ed. of 1787.
n6 E M li E L L 1 S II MEN T S EMBELLISHMENTS 117
Figure 122 17. Despite the musical worth of this ornament, its symbol is
1 a.
fe
little known apart from the keyboard. I t is often indicated by the
signs of the t r i l l or even the mordent, these two also being often
r >p r T confused. I n Figure 126 there are many examples i n which the
turn is better and easier than the t r i l l . Examples a, g, p, and q are
the true home of the turn, for no other ornament can be applied
14. Although the turn is well used over a repeated tone, the fol- to them. Those marked j , k, l, and m, are as well suited to the t r i l l
lowing tone, a t least i n the case of rapid notes, should rise a
7
as the turn i n rapid tempos. Note that i n these fragments the last
second. When i t descends, the compound appoggiatura is better 8
note repeats the middle one. I n example n an appoggiatura is oc-
(Figure 123). casionally appended to the turn i n slow tempos.
Figure 1 2 6
Figure 123
9
^ es:
t
LLT
15. Further, the turn often appears over a long note which fol-
lows an appoggiatura as previously shown i n Figure 119, Examples
c, e, and /. Note that a turn over an appoggiatura (most of the re-
peated notes mentioned i n the preceding paragraph are appog-
giaturas) will not suffer a decoration over the following tone (Fig-
ure 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,
le
a.
of Tartini, and many allegro movements. The performer should frequent i n all kinds of music and cannot be clearly enough indi-
play a turn here, for it is not merely acceptable but i n keeping with cated without our distinctive symbol, although some cali for i t by
the speed and the desired effect. I n other cases legato phrasing setting the t r i l l sign after a note. I n all three cases i t serves to fill
makes for an awkward t r i l l . The last two examples are entitled out notes.
"Recit.," and differ from each other only i n the melodic endings. 22. The first case occurs i n all kinds of motions, but not very
Both cali expressly for a turn. I n the first of these-the last note of the well before a stepwise descent. When a performer wishes to avoid
turn is not held i n the usual manner, i n order to imitate the a cadential t r i l l he may execute a turn after an appoggiatura which
declamatory style of the voice. Since i t is impossible to set the sign ascends to the final note, as illustrated i n the asterisked example of
of a t r i l l here, the passage must be left to the discretion of the per- Figure 129. When such is the case a mordent should not be played
former when other signs are lacking. over the final note. The execution of all turns i n example a is
19. As illustrated earlier i n Figure 119, Example e, the turn may shown i n the last illustration of that group.
appear over a fermata preceded by an ascending appoggiatura. I t is 23. I n the second case, the tying note acquires a dot and the tied
never found, however, over a final note approaching i n a like man- note becomes the last tone of the turn. When the tempo is rapid the
ner (Figure 127). Yet it does appear i n both cases after a descending
Figure 1 2912
appoggiatura (Example a and Figure 119, Example h). 00 *
= = = = =
ff- r-Vi
rJ
m
Figure 127 fe
i a. M= r 1 1 J Tj*
f ? L-Tf 1 rr rr =4
V
Moderato
m. 0 m 1
II m
1
-
Allegro
~m~0 m -r10nt
m
f = p '-U*'
tr
20. Although the turn and the t r i l l are similar, there are two re-
spects i n which they differ from each other. First, since the final
tones of the turn are played less rapidly than the preceding ones,
es 1.
there is always a small space between them and the following tone.
m * 0 * n 6 0
Second, the turn occasionally lays aside its brilliance for a pur- m 4 m a-
posely broad execution in slow, expressive movements (Figure 128).
This kind of performance is also specified i n the manner of Ex-
ample a.
Figure 128
Q I ! sa | i i,
a slow performance of it i n order to fill out the note. This would be
unsatisfactory and contrary to the rule stated i n Paragraph 10.
r 1 , _^s n r F r r 1
25. Accidentis which oceur i n turns are brought about, as in
the case of trills, by preceding or following notes and modulations.
execution n e w mdications Like the t r i l l , a turn must not be used i n the interval of an aug-
mented second (Figure 98, Example d).
<? Allegretto P"""l h. better r*"l better r-| 26. The required snap i n the turn, at which the little finger is
not adept, requires an occasional slightly forced fingering (Fig-
ure 130).
Figure 130
dot is omitted. Both executions are clearly written out under Ex-
ample 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 no-
tated execution of Example 2. The divisin of the tones is un- 27. The turn allies itself with the short t r i l l when its first two
variable. This kind is often used when the tempo is so slow that the notes are alternated with extreme rapidity by means of a snap. The
dotted note, undecorated, sounds listless; it is also found i n caesurae effect of the combined ornaments^an be most easily realized by
(Example 1) and before cadenees when a dotted note is followed thinking of a short t r i l l with a suffix. This trilled turn introduces14
by a short one which anticipates a trilled tone (Example 2). Such a unique charm and brilliance to the keyboard. I t is a miniature but
a turn is not employed after descending dotted notes of only modr- lively, enclosed and suffixed t r i l l with which, however, i t must not
ate length. Example 3, set with this ornament, is the true home of be interchanged, for there is as great a difference between the two
the turn, for a substituted t r i l l , whether it is placed over or after the as there is between the short t r i l l or the turn and the normal t r i l l .
first note, is unconditionally wrong. Example 4 shows that the turn It has no distinctive symbol. I specify its use i n the manner of Fig-
may be placed over the second note as well as after the first. The ure 131, which also depiets its execution. W i t h regard to the long
accompanying written-out divisin of the tones demonstrates con- slur over the second illustration, I refer the reader to the discussion
clusively that this employment requires a slow tempo. How is i t 13
of the short t r i l l i n Paragraph 30 of the section on trills.
possible to indcate a desired detaching of the final note of a turn Fieure 1 3 1 15
es ^ 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 ; 18
[ r r r
3.
i Cf. C h . I I , " T h e T r i l l , " f 21 and Figure 101.
i Remainder of paragraph from ed. of 1787. is I n example c the second and third notes are not tied in the original illustrations.
" Last six bars from ed. of 1787. Cf. Ch. I I , " T h e T r i l l , " f 30.
12./ E M B E LLl S II M EN T S EMBELLISHMENTS 125
manner in which it must often be played over sixteenths i n an Figure 136 & co
adagio, with each note of the turn once again as fast, it would look
even worse. Nevertheless, the entire art of execution depends on
the ability to perform a rapid trilled turn, one whose execution I ^^J l . I >lXj nf I J
sounds natural and facile. Example d is different from the others, 32. The short t r i l l and the related trilled turn provide unfail-
but the performance of the last two notes is the same as i n the ing tests of a harpsichord's quilling, for an instrument i n poor con-
other examples. dition will be unable to enunciate them. Keyboardists must be
30. I n performing the simple turn or the suffixed t r i l l , at least pitied who are robbed of these most essential and superior orna-
three fingers must always be employed. Because, beyond this, the ments because of the poor repair of an instrument. Without them
snap in these ornaments and particularly i n the trilled turn can be most pieces can be but poorly performed.
well executed by only certain fingers, there often arise great dif-
33. When a turn is introduced over detached notes it gains
ficulties of performance, i n the solution of which extreme expe-
acuteness through the prefixing of a note whose pitch is the same
dients must be employed. Figure 135 illustrates a few such cases. I n
as the decorated one. I ntate this ornament, discussed i n no other
Example a, after e has been played by the second finger the hand
writings, by placing a small thirty-second before the turned note.
shifts slightly to the left and the third finger takes d. I t must not,
The thirty-second is unvariable regardless of the tempo or the valu
however, as incorrectly taught, strike its tone by crossing over the
of the following note, for it is always played with a very rapid
second finger. I n Example b our compounded embellishment
stroke delivered by a stiff finger and immediately connected with
forces the third finger to glide from a black key to the white one
the following snapped note. This makes for a new kind of trilled
below. The easiest fingerings are those in Example c. Nevertheless
turn, which may well be called the snapped turn - to distinguish
it is advisable to practice the trilled turn with all fingers because
it from the other. I t is better suited to rapid notes than the t r i l l , for
they w i l l thereby increase in strength and dexterity, and above all,
I feel that a t r i l l is at its best over a note whose valu allows for
because we are not always i n a position to employ only the best
generous alternation; otherwise another decoration should replace
fingers in performing an ornament.
it. Through the added small note the turn acquires a brilliance
equal to that of the trilled turn but applied to just the opposite
Figure 135 co
5 ., situation.
14 3 2
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 ap-
21
m
3 2 32 2 3 motion or a leap, but not over a final tone, staccato or otherwise.
5E3
$5
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
31. Embellishments are not easily introduced into the bass un- 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 contem-
less they are expressly called for. Nevertheless the trilled turn may poraries and later composers used the same sign (~ or tr.) for all types indiscrimi-
be interpolated when opportunities such as those of Figure 136 nately or they wrote out the ornament in both small and large notation. Such prac-
tices make the entire section with its many examples all the more important, for
present themselves. 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 T S EMBELLISHMENTS I2J
It should be noted that aside from the keyboard the snapped turn 37. Finally, the turn may be preceded by two small thirty-
is indicated by the sign of a t r i l l and, even i n keyboard pieces, often seconds. These small notes are incorporated i n the ornament and
by the simple sign of the turn. I t may be introduced over the
2 2
joined to it as rapidly as possible. The threefold beam is unvariable.
second of a pair of slurred notes i n stepwise ascent, as i n Example This variant, discussed here for the first time, represents a minia-
d. I n such a situation it replaces the ascending t r i l l or the ascending ture ascending t r i l l for which i t may be substituted over short
t u r n . Example e shows the snapped turn over the first of a pair
23
notes. I t might be called an ascending t u r n . Its indication and
26
of slurred notes i n stepwise descent. This use is justified by the pre- execution are illustrated i n Figure 139. When it is used instead of
27
ceding detached notes. When these are also slurred, as they may be an ascending t r i l l over the second of two slurred notes, a better ef-
in a slow tempo, a simple turn or the compound appoggiatura is 24
fect can be achieved by tying the preceding note to the first note of
better, as i n the asterisked example. the turn as illustrated i n Example a.
THE MORDENT
forrar
e. filis them out, and makes them brilliant. I t may be either long or
short. The symbol of the long mordent is shown i n Figure 140. Its
foirHi^^ i execution may be lengthened (a) if necessary, but the symbol re-
mains the same. The short mordent and its execution are illus-
trated i n Example b.
35. This embellishment cannot be performed, or at least i t is
not easy to play with its essential briskness, when i t appears over a Figure 140
note which must be taken by the thumb or by the fourth or the -4*-
I I I I I I V
little finger. The other fingers are much more adept at executing
it. i
36. The snapped turn should not be confused with the simple 2. Although it is customary to play the long mordent only over
turn after a note. They differ from each other i n that the latter is long notes and the short over short notes, the symbol of the long
performed appreciably after the principal tone and is found after ornament is often found over quarters or eighths, depending on the
slurred and sustained notes. I n order to differentiate the two more tempo, and that of the short mordent over notes of all vales and
clearly their execution is illustrated i n Figure 138. lengths.
Figure 138 3. Example c of Figure 140 illustrates an unusual manner of
performing a very short mordent. Of the two tones struck simul-
m taneously, only the upper one is held, the lower one being released
immediately. There is nothing wrong i n this execution, provided
1
1 =1 4=i
4. The mordent is especially good in a stepwise or leaping as- ES . f w*
U '
m
cent. I t seldom appears i n descending leaps and never i n descending
1 J 1
seconds. I t may be found at the beginning, middle, or end of a com-
position.
5. I t conneets slurred notes i n conjunct or disjunct motion, b
with and without an appoggiatura (Figure 141). I n such passages i t ' * 0 9 m m m ~m ~m
is employed most frequently over ascending steps and also oc- ' 01 0 L
^-9i-m 1p r y> 1 p r =E=P=
casionally after an appoggiatura, as i n the asterisked examples.
When the mordent is applied to an appoggiatura which is joined
11 PJ
to its principal tone by an ascending leap, the principal tone must
be long so that it can lend enough of its valu to make the mordent
full and impressive (a). This use of the mordent serves both to con-
0 h y - \ r
= 0 f
' *
_
>
1 J 1
nect and to fill out notes. I t appears occasionally i n recitatives.
Figure 141 peated, and performed generally as illustrated i n the second set of
examples under the same lettering. This liberty must be indulged
circumspectly and out of necessity only. The expedient is wrong
when it distorts the composer's intentions. T o lessen the possibility
of such an error, strike a tone with due pressure and hold it. I n so
doing, one realizes that our instrument sustains tones longer than
lustrated i n Figure 142, i t is found over tied (a), dotted (b), and syn-
tain broken chords (b), and i n the middle parts of f u l l chords (c),
copated notes. Syncopations may be fashioned out of a single tone
although the long mordent may also be employed when the notes
(c) or various tones (d). I n the case of the latter the mordent is best
are long; further, they appear over detached dotted notes where the
used over the second tone of a single repetition (e). I t filis out syn-
dot is not held (d), and over notes followed by rests (). They also
copated notes and, i n addition, makes them brilliant.
oceur over longer notes preceded by short ones which rise by a
8. W i t h reference to Examples a and b of Figure 142, it should
step (/) or a leap (g).
be noted that when the tempo is so slow that even a long mordent
2 Anschlagend. T h a t the term has a rhythmic rather than harmonio meaning is
w i l l not fill out the notes adequately, they may be shortened, re- clear from Quantz's term for the appoggiatura, anschlagender Vorschlag.
190 EMBELLISHMENTS EMBELLISHMENTS
10. Of all the embellishments, the mordent is most frequently 12. Occasionally an unusual fingering must be taken i n order
interpolated i n the bass by the performer, particularly over apex to keep the best fingers free and ready to perform a mordent pre-
notes reached by a step (h) or a leap (i), at cadenees and elsewhere, ceded by a short note as indicated i n Figure 144. Such a fingering
especially when the following note lies an octave below (y). may be used only i n a modrate tempo. I t is justified by the detached
performance of the dotted note, owing to which the fourth finger
3
Figure 143 can strike the following tone i n order to leave both the thumb and
- a. y A.
second finger i n good position to perform the embellishment. After
i)UJj}l>lf I H j p the third finger has struck its note i t sufices to shift the hand slightly
to the right. Undotted passages or faster dotted ones should be
played with a normal fingering.
* 13. The mordent, which, as we have already learned, is often
b. + used to fill out long sustained tones, may be interpolated after a
t r i l l . However, it must be separated from the latter by dividing the
long note into two parts. Without this precaution i t would be wrong
to play the two embellishments i n direct succession, for ornaments
must never be crowded against each other. These remarks are
heeded i n the illustrated execution of Figure 145. The length of
d. dk * such a mordent is determined by the tempo, which must not be
rapid, for if it is there w i l l be no need for such an expedient.
Figure 145
Adagio C*~ 4"
0
Fieure 144 ^
r
.
1 1 1 A *
%
t
r r r T
Dots in certain contexts were performed as rests. T h e practice is described and
criticized in C h . I I I , \.
/} 2 E M i E LIA Sil M E N T S E M RELEI S II M EN T S i 3 3
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 de-
librate tempos when two notes are separated by an ascending leap.
A few characteristic passages are illustrated i n Figure 150.
THE COMPOUND APPOGGIATURA 1
Figure 150
1. The compound appoggiatura may be applied to a note i n
two ways: First, the preceding tone is repeated and succeeded by the
step above the principal note; second, the tone below and then the
tone above are prefixed to i t .
2. Both types are clearly recognizable i n the illustrations of Fig-
ure 148.
Figure 148
its Icap of a third may be used in all of the illustrations of Figure being variable, they have all been caref ully expressed in the Lessons.
150. As shown in Figure 152, it is also found before notes isolated The following note loses as much of its valu as is needed for the
by rests (a) and on the repetition of a tone followed by a descending performance of the decoration. Example d illustrates its correct
6
second (b). I n such a case it is better than the turn, just as the turn and incorrect notation.
is better before an ascending second, as i n the asterisked example. 8. I t never appears i n rapid movements but is well used i n af-
I n fact, our decoration may not be used i n this latter context (h).
4
fettuoso passages. Correct uses of i t occur before the repetition of a
Further, the compound appoggiatura is better than the turn when, tone (Figure 153, Example a), or i n an ascending step (b), both of
in a slow tempo, it is placed between tones which stand an aug- which must be followed by a descent, comprising an appoggiatura
mented second apart, for it softens the dissonant character of the in- (b) or some other note (a). Example a often appears as a caesura i n
terval (c). I t may also be placed within an ascending second (b), or adagio movements. The asterisked example of Figure 79 is better
seventh (e), and before a descending appoggiatura (/). Thus, i n gen- with this ornament than with an appoggiatura, owing to the long
eral, this ornament is better fitted to a melody that descends subse- /. Its execution is illustrated i n Example c of the present figure.
quently rather than one that ascends. Exceptions occur only when
the decorated note is repeated and when the tempo is slow (g). Figure 153 7 ,
r r
Figure 152 5
3J J>J 11
p r
4 ta u3==
d.
wrong . g
n h t
c. d.
TL K ^hY~h
-- n i Jh~ execution notation
fia b J I J W J_1 H
b 1r>- f * - T
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 pre-
ceding variable appoggiatura (Figure 154, Example a) and a short
appoggiatura is inserted between them (b), the first appoggiatura
l II j | 1 1J # 1 acquires a dot and our embellishment is complete (c), on condition
# 1 J 1
r r
that there is a subsequent descent of one or more notes.
Figure 154
b.
agio
' < i
MI h
A d
=N=
9 11= )
r
jg=
1 J
1 v
10. I n performing this kind of compound appoggiatura ob-
serve that although the dotted tone is emphasized, the others are
7. The dotted compound appoggiatura is notated either as an played softly. The second note is connected as rapidly as possible
ascending appoggiatura or i n the manner of Figure 153. Its divisions with the principal tone and all three are slurred.
T h i s sentence from ed. of 1787.
* 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
5 Example h from ed. of 1787. 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 T S EMBELLISHMEN TS '37
11. Figure 155 contains several examples with their execution. Occasionally the slide is indicated in the manner of Example a, and
In order to help the performer recognize the usual indication of frequently it will be found i n large notation (b).
this ornament I have purposely retained its inadequate notation 4. The two-toned slide is distinguished from the three-toned
as a simple appoggiatura. The slower the tempo and the more ex- in that (1) it is always used i n a leap which i t helps to fill i n , as i n
pressive the melody, the longer the dot must be held, as illustrated Figure 156; the three-toned slide, as we shall see presently, performs
in the example marked N.B. 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
a. b.
^#
TlXf 5. Figure 157 illustrates the execution of the three-toned type.
^
(i) c Its pace is determined by the character of a movement and the
-"-iH TTir-rJp # r F 0 m ~>- tempo. Inasmuch as there is no generally accepted symbol for this
ornament and, also, because its pattern is an exact inversin of the
* = t = - E - i
t u r n , 1 find it more convenient to use the symbol of Example b than
2
j t - -yy{ ^) H 0 m.
J -# * ^ J,J Figure 157
b.
J
a.
0 0 V0T~0V
N 1 6. The three-toned slide is equally at home i n very rapid and
1 TJ t* i J ^ P m
very slow tempos, i n flowing as well as highly expressive move-
9
1 1 ' L =i=H ments. Henee i t has two quite opposite employments. I n rapid
pieces it filis out notes and adds sheen. Further, it takes the place
THE SLIDE 1
of an unsuffixed, ascending t r i l l which cannot be used because of
1. The slide appears both with and without a dot. Its execution the short note vales. Here it is always performed rapidly and, as
is suggested by its ame. Melodies are made flowing through its illustrated i n Figure 158, the following note may stand i n either
use. leaping or stepwise relation to it.
2. The undotted slide consists of either two or three small notes 2 T h e Bibliothek der Schnen Wissenschaften remarks: "Marpurg divides the turn
more correctly into descending and ascending turns, the latter of which Bach seems
which are struck before a principal tone.
to consider more as a kind of slide. For the rest, however, Bach discusses this orna-
3. When i t consists of two notes they are notated as small thirty- ment with exceptional care." I n fact, Bach's ascending turn is discussed in the section
seconds i n the manner of Figure 156. I n an alia breve they may also on that ornament. It is differentiated from the three-toned slide by its symbol and
its greater number of tones. Cf. Ch. I I , " T h e T u r n , " f 37, and in the present section,
appear i n the form of sixteenths, as i n the asterisked example. f 9-
3 T h i s symbol was not widely adopted. Usually the ornament appears fully written
1 Der Schleifer. out in small and large notation.
EMBELLISHMENTS i
'38 E M B E L L I S II M E N T S 3 9
i J jy 1 1
12. Several examples with their various executions appear i n
Figure 161. The asterisked divisin of the slide is better than the
following one because of the bass. Most of the examples present
8. Because the emotions are more stirred by dissonance than contexts that are especially fitted to this ornament alone. Certainly,
consonance the slide is most frequently found over the former. I n as an unembellished performance w i l l readily disclose, there is a
such cases, it appears over slow notes whose vales are incompletely need for additional tones, due i n some cases to the harshness of the
filled out on purpose, or completely filled out i n a halting manner. dissonances, i n others to the emptiness of the octave. Yet no other
It appears under similar circumstances i n allegro movements espe- ornament can be inserted as well as the slide. The following tone
cially where there is a change from major to minor. The chords usually descends, although, as illustrated i n Example x, the melody
which go particularly well with this ornament are the diminished may continu by repeating the final tone of the embellishment.
seventh, the augmented sixth when it contains a fifth, the sixth 13. Remaining details of performance are illustrated i n Ex-
with an augmented fourth and minor third, and other similar con- amples 1 and 2 of Figure 161. These show that although the dotted
structions. Since the behavior of all ornaments is determined largely tone i n the ornament is emphasized, the two succeeding tones are
by their relation to the accompanying bass, it is easy to conclude, * Bach provides helpful information on the normal and extended execution of this
that this one tends to move downward. ornament in C h . V I , " T h e Dotted Slide," f 4. .
142 EMBEL L 1 S ll MEN TS EMBELLISH MENTS H3
played softly. The dot under the principal tone, e, i n Example 1 descent. Undoubtedly this is because its second tone and the prin-
informs us that the finger should be released before the termina- cipal tont resemble an inverted suffix. Nevertheless it is different
tion of that note's written length; consequently, i n Example 2 this from all trills i n that i t is never enclosed and never appears under
dot has been changed to a rest after the corresponding c. a slur.
4. I t must be assiduously practiced before it can be made to
THE SNAP 1
sound as i t should. Because only the strongest, most dexterous fin-
1. Figure 162 illustrates my unvariable notation of the short gers execute it effectively, i t is often necessary to play the following
mordent i n inversin, the upper tone of which is snapped, the tones with a finger that w i l l not interfere with the staccato charac-
other tones being played with a stiff finger. Its execution suggests ter of the ornament, as illustrated i n Figure 163, Example a. I t is
that this ornament, not mentioned by other writers, might be called often used at caesurae (b).
the snap. I n its employment as well as its shape i t is the opposite
2
of the mordent, but its tones are identical with those of the short Figure 163
trill. a.
Figure 162
agreement will ever be reached on the execution and meaning of the English term
inverted mordent, a ame sometimes given to the ornament under discussion (cf. reasons. Aside from this, there are three places at which the fermata
Elson's Music Dictionary, "Mordent"). It is often played ahead of the beat when it
should be played on the beat, certainly in music of the eighteenth century. Further,
appears: over the next to the last, the last, or the rest after the last
it is just as often made to consist erroneously of the lower auxiliary, its identity bass note. T o be used correctly the sign should be written at the be-
being exchanged with the mordent. Unaccented inverted mordents can be found
among the examples of Figure 161, although they are recognizable as such neither by
ginning and again at the end of an elaborated fermata.
their notation or by their ame (dotted slide). T h e Germans are just as badly off 4. Fermate over rests occur most frequently i n allegro move-
in their attempt to find a ame, as revealed in the following remarle from the Bibli-
ments and are not embellished. The two other kinds are usually
othek der Schnen Wissenschaften (1763!): " I t seems more correct to us that
Marpurg should regard Bach's snap (Schneller) as a short trill (Pralltriller). But we found i n slow, affettuoso movements and must be embellished if
would not care to say that both are correct in stating that this brilliantly played only to avoid artlessness. I n any event elabrate decoration is more
ornament is a kind of short mordent in inversin. T h i s opinin appears quite dubious
upon closer consideration of the nature of the trill and the mordent. Therefore, we necessary here than i n other parts of movements. 1
Figure 1 6 4 ^ g 4 3
61 ^ K _A
f TT f f t
1 ^ 2.
f" ? r 1
= 6 5 :
J 1 m
1=
rf f f *f f
r ir ~sr
i si/
6. Those who lack the ability to introduce elaborations may
creased, and the Orchestre grows tired; but on the last Cadenee, the Throat is set
apply a long ascending t r i l l when necessary to an appoggiatura
a going, like a Weathercock in a Whirlwind, and the Orchestre yawns." which stands a step above a final tone (Figure 165, Example a).
I<f6 E M li E L L I SU MEN T S
When the appoggiatura lies a step below, it should be played
simply and the final tone trilled (6). The same applies to a fermata
without an appoggiatura (c).
CHAPTER T H R E E
I
Figure 165
t m PERFORMANCE
m
r
i
K EYBOARDISTS whose chief asset is mere technique are
clearly at a disadvantage. A performer may have the most
agile fingers, be competent at single and double trills, mas-
ter the art of fingering, read skillfully at sight regardless of the key,
and transpose extemporaneously without the slightest difficulty;
play tenths, even twelfths, or runs, cross the hands i n every con-
ceivable manner, and excel i n other related matters; and yet he may
be something less than a clear, pleasing, or stirring keyboardist.
More often than not, one meets technicians, nimble keyboardists by
profession, who possess all of these qualifications and indeed
astound us with their prowess without ever touching our sensibili-
ties. They overwhelm our hearing without satisfying i t and stun the
mind without moving i t . I n writing this, I do not wish to discredit
the praiseworthy skill of reading at sight. A commendable ability,
I urge its practice on everyone. A mere technician, however, can
lay no claim to the rewards of those who sway i n gentle undulation
the ear rather than the eye, the heart rather than the ear, and lead
it where they w i l l . Of course i t is only rarely possible to reveal the
true content and affect of a piece on its first reading. Even the most
practiced orchestras often require more than one rehearsal of cer-
tain pieces which, to judge from the notes, are very easy. Most
technicians do nothing more than play the notes. A n d how the
continuity and flow of the melody suffer, even when the harmony
remains unmolested! I t is to the advantage of the keyboard that
dexterity can be developed beyond the limits of other instru-
ments. But finger velocity must never be misused. I t should be re-
served for those passages that cali for it, without advancing the
tempo of the piece as a whole. As proof that I do not disparage
47
/./.v / ' E liF O RMAN CE P E R F O IMAN C E i 4 9
speed, or scorn its uselulness and indispcnsability, 1 p o i n t to the tack. M a n y instrumenta do not produce a perfect, pur tone unless a
Lessons i n G a n d F m i n o r and the runs n the C m i n o r Fantasa,
1 3 strong touch is ernployed; others must be played l i g h t l y or the vol-
all of w h i c h must be played as r a p i d l y , b u t at the same t i m e as dis- I I I I I C w i l l be excessive. I repeat these remarks, first made i n the I n -
t i n c t l y as possible. I n certain other countries there is a m a r k e d t r o d u c t i o n , i n order to encourage a more musical way of portray-
tendeney to play adagios too fast a n d allegros too slow. T h e con- ing rage, anger, a n d other passions by means of h a r m o n i o a n d
tradictions of such f a u l t y p l a y i n g need n o t be systematically stated. melodic devices rather than by an exaggerated, heavy attack. I n
A t the same t i m e i t must n o t be assumed that I condone those whose r a p i d passages every tone must be played w i t h a fitting pressure or
u n w i e l d y fingers give us no choice b u t to slumber, whose cantabile the effect w i l l be t u r g i d and chaotic. T h e snap, w h i c h was i n t r o -
is a pretense w h i c h hides t h e i r i n a b i l i t y to e n l i v e n the i n s t r u m e n t , duced d u r i n g the discussion of the t r i l l , is usually ernployed i n these
whose performance, thanks to their lazy fingers, deserves far greater contexts. A w e l l - r o u n d e d manner of performance can be most
4
censure t h a n that addressed to shallow fleetness. A t least the techni- readily discerned f r o m the p l a y i n g of r a p i d pieces w h i c h c o n t a i n
cians are subject to i m p r o v e m e n t ; their fire can be d a m p e d by ex- alternating l i g h t and heavy runs of equal speed. Keyboardists are
pressly checking t h e i r speed. T h e opposite remedy is either n o t at often f o u n d whose ready fingers serve t h e m w e l l i n l o u d runs, b u t
all or o n l y p a r t i a l l y applicable to the hypochondriac disposition desert t h e m t h r o u g h lack of c o n t r o l i n the soft ones, thereby mak-
w h i c h is disclosed, to o u r greater misery, by flabby fingers. B o t h , i n g f o r indistinetness. T h e y grow nervous, speed o n w a r d , a n d lose
however, p e r f o r m only mechanically; b u t a s t i r r i n g performance c o n t r o l . I n the E-flat Lesson the broken chords must be played as
5
too m u c h empty space and a consequent m o n o t o n y due to a lack ends a movement i n a foreign key he usually wants the f o l l o w i n g
of sonority; or w i t h o u t m a k i n g a silJy caricature of i t t h r o u g h an movement to begin f o r t h w i t h . O t h e r reasons as w e l l may r e q u i r e
excessive use of r a p i d notes. However, singers a n d performers o n an u n i n t e r r u p t e d attack. I t is customary to indcate such a proce-
instruments w h i c h are n o t defective i n this respect also do n o t dar d u r e by placing only one instead of the usual two-bar Unes at the
to deliver an undecorated l o n g note for fear of e l i c i t i n g o n l y bored end of the movement.
yawns. Moreover, the deficiencies of the keyboard can be concealed
9. A l l difficulties i n passage w o r k should be mastered t h r o u g h
under various expedients such as b r o k e n chords. Also, the ear ac-
repeated practice. Far more troublesome, i n fact, is a good per-
cepts more movement f r o m the keyboard t h a n f r o m other instru-
formance of simple notes. These b r i n g f r e t f u l moments to many
ments. Henee, satisfactory a n d successful examples of the art of
who believe that keyboard instruments are easy to play. Regardless
performance can be presented to all b u t those w h o bear a strong
of finger d e x t e r i t y , never undertake more t h a n can be kept u n d e r
prejudice against keyboard instruments. A golden mean is difficult
c o n t r o l i n p u b l i c performance, where i t is seldom possible to relax
but n o t impossible to discover, p a r t i c u l a r l y i n view of the fact that
properly or even to m a i n t a i n a fitting disposition. A b i l i t y a n d dis-
our most usual sustaining devices, such as the t r i l l a n d the m o r d e n t ,
position should be gauged by the most r a p i d and difficult parts i n
are also well k n o w n to other instruments a n d the voice. Such em-
order to avoid an overexertion, w h i c h w i l l surely result i n a break-
bellishments must be f u l l and so p e r f o r m e d that the listener w i l l
d o w n of the performance. Those passages w h i c h are troublesome
believe that he is hearing only the o r i g i n a l note. T h i s requires a
i n prvate and come off w e l l o n l y occasionally should be o m i t t e d
freedom of performance that rules o u t everything slavish a n d
f r o m p u b l i c performance unless the performer finds himself i n a
mechanical. Play f r o m the soul, n o t l i k e a t r a i n e d b i r d ! A key-
p a r t i c u l a r l y favorable frame of m i n d . Also, the i n s t r u m e n t should
boardist of such stamp deserves more praise than other musicias.
be tested beforehand w i t h t r i l l s a n d other ornaments. T h e r e are
A n d these latter should be more censured t h a n keyboardists for
two reasons for these several precautions: they w i l l assure an agree-
bizarre performance.
able, flowing performance; they w i l l help to remove the anxious
8. I n order to arrive at an understanding of the t r u e content m i e n w h i c h , far f r o m e n l i s t i n g the listener's sympathy, w i l l o n l y
and affect of a piece, and, i n the absence of indications, to decide annoy h i m .
on the correct manner of performance, be i t slurred, detached or 10. T h e pace of a composition, w h i c h is usually indicated by
w h a t not, a h d f u r t h e r , to learn the precautions that must be heeded several w e l l - k n o w n I t a l i a n expressions, is based o n its general con-
i n i n t r o d u c i n g ornaments, i t is advisable that every o p p o r t u n i t y tent as w e l l as o n the fastest notes a n d passages contained i n i t .
be seized to listen to soloists and ensembles; the more so because D u e consideration of these factors w i l l prevent an allegro f r o m be-
these details of beauty often depend o n extraneous factors. T h e i n g rushed a n d an adagio f r o m b e i n g dragged.
v o l u m e and t i m e valu of ornaments must be d e t e r m i n e d by the
11. Every step must be taken to remove accompanying parts
affect. I n order to avoid vagueness, rests as w e l l as notes must be
f r o m the h a n d that performs the p r i n c i p a l melody so that i t may
given their exact valu except at fermate a n d cadenees. Yet certain
be played w i t h a free, unhampered expression.
purposeful violations of the beat are often exceptionally b e a u t i f u l .
12. As a means of l e a r n i n g the essentials of good performance i t
However, a d i s t i n c t i o n i n t h e i r use must be observed: I n solo per-
is advisable to listen to accomplished musicias, as stated i n Para-
formance a n d i n ensembles made u p of o n l y a few understanding
graph 8. A b o v e a l l , lose n o o p p o r t u n i t y to hear artistic singing. I n
players, m a n i p u l a t i o n s are permissible w h i c h affect the tempo
so d o i n g , the keyboardist w i l l learn to t h i n k i n terms of song. I n -
itself; here, the g r o u p w i l l be less apt to go astray t h a n to become at-
deed, i t is a good practice to sing i n s t r u m e n t a l melodies i n order
tentive to and adopt the change; b u t i n large ensembles made u p of
6 Remainder of paragraph from ed. of 1787.
/' E R E O R M A N C E PERFORMANCE lj}
to rcach an understanding o their correct performance. T h i s way of sensitive insighl w h o knows the meaning of good performance, a n d
learning is of lar greater valu t h a n the reading of v o l u m i n o u s the composer. w i l l learn to his astonishment that there is more i n
tomes or listening to learned discourses. I n these one meets such his music than he had ever k n o w n or believed. G o o d performance
terms as N a t u r e , Taste, Song, a n d M e l o d y , although their authors can, i n fact, i m p r o v e and gain praise for even an average composi-
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 , tion.
tasteful, singing, melodic tones, f o r they dispense t h e i r alms a n d 14. I t can be seen f r o m the many affeets w h i c h music portrays,
endowments w i t h a completely unhappy arbitrariness. 7
that the accomplished musician must have special endowments a n d
13. A musician cannot move others unless he too is moved. H e be capable of e m p l o y i n g t h e m wisely. H e must carefully appraise
must of necessity feel a l l of the affeets that he hopes to arouse i n his his audience, their a t t i t u d e t o w a r d the expressive content of his
audience, f o r the revealing of his o w n h u m o r w i l l stimulate a l i k e p r o g r a m , the place itself, a n d other a d d i t i o n a l factors. N a t u r e has
h u m o r i n the listener. I n languishing, sad passages, the performer wisely p r o v i d e d music w i t h every k i n d of appeal so that a l l m i g h t
must languish and grow sad. T h u s w i l l the expression of the piece be share i n its enjoyment. I t thus becomes the d u t y of the performer
more clearly perceived by the audience. H e r e , however, the error of
8
to satisfy to the best of his a b i l i t y every last k i n d of listener.
a sluggish, dragging performance must be avoided, caused by an ex- 15. As stated earlier, i t is especially i n fantasas, those expres-
cess of affect a n d melancholy. S i m i l a r l y , i n lively, joyous passages, sive n o t of memorized or plagiarized passages, b u t rather of true,
the executant must again p u t himself i n t o the appropriate m o o d . musical creativeness, that the keyboardist more than any other
A n d so, constantly v a r y i n g the passions he w i l l barely q u i e t one executant can practice the declamatory style, and move audaciously
before he rouses another. A b o v e a l l , he must discharge this office i n f r o m one affect to a n o t h e r . A short example is sketched i n the
10
or someone else. I n the latter case he must make certain that he as- prescribed for the divisions of the entire piece. For this reason, bar
sumes the e m o t i o n w h i c h the composer i n t e n d e d i n w r i t i n g i t . lines are always o m i t t e d . N o t e lengths are d e t e r m i n e d by the usual
I t is p r i n c i p a l l y i n improvisations or fantasas that the keyboardist superscribed moderato, a n d by the s u r r o u n d i n g vales. T r i p l e t s
can best master the feelings of his audience. Those w h o m a i n t a i n can be recognized simply by t h e i r beam. U n b a r r e d free fantasas
that a l l of this can be accomplished w i t h o u t gesture w i l l retract seems especially adept at the expression of affeets, f o r each meter
their words w h e n , o w i n g to t h e i r o w n insensibility, they find them- carries a k i n d of compulsin w i t h i n itself. A t least i t can be seen i n
selves obliged to sit l i k e a statue before t h e i r i n s t r u m e n t . U g l y
9
accompanied recitatives that tempo a n d meter must be f r e q u e n t l y
grimaces are, of course, i n a p p r o p r i a t e a n d h a r m f u l ; b u t fitting ex- changed i n order to rouse a n d s t i l l the r a p i d l y a l t e r n a t i n g affeets.
pressions help the listener t o understand o u r meaning. Those op- Henee, the metric signature is i n many such cases more a c o n v e n t i o n
posed to this stand are often incapable of d o i n g justice, despite of n o t a t i o n than a b i n d i n g factor i n performance. I t is a distinct
their technique, to t h e i r o w n otherwise w o r t h y compositions. m e r i t of the fantasa that, u n h a m p e r e d by such trappings, i t can ac-
U n a b l e to b r i n g o u t the content of their works, they r e m a i n i g - complish the aims of the recitative at the keyboard w i t h complete,
n o r a n t of i t . B u t let someone else play these, a person of delicate, unmeasured freedom.
16. Performers, as we have already learned, must t r y to capture
7 T w o specimens appeared serially in Marpurg's Der Critischer Musicus an der
Spree. Both were translations from the French. T h e first, Grandvall's Essay on Good the true content of a composition and express its appropriate affeets.
Taste in Music, started on June 3, 1749. Later, starting December 2, 1749, an Essay Composers, therefore, act wisely w h o i n n o t a t i n g t h e i r works i n -
on the Decline of Good Taste in Music by Bollioud de Mermet began. Both contain
terms similar to those mentioned here and are marked by " a completely unhappy ar-
10 For a more extended discussion of the free fantasa cf. C h . V I I .
bitrariness."
11 T h i s sentence is from the ed. of 1787. T h e Lesson mentioned is the third move-
T h i s sentence appeared as a footnote in the ed. of 1787.
ment of Sonata V I (cf. Pt. I , Introduction, Note 17). For a score set with a double text
8
Marpurg (op. cit., Sept. 9, 1749) i n covering similar material writes, " I know a
that was added later by the poet and Bach admirer, Heinrich Wilhelm von Gersten-
9
great composer [Bach?] on whose face one can see depicted everything that his music
berg, see F. Chrysander i n Vierteljahrschrift fr Musikwissenschaft, No. 7, 1891.
expresses as he plays it at the keyboard."
i 5 4 PERFORMANCE
PERFORMANCE 155
elude terms, in a d d i l i o n to tempo indications, which lielp to elarify
self-evident that all of the tones are to be played s i m i l a r l y u n t i l
the meaning o a piete. However, as w o r t h y as their intentions
another k i n d of m a r k intervenes. T h e slurred tones of b r o k e n
m i g l i t be, they w o u l d n o t succeed i n p r e v e n t i n g a garbled per-
chords are h e l d i n the manner of Figure 168. T h i s applies to the E
formance i f they d i d not also add to the notes the usual signs and
major Lesson, where, i n a d d i t i o n to the fine effect of such an execu-
12
in. g
tempos.
m \rrn
Figure 167 Figure 1 6 8
Figure 166
15
%* I ' M I i r J i
18. Notes w h i c h are to be played legato must be h e l d for their
f u l l l e n g t h . A slur is placed above t h e m i n the manner of Figure sr.B.
167. T h e slur applies to a l l of the notes i n c l u d e d under its trace.
Patterns of t w o and f o u r slurred notes are played w i t h a slight,
scarcely noticeable increase of pressure o n the first and t h i r d tones.
T h e same applies to the first tones of groups of three notes. I n other
cases only the first of the slurred notes is played i n this manner. I t is
1 Sonata I I I , third movement. Cf. Pt. I, Introduction, Note 17.
2
a convenient custom to indcate by appropriate marks o n l y the first 1 3Sonata V I , second movement. Cf. Pt. I , Introduction, Note 17.
few of prolonged successions of detached or legato notes, i t b e i n g 1* Remainder of paragraph from ed. of 1787.
is Examples a, b, c, d from ed. of 1787.
/ 6
5 /' /< /{ F O R M A N C E PERFORMANCE 757
21. T h e notes of Figure 170 are played i n such a manner that
Allegro assai
the first of each slur is slightly accented. Figure 171 is played simi-
I T
y v y larly except that the last note of each slur is detached. T h e finger
must be raised immediately after i t has struck the key. T h e portato
and v i b r a t o of Figure 169 apply only to the clavichord; Figures
170 and 171 may be played o n b o t h the harpsichord and the clavi-
chord, b u t 2 0 more effectively o n the latter. T h e execution of
T"'TI
Example a, an error frequently c o m m i t t e d by beginners.
held are sounded for half their valu, unless the abbreviation
finger that depresses and holds the key is gently shaken. T h e sign 18
Ten. (hold) is w r i t t e n over t h e m , i n w h i c h case they must be h e l d
of a v i b r a t o appears i n Example a. T h e 1 9 best effect is achieved
f u l l y . Quarters and eighths i n modrate and slow tempos are usually
w h e n the finger w i t h h o l d s its shake u n t i l half the valu of the note
p e r f o r m e d i n this semidetached manner. T h e y must not be played
has passed.
weakly, b u t w i t h fire and slight accentuation.
Figure 169 23. Short notes w h i c h f o l l o w dotted ones are always shorter i n
execution than their notated l e n g t h . Henee i t is superfluous to
21
be broader t h a n that of undecorated short notes. Likewise, i n sad to clarify the leading of a voice (a). W h e n i n legato passages a voice
or expressive passages and i n slow tempos the exception is less ac- is assigned to a tone directly after i t has been taken by-a held note,
celerated t h a n i n other cases. the h o l d should n o t be b r o k e n . Rather than vilate the legato, the
second tone's c l a i m should be denied, for such notes are o f t e n
w r i t t e n merely for the sake of n o t a t i o n (b). Should the t w o tones be
w e l l separated, the second must be struck, b u t i n such a manner
J'J- JI m J3 J- J J-d J'a
that the r i g h t h a n d w i l l regain the key before the left h a n d has re-
leased i t (c). I f the l o n g note is t r i l l e d i t must n o t be b r o k e n .
Figure 1 7 5 25
-HT
*J0 f*-E t l JjJ J |J %z J J ^ i V \
i
1 P I
Figure 173 i 2:
1 f "
1 Ai, Tff*
T r
24. T h e first notes of Figure 174, b e i n g slurred, are n o t played
26. T h e usual signs of arpeggiation a n d t h e i r execution appear
too r a p i d l y i n a modrate or slow tempo. I f they are, an excess of
i n Figure 176. T h e asterisked example represents an arpeggio w i t h
u n f i l l e d space w i l l f o l l o w their execution. T h e first note is accented
an acciaccatura. T h e w o r d " a r p e g g i o " w r i t t e n over a l o n g note
by means of gentle pressure, b u t n o t by a sharp attack or a r a p i d re-
calis f o r a c h o r d b r o k e n u p w a r d and d o w n w a r d several times.
lase.
Remainder of paragraph from ed. of
, i 1787.
-' Examplei a, l>, c, from cd. of 1787. 2" Kxamplcs a, b, c from ed. of 1787.
/' E R l< O R MAN C E PERFORMANCE 161
where a melody i n octaves is transposed three times against r a p i d
notes i n the left hand. Each transposition can be effectively per-
ormed by gradually and gently accelerating and immediately there-
after r e t a r d i n g . I n affettuoso playing, the performer must avoid
2 9
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
29. P. means piano or soft; t w o or more of the letters standing more widely spaced ff., pp.
together denote greater softness. M . F . means mezzo forte or half 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
l o u d . F. means f o r t e ; to denote greater loudness t w o or m o r e of in translation in Arnold, Art of Accompaniment from a Thoroue;h-Bass, pp. 407 ff.
the letters are placed together. I n order to c o n t r o l a l l shades f r o m T h e leading point of the theory is that the dynamic level at which chords are to be
6
pianissimo to fortissimo the keys must be g r i p p e d firmly a n d w i t h
played is determined by the kind of dissonances that they express. For example, 4*
s t r e n g t h . However, they must n o t be flogged; b u t o n the other
31 6 6 2
is played mezzo-forte; 4f , forte;4v; fortissimo. Bach has many reservations; so many,
so Le., it is easier for two performers to play in contrived disagreement than it is
for the two hands of a single performer. that he accepts the theory only in its broadest sense, relieved of all particulars. I n
31 Throughout this paragraph Bach is speaking of graded as well as terraced dy- this broadest sense it represents a common practice of the eighteenth century.
I(>l V E li /' O l\ A N C E PERFORMANCE i(> 5
terized l)y dynanik: shadings. I I (lie Lessons are played on a harpsi- the general pace a n d difcrentiation of notes. T h e r e is always a
c h o r d w i t h two manuals, only one manual should be used t o play slight pause between statements i n two- and three-voice cadenzas
detailed changes of forte and piano. I t is only when entire passages before a new voice enters. I n the Eessons I have indicated these
3 6
are differentiated by contrasting shades that a transfer may be held endings w i t h whole notes instead of the more usual ties. T h e
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 w h i t e notes serve n o other purpose a n d are t o be h e l d u n t i l re-
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 lieved by another note i n the same voice. Observe that i f another
clarity a n d p u r i t y . A l o u d , boisterous accompaniment must always
33
note is assigned to the key oceupied by one of the whole notes, the
be balanced by a stronger melodic t o u c h . 34
key must be r e l i n q u i s h e d , b u t reoecupied by the o r i g i n a l note after
the i n t e r v e n i n g voice has left. Should b o t h hands be engaged i n this
Figure 179 ^ 6
a. i> 6 *t 6 fe|K #6 procedure, the o r i g i n a l hand must retake the key before i t has been
-1
released finally by the other. I n this way c o n t i n u i t y of sound w i l l be
achieved w i t h o u t an a d d i t i o n a l attack. W i t h regard t o the l e n g t h
37
P
ff
l i k e a clearly measured and barred piece w i t h tied notes. A t t h e
Pf P P Y
P f7 P
same t i m e the pause is n o t observed w h e n the r e s o l u t i o n of a c h o r d
preceding the w h i t e note must be played by the other voices d i r e c t l y
9 8
5 4 3 on the w h i t e note's entrance.
i r n J Jf iJp J 7 Jp J f Jp JJ
f P
j
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 prac-
3 8
P
30. Elaborated cadenees [cadenzas] are l i k e improvisations.
3 5
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
I n keeping w i t h the substance of a piece they are p e r f o r m e d freely
passages, cannot be readily varied. Also, galant n o t a t i o n is so re-
i n an unmeasured manner. T h e notated lengths, therefore, at such
plete w i t h new expressions and twists that i t is seldom possible even
cadenees i n the Lessons are only approximate and represent merely
to comprehend i t immediately. A l l variations must relate to the
33 Johann F r . Cramer, in his Magazin der Musik (Vol. I , p. 1217), wrote, " A l l who
piece's affect, and they must always be at least as good as, i f n o t
have heard Bach play the Clavichord must have been struck by the endless nuances of
shadow and light that he casts over his performance." better than, the o r i g i n a l . For e x a m p l e , many variants of melodies
39
T h i s material is discussed at length i n C h . V I , "Performance," f f 5-13- 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,
35 T h e common eighteenth-century term was "cadenee," which had several mean-
ings, all but one of which have dropped out f use. T h e Italian word "cadenza," actually oceurred t o the composer, w h o , however, selected a n d
which carne to acquire a specific, and henee clearer, meaning, has been adopted here. wrote d o w n the o r i g i n a l because he considered i t the best of its
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 un-
k i n d . Simple melodies can o f t e n be made i n t o elabrate ones a n d
derstand here neither the end or the interruption of a melody, much less the trill
38 Sonata I V , second movement, and Sonata V I , second movement. Cf. Pt. I , I n -
which is called 'cadenee' by some Frenchmen. I shall treat only those elabrate em-
troduction, Note 17. A similar dialogue cadenza appears in J . S. Bach's Werke, 36.4,
bellishments which are furnished by a concertizing part out of free will and pleasure
p. 31, where, in the D major Toccata, the section marked con discrezione begins.
at the conclusin of a piece over the penultimate bass note, namely the fifth of the
Quantz gives many examples (op. cit. X V . Haupstck, f f 19-31).
key of the piece." Bach's discussion of such cadenzas from the point of view of the
37 Cf. f 25 of the present chapter.
accompanist appears in C h . V I , "Closing Cadenees." T h e soloist's cadenzas are treated
38 Sonata V , third movement. Cf. Pt. I , Introduction, Note 17.
in the last section of C h . I I .
3 T h i s sentence from ed. of 1787, footnote.
l> E R E O R M A N C E
vice versa. A l l this mus be clone w i l h no sinall deliberacin. Con-
sum 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 cer-
t a i n that the lineaments of a piece, by w h i c h its affect is recognized,
remain unobscured. 40
in rocfclxm >ie &)re t>on bem 3lccompanemmt pages. However, I changed m y m i n d later a n d chose the excellent
i n v e n t i o n of music p r i n t i n g so that illustrative matter m i g h t ap-
2
un) fcer frecen ^antajte pear i n the text, thus e l i m i n a t i n g the tedious search for examples
abge^antiflt roir. in seprate tables. T h e most notable feature of this book is the
a t t e n t i o n given to artistic accompaniment, and i n this respect
9t6ft iner jtupfmafel. it differs f r o m a l l previous manuals o n t h o r o u g h bass. T h e observa-
tions are n o t speculative b u t rest o n experience and w i s d o m . W i t h
2n 5Ser(egung 6(6 2(uctori. no desire to boast, i t may be said that this experience can h a r d l y be
r i v a l e d , for i t has g r o w n o u t of many years of association w i t h good
taste i n a musical e n v i r o n m e n t w h i c h c o u l d n o t be i m p r o v e d .3
INTRODUCTION TO PART TWO harpsichord c o u l d be heard, its absence can certainly be felt. A n d
f r o m a position above the performers a l l of its tones are clearly per-
ceptible. I base these observations o n experiences w h i c h may be
d u p l i c a t e d by anyone.
8. Some soloists take only a viola or even a v i o l i n f o r accompani-
m e n t . T h i s can be condoned only i n cases of necessity, where good
keyboardists are n o t available, even t h o u g h i t creates many dis-
i crepancies. I f the bass is w e l l constructed, the solo becomes a duet;
' H E O R G A N , harpsichord, pianoforte, and clavichord are i f i t is not, h o w d u l l i t sounds w i t h o u t h a r m o n y ! A certain I t a l i a n
the keyboard instruments most c o m m o n l y used for accom- master had n o reason t o i n t r o d u c e this k i n d of accompaniment. 2
14. I n p l a y i n g these the ear grows accustomed to good melody, as clear and brief an exposition as possible of the usual rules and
an i m p o r t a n t factor i n accompaniment, as we shall see presently. their modifications, and make many observations o n accompani-
15. T h e p e r f o r m e r also becomes f a m i l i a r w i t h a l l types of meter m e n t i n general, as w e l l as o n each progression. I shall be attentive
and tempo along w i t h their characteristic passages. H e forms a to means by w h i c h the various progressions may be recognized.
q u i t e useful acquaintance w i t h most of the problems of t h o r o u g h L u r k i n g errors a n d ways of overcoming t h e m w i l l be correctly
bass, a n d acquires finger facility a n d practice i n sight reading. I n shown. I shall indicate the best d i s t r i b u t i o n of tones f o r certain
brief, solos provide exercise f o r the eyes, ears, and fingers. progressions a n d shall differentiate the essential, less essential, and
inessential intervals a n d t h e i r doublings.
16. Especially recommended are constant listening to good
music and careful observing of good accompanists. T h i s w i l l cult- 22. T h i s latter is necessary because sometimes chords must be
vate the ear and teach i t to become attentive. t h i n , sometimes f u l l , and, w i t h reference to the n u m b e r of parts,
17. Such attentiveness w i l l p e r m i t no nuance to pass u n n o t i c e d . there are pieces that r e q u i r e a l l kinds of accompaniment.
Observe how musicians always listen to each other a n d m o d i f y their 23. A c c o m p a n i m e n t may be i n one, t w o , three, f o u r , or more
parts.
performance so that the ensemble may reach the desired goal. A l e r t -
ness is r e q u i r e d of a l l performers, i n c l u d i n g the accompanist, re- 24. A u n i f o r m four- or more-voiced accompaniment is used i n
gardless of how exact the figures may be. heavily scored music, pieces i n the learned style w h i c h feature
18. O u r present taste has b r o u g h t about an entirely new use of c o u n t e r p o i n t , figures, etc., a n d p r i n c i p a l l y i n works that consist of
h a r m o n y . O u r melodies, embellishments, and manner of per- music alone, i n w h i c h taste plays a m i n o r r o l e . 5
formance o f t e n cali for unusual chords. A t times they must be 25. I n t r e a t i n g four-part accompaniment I shall discuss good
played i n few parts, again, i n many. T h u s , the range of the ac- construction as w e l l as smooth progression of intervals. M a n y ex-
companist's duties has greatly increased a n d the recognized rules amples w i l l demnstrate that i n order to r e t a i n a good d i s t r i b u t i o n
of t h o r o u g h bass, w h i c h must o f t e n be m o d i f i e d , are no longer suf- of tones i t is better to allow t w o voices to take a unisn t h a n to
ficient. m a i n t a i n f o u r seprate, stiff parts w i t h t h e i r needless leaps a n d
19. A n accompanist must fit to each piece a correct performance a w k w a r d progressions. T h e r e w i l l also be examples to Ilstrate
8
of its h a r m o n y i n the proper v o l u m e w i t h a suitable d i s t r i b u t i o n of the ways i n w h i c h the left h a n d must help the r i g h t to a v o i d these
tones. H e must t r y to f o l l o w exactly the composer's intentions, and
4
defects, w h i c h are sometimes ascribed to accompanists' four-part
to this end pay u n r e l e n t i n g a t t e n t i o n to the r i p i e n o parts. W h e n progressions.
there are n o m i d d l e parts to fill o u t the harmony, as i n solos and 26. Three- a n d fewer-voiced accompaniments are used i n deli-
trios, the keyboard accompaniment by itself must be constructed cate works where the taste, performance, or affect of a piece requires
i n accord w i t h the affect of the piece and the performance of the a husbanding of harmonic resources. W e shall see presently that
other players so that the desires of b o t h the composer a n d the such pieces often allow for delicate accompaniment o n l y . T
executants w i l l be satisfied.
s Marpurg (Der critische Musicus an der Spree, p. 216) writes, "Most Symphonies,
20. As i n r e a d i n g at sight, the accompanist must always l o o k 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,
ahead to the approaching notes.
noisy, playful, or very impassioned is sought. Neither the heart or the understanding
21. I n p u r s u i t of the observations of paragraph 19, I shall give 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
* ". . . In der gehorigen Starke und Weite." T h i s is one of the essential, guiding
the four voices which we are using here is lost." T h i s expresses the view of the older
principies of Part I I , to which Bach refers repeatedly. A discussion of the means to
school, from which Bach departs, at least in this respect (cf. C h . V, " T h e Chord of
be used in achieving proper volume, i.e., by reducing or adding parts, by changing
the Seventh," I , f 18, par ex.).
from one manual to another, etc., will be found in C h . V I , "Performance," f f 5-13.
7 T h e learned style of f 24 and that described here, and identified elsewhere as
I n fact, the entire section is an extended treatment of each of the factors mentioned
the galant style, are the two chief objects of Bach's discussion of thorough bass. T h e
in f 19 here.
tj6 l N T R O D UCTION 7 O P A R T T W O
INTRODU C T l 0 N T 0 V A R T T W O 177
27. I n the case of poor and a w k w a r d compositions i n w h i c h
there is often no clear m i d d l e voice at a l l , o w i n g to the ineptness of tablish its foundations. Those w h o learn this style t h o r o u g h l y w i l l
the bass (out of w h i c h m i d d l e parts should flow) the keyboardist find it easy to go o n to others.
must hide the errors as best he can i n a t h i n accompaniment. H e 35. Progressions must be practiced i n a l l d i s t r i b u t i o n s of
must use chords sparingly and i n cases of necessity realize only one t o n e s so that they w i l l become k n o w n to the student. I n d o i n g
12
and the gradual e l i m i n a t i o n of errors, a satisfactory competence copyist's errors or, at least, i l l e g i b l e , ambiguous notes, unexpected
w i l l eventual.ly be w o n . changes of meter, tempo, figures, keys, etc., w h i c h w o u l d r e q u i r e
40. T h e teacher should transpose these short examples i n a l l preparation f r o m even the most experienced executant.
tonal d i s t r i b u t i o n s to a l l keys, major and m i n o r , so that the student 44. However, should there be suficient t i m e to look t h r o u g h
w i l l become f a m i l i a r w i t h t h e m and their n o t a t i o n . Later, this task the part, examine first the key signature, w h i c h can be w r i t t e n i n
should be carried o u t by the student alone. more than the one correct way described above. I n the past the
41. I consider i t better, i n transposing, to take keys at r a n d o m signature of D m i n o r rarely contained 6-flat, or C m i n o r , a-flat.
rather than move stepwise f r o m one to another, for some students Some composers still w r i t e this way f r o m habit, love of the obsolete,
l i k e to play and copy f r o m the untransposed example, depending or perhaps, for other reasons. Others correctly h o l d to o n l y one
on their memory to make the necessary changes w i t h o u t g i v i n g the signature or none at a l l , especially i n h i g h l y chromatic works,
matter any real t h o u g h t . T h e loss here is considerable. O n the freely m o d u l a t i n g recitatives, etc., i n order to avoid frequent
other hand, by t a k i n g keys at r a n d o m a student soon acquires changes, w h i c h m i g h t prove confusing to the performer. I n such
facility i n reading figures and simultaneously m a i n t a i n i n g a good cases, many of the accidentis are n o t even i n c l u d e d i n the figured
d i s t r i b u t i o n of parts. T h i s last factor assumes many forms and con- bass, i t being assumed that the executant is conversant w i t h every
stantly offers o p p o r t u n i t i e s to make use of acceptable expedients as key.
a means of r e m a i n i n g i n a good register. I n a w o r d , he eventually
masters a l l intervals, regardless of where they l i e .
42. W h i l e studying transposition, the teacher must e x p l a i n key
signatures to his student and familiarize h i m w i t h t h e m . Ntate the
C major and A m i n o r scales and let h i m , using these as models,
w r i t e o u t a l l major and m i n o r scales. I t is hardly necessary for me
to p o i n t o u t that i t is customary to construct each scale i n stepwise
descent (c, b, a, g, f, etc.) and to correct w i t h accidentis those steps
that are too large or too small compared w i t h the m o d e l . By this
procedure, he w i l l soon memorize the n u m b e r and position of ac-
cidentis i n each scale, such as, for example, the n u m b e r of fats
i n D-flat, or sharps i n C-sharp. I f the keys are related by fifths and
fourths the gradual increase i n the n u m b e r of accidentis w i l l be
made apparent to h i m .
43. Such knowledge w i l l prove b o t h useful and indispensable.
Inescapable situations can very easily arise: T h e performer is sud-
denly r e q u i r e d to provide an accompaniment and is allowed to give
his part n o t h i n g more than a cursory e x a m i n a t i o n ; he is n o t given
t i m e enough to determine the key f r o m the final note; he can glance
only hastily at the key signature. W h a t an unhappy p o s i t i o n for
anyon w h o is aware of the rare services and heavy obligations of
ripienists, w h o knows a l l too w e l l that by rights a l l r i p i e n o parts
should be carefully studied i n advance to ensure a good p e r f o r m -
ance! Aside f r o m this matter of execution the part may c o n t a i n
basses./ Can
N 7 the
E Rpresent-day
V A L S composer
AND disclose hisTintentions
SIGNA U R E S at 181
all
Wthout recourse to figures?
5. Teachers should let their students accompany pieces with
C H A P T E R F O U R 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
INTERVALS AND THEIR 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
SIGNATURES various types of signatures and chromatic changes. These should be
analyzed, once the student's understanding is adequate, for the in-
sight which is gained hereby will later prove very useful. Such an
undertaking increases his knowledge offiguresby making it an in-
1 dispensable part of the study.
4 L L composers who desire good accompaniments to their works 6. Thorough bass would be an easier and move agreeable study,
/ \t make certain that the bass is correctly and fully fig- if there were general agreement on the matter of figuring. The
j V ured. The rules which pertain to unfigured basses are often main contribution to this cause must be made by accomplished
wrong and, in addition, leave many questions unanswered. keyboardists who themselves can fashion a good accompaniment.
2. When the upper part of solos is written in over the bass, or, in There are many excellent composers and musicians who, while
larger pieces, when all parts are scored, the keyboardist can, of appreciative of a good accompaniment, might find it difficult to in-
course, fashion his accompaniment from an unfigured bass, pro- dicate their intentions with regard to the keyboard in an idiomatic
vided he has had experience in composition. If, in addition, an exact and requisite manner. The followirig are among the principal
figuring is included, the accompaniment may prove to be good. By points on which all should agree: Everything essential must be
good accompaniment, I mean only the very best. But aside from indicated exactly; neither too many or too few figures should be
this, I know that unfigured basses are often given to a certain key- written; figures must be chosen with an eye to performance; they
boardist who is not always able to disentangle himself from the ac- must be correctly placed; where there are no figures, it must be
companiment. made known by some sign; all styles of accompaniment, especially
3. With this in mind I shall discuss means by which an ex- the three-, two-, and one-part, must be specified at the point where
perienced accompanist will find it much easier to make a satisfactory each is to be used, etc.
realization of unfigured basses. However, my principal concern will 7. The relationship of one tone to another is called an inter-
be figured basses. val.
4. Pupils must learn the figures with dispatch. For this reason, I 8. All signs in thorough bass that pertain to accompaniment
am no defender of great masses of numeris. I oppose everything are called signatures.
that makes for unnecessary trouble and destroys incentive. At the 9. All intervals are measured upward by steps from the bass and
same time, no one can gain a comprehensive knowledge of thorough are identified by the resultant numeral.
bass or learn to accompany properly who does not have an ex- 10. The most usual intervals are those in Figure 18o.
haustive vocabulary of figures. Once the executant has triumphed 11. An interval retains its ame as long as its step is not changed,
over his fear of signatures, he will be ready to direct his attention to regardless of changes in accidentis. Thus, all seconds are on the
the refinements of accompaniment. These refinements require second step, all thirds on the third, etc.
morefiguresthan were formerly needed for the usual realization of 12. Differences in the size of intervals of the same step, whether
180
182 INTERVALS AND SIGNATURES
INTERVALS AND SIGNATURES 183
Figure 18JL
Seconds Thirds 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.
minor major augmented diminished minor major
15. The diminished third comprises a whole tone, the minor, a
J |[J II J U11J I J IIJ tone and a half, and the major, two whole tones.
16. The diminished fourth contains two whole tones; the per-
fect lies a half tone above the major third; the augmented com-
prises a whole tone more than the major third.
Fourths Fifths 17. The diminished fifth lies a half tone above the perfect
BF=IB 1 Rr IIJ 1 s H fourth; the perfect comprises a whole tone more than the perfect
fourth; the augmented lies a half tone above the perfect.
H-i 1 II IN1H ifi 1 1 II 18. The diminished sixth contains the same number of tones
dimin ished per ect augme nted dimin ished perfect augm ented 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
Sixths Sevenths 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.
diminished minor major m e n t e d diminished minor major 21. In practice the minor ninth and the minor second, the
y i 11 i
major ninth and major second express the same tones. Actually an
i J II J II J i IIJ J 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
^- Octaves N i i uhs three-part accompaniment. Suchfiguresare used to specify the exact
. H. 1\im =F=fc 1 r progression of voices, as in Figure 181. It can be seen that the succes-
i sion 1-2 or 2-1 is more natural and easier to read than 8-2 or 2-8
4* 1 B-| H^ H ii
(Example a). The same applies to 10, 11, and 12 (b). Successions of
diminished perfect augmented minor major these numeris are written as a general rule only before or after a
g IiJ 1J 1 JigiJi simple 7-8-9 (c). Also, by this means it is possible clearly to deter-
mine whether two voices should progress in thirds or sixths (d), a
point not always to be decided on arbitrarily in a fine accompani-
brought about by accidentis or without them, are denoted by cer- ment.
tain adjectives.
23. The unisn in its narrow sense occurs when two or more
13. In order to recognize such variation, observe that the rela-
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 INTERVALS AND SIGNATURES 185
Figure 181 The use of strokes is generally known to Germans and customary
8 4 5 10 11 11) 9 8 7 12 11 10 i 9 8 1,7 with them. The Italians also use them; it is only the French who
1 2 3 - 21 b. 8 9 8 7 6 5f 10 9 8 1,7 6 5 cause confusin by departing from the practice. In Leclair's figured
*=r-1
-^r-
' J 1f= basses one finds both natural major and artificial minor intervals
indicated by a stroke.
,f_^jH lf 1 1
" I
30. A fat sign before a figure or after it lowers an interval a half
tone, as in Figure 183.
6 !>7 8,9 - 10 11 ,12 5 6 7 8 9 10 111211 - 10
C. 4 5 6W - 56 ka'. 3 4 2 3 4 5 6 7 - - 8 Figure 183
r r r r ' r r r r *r ? T T JJ 1
J J If
interval. Very often it denotes an octave, a meaning which we shall -fw1 1-6 6V-4
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
r r
all octaves.
31. A natural sign before a figure or after it restores an interval
25. The second and ninth express the same tones but otherwise
to its natural size. It is hardly necessary for me to remark that a
differ greatly from each other, as we shall soon learn. 1
natural sign lowers intervals in sharp keys and raises them in fat
26. With regard to quality, intervals follow the construction of
keys, as in Figure 184.
the staff. They are thus affected by key signatures without any
Figure 184
further indication in the figured bass. For example, if the key signa-
ture 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 in-
cluded 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 al-
32. Two strokes, two sharps, or a single sharp drawn before a
tered by an interpolated accidental.
figure or after it raise an interval a whole tone, as in Figure 185.
29. A stroke through a figure or a sharp next to it raises an in-
terval a half tone, as in Figure 182. Figure 185 | $,7 fi
Figure 182
5 8 #8
J
37. Strokes, and fats and naturals which are drawn before the
Figure 186 figures, are the easiest to read and, when figures appear i n cise
succession, elimnate all uncertainty over the figures to which they
r
pertain.
38. Unless an accidental is canceled i t contines to be effec-
tive.
39. This rule also applies to figures which appear over repeated
The large flat, despite its convenience, is not yet widely used.
tones each one of which expresses a chord. The first figure is ef-
34. The combinations of natural-flat and natural-sharp which
fective until another appears, as i n Figure 189.
follow a double alteration and restore an interval to its normal size
are not as frequently met as would be required by an exact nota- Figure 189
tion. But since they do appear occasionally I mention them here i n 6
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
^ rr r r r r i 1
natural sign, which raises and also lowers tones, is responsible for I n this example the sixth is struck on each of the first four notes,
this practice, as i n Figure 187. after which i t is replaced by the fifth.
40. Figures that are placed directly over a note are realized im-
Figure 187
mediately; but when they are placed to the right they are realized
\instead o f t) & instead of 5 t) T& instead of 6l)
m r
after the note has been struck, although they pertain to i t and are
iW'- r J
measured from it, as i n Figure 190.
Figure 190
41. I t is not good to place figures under the notes, tor this posi-
I t is customary to indcate the diminished fifth and minor and
2 tion should be reserved for piano and forte signs. But at times i t is
diminished sevenths by means of a flat. not possible to write them elsewhere; for example, when two voices,
36. The third may be indicated simply through the accidentis one for the cello, the other for the keyboard, are written on one
that alter or restore its normal size, as i n Figure 188. staff.
Figure 188 42. When the subject of a fugue is given to the bass, play the
notes as written, omitting chords until figures appear. The same
1 i rule applies to short passages where the right hand plays an ob-
r
bligato accompaniment, which is usually written i n small notation,
as i n Figure 191.
T 43. Figures that appear over the dots that lengthen notes are
realized at the point where the dot takes effect, although they per-
tain to the preceding note.
2 Even when it is naturally diminished, a common practice of thorough bass.
iSS INTER VALS A N I) SI (N ATURES INTER VAL S AND SI GNAT U RE S 189
Figure 191 If three successive figures appear over such a note, the first figure,
7 directly over the note, is given half of its length and the others take
7
f
5 5 ecpial parts of the remaining half, as in Figure 196.
Figure 196
i
44. Figures that appear over short rests are played on the rest
but pertain to the following note, as in Figure 192.
Figure 192 u 6
V 3 2 f
47. If two successivefiguresappear over a note of triple length
or two unequal lengths, which is the same thing, the first figure re-
ceives two-thirds or the larger part of the valu and the second the
45. Figures over long rests are also played on the rest, but per- remaining third or smaller part, as in Figure 197.
tain to the preceding note, as in Figure 193.
Figure 197
Figure 193 4
1
JV^
ir
5 6 5 6 3 5 t
r t. SE
A trained musician can very easily determine which of these two
cases applies to a given rest by examining its context. If there are three successive figures, each is given a third of the
46. Figures that are placed after a note are realized on divided valu, as in Figure 198.
beats according to its length. If it is duple, the figure or figures are
Figure 198
played on the second half of its length, as in Figure 194.
Figure 194 V 1
MU "iT l
r
If two successive figures appear over a bass note of duple length,
6 '7
48. These are the usual divisions; any departure from them
must be expressly indicated, as in Figure 199.
Figure 199
eachfigureis given half of the note's valu, as in Figure 195.
Figure 195
r i- V
<2 3 - |7 6 -
7
6
In both examples the appoggiatura calis for a modificaton of the
rules. The dash which often serves to indcate the prolonging of a
io 9 INTERVALS AND SIGNATURES
INTERVALS AND SIGNATURES II
9
figure clearly expresses the desired divisin. Some omit the dash and
a degree, that they are never allowed to be played in succession. Out
seprate the last figure from the others. This is not a reliable prac-
of this arises the well-known first principal rule of harmony: Two
tice, for it may prove ambiguous. Often the performer cannot be
octaves or perfect fifths in a pair of voices may never be played in
certain whether the composer or the copyist made the grouping, as
parallel motion, either by leap or by step. Violations are called
in Figure 200.
simply "fifths" or "octaves," as in Figure 202.
Figure 200
Figure 202
y 1 ,I 1 ,1 |J
[7 6 5
Parallel motion occurs when two or more parts move in the same
In this particular case another sign is lacking, as we shall see direction upward or downward (Figure 203, Example a), and con-
presently. trary motion, when they move in opposite directions by leap or
49. In the following examples the figures are realized in equal step (b):
lengths, as in Figure 201.
Figure 203
Figure 201
6 4 6 41 6 4 * 6 4 4
I ^ I I | - I| f r II
50. Because the position of figures is so important, the com- 55. It is obvious that the parallel octaves rule .does not apply
poser as well as the copyist must be careful to leave enough space to those places where good reason prompts a composer to lead two
in the score to be able to write them in their proper place, espe- voices in unisn. It does apply to chord progressions.
cially when there are a great many slurs and other signs relative to 56. Thirds and sixths are called imperfect consonances, because
performance. both forms of them, major and minor, sound well; the ear will ac-
51. Intervals are either consonant or dissonant. cept successions of both intervals.
52. A consonant interval is one that may be played without 57. Basically the remaining intervals can not be treated in the
preparation (that is, without being present in the preceding chord), manner of consonances as described in paragraph 52. Henee, they
that may be doubled, and quitted by ascending or descending leap are dissonant. 3
'r rj r
A !l _I A I m
induce forbidden octaves. J.
59. As a means of gaining a clear understanding of the use of flJ 1
dissonances, observe the preparation in the first bar of each of the
examples of Figure 204 and, in the second bar, the resolution, which 9 8 V 6 (
6, - 5b 4 5
calis for descending or ascending stepwise motion.
Figure 204
65. Occasionally, the right hand does not wait for the arrival
Vi of the bass that resolves its dissonance but expresses its resolution
prematurely (Figure 207, Example a); the bass also does this at
times (b).
60. Resolution is a constant requirement of all dissonances,
Figure 207
but not preparation. Later, however, we shall discuss two cases (5 4 4
where even resolution may be omitted.* b. b.2
y J)|J1 i r r f l
a. 5 -^ a.3 "4pm
61. All dissonances may be struck unprepared over a stationary
or repeated bass. The lack of motion in the bass precludes prepara-
3
tion, but at the same time compensates for it.
62. There are many other ways of introducing unprepared dis- Both are known as an anticipated resolution (anticipati).6
sonances. 66. When a tone in the bass is interchanged with one in the
63. An accidental which lowers a dissonance does not disrupt right hand prior to the resolution of a dissonance, a transfer of
its preparation (Figure 205). This follows from the discussion of chordal tones is said to oceur, as in Figure 208.
7
I . 11 f
11 r l r f,
67. When the bass strikes the tone to which a dissonance in the
right hand should resolve, a transferred resolution is said to oc- 8
cur. The dissonant tone is freed by this action of the bass, which 70. In the case of an extended succession of passing tones the
satises the need for resolution, as in Figure 209. chord may be repeated, as in Figure 211.
Figure 209 Figure 211
6
5\>
6
5E :
m i-
Our aim here is merely to introduce the accompanist to these liber- 71. In certain cases which will be treated later, the intervals may
ties; we leave it to the composer to employ them with discrimina- be said to pass. This happens in three ways: (1) Over a stationary
tion. bass (Figure 212).
68. It is rare that each tone of a succession of rapid notes takes Figure 212
8 \fl
a seprate chord. Such unaccompanied notes are said to pass. 9
Figure 210
Sie gehen durch; later, f 69, die durchgehende Noten. These terms are general 72. In rapid drum basses the playing of which may cause a
in meaning and apply to all types of connecting or lling tones regardless of whether stiffening of the wrist, notes are occasionally passed over, or
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 omitted. An extended discussion of this expedient will be found
to another (cf. f 73). It can be seen that the terms overlap, since both are concerned in the Introduction to Part I , Paragraph 9a.
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 and those over which chords are played. T h i s matter is discussed in C h . V I , "Passing
term passing tone. T h i s proved to be the most advisable thing to do here, especially Tones" (cf. f 3) and "Changing Notes." Chordal by-products of horizontal motion
since Bach uses both terms loosely. For the accompanist, it is important to distinguish are called passing chords. Cf. Arnold, The Art of Accompaniment from a Thorough-
between principal tones that require chords, passing tones which are not accompanied, Bass, C h . X V I I I .
i6
9 INTERV AL S A N I) S I G N A T U R S / N T E R V ALS AND SI GNAT UR E S 197
73. The term "passing tone" (transitus), refers in its narrow
Figure 218
sense to a stepwise bass.
74. When the accompaniment is played with its proper bass
on the long part of a bar, the passing tone is called regular (transitus
regularis). With notes of equal valu, the first, third, etc., are long
r r 1i r r ' ^gf
according to the meter and the second, fourth, etc., short (Figure
79. The same freedom of treatment applies to dissonances
which become consonances through an enharmonic change as in
Figure 215 Figure 219.
7 5 9 6
Figure 219
i>7 6l> 7b %
# i
THE TRIAD, 1 I
1
HE most perfect consonant chord, that with which most Vr B r
T 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,
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 al-
2
i 1
2 Throughout, Bach distinguishes between a doubling by the right hand of the
bass note and a doubling within the right hand. T h e first has been translated as
1 1 1 "duplication" or "the octave of the bass" (Bach writes simply die Octave) and the
other as "doubling" (Bach, die Verdoppelung).
i Cf. Arnold, Art of Accompaniment from a Thorough-Bass, pp. 498-505.
198
zoo T II O R o u C II li A s s r II O R O II C, II li A s s 201
Figure 222 fifth to a perfect (b) because of the descending tendency of the
1 diminished fifth.
f f ' r" r r T^TJ
Figure 226
11
:i J / . i J
19. These are more permissible between inner voices or an
inner voice and the bass than between the upper voice and the bass,
r r 11 r r
for these parts must always be constructed with a view to absolute
purity and good melody. Since such progressions crate impure rela- Both progressions belong to inner parts.
tionships, they are bad. 24. The right hand should not play above the two-lined f, un-
20. Nevertheless, the following hidden fifths may appear in the less the bass is written very high, or the bass clef is replaced by a
outer as well as inner parts (Figure 223). higher one; or unless a special effect is intended, as, for example,
3
1
Figure 223 when a passage is varied on its repetition by a change of register, etc.
Jj- 25. The right hand should not play below the upper half of
the unlined octave, unless conditions the reverse of those mentioned
in the preceding paragraph are present.
26. For purposes of instruction, students may exceed this range
in order to practice successions in various distributions and thereby
21. Two open fifths of different quality may be played in suc- become familiar with all registers.
cession. 27. At first, however, it is customary to restrict the right hand
22. In any pair of voices a perfect fifth may descend to a dimin- to the confines of the descant clef, and the bass to the bass clef.
4
ished fifth (Figure 224). 28. The foundations of accompaniment can be best established
Figure 224 when students are required to learn thoroughly all twenty-four
common chords. This should occur gradually. The chords in their
6
s Known as Bassetto or, in Germn, Bassett, Bassetgen. Cf. Arnold, op. cit., pp.
23. In ascending motion the progression of a perfect fifth to a 373 ff-
* T h a t is, the C-clef on the first line.
diminished fifth (Figure 226, Example a) is better than a diminished 5 Le., major and minor triads on each degree of the chromatic scale.
202 THORO U G H li A S S THOROUGH BA S S
31. Here, as in other exercises, the student must be asked num- Figure 229
berless 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 prac-
tice 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. 6
35. When the bass ascends a half step and both chords have
33. Henee, when the bass rises a third, retain the intervals com- major thirds, the fifth and third of the first chord move to either
mon to both tones and take anew only the fifth over the second tone an octave or unisn. Henee, the second chord has a doubled third
(Figure 227). and no octave (Figure 230).
Figure 227 Figure 230
w r - l
= , * , .
F9^Fi p 1m
And when the bass falls a third, only the octave of the second tone
B = 1 1 11
must be sought (Figure 228). Played in reverse, the first chord must have a doubled third and no
Figure 228 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).
If this precaution is not taken, one of the voices will express an
Cf. C h . V I , "Accompaniment," f 14.
augmented second, which is to be avoided (Figure 232).
T II O R O U G II li A S S T 11 O R O U G II li A SS 205
Figure 232 eney lo ascend unless it is hindered from doing so by a prepared
dissonance or a poor doubling (Figure 234).
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 4. Because of this tendeney, the major third of the upper voice
used, first, only in an emergeney, for I believe that under normal in the first chord of Figure 235 must not descend in contrary mo-
conditions the accompanist should restrict himself to four parts and tion to the fifth of the second chord.
not increase their number; second, only with consonances, for dis-
sonances impose limitations on the accompaniment. Figure 235
THE TRIAD, II
m 1 J
3. It can be seen in Figure 233 that it is good to lead the upper 5. Most disposed to an ascent is the chromatic major third (Fig-
voice in parallel thirds with the bass. The major third has a tend- ure 237, Example a). Therefore when the octave of such a chord
2C)6 THOROUGH BASS T H0 R 0 VGH BASS 207
8. Normally, the common chord does not require a signature.
moves to the seventh, a voice must be added to the next chord so
There are times, however, when it is necessary to write the numeral
that it will be complete (b). If, however, the fifth of the major chord
or numeris which denote its intervals. The reasons are: dis-
leaps to the seventh, the expedient is not needed (c).
sonances struck and resolved into our chord over a stationary tone
Figure 237 (Figure 240, Example a); a dissonance which follows our chord, the
a. b.
bass being held (&); a chordal change over a single tone (c); a tone
i f iffifirJif i.t
b.
8 7
6. In four-part accompaniment the major third in an inner 5 4
3 2 6 3
part does not require such cise attention. It may progress by a
descending leap (Figure 238). JF3C
Figure 238
- i J J rf ;i
MI
5 9. But there are times when a series of threes is written over
! f r
1
\
a rapid passing bass as a means of informing the accompanist that
the right hand is to play only parallel thirds with the bass (Figure 7
8 7 8 7 241).
1 (
j .
IIP H
Figure 241
3 3 3 3 3 3 3 3 3 3
Student leams why some iones are w r i t t e n w i t l i sharps or fats and 12. Divided accoinpaniment is used either out of necessity or to
yet retain the same relative sound (Figure 242). achieve elegance. Everything that the accompanist must know about
this technique will be illustrated at a later time. Divided accompani-
Figure 242
ment occurs when the left hand realizes some of thefigureswithout
], I.J 1 . J J II j J- rrh increasing the normal number of parts. Chords are spread out and
often made more attractive by this means. Occasionally the resolu-
94#
- r
tion of a dissonance requires it.
1 i.
13. Our earlier discussion of primes, tenths, and twelfths ap-
9H i - , 1 plies to divided accompaniment also.
r r
I
9
rTS
J J
1
THE CHORD OF T H E SIXTH, 1 I
*n *r-n
6. In these doublings, which may be in the unisn as well as the
=(=F ff%= octave, none of the figures is unrealized. The tones of the common
y 1 1 - m m
i
-J
-IM chord (Figure 244, Example a) which comprises the position of the
sixth are present in all of its doublings.
3 5 ^ 8 3 8 5 3 3 5 8 5 3 5 8 3 8 Figure 244
\> j 1 1f f f Pin* - 01
-q:
II
y 1* 41
y
J 1
* 0 J -*
1
0: r J1 *] 1 i
3 8 5 8 $ 8 5
1
11
5
0 1
3 5 3 3
"IT*f
3 8 3
rTTTTf
J 1 J r J1 f =N= I
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.
8 Cf. Arnold, op. ci't., p. 503, Note 15. 1 Cf. Arnold, op. cit., pp. 516-533.
no THOROUGH li A ss T H0 R0 li A S S
U (' 11 111
7. The following rules of doubling should be observed: oceurs when the principal part moves piano in notes that lie a sixth
( i ) When a diatonic sixth ?.nd third are major, either interval above the bass while the accompanist plays thirds (Figure 249).2
r
L_ 1
y f i 1
j
10. When the bass of the position of the sixth moves through
(2) When a diatonic or chromatically raised sixth is major, but successive steps or thirds, the doubling must be alternated with a
the third is minor, the sixth is not doubled (Figure 246). duplicated bass in order to avoid octaves (Figure 250).
Figure 246
6
y r 1J 1 II I T l T | 3 ' ? II f
(3) When a chromatically raised sixth and third are major,
f
either may be doubled. Also when only the third of this chord is 6 6 6 6 6 6 6 6 6 6 6 6
raised chromatically, it may be doubled (Figure 247).
Figure 247
... t, gj J l
6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6
8
Although it is more urgent to attend to the doubling when the bass
(4) When the bass is raised chromatically it is not duplicated moves by step, when it moves by leaps an alternated doubling helps
(Figure 248, Example a) unless the sixth is similarly raised (b): to crate a better upper part.
Figure 248 11. When the tempo is rapid, such successions are best expressed
a. 6 in three voices, in which case only one distribution of tones is pos-
sible, for in the other the fourths become fifths. In short, the sixth
should always lie in the upper voice. Even in four-part accompani-
ment this is the safest and, for melodic purposes, the best distribu-
8. Three-part accompaniment comprises only the third and tion.
sixth. 12. When the octave of the bass is taken, it is best not to place
9. In two-part accompaniment one of the intervals must be it in the upper voice.
omitted; henee the position cannot be used readily. A typical case 2 However, see C h . V I , "One-part accompaniment for the left hand," 3, 4.
2/2 Til O R O II C, II li A SS
T 11 o 11 o u (; // li A SS 213
13. T h e unmelodic progressions marked with an asterisk can be piogrcssion, can be e l i m i n a t e d and a u n i l o r m disposition
main-
avoided by d o u b l i n g " (Figure 251). taitied (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
Figure 251 J . I J I J 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
i \ U i i i \ M I accompaniment is the easiest. Also i t is the best fitted for the ac-
rr rr rr rf rr rr 6*
companiment of r a p i d notes i n pieces w h i c h do not cali for a f u l l
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 con-
14. W h e n 6 succeeds to 5, the part that expresses the s i x t h
sonances. Best are the examples i n w h i c h the two kinds of d o u b l i n g
progresses to the fifth w h i l e the other parts are h e l d . T h i s progres-
are alternated. A n exception to such a u n i f o r m procedure occurs o n
sion often appears i n succession. A l l three dispositions of the posi-
the appearance of the d i m i n i s h e d fifth (Figure 253, Example a).
t i o n of the s i x t h may be employed here, p r o v i d e d that the rules of
Further, the leap of an augmented f o u r t h should be avoided (b). A
d o u b l i n g are heeded. O n r e d i s t r i b u t i n g the tones of the f o l l o w i n g
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
examples, i t w i l l be f o u n d that a u n i s n d o u b l i n g must be used oc-
hand is acceptable, b u t not always attractive (c). Example d illus-
casionally. I n a few cases where the t h i r d is d o u b l e d , one of the
trates a d i v i d e d accompaniment.
d o u b l e d tones progresses to the fifth w h i l e the sixth is held. By this
means leaps, otherwise unavoidable o n single appearances of the Figure 253
Figure 252
J J hk h
T6 T5 T 5 6 5 6
r
5 6 5 6
r
5 6 5 6
6 5 6 5 65 65 65 65
m
5 6 5 6 5 6 5 6 5 6 5 6
6 5 65 65 65 6 5 6 5 65 65
3 I.e., instead of a duplication of the bass. Cf. C h . V, " T h e T r i a d , " Note 1.
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 dif-
fercntiation 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 inter-
val would sound extremely harsh.
Figure 256
9 8 9 8 8 7
6 5 7 6 4 3 6 5
m
a.
The diminished fifth seems to abandon its descending tendency in
Figure 253, Examples a, c, and d. But a closer examination of the
1 J > U -1
voice leading discloses its resolution (Figure 254).
Figure 254 8
19. The presence of compound signatures before and after 6 is
pi usually a sign of three-part accompaniment. If a Telemann bow
rT r
7T i 51 '
were placed abo ve the signature ( 6 ), chord and context would be
5 6 9 immediately recognizable as three-part.
20. When the sixth appears with a diminished octave, no ad-
ditional interval is played. The octave descends and can most fre-
< 17. Occasionally, 6 will be found in the galant style, where it quently be regarded as a retardation of the next tone. The examples
calis for a three-part realization. Since the same signature is also ' 7
mployed in four-part accompaniment, the performer must be care- of Figure 257 are noteworthy. In the last one, 5 precedes an embel-
\
lishing 6.
T I I O li O II (l I I li A SS
2l6 T II o nO U V, I I li A s s
J 7 h'8 7 7 l|8 6
should i n c l u d e a T e l e m a n n bow ( 6 ) as a w a r n i n g .
6 5 5 6 4
6 5
Figure 258 5 6 9 8 9 8 m
- 4 6 5 6 7 6 5 6 7 6 "fr"
i A
c
Wm
3J
T r-r*-
k g J f U f i f 11 r ijr' 'rJ'j'y
44- 6
3. W h e n a bass note m a r k e d 6 ascends a step to one m a r k e d 5
i t is best, w h e n possible, to add the octave of the bass to the s i x t h ,
22. T h e d i m i n i s h e d sixth, a dissonance, is rare. I t demands a
for i t makes the smoothest voice leading (Figure 261, E x a m p l e a).
distinct type of admirer. Those w h o use i t , prepare i t a n d resolve
I f the t h i r d is d o u b l e d , one of the voices must leap (b). Composers
i t by stepwise descent. I t sounds passably w e l l w h e n accompanied
may have v a l i d reasons for i n t r o d u c i n g leaps i n t o inner parts, b u t
solely by the m i n o r t h i r d . T h e r e q u i r e d accidental must n o t be
accompanists avoid them for equally v a l i d ones. A d o u b l e d sixth i n
o m i t t e d f r o m its signature (Figure 259).
o u r progression can easily cause fifths (c). T w o parts must leap i n
Figure 259
order to avoid them (d). I repeat, add the octave of the bass when
possible, for there are times w h e n only the sixth or t h i r d can be
doubled. A chromatically raised bass (which is n o t to be duplicated)
5
may necessitate a d o u b l i n g of the t h i r d (e). Correct r e s o l u t i o n of
K 7 6t* - jt dissonances may r e q u i r e a d o u b l e d sixth, as i n the case of the
seventh and augmented fifth of Example / .
/ non o v c, ti n A SS TllOHOin.ll BASS
Figure 264
trtftr i*rf r t fV r r r f - 1
errors can be corrected t h r o u g h d o u b l i n g (a). B u t i n b, contrary
m o t i o n is good i n a l l d i s t r i b u t i o n s of tones except the case illus-
trated i n c.
6 6 7 - 6 6 - 6 6 6 6 6 6 7 6
Figure 263
J.M^-A"^
' p |
i 11 L 11 1H
f cr 1
le l^e 7 6 le \ 6 % 7 6
5 4 5
4
8. I n the first of the examples of Figure 266 we see the use of a
varied d o u b l i n g as a means of a v o i d i n g octaves. I n the second ex-
6. D o u b l i n g i n the u n i s n is often preferable to that i n the ample the same means must be more extensively employed for the
octave, for i t helps m a i n t a i n cise position and makes a better up- same reason. A consistent d i s t r i b u t i o n of tones is thereby m a i n -
per voice, as i l l u s t r a t e d i n F i g u r e 264. tained and unnecessary leaps are avoided.
2 20 T II O R O U G II li A SS TU O H O U C, I I li A SS 221
Figure 266 11. W h e n Figure 250 is reali/.cd in lliree parts, the r i g h t hand
iniisl. not be widely separated froni the bass or the o u r t h s w i l l be-
come too pronounced. B u t beyond this the accompanist need n o t
% 6 6, 6 6 7 -6~
M
l'ccl uneasy about them. T h e y may ascend and descend by step or
leap, for the i n t e r v a l is created by upper parts and does n o t p e r t a i n
lo the bass. T h e only caution that must be heeded is to see that they
I 6 6 do not become fifths by i n v e r s i n .
121 W h e n the t h i r d or sixth of a chord is chromatically altered
by a s h r t note i n the p r i n c i p a l part over an u n f i g u f d bass, the ac-
riTFf M r r f K
companist may ignore the change and r e t a i n the chord he has al-
i ready realized, even w h e n the tempo is slow (Figure 269).
6 6
Figure 268 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 -
w 7
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.
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.
222 T // O R O U ('. I I li A SS TU O R O II (', I I li A SS 22)
J
Figure 271
by stepwise descent.
# rrrr
. . M P c
a.
r f r r i L
k 6 7 6
6l> ^ 6 6^1 t
6 * 4 4 #
r e 6 6
5t 5\ 5
): i i Ef TH
^=
$ - T- T#
1
1
5 # 5 6 6
J J J \H ii
rs
ff b 6 5t-
4 3- 5
6
4;
5t>
3 7 6 6 5
^
T 1 - 11
r 1" r toa
l Ir rr f f*i r
r 1 11
*> * 6l> 4+
5. T h e d i m i n i s h e d fifth appears more often w i t h other figures
l 1
1
(Figure 276, Example a). More often i t appears before a retarded
a. sixth (b). O n occasion a chromatic change calis for its e m p l o y m e n t
00 w i t h o u t its being indicated (c).
M
Figure 276 ,
wrong
5 ' * " J.
7. I n the m i n o r mode, the chord on the second step contains
a d i m i n i s h e d fifth regardless of whether the octave or the major
sixth is also present. I n Figure 275, w h e n the bass is unfigured b u t
the p r i n c i p a l voice is w r i t t e n i n , the figures w h i c h have been placed
under the bass are best because of the succession. A leap may be 4. I t does n o h a r m to the t r i a d to o m i t the octave and double the
m d e to an unprepared d i m i n i s h e d fifth (a). As part of a t r i a d this t h i r d , for this establishes consonant relationships among the upper
dissonance is treated more freely than i n other relationships. parts (Figure 277).
Figure 277
Figure 275
Adagio
f r * r r
1 ment. T h e latter is n o r m a l l y used w h e n the signature includes addi-
} ! 1 r 1 1 1 tional figures.
6. A slow chromatic progression that features the augmented
fifth is accompanied i n three parts. Such half steps i n the p r i n c i p a l
part are n o t easily adaptable to r a p i d tempos; b u t w h e n they oceur
T H E A U G M E N T E D TRIAD 1
the accompanist omits them (Figure 278).
1. I n four-part accompaniment, the augmented t r i a d consists
of a major t h i r d , an octave, and the augmented fifth. I n three-part Figure 278
Adagio
J
1 sS
accompaniment the octave is o m i t t e d .
2. Its bass carries the i n d i c a t i o n of the augmented fifth ( 5 , 510;
J> , J M I 4
or the altered fifth and the appropriate r e m a i n i n g intervals.
3. T h e augmented fifth is a dissonance w h i c h is n o t easily i n t r o -
r - r
|6 i5 -5- 16
T
-
J 5 -5- '6
duced unprepared. I t resolves by stepwise ascent. Composers some-
the augmented f o u r t h offers the fewest useful examples, I have had 8. T h e perfect f o u r t h may be accompanied by either the major
to cali o n the chord of the second, w i t h w h i c h this interval is most or m i n o r sixth. I t may resolve directly to a five-three c h o r d (Figure
frequently used, i n order to illustrate its characteristic behavior. 281, Example a), although i t is n o t always r e q u i r e d to do so. T h e
T h e d i m i n i s h e d and perfect fourths resolve by stepwise descent, b u t bass may r e m a i n stationary or progress, for the succeeding figures
the augmented f o u r t h by stepwise ascent over a descending bass. are often different from the expected ones, and this sometimes re-
tards b u t never disrupts the resolution (b).
Figure 279
Figure 281
65 6 4 6 t>7 65
g .1.. II I. II I. II .1 I I j a 4 3 b. 4 2 4 5 4 - 3
rr T T T T TTr'r'rr"
43 43 6 4 3 46 6 4 6
Y
V
II
H
H = K _
p
II
1|
2 2 6t 5
4 3
5. Those w h o k n o w the t r i a d that is b u i l t o n the f o u r t h above
the bass w i l l recognize the tones of the six-four chord.
6. W e shall learn soon that the sixth, a consonance, may be
A/ *
d o u b l e d w h e n there is good reason to do so. Even though the octave /
11
of the bass is o m i t t e d w h e n this takes place, n o tone of the chord is ^ w
8 7 - 6 7 - 8 7 1>7 5 6 ^6
6 5 - 4 - 3 4
thereby lost. 6 5 - 3 4 5
4 - 3 1 2 1 4 - 3 2
7. O f the three kinds of f o u r t h , the perfect is the least dissonant
i n this chord. Nevertheless i t must be resolved, unless i t is used
as a passing interval. I n this latter case i t may be d o u b l e d i f neces- 9. W h e n the t h i r d of a chord of the sixth is retarded by a f o u r t h ,
sary and i f p e r m i t t e d by the preceding signatures. T h e examples of the progression, a delicate one, is best expressed i n three parts. I f a
Figure 280 illustrate the passing f o u r t h . four-part accompaniment is r e q u i r e d , the octave is o m i t t e d and the
sixth d o u b l e d . Examples a and c of Figure 282 illustrate the oc-
1 Cf. Arnold, op. cit., pp. 536-540.
2 This sentence appears in the original ed. as a footnote. currence of this chord before a six-five c h o r d w i t h a d i m i n i s h e d
2 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
TU O RO IJV.II HASS
employed, provided that the fourths are prepared and move by Figure 283 A A A A
Stepwise descent. T h e progression is m u c h used i n our present, l> 7 6 5b 6 6 5 7 6 5t> 6 6 5 b
agreeable style, b u t i t never contains the octave. H o w essential 5t> 4 3 5i> 4 3 51 4 3 5i 4 S
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 Li 1 G G
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 T h e 4 i n the examples of F i g u r e 283 is a passing chord. T h e under-
when i t is perfect, the sixth may be either q u a l i t y (c) as we have al- l y i n g relationships are those of Figure 284.
ready 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 Figure 284
4 6
b7 6 6 7 6 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 1
5 \> - 5 \> 5 \- 5
-fe 1 L=i*
i n open p o s i t i o n .
3
A A -.
Figure 282 r| s
6 5 \ 6 -
a. 4 3 43
5i>
43 $ 4 3 4 3 5 43 5 285).
m
1 rn
Figure 285
h
9
KI
m s ~ m
#
/ n
m m m " pm
r r r m
4- 4-
s \> r 1
1
44 Y
5 l> 4 3 4 3 6
4 3 4 3 4 5
3
r ir m
13. W h e n the augmented f o u r t h is used i n a passing relation-
ship, the bass is not always r e q u i r e d to progress by stepwise descent
11. W h e n this k i n d of six-four chord follows a d i m i n i s h e d fifth
(Figure 286, Example a). T h e second example takes only a three-
over a stationary bass, a three-part accompaniment is best. I f a
part setting. I n b the augmented f o u r t h over / anticipates its n o r m a l
f o u r t h part is r e q u i r e d , the sixth is d o u b l e d and the octave of the
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
bass o m i t t e d (Figure 283).
as a passing tone m o v i n g to a major sixth. I n the last example tlie
Perhaps because the initial chord sounds more sonorous when the upper parts
3
lie a seventh rather than a second apart. At least, neither disposition present any
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.
challenging problems of voice leading. T h i s is the best disposition here.
r no R o v c u aA ss T H O R O If C, H li A S S
i j > i y ,H;.J
1. I n the examples of Figure 289, i t is perhaps better to transfer
the resolution of the d i m i n i s h e d fifth to the bass of the six-four
c h o r d and double the s i x t h t h a n lead the voices i n a strictly correct
manner w i t h the d i m i n i s h e d fifth resolving to the octave of the
15 6 i 8 7 - 6 - 7 144 second note i n the bass. T h e latter progression always makes the
3 4 4 6 5 - 4 + - 5 2
six-four c h o r d sound ugly. For this reason the figuring of Example b
1
6
4 is better than that of a.
Figure 289 A 9 8 9 8
A
1>7 6 - 7 , 7 6 -
Vi
I
6
a. 5b
r r rr
4, 3 a. 5b 4 8 b. 5b
4, 3 b. 5b 4 3
I J If p IJ | I
' r
6 1
4 44 63 -4 ^ 1
4 3 4 * 4 3
N
Figure 291
Figure 288 Wrong
Ai b. better
a. a. 1
w aij
16 16
JiPig
5 16 '6 5
M
6 7 6 6 6
4 4 3 4 5 4 5
2 ?2 T u o n o u r, II ti A ss T I I O li O U (1 I I li A SS 2??
because i t is sometimes required (aside from those cases where 4 is trated under a. I n passing, observe that the octave above /-sharp
specified) i n order to n i a i n t a i n flowing parts and avoid errors (Fig- rather than the fifth should be taken as a f o u r t h part because of
ure 291.) the preceding c.
4. T h e six-four c h o r d w i t h a perfect f o u r t h sometimes arises o u t Figure 294
1 .
of a retardation of b 5, i n w h i c h case i t is realized i n three parts. T h e
perfect and augmented fourths must n o t be confused w i t h each
other, especial ly w h e n the former is indicated by a c c i d e n t i s w h i c h
n o r m a l l y p e r t a i n to the augmented f o u r t h , as i n the f o l l o w i n g ex-
amples (Figure 292). r i X4t
" r r ?
Figure 292 .
r c. c
4
2.Its signature is 3. T h e eye is more accustomed to this indica-
44 5 $ 1)5 3
d o n than i t is to the occasional 4. T h e sixth is i n c l u d e d i n the signa-
ture w h e n i t is chromatically altered (Figure 295, Example a), re-
solves a dissonance (b), or moves to a passing tone over a h e l d
bass (c).
7 6l? 6 7
Figure 295
U 16 ^ U 6 7 6. 3 - 6
5b4
22 -' 6
4 6
3 5
4jf q5 4 5
g c
6 3
33
usual. T h e former is usually restricted by the latter, and always
2
- ! |-1 - 1 1
1 r i J i wise ascent or descent. H e r e the signature 3 or 3 is r e q u i r e d more
6
than i n Figure 296, for a simple 6 or 4 as the signature can easily
-6. -6- cause c o n f u s i n . T h e disposition w h i c h sounds best is that i n w h i c h
4
4 the f o u r t h and t h i r d are separated from each other. Example a of
3 6 3
Figure 298 may express fifths i f the t h i r d of the preceding c h o r d of
4
w h i c h stand above.
nature 3 expressly. I n the second example the chord of the sixth is 6
4 Figure 298 44 44 4
clearly better than 3: 6 3
Figure 297 1 I~=*J ] |F = j =
|p* | |4 | 1
1 - > >
J Ji
t
4 4 1
'
11
44 6 4 6
3 3
6
4 6 5 6 4
3
JL ' 4 t a.
pp
3 3
wards. Example a of Figure 299 w i l l be f o u n d occasionally, al-
t h o u g h i t is n o t especially good. T h e major sixth makes a better
4
p
progression (b). T h e signature of the c h o r d is 3, b u t w h e n the s i x t h
is lowered i t is i n c l u d e d w i t h its accidental. I n the second a n d t h i r d b7 44 7 6 44
examples there is only one good disposition. T h e sixth must l i e o n 6b 3 -5- 6 3 6 # 3 6
a.
top, because of the succeeding six-five c h o r d . O t h e r realizations con-
t a i n fifths. I n three parts the f o u r t h is o m i t t e d f r o m a a n d b:
Figure 299 4 ^ 5 6b 4 6 ^ 4 6 4 b7 6 bass may r e m a i n o n a single tone as i n the organ pon, or i t may
3 5b 3 4 3 b> 5&3[ 5, 5 3 5b- progress. T h i s c h o r d sounds best w h e n the t h i r d a n d f o u r t h are
rN r
-Ai n 1
"Jal m 4
LL\I 1S
1 11. p *IH in i separated f r o m each other. Its signature is 3. W h e n the bass is held,
the c h o r d is realized i n f o u r parts; otherwise the f o u r t h is o m i t t e d .
A c h q r d o f the sixth is better t h a n the four-three c h o r d i n the last
t w o examples of F i g u r e 301.
Figure 301 6 7 8
10 9
6 4 - 3 6 7 4
3 2 3
J J J
4 -
I J I
3 3 3 6 4 5
3
~6-
Figure 3<34 wrong w rong
^6-
4 6 5 6~6- 6 8 5 6 4
1 .
} ni f t
6 3 4 # 4 4 7. tt 4 3 4# a.
y J r r r r^nTT 11 P 6 'tr' i
<
1 H^- = t =
rr
13. Occasionally an octave must be taken i n a d d i t i o n to the 6 |6
5
other intervals, n o t merely f o r the sake of a f u l l setting, b u t more
i n order to resolve a preceding dissonance (Figure 303, Example a),
or to prepare a succeeding one (b). T h i s b e i n g the case, i t is best to -6-
s 11
r rr
place a l l f o u r intervals i n the signature a n d thus preclude conjec-
- f M i * r -t 1
ture. I n Example a, *enters prematurely as the result of an elisin.
\: .
'6 6
4 5 6 6 '6
A c t u a l l y , the n i n t h , seventh, and f o u r t h should be resolved first, as
4 5
i n Example c. O u r c h o r d thus turns o u t to be merely a passing
wr ong
8 8
r-
Figure 303
y -6.
5 44 a. 44 < V 7 M J L = I = i 11 !
4 3 9 3
R 4 -41 Iti
m 6
4 5
2 6 5 2 6
3 8
6
44-
y
3 Hr1 II * 1 i-
^ 1 11 :, 1 r r L - II l l
T I TT
- w
IB
]f
]e
le Q 5
5
1
8 7 8
5 6 2. I n Example a of Figure 305 the six-four-three c h o r d sounds
3 3 very w e l l against the l o n g appoggiatura. T h e succeeding figures are
i n most cases already present i n the first c h o r d . T h e upper voice
240 T 11 O R O U G H li A S S THORO UGH liASS 241
contines m e l o d u ally i n thirds w i t h the bass. Kxample b, set sim- t h o r o u g h bass that a l l o w for variants and yet cannot always be
ply, suffers neitlier a d o u b l e d t h i r d above d, or an ascent of the realized o p t i o n a l l y make i t a l l the more necessary to look ahead and
t h i r d to g, for this t h i r d , f, is also the seventh above the second listen carefully.
eighth, g, and must therefore be p r o p e r l y resolved (c). T h e dis-
Figure 306
sonances of Example d are conveniently prepared by the four-three
chord:
^ poor
6 '6 |7 6 '6 17
6 5
2 5
4 f
e - 6 - 2 6 / - . 6 6
r 1 m -i J cjjr
4. Some consider i t sufficient to signify 4 after 5 i n the f o l l o w i n g
example, since this specifies the progressing parts (Figure 307, Ex-
ample a). However, an inexperienced accompanist m i g h t add the
octave of the bass to the six-four ch ord according to the r u l e of con-
s t r u c t i o n of this c h o r d rather t h a n h o l d the t h i r d . T h e figuring of b
3. I n the examples of Figure 306 the c h o r d of the s i x t h is taken
is clearer a n d m o r e correct, despite the fact that the eye must sean
over each d. T h e four-three c h o r d sounds ugly against the repeated
6 an a d d i t i o n a l figure.
a (a). A chromatic a l t e r a t i o n sometimes prevens the t a k i n g of 4
3
(b). A g a i n , passing notes may r e q u i r e the simple c h o r d of the s i x t h ,
as i l l u s t r a t e d here by the / (c). O t h e r factors w h i c h oblige the ac-
6
companist to play an i n d i c a t e d c h o r d of the s i x t h rather t h a n 4 are:
the succeeding figures, w h i c h may be m o r e easily realized by h o l d -
i n g or repeating the c h o r d of the sixth (d); the succeeding notes,
w h i c h may prevent a proper r e s o l u t i o n of the t h i r d of 4 (e); errors 5. F i g u r e 308 is exceptional, a n d its accompaniment can give
4
3
4 nse to several errors. T h e t h i r d of the first 3 does n o t resolve b u t
of voice leading w h i c h are caused by 3 (/). Those progressions i n remains sttionary to become a f o u r t h , f o r the c h o r d is to be re-
242 THOROUGH IASS TH O R O V C, II i ASS
4+
garded as passing. T h e augmented f o u r t h , however, ascends charac- ccled i n the 3 , for the augmented f o u r t h presupposes an ac-
4
companying major s i x t h .
teristically. T h e second s bchaves n o r m a l l y . I n order to realize the
first signature completely a n d make i t possible for the augmented Figure 311
f o u r t h to ascend, the second of the chord should be d o u b l e d .
Pe' LL ' C
9. A l t h o u g h the earlier statements concerning the three-part
3 3 realization of o u r c h o r d are generally applicable, the accompanist
must be attentive to the p r i n c i p a l part, for at times the tones per-
6. I n F i g u r e 309 a unisn d o u b l i n g of the sixth (a) makes a f o r m e d by i t may be o m i t t e d f r o m a l i g h t accompaniment (Fig-
better progression than a d o u b l e d t h i r d (b): ure 312).
gil
J' = |J pal
44*^ 6 44 6
m *r, r f r r f r1 1 61 1 r r 1f
rr T r
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
6.
obstinacy w h i c h heightens the effectiveness of 4 (Figure 310).
Figure 310
4
6 3
g JJJi nf ifrnrrnf
THE SIX-FIVE CHORD, 1 I
r r r r r i. 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 .
4 jt
the sixth, and always progresses by stepwise descent.
5. T h e perfect fifth does n o t readily occur w i t h o u t preparation
(Figure 313, Example a); b u t the d i m i n i s h e d fifth may l i e i n the
5
P
preceding c h o r d or enter freely (fe). However, w h e n this latter inter-
-6-
val is taken unprepared, the sixth is usually present i n the preced- 6 5 4
i n g c h o r d . As the fifth, especially the d i m i n i s h e d fifth, resolves, the 4 }t r. 3
bass n o r m a l l y ascends one step. Example c shows us that o n occasion
the bass may r e m a i n sttionary or leap u p w a r d and d o w n w a r d , i n
w h i c h event the resolution of the fifth is often retarded. I n the last
example under c there is an interchange of chordal tones and an 6 5 6 6 5
6 7 5
elisin, as i l l u s t r a t e d i n d. 4 |
*JF=
fi
H
Figure 313 6 6 6 6
>C i i g 8"
'r., r
*
1 1
1
7
a. 6 5 a. 5 a. 5 b. 5b .1
5s 5
5b 4 #
6
P
V: m-f 1 1 f=Ff= *
1
-6.
= M -K- 5 b 4-1. d. 5b
b. 5b c.
6
5
4
2
5
5
'" r 1i I
r 1i rr '44.
*F=t
>
ff=+
m 0 =t L
r 3
> m i 1 p 7. A t times the octave of the bass must be taken as a fifth part
^ r
H
-75 11 1
= F =** -J1 because of the resolution (a) or preparation (fe) of a dissonance
(Figure 314).
s. 4 Figure 314
c.
g
1>b
5b 5 1 5b 2 6 b9 8
t u 6 6 5 / , 5 7 -
* m ,si
1 1=1 "6, 9 5 4 tt b. *-5,b7|6-' )t
1 i S i U >
4=
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 8. W h e n the signature 5 4 appears over a sttionary bass, the
"passing chord" (cf. f 10 here).
t h i r d is o m i t t e d and the octave of the bass taken as a f o u r t h part, for
2J
TII O R O U II i A S S G 7*7/ 0 R 0U G II li A SS
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 pre-
pared (Figure 315, Example a). B u t should the fifth succeed n o t to
j J s ^ j J J ||
T b u t to some other signature (b) or should the bass move s i m u l -
6
taneously w i t h the fifth (c), the usual 5 accompaniment is to be 87 6 6
Isb
^^^^^^
7 5 1
5 5b
taken. For the benefit of the inexperienced accompanist, the first
of these six-five chords (they of ten appear over organ points) should
be distinguished f r o m the n o r m a l construction by means of a Tele-
m a n n b o w . T h e last example u n d e r a is n o t e w o r t h y because of the
8
17
lk
TT
1
51' i
1<
1 fe W-
1
5 4 - 8
1 V
a perfect fifth a n d a major t h i r d as its r e m a i n i n g intervals. T h e
fifth is usually prepared (Figure 316, Example a); b u t i t a n d the
sixth too may be taken freely w h e n the bass is sttionary (b). N o r -
mally, the sixth should enter one eighth later, as illustrated i n c.
Subsequently the sixth progresses by stepwise ascent, and the fifth,
m o m e n t a r i l y sttionary, by stepwise descent:
Figure 316
a. a.
6 - 5 -
5 4 - 3 J**
5 a ^ F i
M I
c *t t
b. f
c . t 7 -6-
. 5 -
5 4 jt 5 4
9- -o-
8 7 6 4 - t l i r 8 7 6 4 4 5 -
5 1 5 3
' t t i h
1 r H h H 3 I 1 F* # II
f L -. 6 6
r, f 7
8 1 7 4 -
(> 5 5 5 5 -
1 t l 1
8 7 6 6 8 7 6
5 5 44
3 10. Since three-part accompaniment necessitates the omission
s Cf. Part I I , Foreword, Note 4.
of one interval, i t should n o t be employed w i t h o u t good reason. B u t
2./.V T II O R O II G II HA SS T II O H O (I (, II li A 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 care- Figure 318 ^
f u l l y . T h e t h i r d , the perfect fifth, or the sixth, especially w h e n the * 5b * 6 5b 6 * 5b 6 * 6
last-mentioned is accompanied by the d i m i n i s h e d fifth, may be 1h 1 V
* i 9
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
6
6 ~~6-
and fifth. I n the examples of Figure 317, the chords that preceed 5 5b 5 6 5b 3 5b 6
and provide its sttionary fifth are set u n i f o r m l y i n three parts. Inas-
m u c h * as we have made use of the T e l e m a n n bow i n other situa-
tions 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 2. Those w h o set Example a o Figure 319 w i t h its unprepared
t h i r d is to be o m i t t e d . perfect fifths (an occasional b u t undesirable progression) must de-
fend i t as an elisin of the succession 6 5 (b) or as a m a n i p u l a t i o n
of 8 7 (c). Over the bass g of bar one, and /, bar t w o , the sixth must
be separated f r o m its preparation as a means of avoiding fifths (d).
T h e fifths by contrary m o t i o n over a and c i n the first bar cannot
be, or indeed need they be, circumvented. Example e is even worse
than a:
Figure 319
a.
6 5 6 5
H 1i J I J J ii J
5 5 5 55b
9
r r f r1
c 8 7 8 7
3Z
THE SIX-FIVE CHORD, II
" wrong
1. T h e examples of F i g u r e 318 show us h o w the sixth, as w e l l as
its accompanying d i m i n i s h e d fifth, may enter unprepared (a). T h e 3. T h e d i m i n i s h e d f i f t h may enter freely; and even w h e n i t can
u n d e r l y i n g progression w i t h o u t elisions is illustrated i n b. T h e be prepared, i t may be separated f r o m its preparatory interval for
fifth of the first bass note must n o t be placed o n t o p , for the certain justifiable reasons. T h e y are: the r e s o l u t i o n of a dissonance
d i m i n i s h e d fifth progression belongs' i n the i n n e r parts. (Figure 320, Example a); the r e t e n t i o n of a convenient spacing a n d
* T h i s sentence appeared in the original ed. as a footnote. For Telemann bow, cf.
the c o n t i n u a t i o n of a good melody (b); the avoidance of a poor
Part I I , Foreword, Note 4. relationship between the outer parts (c). I n the absence of these
250 TU O R O V C, II li A SS TU O R O II C II li A SS 25/
factors, howevcr, strict observance must be made of the rules w h i c h
cali for the preparation and resolution of a dissonance i n the voice
i n w h i c h the dissonance appears.
Figure 320
m
6
5b
7 5b
5b
poor
5^ 5b
6 k
4 3 5 4 5b
*r r r
*y a . = =
poor
m 9 11 1
!
4 3 5 5 4 jt
4bJ ,4k
1. T h i s chord consists of a second, f o u r t h , a n d sixth.
b, b.
2. Its signatures are: 2, 4+-, 4!) ( i n those cases where the n a t u r a l
6
sign raises a tone), f , a n d 4.
j.
u ^=4
T
HrfHhl
v-
M
*
- T*1
i-
1
6 "T f - b
6. W h e n the augmented f o u r t h is associated w i t h the m a j o r
< second a n d major s i x t h , i t may r e m a i n sttionary, or ascend (Figure
h=f Mi id ;J liaj
gffg
1
327, Example a); this also holds w h e n i t appears w i t h the augmented
second and m a j o r sixth (b). A l t h o u g h i t descends m o m e n t a r i l y
l
diately thereafter:
4
2 1 Figure 527
H=rJ| i d4
a. a.
T t 4 i- 0
j J i.
IT V -
v
... Z
1 H F 5 44 6
2 b 6
b
"V r 2b 44- 6
t - 1
0; C i- j i j . i '
i
a.
+1
f
L
m||_ w
" r~
J ' t ^ .p. 9 .
2b >6b 5 44 15b 2b >7 p 2 6 6 5
; !
2 '6 8 7
6 5
Ir r
i~il-.jp | J| j J J
1?
-A
"^2|> bl7 -6
5b -
4 3
P
'2b
C
5b
*
r
:trX
2 5
ni
2
5b
f ^ f r
5
^y.|- 9: W j 1 j
-M
Ui 1 I i]T
^ 1 V -
f KE
r J
l.r
g
6
11
1 2
It 1
5 4 5
ir r e-
b
1
256 T II O R O U V, II li A S S T II O R O U ('. II li A SS 257
8. T h e chord of tlic second is easy to ind. Its Iones orm the
t r i a d that lies a second above the bass.
9. Since this c h o r d is f o u n d e d o n a t r i a d , the accompanist
must be careful to avoid fifths w h e n i t is preceded by a t r i a d or b y a
c h o r d w h i c h comprises one (Figure 329).
Figure 329
I wrong I
Iwrongl
"4 b
2
i
5
3 44-3
10. For purposes of re-enforcement, a fifth part may be taken
7. I n order to w i n f o u r i n d i v i d u a l tones i n f o u r - p a r t accompani- at times w h i c h doubles the major or m i n o r second. Moreover, this
ment, the augmented f o u r t h must sometimes leap d o w n w a r d . I n provides a means of disguising the poor d o w n w a r d leap f r o m the
fact, I see n o other means of a t t a i n i n g such an end, should this pro- augmented f o u r t h . Such a d o u b l i n g may n o t be a p p l i e d to the aug-
gression be p r o h i b i t e d . A t the same t i m e , the parts progress m u c h mented second o r to the major second w h e n i t is associated w i t h
more smoothly a n d this i n t e r v a l behaves m u c h more characteristi- the m i n o r s i x t h . (Figure 330).
cally w h e n i t progresses by stepwise ascent w h i l e unisn a n d octave
doublings are alternated. F u r t h e r , by this means a l l dispositions of Figure 330
the c h o r d may be employed, whereas i n the other case the leap
1 i \yj 1 i1
f r o m the augmented f o u r t h must be assigned to an i n n e r part i f
the progression is to be acceptable (Figure 328).
not good
'44 '-6 t better
44-
Figure 333
c. c.
)i J II*):, r p J^ 11
^ n y i> ^ s > i 5=1 ntH
r
>: i' - (9^pH
{ =4 ~T|
' a 441- y 9 II 1 lol.l
11
fe 5 b>7 4 5
6 5 it 4 3 5b 2 3
5 4 3
13. I n Figure 332, however, the raised sixth must be expressly
2
indicated. I f i t is not, an accompanist inexperienced i n the ways of
JcJ
chromaticism, far f r o m b e i n g provided w i t h a convenient reduc-
t i o n i n the n u m b e r of figures, w i l l be caused no end of difficulty
1 ^ - = T^4H > * II -
I7
y
r i"
and embarrassment. I n the last example the sixth may be replaced 9
Figure 332
N 1 Jlli ! 4
- r r * r r
1
15. Occasionally 2 w i l l be f o u n d over a sttionary or a repeated
1 1 bass. I t is to be realized i n three parts w i t h o u t any a d d i t i o n a l
6 7 >6. 5 4 tones. T h e intervals are n o m o r e i n need of r e s o l u t i o n t h a n the
4 3 2 5l>
bass, for, as passing notes, they may ascend or descend. T h e pre-
ceding and f o l l o w i n g signatures are also realized i n three parts most
of the t i m e . Such an accompaniment usually duplicates other per-
f o r m i n g parts. Once i n a w h i l e , however, one of these parts sustains
the octave or fifth of the u n d e r l y i n g c h o r d . I f i t is the fifth, a major
4
6 7 ^ - 5 '
seventh may be added to 2 (Figure 334, Example a). As a w a r n i n g , a
4
4
2
T e l e m a n n b o w may be placed over 2 .
8
wrong
frf r
'6 1-17 9 8
t r T
^ 9 4t|
r
7 6
1 , l
41,
THE CHORD O F T H E SECOND, II
j |*J: Id
a.
6): :
rrr U 5b r 4 5b
2 3 2 3
b.
4. Figure 339 shows clearly that 2 results f r o m the premature
entrance of the tones of the f o l l o w i n g c h o r d of the s i x t h . W h e n
the second of the c h o r d is d o u b l e d the c h o r d of the s i x t h becomes
S 6
4 6 T"'" 6
l #8 6 6 6, a n d w h e n the fifth is d o u b l e d , 3.
4 4 3 6
5. T h e five-two c h o r d always sounds empty regardless of
*3
i- 2 6 f. J) whether i t is realized i n three or f o u r parts. I t is made sonorous by
j
1 i its resolution. Rare i n the galant style, i t is more f r e q u e n t i n learned
4k h 1 l ~ l . 1 i 1
m 1 g v , . . ^ r ^|| works and i n company w i t h syncopations. Consequently i t is
realized i n f o u r parts.
3 6 6
6. Inasmuch as one of the tones, b u t n o t the bass, must be
-1- .2 d o u b l e d , care must be taken to avoid octaves w h e n a preceding
c h o r d also contains a d o u b l i n g . D o u b l i n g s must be alternated i n
4. I n order to avoid octaves, the t h i r d or fifth of the last c h o r d such a case (Figure 340).
2
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 2
tus i
5
2. Its signature is 2 . T h e second is m a j o r a n d the fifth perfect.
3. As i n a l l chords of the second, the bass is dissonant; i t must 1
be prepared, a n d i t resolves by stepwise descent (Figure 339).
1 Cf. Arnold, op. cit., pp. 708-709. 2 I.e., octave and unisn doublings in the right hand.
n i o n o l i a n IIASS T n o n o n a 11 n A ss 265
4 3 4 4
2 2
1 Cf. Arnold, op. cit., pp. 711-712. T h i s chord is not to be confused with the Five-
Four Chord, to which a seprate section is devoted. 1 Cf. Arnold, op. cit., pp. 542-599.
2 Cf. Arnold, op. cit., pp. 713-714. 2 Or, more accurately, the seventh formed by a passing bass.
266 T II O R O II (l II li A SS
THO R 0 (' li liASS 267
tionary on occasion (<:). But w l i c n i t enters altor the bass i t too chromatically, even the augmented fifth may be taken i n a 7 6 pro-
desc:ends (o). gression, 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
Figure 345
b. 6 5 fifth appears occasionally i n this progression a n d may also be taken
4 3 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
7 6 2 6 7 6 8,!>7
^lUf 1
7 6 6 6 /
one. B o t h resolutions appear singly a n d also i n succession.
J
r r r
\r W
t h i r d , or the octave, than w i t h a fifth. B u t w h e n the latter is perfect
and n o t contrary to a chromatic context, i t too may be taken, pro- u
v i d e d that care is exercised to avoid fifths. I n fact, w h e n i t fits 7 * 5 "6
5
268 T II O RO U ( II liASS Til O l O U( II li A SS 269
fifth is d i m i n i s h e d , but cannot be resolved. T h i s is a p o i n t which thein." Consequently the Other two Corma of the chord are safer
must be carelully observed, for i t mak.es the reali/.ation of the fifth 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
dangerous. Henee, either of the two r e m a i n i n g forms of the chord used here according to Paragraph 8, and the octave of the bass does
must be employed. Successions of sixths must be placed i n the upper 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
part i n order to avoid errors or a w k w a r d voice leading. I n f, only possible. I n d the easiest accompaniment is the octave of the bass,
the octave of the bass is good, for the other constructions introduce 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
a w k w a r d and bad progressions. unisn d o u b l i n g may be used to good ends i n this example.
12. I n Figure 347, Example a, a l l three forms of the chord may 13. I n Figure 348, Example a, the perfect (first example) and
be used. T h e d i m i n i s h e d fifth is allowed i n this progression because augmented (second example) fifths are r e q u i r e d because of the pre-
i t can move to a f o u r t h o n the entrance of the raised sixth. I n b ceding augmented f o u r t h . T h e r e s o l u t i o n of the f o u r t h causes b o t h
the fifth must be augmented, i f i t is to be taken at a l l , a n d i t moves fifths to ascend. W h e n the f o u r t h of a c h o r d of the second is per-
to a unisn d o u b l i n g on the sixth. Since this f i f t h is indicated as fect, i t is customary to indcate the d i m i n i s h e d fifth i n a succeeding
i n f r e q u e n t l y as the d i m i n i s h e d fifth, w h o can tell whether a com- c h o r d of the seventh (b). I f the sixth w h i c h accompanies the f o u r t h
poser wants i t to be used? O r d i n a r i l y , a dissonant interval w h i c h Figure 348
clashes w i t h an already dissonant chord is n o t realized w i t h o u t 7 6
76 44 5b -
g r 1 r 1 r
its being indicated. O f course i t is another.matter w h e n the fifths
are expressly called for. B u t u n b i d d e n fifths steal i n t h r o u g h the use
of accompaniments that r e q u i r e the maintenance of f o u r seprate
parts. Henee, a unisn d o u b l i n g removes any necessity of realizing
d. b7 6 d. d.
6
Figure 347 5b- 6 5 7 6 6 7 6
a. 6,
J
7-6. 7 6
w P
*3
4* te
J- d a _ j d -
g t r in " Hif r h * - l j J
J JJ J J I
I_I = H =
Ilijjl j j
M
p-3i
5 6 b '_ [J 7 _ 6 l| L ij - 6 l 7 6 U
r r
j i 1
r 5 "T # 1
r / 15-
5b 7 6
6 8
'7 6 5
r
b7 6
f
eventually the realization must lead to an incorrect d o u b l i n g . I n f
r r r r
short, i t is w h o l l y bad. Example / is acceptable so l o n g as the m i n o r u
t h i r d does n o t appear w i t h a major sixth. Example g is poor o n ac-
count of the unresolved d i m i n i s h e d fifth a n d the octaves i n the u p - 76 76 76 76
per p a r t :
5 T h e examples from b to the end appeared originally in the text in the form of
* T h a t is, a doubling within the right hand in alternation with the octave of the signatures. I have realized them in order to make them more immediately comprehen-
bass. sible.
272 T II O li O U V, II li A SS V / / o / o 11 <-; / / / { / i ss 27j
I!). T h e lifth is no! easily included w i t h the passing seventh i n
Figure 353. Moreover, a d o u b l e d t h i r d or an octave sounds better
(<x). W h e n the f o u r t h is prepared and the t h i r d can resolve by step-
wise descent, b o t h intervals may be realized w i t h the seventh.
Example b does n o t really belong here b u t rather w i t h the discus-
sion of r a p i d passing notes over w h i c h the r i g h t h a n d holds the
17. Isolated sevenths w h i c h resolve as the bass progresses are
i u i t i a l c h o r d . Henee, i n practice i t is n o t figured.
6
1 : ; j
the second section. W h e n the f i f t h is d i m i n i s h e d , i t too must re- a.
solve (Figure 351). - - -t 1
' H0
r
f ir ' T i
||
C
Figure 351
6 7 6 7 jf ]_ I
i 1 11 1 111 1 J 1 J 1 R
1 6
9
7
1r
4
1
18. Successive bass tones w h i c h express sevenths that resolve o n a. % 7 4 6
the f o l l o w i n g c h o r d progress by ascending fourths or descending
fifths. W h e n a three-part accompaniment is r e q u i r e d , only the t h i r d
7 8
4
is taken w i t h the seventh. I n a four-part realization 5 and 7 are
3
3 3
alternated. T h i s makes the safest a n d best accompaniment. D o u b l e d 20. A passing seventh w h i c h enters after its bass is best w h e n
thirds can easily lead to a v i o l a t i o n of the d o u b l i n g r u l e . Neverthe- i t comes f r o m the octave (Figure 354, Example a). However, since
less, I have constructed an example (b) i n w h i c h this d o u b l i n g is the o r i g i n a t i n g c h o r d is consonant, i t is n o t incorrect to leap to the
acceptable (Figure 352). seventh i n order to change the disposition of tones (b). B u t this
Figure 352
a. freedom is w i t h h e l d w h e n 8 7 is f o l l o w e d by other signatures over
r
the same bass (c). A l t h o u g h this is n o t its proper place, o u r discus-
4L_ 1 ^ " - 1- sion suggests a case where the octave, f o l l o w e d by a seventh, is ac-
1 companied by other dissonances and must itself be prepared a n d re-
r77- H solved. O f course the octave here moves to the seventh (d):
r
6 7 7 7 7 7 6 7 7 7 6
* a. b:
ft m
b.
4 0 1 1-ti* - h
rf "
b I I
9
-9j- s \ -
l u r
\ ~ \ -4
Ii | y *
*-
7 ' 7
= Y
i 7 1 i 7 r * 1
7 7 7
7 7 |7 '
Cf. C h . I V , U | 68-72, C h . V I , "Passing Tones" and "Changing Notes.'
T II O i O U C, II li A SS r iio 11 o v c, 11 HASS 275
m o t i o n of the p r i n c i p a l part, a to g, against a m i d d l e voice, d to c,
are avoided by h o l d i n g the octave over f r o m the six-four chord
and leading the sixth to the seventh, thus o m i t t i n g the fifth. Per-
haps this observation seems far-fetched; yet, i n a slow tempo, deli-
cately performed, such fifths can be heard. Moreover, w h e n the
p r i n c i p a l part is w r i t t e n i n over the bass, the accompanist is obliged
8 l>7 8 7 to avoid them. I n c. the d i m i n i s h e d f i f t h must be prepared by the
octave of the c h o r d of the seventh. T h e r e is o n l y one disposition for
this progression. I n d, b o t h the s i x t h and the d i m i n i s h e d fifth are
m
prepared w h e n the octave is taken over g. T h e major t h i r d above
this tone moves nicely u p w a r d i n thirds w i t h the bass. I n e f o r b i d -
O
-o- I u m <-m
1 1 1 F den fifths are e l i m i n a t e d by t a k i n g the octave of the bass over e.
6 7 8 8 7 b7 I n f, where the retardation of a resolution (as explained i n ff) creates
4 - 5 4 - 3
3 2 3 3 - successive sevenths, the first seventh must be accompanied by the
octave; i f i t is n o t there w i l l be fifths. I n g, the preparation of the
second seventh requires the octave w i t h the first one. I n h, there
THE CHORD OF T H E SEVENTH, II
w o u l d be no place for the t h i r d over c i f the f i f t h were taken i n the
1. A t cadenees, and also elsewhere, i f the bass ascends a step preceding chord of the seventh. I n i the chromatic major t h i r d
or a f o u r t h or descends a fifth, a chord of the seventh may be taken over a can move u p w a r d naturally, and the sixth of the succeeding
over the first note w i t h o u t i n d i c a t i o n , p r o v i d e d that the f o l l o w i n g chord of the second w i l l be prepared, i f the octave is taken over a.
c h o r d is a t r i a d . T h e fifth is also taken w i t h the seventh here (Fig- I n /, i f the fifth is played i t w i l l crate octaves. I n k, the tones of a
u r 355 Example a), and i f the r i g h t hand threatens to go too l o w
e
chord are interchanged, as illustrated i n kk. T h e second seventh
the octave should be h e l d w h i l e the fifth moves to the seventh (b). seems to be a resolution of the first, b u t i n fact i t is n o t h i n g more
By this means a good upper part can be retained and the final than a decorative detail of the upper voice, rendered negligible by
c h o r d w i l l be complete. W h e n the bass ascends a step, the t h i r d of the interchange of parts. T h e octave is taken w i t h the first seventh
the second chord must be d o u b l e d occasionally (c). i n order n o t to obstruct this figuration and also to prepare the
second of the c h o r d o n c. I n / the d i m i n i s h e d seventh must resolve
Figure 355
a. a. to the octave of the f o l l o w i n g tone. I n m the octave is taken w i t h
the seventh i n order to avoid fifths, and to prepare the tones of the
n i n t h c h o r d over e. I n n the octave again eliminates a f a u l t y pro-
r" rr y gression and places i n the hand the tones of the four-three c h o r d
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
2. T h e examples of Figure 356 r e q u i r e the octave of the bass 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
w i t h the seventh. I n a, fifths are created by the fifth w h e n i t is i n - 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,
cluded w i t h a seventh that lies i n the upper part. Henee the octave for i t eliminates octaves against the d i v i d e d beats i n the bass by
replaces i t i n this disposition of the c h o r d . I n the other disposi- creating contrary m o t i o n . I n r the octave eliminates an u n m e l o d i c
tions the fifth may be used. T h e fifths of Example b caused by the 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 T II O li O 11 C II li A SS V // O li O U C, II li A SS 277
Figure 356 -6-
6 4 9% 6 5
n. 5 / 3 o. 5b 4 tt
wrong good
tt 4 it
j3
<
6
7 5 6 6
fcl! II
rr II
II -f1 - t t 1J -f, ,
r
- -
H H -
=tJ=
Z3
; | J 1 1
3. T h e examples of Figure 357 r e q u i r e a fifth w i t h the seventh.
4 'jt
I n Example a i t must be taken because of the f o l l o w i n g six-five
7 7 7 6 Figure 357
It / 6 tt 5 5 tt J f. 6 7 7
<* e 7 5 - 7 7 !>7
fc>: p *- = : = h = _ p
' 'm 0 - Y -
>: - -p1 r- 1
J __d JL_ * 0
i
_
1
-&'
7 6
7 6 7 5 5 65
P ti
3
not good
6 7 6 J 7 *
6 5 6 5 9 8
4 3 4 3 6 7 7 6
I
2 3 d. Z 3 6
$
9 8
; s 9 8
/tt 4 3 / 9 8 / 7 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
chord. I n b the d i m i n i s h e d fifth accompanies both the m i n o r and seventh may be used, provided that the fifth over e does not progress
d i m i n i s h e d sevenths w i t h o u t i n d i c a t i o n . T h e disposition w i t h to the fifth over / as illustrated i n the first realization of this ex-
the fifth of the first chord o n top is worthless. I n c octaves are created ample. T h e correct accompaniment of Example / is shown i n the
if the octave is taken over the first c, since the octave must be taken first of each pair of illustrations. I n short, the octave is taken w i t h
over the f o l l o w i n g c i n order to prepare the ensuing seventh. I t is the first seventh, and the fifth w i t h the second i n order to prepare
this last factor that causes the error unless the g-sharp leaps to c (ce) the last one. Should this preparation be overlooked u n t i l the c h o r d
w h i l e the resolution of the first seventh is transferred to the bass. I t is has changed, the r i g h t h a n d may play t w o chords over the second
better to take the fifth and lead i t u p to c. T h e disposition w i t h the seventh i f its length, as here, allows, and take the proper accompani-
seventh over e i n the upper voice is n o t to be used. I n d, the fifth is ment o n the second c h o r d . I n using this acceptable expedient care
r e q u i r e d i n order to prepare the f o u r t h and thus b r i n g to comple- must be taken n o t to d i s r u p t any preparation. I n g the first seventh
t i o n the tones that appear over the f o l l o w i n g tone. I n e, the 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
over c must be prepared by the fifth of the preceding chord. Over latter intervals are played so that the four-three c h o r d w i l l be com-
the last chord the t h i r d is played as a fifth part. I t may enter as the plete o n the r e s o l u t i o n of the seventh to the major sixth. T h e fifth
octave of the preceding e. I n /, preparation of the n i n t h over the cannot be taken w i t h the first seventh because of the f o l l o w i n g
final tone is p r o v i d e d by the fifth of the preceding c h o r d of the sixth, c-sharp. or can the octave be taken, since i t w o u l d cause
seventh. I n the first i l l u s t r a t i o n under / an octave may be taken fifths i n the other parts (gg). T h e progression is illustrated i n x
over e as a fifth part i n order subsequently to w i n a complete t r i a d w i t h o u t the retarded resolution. I n h the t h i r d of the seventh must
over a. Finally, the second and f o u r t h examples of Figure 355 show 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 ;
us that the fifth is better than the octave w h e n the bass of the chord or can the fifth be taken. Example i contains t w o extraordinary
of the seventh ascends one step to a t r i a d . examples w h i c h I have come u p o n . I n t r u t h , they should be figured
4. T h e examples of Figure 358 are n o t e w o r t h y for t h e i r signa- i n the manner of ii. As they stand i n i, errors cannot be avoided
tures as w e l l as their realizations. I n a, a fifth part enters i n the w i t h o u t resorting to a fifth part or the illustrated d i v i d e d ac-
second bar. As soon as i t has p e r f o r m e d its office i t may be dropped, companiment. I n / care must be taken to avoid unmelodic and i n -
a t t e n t i o n being directed solely to a n o r m a l preparation and resolu- correct progressions. T h e illustrated dispositions are good; i n the
t i o n . I n b, care must be taken to avoid octaves and fifths against 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.
passing notes i n the bass. T h e a d d i t i o n a l illustrations show how I n k, too, only t w o dispositions may be used; the t h i r d w i t h the
easily they can be e l i m i n a t e d by an alternation of octave and unisn octave on top over c leads to errors. I n l, an alternated d o u b l i n g is
doublings. I n c, the seventh over the changing note / ascends, for 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 indica-
this first seven-five chord is only an a n t i c i p a t i o n of the six-four t 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
c h o r d that belongs to the f o l l o w i n g e. I n d the fifth of the seventh an altered bass must be indicated. T h i s i n t e r v a l is n o t unsuited
c h o r d cannot be taken i n an u n d i v i d e d accompaniment w i t h o u t to chromatic contexts.
causing an error. Since the major t h i r d may n o t be d o u b l e d , the 8
octave of the bass must be taken. Otherwise o n l y a three-part realiza- Figure 358 6
t i o n or a d i v i d e d accompaniment can be employed. N o r m a l l y , the
n i n t h should resolve over c, thus p r e p a r i n g the f o l l o w i n g seventh.
T h e nature of the retardation is made apparent i n Example dd.
T h e realization of Example d i n an u n d i v i d e d accompaniment is
best when the n i n t h lies i n the upper part, and m u c h easier w h e n a
seventh accompanies the n i n t h . I n e a l l forms of the c h o r d of the
to t a -
;:
co
ta
t-
oo
t-
ta
00
->
c t- ia
o XX:
c - ta
ftfc
6
c
t: o
t-
mi km
2(92
/// o no u o u n A ss T II O l{ O II (', II li A SS 2Vj
T
THE SEVEN-SIX CHORD 1
M
:
"1? y *
1 V ~ ^ ~
notalways free to take this d i s t r i b u t i o n , for its realization is depend-
^ $ 7 6 Y- 7 5 f ? g ent o n the requisite preparation.
5 6 5 44- L 6 4 H I 6 5 1 Cf. Arnold, op. cit., pp. 701-703.
4 3 2 T h i s chord will be recognized as that which has come to be known as the domi-
nant thirteenth. Thorough-bass writers knew that the sixth was merely a replacement
of the fifth. Later the sixth simply graced the fifth, both intervals being present simul-
6. W h e n a cadential bass note, expressing 5 b, is raised and
taneously. Harmonic theorists explained the chord by accumulating enough thirds
ascends a half step, the t h i r d of the last c h o r d is d o u b l e d and the to reach to the thirteenth. And having erected this exegetic skyscraper, they promptly
octave o m i t t e d i n the interests of a more melodic part w r i t i n g (Fig- forbade their students to use it unless the fifth, ninth, and eleventh stories were first
demolished. T h e chord is still known by the ame of this perilously unsound
ure 360). structure.
Til O l{ O II C, II li A SS 2(V
T II O li O 11 C II li A SS
5
i 1i
r * i
1o 1
Figure 362
J J i I'J'I'I',
7 -
5 6 6 5
3 4 4 3
7
7
5 6 6 5 (5 6 7 - T6 - 5 T
6 5 jt 4 3 4 6 5 5 4 4 3
2 3 2 / 8 t>7
TV 6 _ 6 6
5 5 5 5
5 6 7 - 7 i>7
6 5 #465
i
rrwrr
4 jt
4 '
w
L
7. Three-part accompaniment of the chord is rare. I t is n o t 7 1
7 6 5b 4 $ -4^^^
sevenths appear i n company w i t h a m i n o r sixth and m i n o r t h i r d .
r
T h e u n d e r l y i n g relationship is i l l u s t r a t e d i n c, where we find that
the m a n i p u l a t i o n consists of a fifth retarded by a sixth. T h e progres-
sion sounds ugly i n a l l dispositions. Even w h e n the sixth is placed
o n top i t is n o t m u c h i m p r o v e d . Henee I prefer the progression i n
r K *
Example d. I t is interesting that the d i m i n i s h e d octave, once 3
six-four chord.
288
T II O R O U ('. II li A SS r 1i o no 11 a 11 li A ss 289
an incomplelc one (aa). I ! the lilil is taken, the f o u r t h is best placed
c. ^ on top. Occasionally, owing to a required preparation of a succeed-
"4i J . Mil
i n g interval, the octave must be taken (b). Here the fifth may be
< ) : ^ s f ( ~ - included as an a d d i t i o n a l part i f i t fits. I n Example c the t h i r d (1) or
^ ' I T -9
the f i f t h (2) should be d o u b l e d . I f this is not d o n e , ' i t is better to
6 ^ 6 6 7 -6- seprate the f o u r t h f r o m its preparation (3) than keep b o t h i n the
4 ' 5b, - 5 same part (4). T h e reason centers a r o u n d the progression of the
4 3
wrong bass f r o m a to g-sharp w h i l e the m i d d l e part moves f r o m a to /.
"JJ J
1 a ji; i
W h e n the latter m o t i o n is filled i n , i t creates a cross r e l a t i o n . A l -
t h o u g h this consideration is no longer as i m p o r t a n t as i t used to be,
r
^ j y the progression can be avoided very easily. Certainly n o one w i l l
T
r
r 1
f
f-JLfT
p 7 ^6. 6 '7 6
deny that the execution of the unelaborated f o r m of this progres-
Figure 365
144 3
|74 6
aa.
9. I n Figure 364, where the f o u r t h resolves before the seventh
N
(a) and the seventh before the f o u r t h (b), three-part accompani-
r r
ments should be used. A f o u r t h part is rather forced i n a and i m -
possible w i t h o u t errors i n b.
7
4
Figure 364
I- . J J
a.
T5 *
1) i4
1 J-F h-Jh 4
m
5 1
4
I >- m1
1
V p
1
7 - 6
L
-
3
6
7
f7
4 3 4 3 t
b7
5b
f 7
5b
4 3 4 3
5.
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
T
P r 5b
r 5b P r 5b
2 po T II O ROU G II li ASS TU o no a c u HASS 21)1
sion w i t h contrary m o t i o n (5) is better than its cxecution w i t h simi- Figure 367
lar 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.
Figure 36C
'JUMO, ^ i - i 4
i ] u
11 ? - 4 1 ?
-Y
g 1
r 11
r f
\
=9=k 4 = 1 7 1?" 7 F f
1 1
7 7 7 7 43 3
l
6 6
4 3 4 3 4 3 4 3 43 4 77 7 7
4343 4
U ji3
ong
i S: J " i 1- 343
1 r 14 = 1 4
r #
r
t-3- P i
\HIf- 1 p* 1i 4 = J N
4 . 3
7 u 6 7 1.
13. I n the example of a passing seventh i n Figure 368, an inner
r~ j 1
4 3 4 3 4 3
part moves i n thirds w i t h the bass, and the seventh and f o u r t h re-
4 * 7
m a m stationary. T h e signature, 4 , used by some, is n o t clear
ffti 01 p 11 1 11
7
r 11 enough; 4 is better. A d o u b l e d t h i r d , or a t h i r d and an octave, is
i r " 7
3
better than the i l l u s t r a t i o n .
6 '4 3 6 4
4 3
4
Figure 368
i
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 -
c. 1 <r<
iJ J " j J
tervals resolve d o w n w a r d , the seventh before the ourth. The signa-
. . . . . 76
"
i j
l " ' rE = M = s j
ture of this progression is 4 .
9- d -6 f m 1 1 G II f
15. Figure 369 provides more detailed i n f o r m a t i o n about this = It1
T
u 1|23
progression. I n a the bass remains stationary, a n d neither the
6 6L
seventh or the f o u r t h is prepared. I n b the seventh is prepared b u t 7 6 '8 '7 7 6 16
7 8
wrons
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 wrongj | | ce. j J d. 7 6 . e 7 6 /
6 3 3 4 - 4 - 6
intervals are prepared. 3 should be taken over the first note. A
6 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
octaves. I n d the seventh is prepared. T h e t r i a d over the first note
8 5 3
AL
may be realized as 5 , 3 , or 5 . T h e t r i a d w i t h the octave is excel-
3 5 8 7 6 o. 6 7 6 h.
lent 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. 4 - * 5 4 -
I n e b o t h dissonances, seventh a n d f o u r t h , are prepared. Over the
7 3 , ggp 1J If-t-g
first tone 5 or 7 may be taken. Because the octave is r e q u i r e d over
3 3
the second tone, i t cannot be taken over the first. I n / the seventh 4
8
w i l l be prepared i f the first c h o r d is realized as 6 . W h e n the t h i r d
3
of the chord of the sixth lies o n t o p , fifths are unavoidable. I n g,
b o t h dissonances are prepared. However, i n order to prepare the
seventh, a n octave must be taken as a fifth p a r t over the first bass
11 1 | 1
1
r-
note. T h e f o u r t h a n d seventh are also prepared i n h. T h e fifth is
taken w i t h 7 6 over the second bass note. I n a d i v i d e d accompani-
1f
m e n t the d o u b l e d t h i r d may be played, as illustrated i n the final
example. T h e octave cannot be taken wiyh this 7 6 progression
w i t h o u t causing errors.
Figure 369
tr-ri T-J 1
r 1
a, w 1 L L = ? F = *
J^V- 1
r r r
THE CHORD OF THE MAJOR SEVENTH, 1 I
i -f- -9- -9-
76 5 1 7 6 5 7 6 5 1. N o r m a l l y , this c h o r d consists of a major seventh, perfect
4 - 3 4 - 3 4 - 3 f o u r t h , a n d major second.
7
2. Its most usual signature i n f o u r - p a r t accompaniment is 4
1 Cf. Arnold, op. cit., pp. 674-682.
294 T H O R O U G II li A S S T II O R O V. II li A SS 295
w i t h accidentis as r c q u i r c d . Confusin is caused by those who ex- tional i n t c r v a l is either a sixth, major or m i n o r , or a perfect fifth.
pect a four-part realization b u t o m i t 2 f r o m the signature or specify T h e bass may r e m a i n stationary or move.
only 7. 8. Either sixth may, b u t need not, be prepared. B o t h progress
3. T h i s c h o r d appears as a passing relationship over a stationary d o w n w a r d to the fifth, thereby m a k i n g a complete t r i a d o n the
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. resolution of the c h o r d . T h e second is sometimes o m i t t e d i f f o u r
I n the first instance, a l l three intervals are taken freely and ascend parts are preferred. T h i s is most frequent w h e n a bass note w i t h the
(Figure 370, Example a). I n the second, the seventh and second 4
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 signature 6 or 3 descends stepwise to the tone over w h i c h our c h o r d
(c), be prepared. T h e second and seventh ascend; the f o u r t h de- appears. Should the s i x t h over the first bass note be augmented, the
scends. W h e n the f o u r t h i n Example a lies o n top, i t too descends. i n t e r v a l of the second cannot be taken w i t h the next chord, for i t
lacks preparation.
Figure 370 9. T h e examples i n Figure 371 w i l l make my meaning clearer.
_
A n exact i n d i c a t i o n of the intervals is especially needed here. I n a
a.
1< Us
- m fl -** the second may, b u t need not, be played, depending on its being
Ai1 l
w %w
1 M specified. I n the t h i r d and f o u r t h illustrations under a the sixth
r
moves to a fifth w h i l e the seventh and f o u r t h r e m a i n stationary.
8
3
7
4
8
3 7
T . IT4 8
3
T h e first and t h i r d examples, i l l u s t r a t i n g the major sixth, sound
good o n l y i n the notated d i s t r i b u t i o n of parts. I n b and c five-part
5 2 3
2 2 Figure 371
a.
J 1 11 1 .
mu * IIL^J -
r # -5IM^f
1
f 8 - 16- I* 8 "r> 7 8 I
te l 8 -6- 7 8 8 -6. 8
5 6 - 5 5 6 65 5 5 6 5
4 - 3 5 - 5 - 5 - 5 -
4 I 3
4 * 4 4 3 4 8 4 3
2 3
i m \^ i Y ir 1 |7 8 7 8
1.
THE CHORD OF THE MAJOR S E V E N T H , II
T h e ascending major seventh may n o t be prepared as the
octave of the preceding bass note. Henee Figure 373 is incorrect:
6 5 6 5 4 6 5 4 6 5
4 # * I 3 55 4 Figure 373
jt 8 33
I J
5
3
6 7 8
4 5 5
-O-
5 6
3 4
1
5
IT t 7
4 5
8
-6>
l
5
4 3 4 4 4* 4
2 2 2 3 t
2i)8 T II O R O 1/ GH II ASS T H OROUGH BASS 299
t h i r d . Henee, this latter interval, like the octave, assumcs the charac- 5. T h e apparent d o w n w a r d m o t i o n of the major seventh i n
teristics of a dissonance. I n b only the second is retarded, again by a Example a of Figure 377 is the result of an ellipsis. T h e complete
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 9
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. relationship is i l l u s t r a t e d i n b. I n Example c the resolution of 7 is
7
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
l 7
differentiated f r o m that of 2. A l t h o u g h no detail of resolution
98
w o u l d be lacking i f i n the last bar 7 8 were taken instead of o u r
fifth, the accompanist plays, o n the entrance of the bass note, j, 4,
43
7 2 2
Puf
a.
d i
i 11
'8r
i - 1 f
w j i
3
7
2
6
4 - 3 3
7
2
W
3 u >
8
3
b.
* J J
-
r - - iN-r-^
1
(5
As 1 * m
1 rfl
r 'r 1 1
es 1 1
Figure 378
9 8 6 J 9 8-6 9 8 6
^ 6 - 5 t ' ' 5 6 5
i: 0 1 8 8 :
r r r P P \nm
9 8
5. T h e n i n t h has the same position o n the staff as the second b u t 5 *
f
is clearly distinguishable f r o m i t i n its accompaniment, prepara-
t i o n , a n d resolution. I n the case of the second, the dissonance lies i n
the bass, w h i c h must be prepared and resolved; b u t i n the n i n t h the
dissonance lies i n the upper tone, w h i c h must be prepared and re-
solved. Differences i n the accompaniment of these t w o dissonances
have already been noted and w i l l be enlarged u p o n i n this a n d the
next section. . *(1
! m
f f
6. T o realize the chord of the n i n t h , take the t r i a d above the 1
v
bass b u t strike the n i n t h instead of the octave. Those w h o k n o w
3
the 2 chord k n o w the c h o r d of the n i n t h .
9 6 5 Xi 1
f 6
5
9 Vi 6
5b -
7. T h e m a j o r n i n t h may be accompanied by either the perfect
r e m a i n u g l y . W h e n the best disposition cannot be taken i t i? better
3
J ,J J J j
' r 1 r f r ir -
p 1 i
perfect fifth there may be either a major (d) or a m i n o r t h i r d (e). I n J J 11
the latter case the fifth sometimes ascends to the sixth o n the
resolution of the n i n t h (e). A l t h o u g h the d i m i n i s h e d fifth may
be taken freely (/), i t is better w h e n i t lies i n the preceding chord
(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
TTf -m7
T h e object of this remark is Marpurg (Cf. Arnold, op. cit., pp. 401 ff.), and
i n the lower m i d d l e part. T h e fifths that oceur i n the other two dis-
3
possibly Cari Heinrich Graun, whose support of greater tolerance i n these matters is
positions, n o matter how ardently they may be defended, are a n d cited by Marpurg.
3o2 T I O R O U G H li A S S T II O R O U (, H BASS 303
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 ac- as this, i t is always better to place the n i n t h nine degrees above the
companiment, should be noted and used whenever possible. bass.
9. T h e fifth is o m i t t e d f r o m three-part realizations. Because one 2. Examples a and b of Figure 381 cali for a d i v i d e d accompani-
i n t e r v a l is thus lost, the accompanist must exercise the same care i n ment w h e n tney are realized i n f o u r parts. I n the first the n i n t h , as
using this k i n d of accompaniment as we have f o u n d necessary i n a passing i n t e r v a l , is n o t resolved (a) and i n the second its resolu-
other s i m i l a r cases. t i o n is retarded (>). W h e n the accompaniment is n o t d i v i d e d the
t h i r d chord is realized i n three parts (c). I n d a d o u b l e d t h i r d or
THE CHORD O F T H E NINTH, II sixth i n the c h o r d of the s i x t h is the best setting, for i t eliminates
1. T h e n i n t h is and remains a n i n t h even w h e n i t is placed large leaps and prepares the d i m i n i s h e d fifth i n the c h o r d of the
directly adjacent to the bass. T h i s relationship is often unavoidable. n i n t h . I n e three parts are safest. Should a f o u r t h p a r t be used, the
For example, composers f r e q u e n t l y meet i t w h o w r i t e obbligato sixth must appear o n top over the first note (/). T h e r e m a i n i n g t w o
parts for bass instruments. A double bass is best fitted here t o give dispositions crate fifths.
the lowest voice its proper gravity. O f course, aside f r o m such a case 3. T h e n i n t h may n o t be prepared as a n octave over the pre-
ceding bass. Henee Figure 382, Example a, is w r o n g . R e s o l u t i o n
Figure 381
4
"t
d
musicians wrote thoughtlessly i n the manner of Example b. These
y 1-
5
f
octaves o n the after beat sound n o better than the octave prepara-
9 8 7 6 t i o n and resolution of the n i n t h . Proof that this r u l e was introduced
6 S 8 7 6
t j ** _4_j g
1
ie*
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
Aiih
d.
J)
.
9 8 b.
^ 1
6
9 8 6 9 8 6 9 8 6
r
9 8
3 J-'i^i-jU- 11J* 1 j
*~T
i
=J= -T*
W H
i
4=f
* Remainder of paragraph from ed. of 1797.
1 r r - 5 His father must be included i n this stricture. Cf. J . S. Bach, Choralgesange
6 9 7 5b (Br. u. H.) No. 209, Jess Meine Zuversicht, bar 1, bass and tenor.
5 Cf. Arnold, op. cit., pp. 397-406.
7 Examples from b to end from ed. of 1797.
y>4 V // O R O U (', 11 li A SS v // o li o u ; // /< // ss
j.
A i THE NINE-FOUR C:HORD 1
f r 2.
9
Its signature is 4 , w i t h accidentis w h e n necessary. W h e n
g
5b 3 4 3 b o t h dissonances resolve over the o r i g i n a l bass note, 3 is placed to
the r i g h t of the signature.
THE NINE-SIX CHORD
3. Since b o t h the n i n t h and the f o u r t h must be prepared, i t is
1
4=^
(> s
1 1,1 j 1 e 1i 4
8
3
7
5
9
4 3
- 3 6
5
9
4
8 8
- b7
5b
1 --f 1 3
y M Ulf If ir UN IJ IJ i
6 5 a . 7 6 5 - 9 8
4 tt 5 t % ~ %
1 I I I| II i better
5. T h e sixth must be i n c l u d e d i n the signature ( 6
9
4
) i f i t is to be
9 8 9 8
distribution
9 8
5 6 A
6
9 6
4
r'5
3
1
7 6 5 b7 6 5 7 6 5 4
5 5b 4 3 5 4
n
} [ 1
J a
MhJ-J &
4=J T H E NINE-SEVEN
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 .
CHORD 1
9
2. Its signature is 7, w i t h accidentis as r e q u i r e d . W h e n b o t h
6. I n the galant style the f o u r t h is sometimes played w i t h o u t 8
preparation (Figure 387, Example a). T h i s unprepared f o u r t h may dissonances resolve over the o r i g i n a l bass note, 6 follows the o r i g i n a l
even be augmented (b). Such fourths are b r o u g h t about by the i n - signature.
t r o d u c t i o n of appoggiaturas that are p r o v i d e d w i t h a three-part ac- 3. T h e n i n t h as w e l l as the seventh must be prepared. B o t h dis-
companiment. T h e first example is better t h a n the second. sonances resolve by stepwise descent, simultaneously i n most cases
(a), b u t at times successively (b) (Figure 389).
Figure 387 Figure 389
a. a. I i i b. , , b.
m
f f r r
'6 5
'6 5
9
9
8
8
f
|6
r
4 3 4 3 8 7 9 8 7 9 8 b7 9 - 8
7 6 % 7 7 5b 7 6 -
=H= J J i IIII f l
r ~ r ~ ~ i
r - : - c
tf 4 tf 3 10 9 8' 7 6 - 6
5 4
8 7 6
2
6. I f the f o u r t h is to be taken instead of the t h i r d of this chord,
|II 1=f H
i t must be expressly indicated i n the signature. Since this tone, too, 6 5 b * c- >
rr 'r r r
w i l l be present i n the preceding c h o r d , the entire construction, i n - -- m
c l u d i n g the fifth as an a d d i t i o n a l part, w i l l lie under the fingers. T h e f = 1
f o u r t h may be perfect, d i m i n i s h e d , or augmented; and as stated 9 1
0 5 6 1
above, i t is prepared. A fifth part is also taken i n order to prepare
1
7
3 T T 3
Figure 392 9 8 9 8 7 6 2
r
b7, 7 6 . 7 7 6 5b 6 5 9
1 d. 9 ' e. 87 / 7 6
76 5 6 5 4
Hf=S
Ltt '
r r 9
II * 1 1 117
I
4 1
1 6
*F=f
v ,
'- T. Uf f 11
i 6 5
* 7 1
3 io T I I O H o u r. I I If A ss T I I O H () II (, I I BASS 3"
T H E FIVE-FOUR CHORD 1
5
2. Its signature is 4 3 or 4 3 w h e n the f o u r t h resolves to the t h i r d
1 r 1- J
over a c o m m o n bass note. B u t w h e n the resolution occurs over a 11
5 7 4 3 4 3 "9* 4 3
m o v i n g bass, 4 or 4 is sufficient. I n the first case, 3 is often re-
placed 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 de-
scent. T h e fifth, w h i c h restricts this dissonance, is n o t always present times enters unprepared (along w i t h the fifth) i n the f o r m of an
i n the preceding chord, being struck freely at times, even w h e n i t appoggiatura w h i c h cannot be o m i t t e d f r o m the accompaniment
is d i m i n i s h e d (Figure 394). unless i t is replaced by a rest. I n Example a, Figure 396, the perfect
2
**4 4
43 5 dd must be avoided.
ti 5, 4, 3 5 Figure 396
w
- f H h *
-rHhd
1 J 11
b.
i
11
t
5. I n order to lcate the chord, play the t r i a d o n any bass note, 6 5 3 6 (5 4 3
4
b u t substitute a f o u r t h for the t h i r d . T h i s procedure makes i t easy
to learn the d i s t r i b u t i o n of tones and the resolution of the f o u r t h .
6. T o avoid fifths i n Example a of Figure 395, the octave of the dd' wrong ^ 1 wrong
five-four chord must be o m i t t e d and the fifth d o u b l e d instead. N o
interval is thereby lost. T h i s step is n o t necessary af ter the r e m a i n i n g
dispositions of the preceding chord of the seventh. I n b the t h i r d
5
of the chord that precedes 4 must be d o u b l e d . I f this cannot be 8. I f for adequate reasons a three-part realization is r e q u i r e d ,
done, the accompaniment must be d i v i d e d (bb). the octave can be most readily o m i t t e d .
7. I n the galant style the perfect or augmented f o u r t h some- 2 F o r a n e x t e n d e d d i s c u s s i o n of t h e a c c o m p a n i m e n t to a p p o g g i a t u r a s , cf. C h . V I ,
1 C f . A r n o l d , op. cit., pp. 694-698. "Appoggiaturas."
C H A P T E R S I X
A CCOMPAMIMEMT
T H E UNISON 1
T
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 oc-
taves, 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
T xn m
4
b o t h hands. 2
should n o t be h i d d e n beneath a harmonic accompaniment or
5. T h e first case relates to passages w h i c h are w r i t t e n for one raised i n register by octave doublings. T h e composer who contrives
part. W h e n a l l performers play i n unisn i t is only n a t u r a l that the such a studied effect must desgnate i t w i t h great accuracy or his
accompanist too should f o l l o w the unisons and give u p his chords. plans may fall short of f u l l realization i n performance.
Such passages usually carry the i n d i c a t i o n , unisoni or all'unisono. 8. T h e second case that calis for unisn accompaniment con-
6. T h e r e is a special case w h i c h departs somewhat f r o m the cerns 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
preceding. I t occurs w h e n the r i p i e n o parts are i n unisn w i t h the the composer has a special purpose i n m i n d . T h e y may be fashioned
bass w h i l e the p r i n c i p a l part has a l o n g held note or a different o u t of leaps, runs, b r o k e n chords, successive trills, and countless
melody. T h e r i p i e n o parts must be observed carefully to learn other figures. F r o m our p o i n t of view, such passages must stand o u t
whether their b r o k e n chords give expression to the essential inter- clearly, and this is achieved less by a chordal t h a n a unisn ac-
vals, especially the dissonances and resolutions of the u n d e r l y i n g companiment. I t is n o t yet a general practice to desgnate this case,
h a r m o n y . I f they do, the accompanist also should play i n unisn
3 unisoni or all'unisono; henee, the manner of support is left to the
(Figure 398, Example a). B u t i f the accompaniment to the p r i n c i p a l discretion of an understanding accompanist. Experience has proved
part is simple a n d n o t only calis for harmony, b u t attains its affect to me the effectiveness of a unisn accompaniment i n such passages.
t h r o u g h the use of i t , a chordal setting must be chosen (b). Espe- 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 ac-
cially needed here is an exact i n d i c a t i o n of the r e q u i r e d accompani- c o m p a n i m e n t only i n two-part pieces such as a solo or solo aria.
ment, f o r free choice demands an insight w h i c h is capable of decid- 10. T e r m i n a t i o n of a unisn accompaniment is indicated by
i n g whether a chordal accompaniment helps or hinders the p r i n c i - figures placed over the bass at the p o i n t where a chordal setting is
pal part. F u r t h e r m o r e , according to circumstances the case discussed resumed. S hould the first note express a t r i a d that is indicated
here m i g h t take either type of accompaniment. 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.
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 * 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
t h e n e e d for r e s o l u t i o n s . 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 N 1M E N T A C C 0 MPA NIM E N T 317
while the other bass instrumenta play softly i n the notated register
ONE-PART ACCOMPANIMENT F O R T H E L E F T 11AND 1
parts. Should the bass be m a r k e d piano, and the thirds or sixths at the clavichord or pianoforte, however, b o t h the appoggiatura
lie cise together, thus p r e c l u d i n g octave d u p l i c a t i o n , n o other ac- and the relase may be played, b u t execution must be adj usted to
c o m p a n i m e n t is as n a t u r a l as ours. T h e double basses are silent the v o l u m e and l e n g t h of the ornament i n the p r i n c i p a l part, so
that i t w i l l r e t a i n the freedom to p e r f o r m its notes i n accordance
w i t h the affect. O n the pianoforte an alternative is to p e r f o r m o n l y
the bass under the appoggiatura as l o u d l y as necessary and then the
relase q u i t e softly w i t h the r i g h t hand.
6. Tasto solo is also used on a bass over w h i c h a melody is set
i n a low register w i t h n o accompaniment above i t . B u t w h e n there
is an accompaniment by several instruments, also l o w , figures may
be placed over the bass, w h i c h an understanding accompanist w h o
is aware of the construction of the piece w i l l p e r f o r m o n l y i n the
low register. However, because the j u d g m e n t of thorough-bass
players, many of w h o m are dilettantes, is n o t always t r u s t w o r t h y ,
i t is better and safer i n this case also to indcate .5. over the bass
and dispense w i t h the h a r m o n y of the keyboard than to endure an
accompaniment w h i c h cries o u t above the other instruments and
r u i n s the passage. T h i s k i n d o i setting occurs in concertos for low- weak that only in this manner can a proper balance be reached. B u t
pitched instrumenta, arias for low voices, etc. i t is always better and more appropriate to the nature of tasto solo
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 accom- w h e n such an expedient is not employed, for i t is i n respect to
p 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 d o u b l i n g that tasto solo is distinguished f r o m unisono.
voice starts i n actual unisn w i t h the bass, the first note should be 9. T h e r e s u m p t i o n of a chordal accompaniment after t.s. is i n -
played t.s. I n b, the r i g h t hand is silent at those places where t.s. ap- dicated by the reappearance of figures, just as i n the case of unisono.
pears, 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
T H E ORGAN POINT 1
Figure 402
4 7 6 b7
t 7 4 I, 81>7 5
i M u ^ r i i T r i i n r r r i 32:
^ 5 9 8 4 7 6 - 5 3 "f
2 5 5 4 4
g 1 1 J 1 M;- - r i r r ^
'6 4 3 8 f l>7 6 5 7
4 4 - 4 4 3
2 -
76 6 4 6
26 7 6 44 t K #4 2 5 4f 6
~ 4 ^
" gm -F-T-H
8 k ^ 7 !>7 6 j7 8 = M = F 1
^5-1
6 - 5 - 4 4 3 6 15
5 4 4 3 3 2 - 4
*
8 J 8
.6 - 6 6 6 A^A | Allegro
,2 6 7 2 6 5P5 4 5 2 5 5, 1 *T~^9.
: Lj j H
1 = 1 ==1 U
le f l>? 6 f
4 6 5 5 6b 5 6 7 6 5 8 7 6 5 9 8 7 6 8 7 6 5
4 3 3 4 j } 4 5 4 $ 6 5 4 # 7 6 5 4 6 5 4 #
2 2l> 8 2
J22 ACCOM P A N I MENT ACCOMPANIMEN T 323
F.gure 403 ~ *
APPOGGIATURAS 1
g ( | ij! 1 j. gpil
bass. I t is c o m m o n knowledge that, according to the rules of good
performance, the ornament is emphasized and its relase played
r
l i g h t l y . Consequently, i t is d o u b l y w r o n g to o m i t i n d i c a t i o n of
t h e m f r o m the signature, for w i t h o u t some clue the accompani-
ment i n most cases can only be poor. T h e chord retarded by an 7 6 4 3 6 6 5
5 4 3
appoggiatura takes o n a q u i t e different appearance t h r o u g h an
exact i n d i c a t i o n . B u t , although knowledge of the usual signatures
w i l l n o t suffice and the accompanist must learn to recognize strange J I
combinations of numeris, he w i l l soon grow accustomed to t h e m .
I n scores where the p r i n c i p a l part is n o t notated i n the c o n t i n u o
part these signatures are indispensable, for the presence of an ap-
6 6 6 3
poggiatura can n o t be guessed. A n d even w h e n the p r i n c i p a l p a n
w i t h its ornaments is present, how can the numeris be m o d i f i e d i n
performance i f the figures contain no reference to the appoggia-
turas? H o w can m i d d l e parts, i f they are r e q u i r e d , be realized?
" r r r r
4. I n Chapter V m u c h material was covered relative to ap-
poggiaturas. T h i s w i l l not be repeated here. O u r present discus-
sion begins w i t h the long, variable appoggiatura. T h e shortest of
f uJJ
these is never more r a p i d than an eighth note i n an allegretto.
5. W h e n a bass note is figured w i t h o u t reference to an ac-
i
companying appoggiatura, and this appoggiatura w i t h its relase
complements the given numeris or is identical w i t h one of t h e m , 4=^
the accompaniment need n o t be m o d i f i e d even i f i t is i n f o u r parts.
T h e examples of Figure 403 are constructed i n this manner.
6. B u t i f the appoggiatura is n o t related to the harmony of the I n b, only the seventh is rcali/.cd, b u t i n the two-part appoggiatura
relase and therefore uitters f r o m the intervals of the bass note over of bb the second as well as the seventh is played. I n c, the seventh or
w h i c h i t appears, the accompanist should play the o r n a m e n t a n d as b o t h the seventh and the second may be taken, since b o t h tones ap-
many intervals f r o m the indicated signature as r e q u i r e d by its l o u d - pear i n the preceding c h o r d . T h e same applies to d, where either 6
ness and its suggested harmony. W h e n i t is played softly a n d w i t h
or 2 may be realized. I n e, the second is treated as a n i n t h , that is, i t
great affect, its length dependent o n the caprice of the p r i n c i p a l
moves to an octave. I n a slow tempo the appoggiatura i n / may, of
part, the accompanist should o m i t the ornament and play one or at
course, be realized; b u t elsewhere i t is replaced by a quarter rest
most t w o s u p p o r t i n g parts. T h i s occurs most f r e q u e n t l y w i t h
and the seventh alone is played. T h e appoggiaturas a n d their re-
chromatically raised appoggiaturas. T w o - p a r t appoggiaturas are 4
played i n the accompaniment, m a k i n g a total of three parts. Some leases are accompanied i n g. A slur must be placed over ^ t o i n d i -
appoggiaturas suffer n o accompaniment at a l l . As a corollary to cate omission of the sixth. I n h, a n eighth rest w o u l d be too short,
these remarks i t should be observed that the greater the affect of a were the accompanist to o m i t the ornament; henee i t should be
piece, the more delicate must its accompaniment be. Such delicacy played, especially since i t is present i n the preceding c h o r d . I n i, the
is concerned w i t h the selection, entrance, r e d u c t i o n , a n d omission second cannot be treated as a n i n t h because of the f o l l o w i n g /-sharp
of chords. M y m e a n i n g w i l l be illustrated by examples of a l l 5
characteristic situations. i n the bass; however, the i n t e r v a l may be o m i t t e d a n d 3 alone
1? I n Figure 404 the illustrated delicate accompaniment is played. T o avoid fifths, the sixth must be o m i t t e d f r o m the first
better t h a n the complete c h o r d of the n i n t h . /-sharp. For reasons of affect, the p r i n c i p a l part i n a slow tempo fre-
q u e n t l y retards o n the a, carrying i t over to the next bar. T h e ac-
J MLM ,
Figure 404 5t
companist should n o t do likewise b u t continu to play i n strict
\>1 6 2 3 7-6. 4 3
tempo. I n j , the second may be treated as a n i n t h i n a slow tempo;
b u t elsewhere i t should be o m i t t e d and the t r i a d played directly o n
each bass note. W h e r e many chromatic appoggiaturas appear, as i n
k and kk, the h a r m o n y must be t h i n and interspersed w i t h rests i n
8. Figure 405 illustrates the three kinds of second, used as 4
order to b r i n g the ornaments i n t o relief and avoid ugly chords. I n
ascending appoggiaturas. Even t h o u g h they are n o t always played l the appoggiatura is played, since i t appears i n the preceding chord,
by the accompanist they must be indicated i n the signature. Unless and the fifth is added to i t . A l t h o u g h the seconds i n m may be
they are reckoned as n i n t h s , t h e i r signature is usually 2 3. A p p r o - realized, the illustrated accompaniment is better f o r a soft per-
priate accidentis a n d the r e m a i n i n g figures must be i n c l u d e d . O n e formance. Moreover, the rests w i l l help to clarify the appoggiaturas
n u m e r a l above the 2 indicates a three-part accompaniment. I n the and remove any b l u r r i n g of t h e i r o u t l i n e . I n n, where the c h r o m a t i -
examples that f o l l o w t h r o u g h o u t this section, the first i l l u s t r a t i o n cally raised o r n a m e n t concurs w i t h a change of bass, the sixth alone
is figured w i t h o u t reference to the appoggiatura; b u t i n the second, should be taken. A n y of three accompaniments may be used f o r o,
w h i c h is the accompaniment t o the first, the signatures are com- comprising: (1) the fifth alone; (2) the fifth a n d augmented second;
5 (3) these t w o intervals a n d the octave. Choice is governed by the
p u t e d correctly. I n a, 3 may be taken i n the second bar, b u t i n the r e q u i r e d loudness or softness of the accompaniment. I n p, the first
f o u r t h bar, accompaniment of the augmented second is momen- second is treated as a n i n t h , b u t the f o l l o w i n g one is accompanied
tarily replaced by an eighth rest after w h i c h only the fifth is taken. by the sixth alone, the t h i r d b e i n g struck later. Over the bass note
2 F r o m t h e e d . o f 1797.
c o n l y the fifth a n d n i n t h are realized, a n d over the f o l l o w i n g
F r o m t h e e d . o f 1797. /-sharp, the d i m i n i s h e d fifth a n d t h i r d . T h e f o u r t h over c a n d its
* T h a t i s , m a j o r , m i n o r , a n d a u g m e n t e d seconds m e a s u r e d f r o m t h e bass.
resolution are o m i t t e d , so that the p r i n c i p a l part may p e r f o r m t h e
)26 A C C O M PA NIM E N T A C C 0 M PA NI M E N T 327
resolution w i t h complete reedom. This detail is one of the refine-
ments 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 resolu-
tions, or, above a l l , syncopations, especially i n slow pieces of an
rr Tr y i r T r * r r
56 56 6 9 8 6 5 - 6 7 6 5b
4 3
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
r'r ' ^
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 f
9 8 7 6 5b 9 8
descending appoggiatura o n the second above the bass. W e have
4 3 --3 4 3
already seen several such examples. T h i s retardation is o n l y oc-
casionally good, b u t bad taste makes constant use of i t . Andante
Figure 405
r'r r r r'r
g" ' r f 1 1 r F- ? r T
a
5b 6
3 5b
"C 6
5
4 3 6
3 #
5
-2- 3 5b
6
2 3 1 fe 2r -3
d I
rf f
44 '6 17 "6- I
7 6 6 7 6 6
r
4 3
frrrTf r T
2 3 5 2 3 5
0 0
6 9 8 9 8 9 8 6 ^5, 7 - 7
t
5b &
J2$ A C C O M PA NIM EN T ACCOMPANIMENT 3*9
3 T - 1 1 i l i1 J ^E J Q
6
g
5
4r
-
3
17
-2"
& 7 7
'7 7
r r Tr
9 6 9
5b 5 8 2 3 4 5b
Si
r L J 6
4
5 7
H tt 4
6 5 7 5
# j| -2- 3
r 6 7
5 4 3
2
jjj,j-,i.jji,j,,Hr v j l j J ^
-9-* 9. Other appoggiaturas, i n a d d i t i o n to those o n the second, cali
6 - - for consideration. I n the examples of Figure 406 the c h o r d of the
6 ^ 6
5b 5b 4 H -2-3 3 tf seventh is retarded by this ornament. I n a, the appoggiatura may
be i n c l u d e d i n the accompaniment as indicated by the figures above
the staff, w h i c h refer to the bass notes. B u t the setting that follows
fe: . I *
may also be used. T h i s accompaniment, w h i c h holds the d i m i n i s h e d
1 ai v m -
fifth and t h i r d t h r o u g h o u t the bar, provides the p r i n c i p a l part w i t h
freedom to p e r f o r m its appoggiatura w i t h the appropriate affect.
6 "6s 6 - - 5 -
6
-T 3 # -2-3
T h e same remarks apply to aa. I n b, 4 may be taken over the first
I J J l.jjfl'W
7
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 appog-
giaturas of c are accompanied as illustrated. I n a delicate setting the
7
6 5 - 6 appoggiaturas are replaced by a quarter rest and 5 b is played after-
-2- 3 wards. Examples d and dd are alike, the difference between t h e m
Adagio
b e i n g o n l y that dd contains a two-part appoggiatura. T h e accom-
paniments 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
r
4
s i x t h and second r e m a i n stationary. I n c, % is played, after w h i c h the
7 7
5b t h i r d moves t o a second w h i l e the other tones are h e l d . I n d, 4 is
2
played, f o l l o w e d by a sixth over the h e l d f o u r t h and second. I f the
seventh lies i n an inner part, the appoggiatura must be replaced by
J J J a q u a r t e r rest. I n e only the seventh and fifth are taken and suc-
ceeded by the c h o r d of the second. T o indicate omission of the
7 6
r r ( t h i r d , a slur can be placed over 5 . I n f, the preceding 5 is retained
b7
5b and f o l l o w e d by a c h o r d of the second. I n g, the major s i x t h is
o m i t t e d because of the preceding m i n o r sixth, thus leaving o n l y
the fifth and second (2 ). T h e fifth succeeds to the augmented f o u r t h .
I n h, i t is best to double the t h i r d of the first c h o r d and lead the
4
lower t h i r d to the f o u r t h of the succeeding 3 . I n i the c o m m o n
6 7 7 6 7 c h o r d or t r i a d i n three parts is played because of the preceding
4 3 5b 4 5b three-part setting. Example / m i g h t very wel be accompanied i n
Allegretto
o four parts by p l a y i n g the appoggiatura; b u t i n a delicate accompani-
/7\ k.
taz
i 3 b
5
0-0-0-
4
T r r r r r
4i 6
3 2T 44
<7\
--JX.
r
. S
c f r 6
5 /.j.
441 5 6
3 4
5
3
5
3
6 5
4 3
i i
1 5 6 44 6 2 '6
2>
44 g- 6 44
44 fe- 6 T t.s.
3 3
12. I n the examples of Figure 409 the t r i a d is retarded by ap-
7
poggiaturas. I n a, 4 is taken above c and succeeded by the t r i a d . B u t
44 5-6 2 '5 6| 1 6 6 6 7 2 8
i n b only 2 is realized, f o l l o w e d by 3 . Either of the illustrated ac-
companiments 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
- 4 i , JJ , i J i ^ J Ji
5
Figure 409
r,.
6 5
rrx,uf.r 6 5
44
& C f , ir. [ r r r Ti
4 3
9 J II t t j *
|1
' J
B - -
II
1
I j-
* -H-n l
T
9 9 II
d.
u
4
^ L
'6 6 4 3 6 9 8 X
4 3
9 5
5 C f . sections o n 4 a n d 4 c h o r d s .
// C C O M 1' A N I M E N T
A C C O M /' A N I M E N T 337
sixth taken according to circunistanccs. T h e appoggiatura in b is
best replaced by a rest. I n c selection of an accompaniment is dic-
tated by the required loudness or softness of the setting. T h e first
of the illustrated accompaniments is best in the natated distribu-
17 U 3 >
'99 8 le
6 -5
5 Ir te- 5s tion of tones. T h e accompaniment to d is identical with the ex-
6 5 4 3 2 3 ample itself.
4 3 2 3
14. I n the examples of Figure 411 the chord of the major
seventh is retarded by appoggiaturas. A desire for orderliness has
8 .
brought about the reappearance of certain examples. I n a 4 is
rr 3 4
realized and followed by the seventh while the fourth and second
are retained. If it is decided not to play the appoggiatura (since it
2
Figure 411
13. I n the examples of Figure 410 the six-five chord is retarded
by appoggiaturas. I n a, the ornament may be played or only the -X jj
Figure 410
a.
7 -
5 4 3
m
X > 4X k X r 1 ; 1 r 1 r
8
3
7
2
r ^
5b
7 8 r ir. r f
r- r 1 -frpr
4 5 4 5
2 3 2 3 2 d
L 1 d.
6
r i"-
-*
i
r r " r
<>>! a t i i
It IT 8 IT r7 8
1 1 1 4 3 f.J. 4 5
6 2 2 3
5 4 3
ACCOMPANIMENT ACCOMPANIMENT 339
4
. 4
forms an eirlpty octave), 2, but nothing less, must be taken. I n b,
7
4 alone may be played and held; but if the ornament is included it
must lie on top. A three- or four-part accompaniment may be taken
in c. If the latter is chosen, the notated distribution of tones is 1 6 8
best. T h e most appropriate accompaniment to all of the examples 4 4 3 4
under d is the appended one with its quarter rest.
ee. K
15. I n the examples of Figure 412 the six-four chord is retarded *
1 -
by appoggiaturas. I n a the accompanist may play the fourth and m
0 l -
1.1' u
fifth together or the fifth and the sixth and, in the latter case, re- >0 0 90 -1 i1 0 0 w
solve the fifth by stepwise descent. If he takes the fourth and fifth
the fifth must lie on top. T h e fourth alone is realized in a soft ac- - 5
P : ' P -9
4 - 3
1^
companiment. Example b and its accompaniment are identical. If
the chromatic appoggiatura i n c is played, it can be supported quite
well by the fourth. Example d and its accompaniment are identical. _?
Hr
I n e a triad accompanies the appoggiatura and is succeeded by a 3 * M
UXI
9
m
chord of the sixth. T h e same accompaniment is applied to the two-
P
9-0-0
part appoggiaturas of ee. I n / a complete chord of the seventh may
7 7 6b b7 b7
be played against the appoggiatura; also 3 or even the seventh alone. 4 5b 5b
Considerations of execution and affect should govern the choice
#
' L1LI P
4 1
4 3 4 - 3 5 4 3
p "" 6
p ' ' ' P
7
P
6
7 6 7 PP
5 4 4 5 4
^//if-'/ipVui/iJifi i - i j h.
6 5
4 3
5 6 5
3 4 3
6
4
- 5
- 3
-0000-
r 5
3
6
4
-#0-
5
3
A C C O M r A N I M /; N T / i c ; O A/ /' A N 1 M E N T 34'
f,
^ 4 II J II j | J 1
^4
_ a
7 6 5 7 6 5
r L' r r. r t
1
3 5 4-1- 3
5 4 3 5 4 3
3
1 j - i iliJ-ii
2 3
i n the slightly varied example (bb). I n c the c h o r d of the seventh
is taken and its t h i r d h e l d w h i l e the seventh a n d fifth descend to
"r Pr p
the sixth and raised f o u r t h . I n d, the accompanist may select the re-
>^
q u i r e d realization f r o m those i l l u s t r a t e d i n f o u r , three, and t w o
f.
f
r 1 1 y 1
parts. A nine-four c h o r d is retarded by an appoggiatura i n e. Since
the ornament disagrees completely w i t h the figures i t is replaced
by a rest.
Figure 413
i
JI. i -
l I "3*"}: II
r; r p r r^ T r
1
l - S U g ! .11 r f aI - i [ P 11 1 1
p 3
1 r.
44- -
1 r 4 3
1
^ ^
a means of d i f f e r e n t i a t i n g the accompaniment f r o m the solo. A
F=
^ H 1 le 1- U 6
m o m e n t a r y w i t h h o l d i n g of the accompaniment gives the soloist an
r
o p p o r t u n i t y to i n t r o d u c e the appoggiaturas alone. T h i s m o d i f i -
'r r
1 J J
m '
poggiaturas w o u l d prove that the example is w r o n g , its errors being
ilu un
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
7 7 a poor or poorly conceived piece. Those w h o wish to t h i n k correctly
4 3 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 accom-
r 7 6 5 V
4
-
3
7 6
5
p 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
MU
tasto solo. I n b, i f an accompaniment were realized f r o m the figures,
gcr'mr
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 ex-
ceedingly ugly. I n the appended accompaniment the correct figures
1 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 ac-
cented fifths." Passages l i k e this can be f o u n d i n l i g h t , present-day
I J 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
A responsibility for such blemishes. I n o u r example i t is advisable that
4 3 7 - 4b 3
6 6
4 3 b o t h hands pause for the d u r a t i o n of the appoggiatura. I n d the ac-
4 5!>
c 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
i
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
y > i > 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).
J44 I < < O M VA N 1 M E N T / c; r; o M v A NI M EN r 345
ol (he p r i n c i p a l p a n . A composcr coulcl only he madc unliappy by a
I t r i c t resolution of the dissonances or the slightesl alteration of the
-4 J 6 9 80 5 6 6
6 6 6 6
r 4
11
6 6
^
6 6 6 6
u f i
6 5l>
2
7 6 6 7 6 6 7 6 6 7 6 5! "5
p T
J J. .
5 5 _== Z~
tr=f 7
"p 6
1
5 6 5 6
7 6 6 4 3 4 3 4
i 1 J - 4 JJ, W 6
4
-
-
5
3
-
-
6
4
6 6
4 3-6. 7 6 6 9 8 6 6
5t 4 3
x J *r & i
j iVJiiJflJBHiJi
6 6 7 8 6
4 5 6 4
6 5
9 8 7 2 3 6 m t ^ ^
/ f
. V 9 ^1 fl
r p
K K IK
7 8 9 10 6 5
5 6 7 5 4 3
6 6^6 r
2
A C C OMPAN1 M / N T A C C O M r A NI M E N T 347
Figure 416
a. b.
P
- i *00 00 0000
6 6 7 S 6 7 8 9 10 6 5
3 4 E 6 4 5 6 7 7 4 3 6 7 6 5l>
5 ft
*.
t4r
7
u
6 5
>4r
7
6 5
H-p^
5 6
S
6
\
5b
t
\ ' *t * f* tus
5 4 3 5 4 3
A
i .
U
<aa , i .
H ~
hjn
I? 15 6 '7 IS 6 7
6 ^ 6 -6- i
X /y. | 0 . II a 1
5 6 |4 |5 6 4 |5 6 |4
2 2 2
b7 7 6 7 6
19. T h e short, invariable appoggiatura is n o t realized. I n fact
i t calis for no m o d i f i c a t i o n of the accompaniment. However, a few
examples (Figure 416) i n a slow tempo are illustrated here w h i c h
cali for certain precautions. I n a over the second g-sharp o n l y the
7
r r r r
d i m i n i s h e d fifth and t h i r d may be played, n o t the seven-five c h o r d
or the c h o r d of the s i x t h . I n b and c rests are good. T h e y b r i n g
about a r h y t h m i c m o d i f i c a t i o n and help to clarify the appoggiatura
i n b. I n c they are r e q u i r e d as a means of a v o i d i n g ugly accented
fifths between the t h i r d above the bass and the p r i n c i p a l part. I n
d also, the rests lessen the harshness of the chords w h i c h result f r o m
the successive appoggiaturas. I n dd, w i t h its two-part appoggiaturas,
the r i g h t h a n d should n o t play at a l l , for i t is better to o m i t chords
T Note that none of these is w r i t t e n i n small n o t a t i o n .
p
5b
348 A ( : ( : O M PA N 1M E N T A C C O M P A N I M E N T 349
solo. E x a m p l e d i n a r a p i d l e m p o w i t l i o u t the s u p p o r t i n g thirds is
a c c o m p a n i e d as i l l u s t r a t e d i n e.
Figure 417 ,
m
6 5 6 6
FTTTT
6 98 6 6 6
|
5
JW>J JM M>J J J
M TT TTrTTt rrf
SYNCOPATED NOTES 1
l rf r
But w h e n a chordal tone is retarded by syncopation the accompani-
ment is fashioned i n the manner discussed i n connection w i t h ap-
poggiaturas. T h e r e t a r d i n g tone may be played or o m i t t e d , the 1 1 1. 1 1 1
harmony may be reduced to those figures w h i c h agree w i t h the re-
t a r d i n g and retarded tones (b), rests may be inserted (c), or the
syncopations may be played i n t h e i r entirety (d). I n c the r i g h t
h a n d must leave the keys i m m e d i a t e l y on the entrance of d-sharp
i n the p r i n c i p a l part. I f Example d is slow a n d supported by thirds
(dd) the three-part accompaniment is identical w i t h dd. B u t i n other
than a slow or, at most, modrate tempo i t is accompanied tasto
9 8 7 6-5
7 6 5 4 - 3
1 Cf. A r n o l d , op. cit., p p . 431 ff.
2 Die Rckungen. T h e term has no unequivocal English parallel. Syncopations
is satisfactory provided that the term is stripped of the narrow meaning that i t derives
3. R a p i d syncopations are never played as such by the accom-
f r o m its use i n strict counterpoint, and understood only i n the sense of r h y t h m i c a l l y panist b u t are supported by chords c o n t a i n i n g anticipations or re-
shifted notes. Arnold's translation, " D r i v i n g Notes," is an od English term. Cf.
tardations 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 r n o l d , op. cit., p p . 127 ff., Note g.
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 93*
of wliether they lie i n the p r i n c i p a l part or iti the bass, the accom-
panist plays i n an even r h y t h m as, for example, i n Figui e.418, where THE DOTTIil) COMI'OUNI) AIM'OGCIATURA 1
each of his chords has the valu of a quarter note. T h u s w h e n the 1. T h i s section cannot be read proitably unless the reader is
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). f a m i l i a r w i t h the earlier discussion w h i c h appears i n Part I of this
Figure 418 Essay. I f he is not, m u c h of the present treatment w i l l be incompre-
2
M pr p 1 r
Allegro 1
bearing o n h a r m o n y .
2 J I I 2. T h e d o t t e d c o m p o u n d appoggiatura appears only i n pieces
6 5 that are dependent o n taste and affect, i n w h i c h the accompaniment
5 b 2 must be especially delicate. T h e proper chord of a bass note is more
4. T h e accompaniment to chromatic syncopations must be deli- retarded by this ornament than by the appoggiatura, for i n execu-
cate i n order to b r i n g t h e m i n t o relief and avoid ugly clashes. I n t i o n the p r i n c i p a l tone of the p r i n c i p a l part does n o t enter u n t i l the
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 last short note of the ornament has been played. W i t h respect to
taken. I n b the accompaniment consists of a nice i m i t a t i o n of the loudness and softness, the performance of o u r embellishment is the
chromatic tones (bb). Should a f u l l e r setting be r e q u i r e d , the inter- same as that of the simple appoggiatura; the retarded p r i n c i p a l
vals 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 signa- tone is played softly and the r e t a r d i n g tone l o u d l y . I t w o u l d seem
tures of bb. A l l of these examples presuppose a slow or, at most, a that these factors w o u l d certainly lead to an exact figuring of this
modrate tempo. o r i g i n a l l y vocal embellishment. B u t u n f o r t u n a t e l y the same com-
Figure 419 k
-JT TI mn 1 p l a i n t must be raised here as i n the case of the appoggiatura. U p to
now, figurists have n o t treated the ornament w i t h due cre.
pr^ ^p 1
^1 3. I n accompanying a bass note over w h i c h a dotted c o m p o u n d
r
appoggiatura appears, the same expedients are necessary as were
1
0 i>
- illustrated i n connection w i t h the appoggiatura. T h e indicated har-
6 4 6 ^
1 mony may be changed, reduced, or at times even o m i t t e d . W h e n the
ornament appears i n succession w i t h only a few chords, rests are n o t
always good except i n the slowest tempo, for the numerous d i v i d e d
y
b7 1|
beats of the r i g h t h a n d can easily d i s t u r b the sustained melody.
4. Chords that are struck o n d i v i d e d beats usually enter o n the
second half of the bass note. B u t i f the latter is of great length, its
second half is subdivided and the delayed c h o r d enters o n the last
5b quarter of its total length.
5. I n the examples of Figure 420 a second above the bass is re-
_ bb. 1 tarded by o u r ornament. A g a i n i n this section the usual figures
1/
=
#
i! jn
FJ ~JTp7- 1
* v
w h i c h appear w i t h each example have been c o m p u t e d w i t h o u t
reference to the ornament; b u t the correct signatures appear i n the
T illustrations of the accompaniments. I n a the r i g h t hand pauses o n
6 6 6 5 5-6 5 5> 6 5 ^ "5-
1 Cf. A r n o l d , op. cit., p p . 433 ff.
3 2 3 - 3 - 2 - 2 Cf. Ch. I I , " T h e Compound Appoggiatura," f 7 ff.
j 5 2 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 cor- (X)
rect divisin or the o r n a m e n t can be seen i n a and its usual nota-
r r r
t 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
1 11
6 1 '7 6
and the six-five chord is taken afterwards. I n e, i f a t h i n accompani-
m 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 neces-
sary; 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
r
I
1 r
7 6
T rrrr
16 '7 6
5b 5b
7 6
5b-
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 accom-
p 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 pass-
i 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 -2-3 5 b .2-3 5
enters alone f o l l o w e d by the t h i r d . I n m there are three possible ac-
companiments: 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
5b
r r r : r r
56 '6 9 8 8 8 5 6
T
6
5b 4 3 6
554 A C COMPANIM E N T / ; C O M I' A N I M E N 7 755
I
I ^ 4
I i
JCZ*
r 4 3 6 6
- /\-w
% | i
T I I
4
8
3
7 Tfr 6 77 - 6 .
4 3
7J|J^.J i i j | ^ J ^ J J, second. I n the examples of Figure 421 the chord of the seventh is
rr
delayed by o u r ornament. E i t h e r one of the t w o accompaniments
rr re rr U.
for an embellishment at a l l i t should be the r a p i d c o m p o u n d ap-
poggiatura. I t is best to accompany our o r n a m e n t w i t h an eighth
7 6
r b7
3
rest f o l l o w e d by 5 \ i n three parts. As for the first example (d), the
t r i a d may also be played i n three parts. Example e is not good, for
the ornament makes the passage sound l i k e a d u l l succession of
sixths and almost obliterates the seventh f r o m w h i c h the progres-
r r n r
7 - 6
2- 3
sion gains its attractiveness. T h e t h i r d should be taken on the en-
trance of the ornament, and succeeded by the sixth and t h i r d o n the
last quarter. Example /, w i t h its preceding d i m i n i s h e d fifth, is
better. A three-part five-three chord is played on the first quarter
and f o l l o w e d by the six-five chord. Either one of the accompani-
A C ; O M /* A N I M /< N 7 ? 57
ments to g may be useil; or as an altcrnative, pause on the lirst
7 7
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 accom-
p 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
the t r i a d is retarded. I n e the accompaniment may be 2 3 i n three
parts, or an eighth rest f o l l o w e d by a t r i a d . I n / the accompanist
7 8.
takes 4 3 i n three parts, or pauses for an eighth before p l a y i n g the
t r i a d . I n g the chord of the n i n t h and its resolution are played. B u t
i n h the nine-four c h o r d is r e q u i r e d , f o l l o w e d by its resolution. I n i,
7 T
5 and then 3 are played.
Figure 422
? r r r f\H| rrifirl
6
1
6
4
6 6
6
54
5 42
6
6 6 6 6 6 5 6 6
Ah4
6 6 6 '6 5 6 ^ >4 le 1
5
J5<V A C C O Ai P /l /V / A i fi JV 7 A e; c o A/ /*,/ N I A /; N T 159
Figure 42} 1
prrpp^ i r r r i mi T 5 b
F F 'r-'ij 'r
'6 5 b 6 5b
4 '5 6 8 - 7 78 - - 7
7 4 3
- 5 - 5
gEg 1i 4M
- 7 6 - -6. 6 -^ 6 6 -6- - 6
- 5 6 t.s. 6 5 4 3 5b 4 5b
3 -
r r r f r p-m 17 8
2 3
1
7
4
2
5
3
8 7
4
2
8
5
3
4
2
7
4
2
8
5
3
J J 11 r
--
- - -
L r ' T r "r'r p T r rr r r r r r r
# a
r r ? 1 1 11 1
7 8 Ai. 7 8 7 8
7 8 lf 6 9 8 Ijt
k k 4 5 4 5 4 5
4 3
7 8 6 L 6 9 8 6 2 3 2 3 2 3
i ni J
4 3
r 6
4
8
5
le" Ir 'IT
4 3
8
4
7
-
y.^y
8. I n Figure 423, Examples a and b, the six-five c h o r d is retarded 2 3 2 1-
o p t i o n a l ; over the note c, 4 or 4 may be taken. T h e same applies to
c. I n b and c the nine-four c h o r d and i n d the nine-seven are re-
tarded. T h e accompaniment to the final example may be i n three
6 '5 f or f o u r parts. A n eighth rest is i n t r o d u c e d w i t h the ornament, a n d
4 3 4 - 3 5 4 3 succeeded by nine-seven.
Figure 425
9, 8
4 3
5
' r l ^ l / l f l K ' l . 1 r r r"'' i r " ?'
1 '4 '3 8
5
'5
3
r4 3
1
6 5 5 6 5 6 5
i Ai
4 3 3 4 3 4 3
d.
F F 1
t.s. 6
r" 5
if
\i
1 r
16
r
15
H? f|7
1
6 6
f
6
'
t.s.
9
4
8
3
X
4 3 5 4 3 5 4 - 3 5
i ^iJ i ~m h
rr 1 r 1v
r^f "
r~ r r *r r r rr
g =p "* n
M
T '9 68 75
6
6
4
5
5
t
16 t.s.
9
7
8
6
7
5
'7 6 5 l 7 6 5 '7 6 5
5 4 3 5 u - 4 3 5 4 3
)2 A C C OM P A N IM E N T ACCOMPANIMENT 3<)
Figure 426
THE DOTTED SLIDE
mm i
1
m
1. A l l that has been said i n the first t w o paragraphs of the pre-
ceding section about p r i o r knowledge of the d o t t e d c o m p o u n d ap-
poggiatura as discussed i n the first part of this Essay, the i m p o r t a n t 2
rr r rJ J J f l l f l f l f l U l J J I
p r i n c i p a l tone together have a valu no greater t h a n a quarter note,
or i f the d o t t e d d is retained over the last bass note i n the bar, the
effect may be acceptable. B u t i t is n o t good w h e n the divisin is
11
6 - 5 7 8 7 - 8
such that the / i n the bass a n d p r i n c i p a l part are played s i m u l - 4 - 3 4 5 4 - 5
taneously. T h e empty octave after an i n s i p i d f o u r t h makes an awk- 2 3 2 - 3
r
and t h i r d similarly, as illustrated. T o do justice to b(y) the e m p t y
r rr
octave should n o t be h e l d too l o n g ; b u t i f i t is, a n d the / enters over
c i n the bass, 4 3 is played instead of the t r i a d .
7 - 8 7
4 5 4 - 5 5
1 Cf. Ch. V I , " T h e D o t t e d C o m p o u n d A p p o g g i a t u r a , " N o t e 1.
2 Cf. Ch. I I , " T h e Slide," 10 ff. 2 3 2 - 3
)6 4 A (1 C O M V A N IM E N T A C C O M I' A N I M E N I 363
h.
"1 played, because of the sixth 011 which the slide commences. B u t ,
since only the t r i a d and no other chord its the bass, the accom-
1 i -=t=
S-
w
m T=F=\ -H 1 panist must take the one i n l e i v a l , aside f r o m the octave, w h i c h the
y U- 7 8
J
7
"
7 8
11 r
16
1 c h o r d of the sixth and the t r i a d have i n c o m m o n , namely, the t h i r d ;
7 4 3 or he may play the bass alone. W h e n a piece begins i n this manner,
5 5 4 3 5
2 2 i t is best n o t to play the bass to the ornament. I f the slide i n e is of
n o r m a l l e n g t h , that is, i f g i n the p r i n c i p a l part enters o n the last
*(*>!_
ij b i n the bass, the complete six-five chord should be repeated o n the
r r"
V: ii ~
0 this b, the accompaniment must be fashioned i n the manner of the
'9 8 6
9
4
-s le le le P. appended i l l u s t r a t i o n . B o t h examples under / take the accompani-
4 3 5 - 3 1 m e n t w h i c h has been placed between t h e m . I n g the six-four c h o r d
must enter o n the second quarter of b o t h examples. I n h, the four-
a -1 1 6
6
three c h o r d is played and i n i, a three-part 4 3 . I f , i n this last ex-
ample, the first note of the slide is h e l d beyond its n o r m a l l e n g t h ,
rj F-t c r 1 f
i
*fc H fi -
^ H the t h i r d should be played o n the last eighth and the sixth re-
peated at the same p o i n t . T h i s is shown i n the final i l l u s t r a t i o n .
6 4
3 Figure 427
5
1 ,lili 1
n' 1 I 4 5 4 6 5
6 6 6
1
2 7 6
S *
1r r r
= F =
1
&m
6 43 4 3
f
; 9 8
4 '( 4 3
2 5
r *r
accompanist is responsible for more than a correct realization of a
r, r cr cccc ce Ct
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. Never-
6 T 8 '-7
theless, he cannot c o u n t o n the applause of his audience, f o r i t is
5 4 5 4 - - 3 5 4 6 -5
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 extem-
poraneously 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
PERFORMANCE 2 Franrois Couperin i n L'Art de toucher le clavecn (pp. 44-45) expresses himself
just as b i t t e r l y . " I f i t were a question of choosing to b r i n g to perfection either the
1. I t is w r o n g t o believe that the rules of good performance p l a y i n g of pieces or accompaniments, I suspect that vanity w o u l d lead me to prefer
p e r t a i n o n l y to the p l a y i n g of solos. T h e m a t e r i a l o n performance
1 pieces. I a d m i t that n o t h i n g is more d i v e r t i n g by itself, or brings us more i n t o
the company of others t h a n to be a good accompanist. B u t what injustice! W e are
w h i c h is contained i n the first p a r t of this Essay (to w h i c h the reader the last to be praised at concerts. O n such occasions the accompanist is regarded merely
is referred) must also be observed i n certain respects i n fashioning as the f o u n d a t i o n of an edifice w h i c h , a l t h o u g h i t supports everything, is almost
never mentioned. O n the other h a n d , those w h o excel i n pieces revel i n the a t t e n t i o n
i Handsachen. Cf. Pt. I , Foreword, Note 2. and applause of the audience."
368 ACCOMPANIMENT A C C O M P A N I M E N T 369
of the p r i n c i p a l par. 1 le need lee 1 no anxiety over 11 is being forgot- elirninated all dillicullies connecled w i t h the performance of a
ten 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 understand- piano, l only all harpsichords were s i m i l a r l y constructed as a
i n g listener does not easily miss a n y t h i n g . I n his soul's perception t r i b u t e to good tastel
melody and harmony are inseparable. Yet, should the o p p o r t u n i t y 6. B u t aside f r o m this i n v e n t i o n , the clavichord and pianoforte
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 enjoy great advantages over the harpsichord and organ because of
pauses or performs p l a i n notes the accompanist may open the d r a f t the many ways i n w h i c h t h e i r v o l u m e can be gradually changed.
o n his damped fire. B u t this demands great a b i l i t y and an under- T h e pedal o n the last-named i n s t r u m e n t does commendable service
standing of the t r u e content of a piece. I n t r u t h , i t suffices to realize w h e n the bass is not too r a p i d ; and i t can be made more penetrat-
an accompaniment w h i c h does n o t h i n g more than meet the re- i n g by means of a sixteen-foot registration. However, rather than
quirements, whether expressly called for or not, of Paragraph 19 mutlate the melody of the bass, the pedal should be o m i t t e d w h e n
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 n o t a l l of its notes can be played by the feet, and the lowest p a r t
these precepts, along w i t h questions of pur style, to the construc- played solely by the left h a n d .
t i o n of a fine accompaniment. 7. T h e r e are certain general rules that govern the performance
4. I t is sometimes necessary and n o t really i m p r o p e r for the of forte and p i a n o o n the organ and the two-manual harpsichord:
accompanist to discuss a piece w i t h the performer of the p r i n c i p a l fortissimo and forte are played o n the louder m a n u a l . Fortissimo
part before its performance and let h i m decide o n the liberties that may be attained by d u p l i c a t i n g i n the left h a n d a l l tones of con-
are to be taken i n the accompaniment. Some w a n t the accompanist sonant chords, and the consonant tones of dissonant chords w h e n
to be greatly restricted; others not. Since opinin varies so greatly the nature of the bass makes i t possible to d o so. T h e l o w register
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 must be avoided, the d o u b l e d tones b e i n g placed cise to the r i g h t
to seek a p r e l i m i n a r y understanding. h a n d i n such a manner that the notes of b o t h hands a d j o i n , leaving
5. W e shall open the subject of performance by discussing no i n t e r v e n i n g space. Otherwise, the r u m b l i n g l o w notes w i l l crate
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 a miserable b l u r . A simple octave d o u b l i n g of the bass by the left
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 h a n d also has a penetrating effect; i t is indispensable w h e n the
w i t h regard to forte and p i a n o . T o make amends for the imperfec-
3 notes are n o t very r a p i d a n d are easily played, b u t yet express a
t 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 well-defined theme w i t h a f a i r l y w i d e range. These octave doublings
increased or reduced. B u t care must be exercised to i n c l u d e a l l are very good for i m i t a t i o n s w h i c h are to be l o u d l y p e r f o r m e d or
necessary tones and avoid incorrect doublings. Some resort to a for the entrance of fugal subjeets. B u t w h e n a subject or any pas-
h i g h l y detached touch i n order to express a piano, b u t the per- sage of significance contains lively figuration w h i c h cannot be easily
formance suffers tremendously by this; and even the most detached executed by one h a n d i n octaves, at least the p r i n c i p a l tones should
staccato performance requires pressure. I t is better to reduce the be d o u b l e d a n d the others played simply (Figure 428). T h e r i g h t
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. h a n d contines w i t h its chords, w h i c h cannot be readily o m i t t e d
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 pos-
4 f r o m c o n t r a p u n t a l works. I n a mezzo forte the left h a n d may play
sible to increase or decrease the registration by means of pedis, the bass as w r i t t e n o n the louder m a n u a l w h i l e the r i g h t accom-
w h i l e playing, has made the harpsichord, p a r t i c u l a r l y the single- panies o n the softer. I n a piano b o t h hands use the softer m a n u a l .
m 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 , A pianissimo can be expressed o n this m a n u a l , b u t w i t h reduced
parts. I n order to practice these precepts the ear must p r o v i d e con-
s M a r p u r g (Der Critischer Musicus an der Spree, 26 August, 1749) writes, "Clever
artists . . . know how to deceive the ear at the harpsichord i n such a manner that we
stant assistance, for indications are n o t always exact; moreover,
believe that we hear soft and l o u d tones, a l t h o u g h the quills deliver a l l w i t h almost matters of t o n a l v o l u m e depend o n the desires of the p e r f o r m e r
equal forc."
of the p r i n c i p a l part.
Si'c for H o h l f e l d . Cf. Part I I , I n t r o d u c t i o n , f 2 a n d Note 1.
A (COMPAIA! E N T A C C O M P A N I M I:N T ?7'
Figure 429 Allegro
r r p p 6
8. A n accompanist must be careful to observe whether the h i g h
a n d l o w registers o the singer and instrumentalist w h o m he ac-
companies are equally l o u d , and whether his tones are just as clear
k 6
f r o m a distance as near by. I f they are not, he must m o d i f y his play-
i n g i n order n o t to cover the weak tones w i t h a l o u d accompani-
m e n t . For example, i t is c o m m o n knowledge that the upper tones of
the transverse ute are b r i l l i a n t , b u t the lower tones not, a l t h o u g h
otherwise its tones are u n i f o r m .
9. A forte i n a t u t t i passage is to be differentiated f r o m a forte
that accompanies a soloist. T h e latter must be accurately propor-
r r r r 'r r r t
tioned to the strength of the p r i n c i p a l part, b u t the f o r m e r can, of to play one note somewhat louder than indicated and thereby re-
course, be m u c h louder. t a i n order i n the ensemble, t h a n to observe a l l indications w i t h
10. M o d u l a t o r y changes are announced by a reinforced accom- exaggerated exactness and f a i l to give an indispensable signal to
p a n i m e n t . T h u s , for example, i n a fortissimo, a f u l l c h o r d is taken the others. T h e r e is a possibility that the resultant confusin m i g h t
by b o t h hands and arpeggiated r a p i d l y upwards, the bass w i t h its r u i n a considerable p a r t of a composition, i n t o w h i c h the com-
octave and the tones i n the r i g h t h a n d being retained (Figure 429, poser 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
Example ). W h e n certain passages are repeated i n transposition, places the i n s t r u m e n t that first resumes is the leader, even i f i t
d o u b l e o n l y the p r i n c i p a l bass notes i n the interests of greater should be the viola.
clarity (b). B u t i f such passages are so fashioned that they can be 12. Notes that i n t r o d u c e closing cadenees are played l o u d l y re-
played t h r o u g h o u t i n octaves, differentiate the p r i n c i p a l notes gardless of whether they carry express indications. By this means
t h r o u g h the use of reinforced chords, played, perhaps, by b o t h 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 ex-
hands. T h e notes referred to are those i n c over w h i c h a stroke has pected, for w h i c h the accompanist w i l l halt. T h i s signal is especially
been placed. Aside f r o m these cases, chords struck d u r i n g short necessary i n allegros, for elaborated cadenees are more usual i n
rests achieve a distinct weight and greatly assist the other per- 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
formers, for i t is generally acknowledged that, except for the the cadenee w i t h a retarded forte so that the accompanist may k n o w
keyboard, such rests present considerable difficulties (d). that the cadenee is going to be elaborated.
T h i s last suggestion applies to a l l passages i n w h i c h short rests 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 , accord-
appear. i 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 pianis-
11. T h e first note after a fermata or general pause is struck
simo, the accompanist must f o l l o w w i t h the greatest exactness.
l o u d l y . Even i f the note is m a r k e d piano, a certain weight is
6
15. T h e sixteenths i n the examples of Figure 430 sound i n s i p i d 17. W h e n many repeated s l u r r e d notes appear i n a slow tempo
i n an adagio i f dots are n o t placed between t h e m . I t is advisable to and the lower octave is to be taken w i t h t h e m , the d o u b l i n g s h o u l d
correct this f a u l t i n performance. Because proper exactness is o f t e n oceur o n only the first a n d t h i r d notes, or, i n a t r i p l e t , o n only the
lacking i n the n o t a t i o n of d o t t e d notes, a general r u l e of p e r f o r m - first. F u r t h e r m o r e , these tones i n the lower octave should be h e l d
ance has been established w h i c h , however, suffers many exceptions. (Figure 432, Example a ) . B u t i f such repeated notes are to be played
A c c o r d i n g to this r u l e , the notes w h i c h f o l l o w the dots are to be
played i n the most r a p i d manner; a n d o f t e n they s h o u l d be. B u t
sometimes notes i n other parts, w i t h w h i c h these must enter, are so a. " i. 5
d i v i d e d that a m o d i f i c a t i o n of the r u l e is r e q u i r e d . A g a i n , a suave 'fffff 1
affect, w h i c h w i l l n o t survive the essentially defiant character of
d o t t e d notes, obliges the p e r f o r m e r slightly to shorten the d o t t e d
note. Henee, i f only one k i n d of execution is adopted as the basic
i
'r r " k -- L U J 1
p r i n c i p i e of performance, the other k i n d s w i l l be lost.
Figure 430 6 6
+. +-2 ^ 5 6 5 4 3 6
m *
i cJrrlrruficLjLfr^^ccJ 9 = 4 \ = = =#==)
6 Dots in signatures were used much earlier by Johann Staden (Kurzer una ein-
fltiger Bericht, 1626). T h e i r use is described in Arnold, op. cit
Staden's or Bach's practice was widely followed.
p. 105. Neither r
374 A C COMPAIA! E N T A C C O M P A N I M E N I 175
staccato a n d rapidly so that they sound loudly (l>), the execution i n realized. A legato appoggiatura and relase do not go well i n a
c may be employed However, the passage nnrsl not last long, for i f staccato passage.
i t does the w r k t s w i l l grow stiff and exhausted. Such being the case, 20. I n slow or modrate lempos, caesurae are usually extended
i t is better to play the notes i n the manner of other d r u m basses as beyond their n o r m a l l e n g t h , especially when the rests and notes i n
described i n the I n t r o d u c t i o n to Part I , Paragraph 9 a . 7
the bass are the same as those i n the other parts, or i n the p r i n c i p a l
18. I n a concert or any heavily scored piece, w h e n the bass a n d part i n the case of a solo. Great pains must be taken to achieve a u n i -
r i p i e n o parts h o l d a tone w h i l e the p r i n c i p a l p a r t contines w i t h f o r m performance and prevent anyone's c o m i n g i n before or after
its o w n m o t i o n , even v a r y i n g i t at times w i t h syncopations, i t is the others. T h i s applies to jermate, cadenees, etc., as w e l l as caesurae.
wise f o r the accompanist to m a i n t a i n the beat a n d guide the other I t is customary to drag a b i t a n d depart somewhat f r o m a strict ob-
performers by p l a y i n g a c h o r d w i t h the r i g h t h a n d o n the divisions servance of the bar, for the note before the rest as w e l l as the rest i t -
of the bar even t h o u g h the h a r m o n y does n o t change. I f the bass self is extended beyond its notated l e n g t h . Aside f r o m the u n i -
alone has the held note, the accompanist may repeat solely the bass f o r m i t y w h i c h this manner of execution achieves, the passage ac-
note just as i t dies out. B u t this must n o t be done "against the beat," quires an impressiveness w h i c h places i t i n relief (Figure 433).
as the expression goes. I n a d u p l e bar the repetitions may oceur at
the b e g i n n i n g and i n the m i d d l e , according to its divisions a n d the Figure 433
pace I n a t r i p l e bar only the downbeat is played. B u t i f i n the
course of a passage a forte appears after a piano, the accompanist
should give u p the prescribed divisin and, observing closely, play
the bass i n the left h a n d a n d the c h o r d i n the r i g h t d i r e c t l y o n the
entrance of the forte i n a fortissimo b o t h hands take a f u l l c h o r d .
H e r e again, because of a lack of signs, the entrance of l o u d a n d soft
cannot be accurately indicated i n the bass or the figures.
19. W h e n the bass a n d several other parts p e r f o r m t h e i r notes i -
X
f p r *p
pizzicato, the accompanist pauses, leaving the passage to the cellos
and d o u b l e basses. B u t i f only the bass is pizzicato the accompanist
11 1 E
plays staccato, e m p l o y i n g his left hand alone, unless the composer
has w i t h good reason placed figures over the notes, i n w h i c h case the
r i g h t h a n d adds its chords, w h i c h are also played staccato. W h e n
21. Closing t r i l l s are o f t e n extended, regardless of the tempo.
pizzicato a n d coll'arco are interchanged after b u t a few notes, the
B u t i f a piece has reprises, the extensin of t r i l l a n d accompanying
one must be sharply distinguished f r o m the other, regardless of
bass note takes place only at the end of the final r e p e t i t i o n . By this
whether this is achieved by way of a pause, a detached tasto solo or
means weight is added to the conclusin a n d the audience is made
unisoni, or a staccato performance of the chords. I f d u r i n g this re-
to feel that the piece is about over. T h i s k i n d of cise, however,
q u i r e d detaching the p r i n c i p a l part has appoggiaturas, w h i c h u n d e r
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
n o r m a l c o n d i t i o m w o u l d be played i n the accompaniment, they
the accompanist must be extremely w a t c h f u l , especially because
should be o m i t t e d and only the r e m a i n i n g appropriate figures
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,
7 See also Arnold bp. ctt pp 774 ff., where Heinichen's views are stated and
Saint Lambert s mentioned. T h e latter's opinions appear on p. 196 of that book. Bach Example a). I t is understood, moreover, that the accompanist does
is in agreement with both 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
37* A C C O MPA N I M E N T A C C O M P A N 1M E N T 377
the last of these bass notes is the f i l t l i of the key, it should be held Figure 435
" J 1
r T ^ r f r
accompanist of a p o i n t w h i c h we have stressed repeatedly, namely,
that care must be taken to construct a good melody i n the u p p e r
r 1 1
part. A n d i n connection w i t h this, the best d i s t r i b u t i o n s are to be
taken at a l l possible times. Should i t become necessary to ascend
r B m i i ^T^m i
3
above the p r i n c i p a l part, tones must be placed i n the u p p e r part
r
w h i c h move i n thirds or sixths w i t h lower m i d d l e parts (a), the
Figure 437
a.
8.U7 6, 5j
J I I J
i J 1 i
h - 5l b - 6 4 3 b - 6 4 3 b- - 1
this procedure is a r e q u i r e m e n t of good p l a n n i n g , for p r i n c i p a l 1. M y readers w i l l have learned f r o m Part I of this Essay that
parts and others too, b u t n o t the c o n t i n u o , may leap a b r u p t l y f r o m
closing cadenees appear b o t h w i t h a n d w i t h o u t elaborations. I n 2
11 1 1
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
i i 1
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 ac-
va
c o r d i n g to the requirements of tempo and affect.
6
3. W h e n the bass of a piece i n more t h a n t w o parts has a rest 4 5 4
after the b e g i n n i n g of an elaborated cadenee, the accompanist
6. W h e n , as i n Figure 440, a composer, u n m i n d f u l of elabora-
strikes the t r i a d o n the d o m i n a n t at the conclusin of the cadenza,
tions, allows his bass to continu its m o t i o n t h r o u g h a closing
regardless of whether i t is announced by a t r i l l , or l a c k i n g this,
cadenee, the accompanist holds the first g and repeats i t o n the
some other figure, or a pianissimo, and then pauses again i f other
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
rests f o l l o w .
oceurs i n allegros, requires an attentive ear. 3
m J J U J U J J J
r r r " r r r r r r rrr
i 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 , r r r r 11
because the listener w i l l be p r o p e r l y prepared, the preceding six- 6 7 65 7 65
f 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. 6 5 43 5 43
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
10. H a l f cadenees, i n w h i c h there appears over the next to last
t r i l l of cadenzas to be played on the fifth above the bass, or o n the
note of a piece 7 6, or 7 6$, are n o longer as f r e q u e n t as they used
sixth, occasionally, i n the m i n o r mode. Because the accompanist
to be. T h e chord of the seventh is h e l d u n t i l the p r i n c i p a l per-
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
former plays the r e s o l u t i o n , w h i c h is usually a l o n g t r i l l o n the
must be extremely careful, i n the case of cadenzas that are fashioned
sixth or t h i r d over the bass, o f t e n i n the wake of a few embellish-
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
ments. T h e accompanist t h e n plays and sustains a c h o r d of 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
sixth w h i c h may be arpeggiated i n a slow tempo (Figure 442).
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
Figure 442
p r e m a t u r e l y there is a danger that many subsequent tones w i l l ap-
jJ I
pear 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 6 7
make every effort i n such a s i t u a t i o n to shorten and conclude his 1 6 I .1 II
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
11. W h e n an aria or other piece i n the m a j o r mode changes 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
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
pleasure to w a i t for an accompanist w h o does n o t play his t r i a d
Figure 443
7kn
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
Andante
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 per-
formers 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, lead-
i 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 as-
surance 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 inter- 6 \7 6> 5 \
4 5 4
mediate notes are played w i t h o u t any change i n the r i g h t hand,
beyond itsiwritten length arid thereby delays the entrance of a until the last quarter
despite the signatures (a). I n a slow tempo the signatures are m o d i - of the bar. Further, since this is a closing cadenee, the a is trilled beyond its written
fied as indicated i n b a n d the h o l d s.tarts over d.* 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.
T h e reason for the modificador! is that the first b in each example is extended
jfy A CC O A i PAI M E N T A <; C O A/ P A N / A/ E N I ? ,V 5
the second section ai'ter the cadenza must be major even i n the ab- other ernbellishinenis are I I I I K K I I K <<l, tasto solo becomes indis-
sence 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 pensable. If a l o r i e appears al 11 imclei the held bass, the r i g h t hand
i n the m a j o r mode, for composers sometimes approach the cadenza may strike its c h o r d , sharply delached or very r a p i d l y arpeggiated,
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 against the bass note.
sixth a n d seventh become m i n o r , the last chord, f o l l o w i n g the
5
Figure 445
cadenza, must be major (Figure 4 4 3 ) . a.
12. I n F i g u r e 444 the signatures have been constructed w i t h o u t
regard to an extended cadenee. T h e accompanist does n o t play the
6 5
prescribed progression, b u t realizes 4 3 over g instead of 4 3, once
he has observed that the p r i n c i p a l part w i l l be prolonged, whether
3. W h e n the p r i n c i p a l p a r t broadens before entering a fermata,
w i t h or w i t h o u t elaborations. A l l similar cases should be realized
the accompanist must d o likewise. T h e notes i n question are
i n this manner, regardless of their signatures.
m a r k e d w i t h crosses i n F i g u r e 446. Should the p r i n c i p a l p e r f o r m e r
Figure 444 h o l d the a and t h e n i n t r o d u c e embellishments, the accompanist
contines u p to the /-sharp a n d remains o n i t and its respective
c h o r d u n t i l he observes that the appoggiatura over the f o l l o w i n g
bass note has appeared, w h e r e u p o n he plays g w i t h the left h a n d
Figure 446
THE FERMATA
mm
1
a r\
5 6 66 -4
9
'B
soloist. H e knows that a good accompaniment brings a piece to l i f e ;
that, o n the other h a n d , the best performer suffers immeasurably
f r o m an i n e p t accompaniment, for a l l of his nuances w i l l be r u i n e d
2 - by i t a n d , even worse, his appropriate disposition w i l l be destroyed.
I n short, a discreet accompanist must have a fine musical soul,
SOME REFINEMENTS OF ACCOMPANIMENT 1 w h i c h comprises great understanding and good w i l l .
1. I t is w o r t h repeating that the refinements of accompaniment 4. T o accompany w i t h discretion means also to make adjust-
need n o t consist of i n a p p r o p r i a t e r a p i d figuration a n d embellish- ments to others' errors a n d to give way before t h e m . T h i s may oceur
ments, w i t h w h i c h some accompanists distort the melody of the bass. out of politeness or necessity, as, for example, i n the usual per-
W e have already shown q u i t e different ways by w h i c h the accom- formance of a large piece whose numerous players are n o t of u n i -
panist may w i n acclaim, a n d we shall continu here i n a similar 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
vein. so must the accompanist.
2. M u c h w i l l appear here of w h i c h the accompanist s h o u l d n o t 5. T o accompany w i t h discretion means moreover to make
avail himself u n t i l his insight has progressed to the p o i n t where modifications i n accord w i t h certain liberties that are taken at
he knows precisely w h e n and where refinements may be i n t r o d u c e d . times by the p r i n c i p a l performer, w h o , w i t h o u t "its b e i n g actually
H e should n o t ascend higher t h a n his wings w i l l carry h i m . r e q u i r e d , may depart somewhat f r o m the w r i t t e n notes i n i n t r o -
3. T h e most usual expression that is used to describe a' good d u c i n g embellishments and variants. A k n o w i n g p r i n c i p a l per-
accompanist is, " H e accompanies w i t h d i s c r e t i o n . " Such praise has f o r m e r w i l l do this w h e n he knows that he has an able accompanist,
an inclusive m e a n i n g ; i t amounts to saying that the accompanist and thus abandon himself w i t h complete freedom to the affect of a
can discrimnate a n d henee fashion his setting according to the na- piece. Such liberties spring n o t f r o m f a l t e r i n g u n c e r t a i n t y b u t
t u r e of a piece, the n u m b e r of its parts, the other performers, espe- f r o m a r a t i o n a l sovereignty and p e r t a i n only to details w h i c h exact
cially the p r i n c i p a l performer, the instruments, voices, place, f r o m the accompanist n o t h i n g b u t attentiveness. I n Figure 448,
audience, etc. W i t h extreme modesty he tries to assist those w h o m Example a, the p r i n c i p a l performer i n i n t r o d u c i n g embellishments
i Von gewissen Zierlichkeiten des Accompagnements. Much valuable supple- sometimes substitutes one of the i l l u s t r a t e d series of signatures f o r
mentary material is contained in C h . I V of Arnold, op. cit. I n addition to generous the other. T h e accompanist must m o d i f y his h a r m o n y accordingly.
excerpts from Bach, Arnold includes material from Heirtichen (with whom Bach dis-
agrees in certain respeets), Geminiani, and Mattheson, and a reference to Saint L a m - I n a d d i t i o n to such substitutions, the accompanist must be atten-
b e n as probably the first to discuss such matters as are here treated. tive a n d give way w h e n embellishments, i n t r o d u c e d i n t o the p r i n -
j88 A C C O M I> A N I M /: a ; /
A C C O M I' A N I M 1: N T 98$
cipal part, lead to a latcr entrance of chords than actually denoted
by the signatures (b):
Figure 448 j JJ J i J
1 i i 1
appears i n the m i n o r mode (c):
-4f
Figure 449 m
* r P P m P f "mh"Ha, - f - f mfl
W^u \ 1 r M
r 1 * 1
7 6
7 - 1 >6 6 6
5
2 T h i s paragraph and those that follow, through *| 8, treat in detail a kind of
refinement which is discussed in a textbook used by J . S . Bach, F. E . Niedt's A U I -
calische Handleitung, 1700 (cf. Arnold, op. cit., pp. 213 ff., especially pp. 229-230).
J . S . Bach's copy of the work is reprinted in The Bach Reader, W . W . Norton and
Co., 1945. Examples of thirds used in imitative passages appear in Figur 458 here. " 7 6 6 4 6
4 2
ACCOMPANIMENT A C C O M /' A N I M E N T 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 for-
b i d d e n progressions (/).
8. Sometimes sixths may intersperse w i t h successions of thirds
(Figure 451, E x a m p l e a ) . M a n y errors can be e l i m i n a t e d by such an
interchanging of the tones of the m i d d l e voice w i t h those of a pass-
i n g bass (b). I n c w i t h its presto, the first note should n o t be weighted
d o w n w i t h a f u l l c h o r d ; rather the accompaniment should be con-
7. W h e n the bass of a two-part piece is so constructed that i t structed i n the manner of the i l l u s t r a t i o n that succeeds the example.
m i g h t be accompanied i n thirds by the r i g h t hand, b u t the p r i n c i p a l I t is easy to p e r f o r m , a n d its speed makes i t sound f u l l e r t h a n i t
part has these thirds or some other i n t e r v a l w h i c h moves i n the really is. T h e same applies to d. I n e, where the bass leaps d o w n a
same r h y t h m as the bass, the chords should be played simply a n d the t h i r d f r o m a note w i t h the signature 6, a n d t h e n back again, a l l
thirds abandoned. I n the first case the accompaniment w o u l d dupl- three bass notes may be set w i t h thirds, or the t h i r d over the first
cate the notes of the p r i n c i p a l part, a n d i n the second case the note may be h e l d a n d 6 3 6 taken i n the m i d d l e part. T h e illustra-
melody of b o t h p r i n c i p a l p a r t a n d bass w o u l d be obscured by an tions u n d e r / are n o t e w o r t h y i n that various r h y t h m s , suspensions,
i n t e r p o l a t e d new m o t i o n . Consequently, parallel thirds i n the r i g h t and h e l d notes appear i n the p r i n c i p a l part. I n g, a u n i f o r m four-
part setting over the r a p i d bass wOuld be difncult to p e r f o r m ; con-
Figure 450 sequently the setting should agree w i t h the succeeding i l l u s t r a t i o n ,
a. w h i c h , moreover, can be conquered by average fingers. I t can be
-o-
seen f r o m this i l l u s t r a t i o n h o w easy such r a p i d basses can be made
by the use of thirds a n d sixths and, above a l l , h e l d tones. These lat-
6 6 ter are good f o r several reasons; they connect chords, p r o m o t e the
singing style and, at the same time, are easier and less of a risk t h a n
repeated attacks, w h i c h , i n a four-part setting at a r a p i d pace, are al-
pm l'i j i LJ
most impossible a n d ineffective. E x a m p l e h illustrates the use of
thirds i n a series of chords of the seventh. Since the accompaniment
is i n f o u r parts, the tempo must n o t be very r a p i d . I n i the contrary
y m o t i o n of the m i d d l e part circumvents octaves; henee i t is unneces-
* f f f ' t / m sary to leap to the fifth of the second chord. I n j , thirds may be played
6 6l> o n every bass note. Because of the ch'romatic change, m o t i o n i n
thirds cannot be used i n k; henee, p l a i n chords are played or use is
made of opposite m o t i o n to the bass, starting f r o m the first t h i r d .
U n d e r l a n d m a series of illustrations appear i n w h i c h the r i g h t
h a n d moves i n a graceful relationship w i t h the bass. Several other
examples can be deduced f r o m those cited i n n, i n w h i c h the r i g h t
hand plays lower thirds or sixths t h r o u g h o u t , as illustrated. T h i s
394 A CO OMPANIMENT / r; ; o M r A N I A /<; A/ T 395
"1 ,J5.
m. 0 F 1 v
'Irf ' i
7
Adagio
Presto Presto
Ti V
i
0 1 1
>
+
g-
?
t K i
i
=ra
1* i 88 II a 1
J - \
- I
r
i a. 1 1 1
w 1
Q 6
. 1 -A'-J- ib Jli
ra.
Y fl , f i ! 1 f g f l : ji 1
6 4 3
7 7 6 5b7 7 6 5 7 7 6 5 6
ra. ra.
y g r | * AL
T
Adagio
Andante
AM i > g f l
'iriLii''j
166
4 3 6
j6
9 A C C O M PA N 1M E N T
1
Andante Andante
n.
i r' r
6
r f
5
4
\5
* f f
16 194 3
Figure 452
a.
0
1 J^JTII
^fc l.
r.
0 &
6
'
T
'
r 1 r
ACCOMPANIMENT A C i,' O M P A N 1 M E N T 399
Figure 453
16 '9 8 4
i? T u . # "T -6-6 6 5 4 3 2 5 4 3
- 5b
e n
r*r r r
65
Crr rr Crr trr
65 6 5 6 5 65
d.
Mi
6 5 5 5 5 ' 7
frr
7 '7 7
_ j J J i | J-
"
)! f ri 1
r ' f r 1
t f 1
n
g
JJ
7 7 17 7
10. D i v i d e d accompaniment, w h i c h can be mastered by p l a y i n g
d.
good keyboard music, is o f t e n one of the best refinements. I n the
preceding chapter a t t e n t i o n was directed to the occasional neces-
sity of using i t . Aside f r o m such cases, i t is w e l l k n o w n that open
p 9 9
h a r m o n y is o f t e n extremely effective as a contrast to cise h a r m o n y .
For instance, we can see i n Figure 453, Example a, that the usual
construction of the chords sounds disagreeable because of the ex- 5
3
cessive u n i f o r m i t y of the passage, and, henee, that i t is better to use
another d i s t r i b u t i o n of the c h o r d of the second, b u t best to take i t i n 11. T h e filling o u t of slow notes is one of the refinements of ac-
a d i v i d e d accompaniment (b). A repeated passage can be made at- companiment. W h e n the tempo is slow, turns may be inserted over
tractive by the a l t e r n a t i o n of u n d i v i d e d a n d d i v i d e d accompani- 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
ments (c). I n d the sixths i n the r i g h t h a n d come t h r o u g h better the bass also, the effect w o u l d be unclear. Because the tone of a
and the melodic progression is made clearer w h e n the l o w e r m i d d l e harpsichord does n o t always last l o n g enough, a n d slow or sustained
part, w h i c h expresses n o melody b u t simply completes the setting, is notes usually sound a b i t empty, an accompaniment that filis o u t
played by the left h a n d i n a r h y t h m s i m i l a r to that of the bass.
4<><> A C C O AI PANIA E N I A C (,' O M f A N I Ai E N T 401
the d o t t e d notes may be ehosen for /; i n a slow lempo. T h i s example ever, transitional passages ptovide e n l i c i n g challenges to an ac-
illustrates a connecting passage d u r i n g which the p r i n c i p a l part companist's inventiveness. Itui his i n v e n t i o n must be i n accord
pauses, thus r e q u i r i n g the accompanist to find something that w i l l w i t h the affect and conten o a piece. So m u c h the better i f part of
prevent a feeling of emptiness. B u t w h e n the p r i n c i p a l part leads a preceding phrase can be r e i n t r o d u c e d , even i f this requires a
i n t o the f o l l o w i n g section, p l a y i n g thirds or such against the bass, 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 3
the accompaniment should r e m a i n simple. Aside f r o m this, how- 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
Figure 454
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 ac-
c 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 accompani-
m e n t u n d e r 3 should be chosen.
12. I n conclusin, we shall examine some signatures that are
used f o r purposes of i n s t r u c t i o n i n refinements (Figure 455). T h e y
are f o u n d singly and at times i n c o m b i n a t i o n . T h e y are realized
after the entrance of the bass or o n passing tones and illustrate a
decorative progression of one or more parts. T h e passing dis-
sonances that are created by t h e m do n o t r e q u i r e r e s o l u t i o n . T h e
r e m a i n i n g tones of the preceding c h o r d are held. A l l of the follow-
i n g examples take a four-part accompaniment except the last four,
w h i c h are realized i n three parts. T h e signatures that are based o n
the decorative progressions appear below the notes; the usual signa-
tures have been placed above. Great care must be taken i n the use of
these h a r m o n i c nuances i n order to avoid a h a m p e r i n g or obscuring
of the p r i n c i p a l part.
Figure 455
6 7 6 7 5
1
Mi
\ * f H 1 H
7 6 17 6 6 6 7 7 |l 2 4 |6
6. 5 3
5b - 5 a 4 '5 3 4 1
IMITATION
that his i m i t a d o r ] w i l l remain clear and lose nonc ol its attractive- he must deny himself the delighls ol variation and play the notes
ness. T h e accompaniment must be patterned as closely as possible simply. I n Figure \ the bass leads the i m i t a t i o n .
-
after the leading part (Figure 456). 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
Figure 456
Andante 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.
4. B u t i f the fellow-performer is sufficiently able and i n t e l l i g e n t ,
the accompanist may rouse h i m , as always by a "good accompani-
ment, b u t especially by his varied i m i t a t i o n s . A n d his inventive
leading or correct i m i t a t i n g may spark the fire that puts the other
i n a disposition w h i c h he may have lacked previously. However, the
accompanist w h o leads i n a v a r i a t i o n must a l l o w his f o l l o w e r suf-
ficient freedom afterwards to imtate correctly. T h e b r i l l i a n t and
the p l a i n must be j u d i c i o u s l y alternated, the procedure b e i n g i n
general as indicated i n the last paragraph of Part I of this Essay. T h e
accompanist w h o leads an i m i t a t i o n must pay cise a t t e n t i o n to the
k i n d of notes, i f any, that appear simultaneously i n the p r i n c i p a l
part, so that he may fashion a v a r i a t i o n w h i c h is sufficiently d i f -
ferent f r o m i t . A n d at the conclusin of his v a r i a t i o n he must re-
t u r n to a simple accompaniment, so that the p r i n c i p a l part's i m i -
tation, especially i f i t is made of many notes, w i l l be distinct. I t is
just as w r o n g for b o t h to be noisy at the same t i m e as i t is for b o t h
ir
6 2 6 to f a l l asleep. Henee, they should n o t play o u t of either ignorance
6 6
or malice. I n the first case they w i l l r u i n each other's p a r t u n i n -
2. I n these i m i t a t i o n s leader and f o l l o w e r must stand i n cise tentionally; i n the second, i n t e n t i o n a l l y .
r a p p o r t and be f a m i l i a r w i t h each other's powers and inventive-
5. T h e keyboardist w h o plays i n an ensemble w i t h d u p l i c a t i n g
ness. Otherwise m u c h can be spoiled i n performance. Espe-
bass instruments must w i t h h o l d his v a r y i n g i f he is u n c e r t a i n that
cially i m p o r t a n t is this to an accompanist w h o must lead an i m i t a -
the others w i l l f o l l o w h i m .
t i o n , for he must k n o w h o w dependable his f o l l o w e r is i n the ways
6. 1 I n some passages w h i c h may be accompanied i n thirds, i t is
of v a r i a t i o n . I f he lacks f u l l confidence i n the a b i l i t y of the latter
possible to have the m i d d l e part particpate i n a varied i m i t a t i o n
Figure 457 w h i l e i t moves i n thirds w i t h the bass (Figure 458, Example a ) .
Andante W h e n the p r i n c i p a l performer abandons the simple setting of b
1Note that the preceding paragraphs have dealt exclusively with an imitation
specified by the composer, the point of the discussion being the ways in which ac-
companist 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.
4o6 ACCOMPANIMENT A C C O M P A N I M E N T 4"7
i n favor of c, neither the bass or the i n n e r part can imtate exactly.
figure 439"
I t suffices i n such a case to contrive an i m i t a t i o n whose figuration is
r h y t h m i c a l l y . the same as that of the leading part w h i l e the bass re-
tains its o r i g i n a l , or slightly varied, tones.
Figure 458
2. W h e n the p r i n c i p a l part i n Figure \(o, Example a, lies above ing t r i l l . T h e accompanist t l i e t c l o i e ceases at the same t i m e as the
the accompaniment, 7 (i should be taken over b instead of 6 alone p r i n c i p a l performer."
i n order to avoid fifths. I n b o m i t the sixth above e and play instead
Figure 460 ^ better 9 8
9 f o l l o w e d by 8 over the d o t . I n c the sixth over a is also o m i t t e d , a b.
3 6
d o u b l e d t h i r d and fifth b e i n g taken i n its place. I n b o t h examples, _ m
' rr fr'rf
b and c, fifths w o u l d be created i f the accompaniment as d i s t r i b u t e d
-E
Ms- aN
1
1
pr
1
other superimposed characters. W h i c h is easici l o read, this latter 8. Passing iones appeai i n slrpwisc and leaping contexts, a n d
w i t h its web of attendant difliculties, or three and, at the most, four are often rather r a p i d . W h e n ihcy occur singly they are not i n d i -
figures, one over the other, w h i c h he must learn anyway i n study- cated. O f the stepwise and leaping notes i n Example a, F i g u r e 463,
i n g t h o r o u g h bass, w h i c h arise constantly i n active accompanying, those o n the d i v i d e d beats are passing. T h i s r u l e is acceptable:
a n d w h i c h , consequently, cannot be as fearf ul as many an i n d o l e n t Stepwise passing tones may not be f o l l o w e d by a leap, a n d the 2
accompanist seems to believe? octave of a disjunct passing tone must lie previously i n the r i g h t
h a n d . T h u s , each note i n b is accompanied, f o r these conditions
3
PASSING TONES 1
are n o t present. W h e n a bass note, instead of m o v i n g d o w n a
second ( c ) , leaps to the seventh above ( d ) , the f o l l o w i n g tone may
1. I t is as necessary to indcate passing tones i n most cases as i t
be passing, even t h o u g h its octave is n o t previously played. Leaps 4
is to indcate figures. B u t since figurists do n o t proceed w i t h ade-
of an octave are n o t regarded here as leaps b u t as repetitions. W h e n
quate care, the accompanist must learn to pick o u t passing tones
passing tones appear i n succession, the use of a dash is j u s t as neces-
(Figure 4 6 1 , Example a) t h r o u g h constant practice and attentive
sary as w h e n slow notes pass (e).
listening. T h e y can be surmised at times f r o m a preceding c h o r d
w h i c h contains the bass notes that f o l l o w i t (b), and f r o m a r e q u i r e d Figure 463 6 6
preparation a n d r e s o l u t i o n (a a n d c ) . 6 rf 6 5 6 5 6
Figure 461
a.
g
5 b. - c. -
7
5l> >r (VT-llr II rrTr f ' H - ^ ^ J C - T c J " II
r J
9 asJJ r 1 OJJM 1 J J J 11
c. 6 d. 6 e. "ME | ~ 6 ~
2. I n d e ed , there are rules f o r the r e c o g n i t i o n of passing tones,
rjrij^ri^igtfcri ^ JJ
b u t they are n o t always dependable. Because these rules d o n o t pro-
vide a sol i d f o u n d a t i o n , because passing tones cannot always be sur- j
mised, and, finally, because i t is generally acknowledged that there
4. T h e f o l l o w i n g bass notes usually take a c h o r d apiece; half
are far more poor t h a n good accompanists, i t w o u l d be safest to pro-
notes i n an alia breve a n d a fast three-two whose most r a p i d notes
vide exact indications; i n fact, too many rather t h a n too few. A
are e i g h t h ; quarter notes i n a slow three-two, i n the so-called simple
good accompanist is n o t confused by an a d d i t i o n a l dash, a n d begin-
meters f r o m allegretto ( w i t h n o t h i n g faster t h a n thirty-seconds) to
ners are m u c h helped by i t . I t is a t r i b u t e to the French to assert that
T h e term "passing tone," i n the general sense in which it is used here, includes
they desgnate passing tones w i t h great diligence. Usually, they 2
g JJ I
it is of interest to note that the neighbor appears only once in the present section
(Figure 464, example c) without its being mentioned in the text. However, it is clear
that Bach included this element among his "passing tones." For an example see Fig-
ure 280, first illustration, and the accompanying text.
s I n other words, the leap must be to a tone in the prevailing chord.
1 Von durchgehenden Noten. Cf. C h . I V , "Intervals and their Signatures," f f 69 ff. * Bach included this clause because he had just stated that the octave of a disjunct
and Note 9. A n exhaustive study of the accompaniment to passing tones in the bass passing tone must lie previously in the right hand. T h e case under discussion.here is,
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 of course, not to be regarded as a type of disjunct passing tone, but as a special kind
with Heinichen's rules to which Bach is alluding at the beginning of f 2 here. of conjunct passing tone.
4 i 4 ACCOMPANIMENT A C C O M I' A N I M I; N T 4i$
presto, a n d i n three-four and six-four meters i n r a p i d tempos; other cases, regardless of the ( onsiriu t i o n of the bass, the r i g h t hand
eighth notes i n a f o u r - f o u r meter f r o m adagio to allegretto, and i n a plays only once for each g r o u p ol l i n c e eighth notes or the equiva-
slow three-eight, six-eight, nine-eight, twelve-eight, three-four, a n d lent.
six-four. W h e n these latter meters appear i n a r a p i d tempo every 11. F r o m allegro assai to prest issimo the r i g h t h a n d plays either
g r o u p of three eighth or quarter notes has its o w n accompaniment. f u l l y h e l d half bars or hall-held quarters to an eighth-note bass.
5. Notes that seem to take an accompaniment, b u t are i n fact Quarters are struck by both hands and h e l d for half their l e n g t h ,
passing, must, of a l l notes, carry a dash. Notes that l o o k l i k e pass- and longer notes are f u l l y held. For the rest, I refer the reader to
i n g tones, b u t are i n fact accompanied, must be figured. A incor- Paragraph ga of the I n t r o d u c t i o n to Part I .
rect i n d i c a t i o n of the f o r m e r is a m u c h greater risk t h a n the latter. 12. These remarks h o l d o n l y i n so far as a change is n o t called
6. T h e use of thirds alone to accompany passing tones has been for by signatures or signs of performance.
discussed i n the section "Some Refinements of A c c o m p a n i m e n t . " 5
13. W h e n t r a n s i t i o n a l passages cannot be accompanied by
7. Various a d d i t i o n a l remarks r e m a i n to be made o n the accom- thirds or other o r n a m e n t a l relationships, as discussed i n the section
p a n i m e n t to repeated tones. These remarks w i l l be based o n tempos "Some Refinements of A c c o m p a n i m e n t , " they should be allowed
as they are p e r f o r m e d here, where adagio is far slower and allegro
6
to pass. Extensions at the end of a piece are to be treated s i m i l a r l y .
far faster t h a n is customary elsewhere. 14. T h e examples of Figure 464 w i l l serve to conclude this sec-
8. F r o m the slowest tempo to largo, quarter notes a n d greater t i o n . I n a, an unusual k i n d of expression (which may be revealed
are played by b o t h hands a n d h e l d f u l l y . E i g h t h notes are played by the content of a piece or the construction of the r i p i e n o parts)
s i m i l a r l y b u t h e l d f o r only half of t h e i r length. A l l sixteenths are sometimes requires a c h o r d o n each note instead of the usual omis-
played by the left h a n d and, i n the absence o a staccato sign, are sion of a seprate c h o r d f r o m the short notes. T h i s oceurs f r e q u e n t l y
f u l l y h e l d . T h e r i g h t h a n d accompanies these sixteenths a n d faster i n accompanied recitatives. I n b, the composer w h o wants a c h o r d
notes w i t h eighths w h i c h are h e l d for half of t h e i r l e n g t h , pro- to be struck o n the note e because of the expression, must place the
v i d e d that the expression does n o t r e q u i r e a different execution. signature 6 over i t . I n c, the passing tones must be accompanied i n
W h e n the bass has a c o n t i n u a l flow or, at least, great numbers of order to avoid errors. One p a r t may interchange its tones w i t h
thirty-seconds or faster notes, the left h a n d may o m i t one or m o r e those of the bass, or the entire c h o r d may be repeated. I n d, prepara-
notes, p r o v i d e d that there is an accompanying bass i n s t r u m e n t . I f 7
t i o n of the seventh above /-sharp requires an accompaniment to the
there is none, the keyboardist alone must s u b m i t to the tortures of passing e i n the f o r m of a r e d i s t r i b u t e d c h o r d . I n e, the second c h o r d
this t r e m b l i n g m o t i o n . T h e r i g h t h a n d comes i n o n only the first of the bar is repeated over the passing bass as a means of a v o i d i n g
note of every t r i p l e t of one or t w o beams. T h e same procedure holds too great a descent a n d averting fifths. T h e r e p e t i t i o n i n / accom-
for each g r o u p of three e i g h t h notes or the equivalent i n three- plishes several ends: i t avoids fifths w h e n the t h i r d of the preceding
eight, six-eight, nine-eight, a n d twelve-eight.
a is d o u b l e d ; i t avoids octaves w h e n 3 is taken over this a; a n d i t
6
8
f u l l y h e l d quarters w h e n the bass expresses quarters, eighths, faster helps to r e t a i n the preceding register. I n g, where i t is presupposed
notes, a n d triplets. Longer notes are f u l l y h e l d by b o t h hands. that the notated d o u b l i n g of the sixth, or a d o u b l e d t h i r d , is re-
10. I n a siciliana, be i t fast or slow, quarter notes a n d longer q u i r e d over the first f , the c h o r d of the sixth must be repeated, u n -
are played a n d h e l d by b o t h hands. T h e single eighths w h i c h f o l - d o u b l e d , over the passing tones. T h i s enables the g-sharp to be
low the quarters are also accompanied by the r i g h t h a n d . I n a l l accompanied w i t h o u t an i m p u r e or a w k w a r d progression, a n d w i t h -
out descending to a lower d i s t r i b u t i o n . I n I t a l i a n bel canto, singers
M n f f 6-8.
I.e., i n Berln. * T h e octaves would come from the strong beat progression, a to g, bass and mid-
i As discussed at length in Pt. I , Introduction, f ga. dle voice.
416 A CCO MPA NI M I : N l // C C O Af /' ANIMEN T 4*7
r
T h i s refinement is unaccompanied, the ch or d being struck b u t once
i n order t o preserve the clarity of the p r i n c i p a l part's rise a n d f a l l .
T w o such cases are illustrated i n / w i t h t h e i r accompaniments. T h e 6 6 6 6 7 6 6 It
figuring of these examples, as i n k, is incorrect. T h e most ex- Allegro
perienced accompanist is Hable t o err i f the composer does n o t
figure w i t h sufficient aecuracy; especially w h e n he fails t o indcate TT-* ' r - til 11 ^ r F*h II J ^ ^ q
passing tones i n passages w h i c h seem to c o n t a i n a r e s o l u t i o n ('); a n d
similarly, w h e n he fails t o figure those notes w h i c h look l i k e passing
tones b u t r e q u i r e their o w n chords (m). T h e accompanist i n such r " u n f "f r r rr r r r r 1 11 1
cases w i l l be free f r o m blame i f , i n a d d i t i o n , the p r i n c i p a l p a r t is
n o t notated over the bass part. T h i s was stated earlier i n Paragraph
5. A good precautionary use of figures over passing tones is illus-
J-j-ip 4- 1s -
=r=H1
trated i n n. T h e average accompanist is thereby l e d unmistakably
to recognize the necessity of a l t e r i n g his d o u b l i n g i n order to avoid
errors. I n o, a dash is needed as a means of i n f o r m i n g the accom- 9 r r r ' r r r ' r f4 ^ v
!
panist that instead of repeating the foregoing c h o r d he must play
the t r i a d of the f o l l o w i n g tone o n the rest.
4
6 5
^ 4
1 4 3
Figure 464 , 5 6 6
Y ei ^ a J :
m
a.
- rrr'r rr' rr
5
m m * * II
1 5 6 5
6
6 3 . 6 4
I
c
7 6 6 6 6 5
1 ftl II
/ -
ey i 11 m 0J -rl i-
- A * f
t IT t
i - * 4 - 6 6 -
6
3 5l>
H
. 6 6 o. 7 6
111
II t II
Err" t
rr "- O
nrfcf
1
f
J6 4
1
6 6 6 6 5 3 7 - 7 6
6 5
4iS ACCOMPANIMENT A C C O M P A N I M E N T 419
noises to boot. H e r e the accompanist must take the lead and, o n
CHORDS THAT PRECEDE THEIR BASS N O T E S 1 the short rest, give his ene w i t h as heavy an attack as possible. I n f ,
1. I t is often necessary to strike chords over short rests i n ad- where the notes w h i c h follow the rest are n o t as r a p i d as those i n the
vance 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 previous example (although again a l l parts enter i n unisn f o l l o w -
variety. i n g a general pause), the c h o r d is n o t played. I n g w i t h its d o t t e d
2. Some figurists f o l l o w the commendable practice of i n d i - notes the accompanist again does n o t play his c h o r d i n advance, f o r
cating such chords by placing over the rest the signature or dash there is an appoggiatura i n the p r i n c i p a l part w h i c h resolves o n l y
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 after the first short note i n the bass has been played. A n t i c i p a t o r y
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 chords are n o t employed over bombastic basses i n the French man-
l i g h t e n the tasks of many accompanists. ner, f o r their use w o u l d r o b the passage of its resolute nature (h).
3. I n the absence of p r o p e r signs, t w o observations can be made: Example i illustrates a case i n w h i c h the composer has placed a
first, the rests discussed i n this section are n o t greater t h a n a six- certain stress on the p r i n c i p a l part, a n d consequently wishes to have
teenth rest i n an allegretto; second, parts that enter o n the rest this part alone i n t r o d u c e each h a r m o n i c change. T h e accompani-
must agree w i t h the tones of the anticipated c h o r d . T h e examples m e n t is appended to the example. I n ; the appoggiatura w i l l n o t
that f o l l o w w i l l clarify m y meaning. suffer a t r i a d o n the rest; henee, i t is best to w i t h h o l d the c h o r d u n t i l
4. I n order to catch the beat w i t h certainty, a beginner is al- the second eighth of the bar appears. I n k, chords are played over
lowed to strike the C major t r i a d over the rest i n F i g u r e 465, Ex- the dots and t i e d notes.
ample a, b u t an experienced accompanist w i l l let the rest and the
Figure 465
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
Allejretto Presto
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
a. b.
c h o r d over the rest, unless half the bar is a l l o w e d to pass unac-
companied. 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 2 6 1,7
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 indis- 5b 4 5b
pensable, especially w h e n this example appears i n a piece f o r a Presto Allegro
legro
large, heavily d o u b l e d orchestra i n w h i c h a l l instruments enter o n e.
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
u C J ' T cur
1 Von dem Vorschlagen mit der rechten Hand.
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
progres.sions wcie considercd loo p l a i n . But today, thanks to o u r
1
tr
ki ms. sweat so profusely. Nevertheless, an exact figuring is s t i l l r e q u i r e d ,
even w h e n the p r i n c i p a l part is notated over the bass.
2. Some recitatives, i n w h i c h the bass and perhaps other instru-
ments 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
Allegro that his accompaniment w i l l always be ready; he must never desert
the singer.
3. W h e n the declamation is r a p i d , the chords must be ready i n -
crtrf
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
- e t;
6 6 7 1 - 6 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
5
u m y JI \
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.
6 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 con-
fusin. 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 recita-
tives 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 assum-
i n g that the c h o r d has changed. These fiery recitatives o f t e n occur
THE RECITATIVE 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
1. N o t so l o n g ago, recitatives used to be crammed w i t h endless divisi, w h i l e the singer declaims upstage, far removed f r o m his ac-
chords, resolutions, and enharmonic changes. A special k i n d of
1 T h i s refers to the type of recitative which is discussed in Heinichen, op. cit., Pt.
beauty was sought i n these harmonio extravagances, w i t h o u t there I I , C h . I I I , pp. 769 ff. He writes: " I t is generally known that the recitative, unlike
b e i n g the slightest excuse for t h e i r employment. N a t u r a l h a r m o n i o 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."
422 A C CO MPANIM /'. N I A C C O MPANIM /<; N T 4*3
companiment. Such being the case, the first harpsichordist, w h e n companied in detached lashion l>y instruments other than those that
there are t w o , does n o t await the t e r m i n a l i o n o the singer's ca- p e r f o r m the Iwss part, incidental harmonic modifications, such as
denees, b u t strikes o n the final syllable the chord w h i c h should 8 [>7 or 6 b>5, must be played softly or o m i t t e d by the keyboardist
r i g h t l y be played later. T h i s is done so that the r e m a i n i n g basses or w h e n they are indicated solely over the bass part and, as is often
other instruments w i l l be prepared to enter o n t i m e . the case, appear i n succession. T h u s , the p r i n c i p a l part w i l l n o t be
4. T h e pace w i t h w h i c h a c h o r d is arpeggiated depends o n the overaccompanied and the other instrumentalists w i l l hear the
t e m p o and content of a recitative. T h e slower and more affettuoso singer more clearly, w i t h the result that they w i l l be able to direct
the latter is, the slower the arpeggiation. Recitatives w i t h sustained a t t e n t i o n to t h e i r subsequent entrance. T h e harpsichord, w h i c h
accompanying instruments are w e l l adapted to arpeggiation. B u t as sounds l o u d to those cise to i t , especially w h e n i t has a penetrating
soon as the accompaniment shifts f r o m sustained to short, detached tone, can easily d i s r u p t orderliness. A n d sometimes this suppression
notes, the accompanist must play detached, resolute chords, u n - of tones o n the part of the keyboardist adds to the impressiveness of
arpeggiated, and f u l l y grasped by b o t h hands. Even i f the score words that the composer wishes the singer to recite w h i l e the instru-
expresses t i e d w h i t e notes, the sharply detached execution is re- ments, for good reasons, r e m a i n silent. W h e n there is vigorous ac-
tained. A heavy attack is most necessary i n the theater w i t h its t i o n upstage, this precaution is even more essential, for the singer's
memorized recitatives, because of distance. O f course, the accom- tones w i l l often pass unheard over the orchestra p i t , w h i c h is r i g h t l y
panist must also play q u i t e softly at times i n the theater, b u t more constructed o n a lower level t h a n the parterre.
so i n the c h u r c h or the saln, where noisy, f u r i o u s recitatives are 7. W h e n a singer departs f r o m the w r i t t e n notes, i t is better to
not q u i t e at home. I n recitatives, as m u c h as elsewhere, chords strike a f u l l c h o r d repeatedly than to play isolated tones. I n recita-
must be expressed i n proper v o l u m e . tives, correct h a r m o n y is the p r i m a r y factor; henee singers should
5. I n recitatives w i t h sustained accompanying instruments, the not be expected to sing only the w r i t t e n notes and no others, espe-
organ holds only the bass, the chords being q u i t t e d soon after they cially i n i n d i f f e r e n t passages. I t suffices i f they declaim w i t h i n the
are struck. Organs are seldom p u r e l y t u n e d , w i t h the result that confines of the proper c h o r d . O f course, a single tone may be
h e l d chords, w h i c h are often chromatic i n such recitatives, w o u l d struck i n the case of a remote m o d u l a t i o n . I f the singer is of suf-
sound ugly and disagree w i t h the other accompanying instruments. ficient a b i l i t y , there is no need for a l a r m w h e n he chooses to sing
I t is often difficult i n such a case to make an orchestrawhich Example a of Figure 466 i n the manner of Example 1 or 2. Causes
need n o t be the most wretchedsound i n p i t c h . A r p e g g i a t i o n is for such changes may be a desire to f i n d a convenient register, or
not employed at the organ. Other keyboard instruments d o n o t use
ornaments or refinements, aside f r o m arpeggiation, i n the accom- Figure 466
paniments to recitatives.
6. I n intermezzos and comic operas w i t h m u c h noisy action,
* J>J>
and i n other works for the theater where the action often oceurs
backstage, constant or f r e q u e n t arpeggiation must be resorted to, 6
so that the singer and accompanist w i l l hear each other clearly at a l l
times. W h e n the sense of the words or an i n t e r v e n i n g action delays
the entrance of the singer after the preparatory c h o r d has been
played, the accompanist must repeat the chord, b r o k e n slowly up-
w a r d , u n t i l he observes that the d e c l a i m i n g has resumed. Unless i t is
urgently r e q u i r e d , neither too l i t t l e or too m u c h u n f i l l e d space o-
should be allowed i n the accompaniment. W h e n recitatives are ac-
6 J
424 A ; C o M r A N I M E N I // C C O M I' A N I M E N T 425
simply forgetfulncss. I n m e m o r i z i n g their parts, singers often con- preferably w i t h the octave on l o p . A l (lie rest, the seventh and l i f t h
fuse the many similar patterns of recitatives, for (hey are more i m - of the same bass note are played. I'inally, 1 refer my reader to Fig-
pressed by the u n d e r l y i n g harmony than by the melody. I w o u l d ure 465, Kxample c, and ihe acooiupanying text. M a n y similar ex-
be less apt to forgive an accompanist w h o hesitated over a modifica- amples can be deduced f r o m this one. 2
be r a p i d , a n d half of the passage, perhaps d i r e c t l y after the begin- 1. T h e m e a n i n g of changing notes or i r r e g u l a r passing tones
n i n g , m i g h t be w r i t t e n o n a new stave. has been stated i n Chapter I V , Paragraphs 73 to 78. T h e i r indica-
8. O n the last arpeggiation of a preparatory c h o r d i t is wise t i o n is most essential, for beginners i n t h o r o u g h bass cannot easily
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 surmise t h e i r presence.
w i l l be most clearly heard and thereby ease the singer's task. Rather 2. Some figurists place signatures over the note against w h i c h
t h a n abandon such an expedient, i t w o u l d be better to tolrate cer- the c h o r d is struck; others over the f o l l o w i n g note. T h e first p r o -
t a i n irregularities w h e n they cannot be avoided, such as d i s r u p t i n g cedure is n o t bad, especially w h e n the signatures are f a m i l i a r ones
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 (Figure 468, E x a m p l e a), and a m b i g u i t y can be thereby avoided
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 - (b). B u t aside f r o m these considerations changing notes that are
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 i d e n t i f i e d by means of an o b l i q u e stroke make for simpler signa-
arpeggio w i t h o u t i n d u l g i n g i n such liberties. tures, and the accompanist is spared his hesitaney over the unusual
9. W h e n , i n a recitative w i t h accompanying instruments, the successions w h i c h are o f t e n expressed by the other m e t h o d of i n d i -
bass enters ahead of the other performers after a cadenee or pause, cation. Nevertheless, i t is advisable that the student of t h o r o u g h
the keyboardist must strike his c h o r d a n d bass note strictly o n t i m e , bass become completely f a m i l i a r w i t h the figures, f o r b o t h methods
w i t h a sure, f u l l attack, especially w h e n the orchestra is large (Fig- of indication/are s t i l l i n use.
u r e 467, Example ). However, i f a l l the instruments attack simul- Figure 468
taneously, 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
5 4 7 6 g
Example c, a six-four c h o r d is r e q u i r e d over the first bass note, a. 2 2 a. 2 a. 5 5 # 5 2 5 / 3
I ' f '
r I |{ I
1 TT b r e a k i n g to t h e m or by other means of melodic elaboration; b u t
w i t h o u t sacrifice of its essential nature. Its lineaments must n o t be
extravagant. Cadenees and caesurae must be basslike; at least, the
/ 6 /
chords of the latter should sound n a t u r a l . Appoggiaturas should be
6 6 6 6
43 9, 8 5 9 8 5 6 5 5
Ffj 0
1
-9*i
-A - r. G
1 11
P
1
BASS THEMES
the fine effect created by fantasas i n Chapter I I I of Part I of this plate a few half steps (b), arrange the scale i n or o u t of its n o r m a l
Essay, to w h i c h I refer m y reader. 2
sequence (c), and p e r f o r m the resultant progressions i n b r o k e n or
4. Especial care must be exercised i n i m p r o v i s i n g at the harpsi-
a T h e upper signatures of the first ascending and descending scales in major and
1 A detailed study of this chapter and an analysis of the appended Fantasa (Figure minor agree with the older Regola deW Ottava, which was used by i7th- and i8th-
480) appear in Heinrich Schenkers Das Meisterwerk in der Msik, Drei Masken Ver- century theorists to instruct beginners in the proper chord for each step. It was
1
lag, Mnchen 1925, Vol. I, p. 11 ff. adopted with minor variants by Rameau, Heinichen, and Mattheson, among others.
2 In 15. It formed the first step of instruction in the reading of unfigured basses, and was
430
4 3 2 I M r R O V ISA T 1 O N / M ' RO y ISA ION
4 * 6b5 b7 b7
' | | I T f I I L-pFFF^I c b 5b 4 3 6 7* 6 5b 5 5 56 5b
-0 0.
1 6 5l>98 7 6
5b-
'76 5b 9 8 9 8 7 6 5b
r r rr i
* 6 * 6
7-87 6 5b 5b
7 6 765656 5 7 6 5b- 6 5 9 8 *6t|5
6 4 b7 7 65b9 8 *
5,2 6 * 5465b2 6 76 7*6 5 5 43 765b 5b
6 98 7 5 * 6 5b
m,
14 '5b '9 8 9 8 7 * 5b
3 4b3 4 3 b5- 4b 3
546 62 98 98 9 8 7*
7*7 6 6b5 5b-
6 * 2 6 6 56 7 6 5 * 4 3 6 7676 4 3
6 6 b? 6
7* 5 46 * 6 76 6 '5 6 .6,4 6.2 6 5 46 7,* 5 6 5 5.6 5 6 5 43
32 41 4
3 3
6 6 54 4 4 ' 4 b7
b7 T
5 4 * 65 64
1
* 6 5 H 6 5 3 b b 5
3 2 5b 4 3 41 26 76
7
y r r r gr r m J J J r'r i
b7
5
* 6
# 44. 6 6b5 5b 6 5 4#
5
3
7
4
2
b7
3
6
4
6b 8
4 5
2 3
r r1 rr ^ r t g
^ 56 7 6 ' 7 7 6 *4 jj 7 * 5b
6 5 6 9 8 * *
4,3
4,3 7i6l>
7 6b 5b 5t> ; 5b
5b 5b
i I I I ili
7 6, 9.8 4# 6 5 56 55
rr"
t
f -b7
i IIJ J J J
87 5 6 4 8W 6 - 5 6 4 5
7 6b
4 b7 6b4
5 5
-
5 * 6 5b 56 9 8 '9 8 * 5 > 5* 6 6 87 *9L8 76 3 4 2 3 5 5 4 3 8 7 4 2 4 3 8 2 3 4 2 -
7 6 76 5b 5b 5 Jt
(semitonium modi) of the various keys lies i n the bass or some other
Figure 474
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
4
Figure 473
a. a. b. b.
6 .65 b - I *
ti 6
11J R 1J J j 1 6b b7 -fr
5b 4
7
341- 5 6 2j |
5 44- 6 b7 6 - b?6 7 9 6 b7
3 5 4 5b 5-4J- # 5* 7 51r6 4 5 |
V . 00 g 1 . . 1 i 0
9. I n a free fantasa m o d u l a t i o n may be made to closely related, W M " i 1
J n J i r j 1UJ^J 1
tice m o d u l a t i o n to the closely related keys by means of a s k i l l f u l
a t t a i n i n g of their leading tones, and shall illustrate here, i n the r
V
means of intermedate h a r m o n i c progressions. T h e r e are keyboard- b7 6b 5 b 2b b 4b 3 V b 5b 41 * 4 g *
ists w h o understand chromaticism and can e x p l a i n t h e i r progres- J k. 1 1 1
l i l i , H
sions, b u t few w h o k n o w h o w to employ i t agreeably, relieved of its '
Figure 475
b7
41-
I
5> * * ^5- 6 6
It *+" - l tt, 5.6 5 21- 44-
b7, 9 8 6 b 5 ,
b7 2 5 b 6b 5 2 6 5b 4 b4 3b
fe 3 fe te
7 7 - b7
4 It It 6 5 b 8 t7 5b- 4b 3 > 5b fr 7 6 5 - 5b 6 &
11* pt=i i j il J U 1H = l 44 JJ 44 6 jt 4 j 8 M 4 4 jt 2 jj 4 g
" ,W rrrip
1
]f' d 0 hn A* uU 1 J
;!J J J 1 1 J j
fifths. Mattheson was scornful of Heinichen's Circle and offered an improved con-
struction. Both are reproduced in Arriold, op. cit., pp. 268 and 277.
4 3 8 IMPROVISATION 1 M P R O VI S A T I O N . i V )
crudeness. I t should be observed generally, b u l p a r l i c u l a r l y i n the chords, 01 broken chords. Ily themselves Muy neither stir or still
f o l l o w i n g examples, that the progressions which introduce remote the passions; and i t is for ihese pinposes that the fantasia is excep-
m o d u l a t i o n s f r o m an established key must be playee! more broadly tionally well suited. Broken chords must not progress too r a p i d l y
than those of other modulations. By transposing these and the pre- or unevenly (Figure 477, Kxample a). Occasional exceptions to this
ceding examples, and c o m b i n i n g them, a facility i n m o d u l a t i o n w i l l precept may be i n t r o d u c e d w i l h good effect i n t o chromatic progres-
eventually be attained. sions. T h e p e r f o r m e r must n o t break his chords constantly i n a
single color. B o t h hands may progress f r o m the l o w to the h i g h
11. As a means of reaching the most distant keys more q u i c k l y
6
F i * u r e 4 7 6 L 6 b b
** b7 4* b7 * b7 > 4 4 4 b7 - wrong right
5 > 5 b 2j. S.b 5^ 21. 3 jt 5b -
13. A l l chords may be b r o k e n i n many ways and expressed i n
i-
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li 1 li I I O (. R A l> II Y 447
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