CONTENTS

3.
Departing from the Bass page 246
4. Accommodating Harmonic Ornaments 249
5. Adding Accented and Unaccented Passing Notes 254

XXIX. THE TEXTURE OF THE PART

L The Importance of Texture in a Good Accom-
paniment 256
2. No Accompaniment ('Senza Cembalo', etc,) 256
3. Unharmonised Accompaniment (Tasto Solo';
4
All' unisono') 257
4. How Thick the Accompaniment Should Be 259
5. How Strict the Accompaniment Should Be 263
6. The Filled-in
Accompaniment 269
7. How the Accompaniment Should be Spaced 272
8. How High and How Low the Accompaniment
Should Go 273
9. Texture Further to be Considered in the follow-
ing Chapter 277

XXX. THE STRUCTURE OF THF PART

1 . The
Structural Aspect of the Accompaniment 278
2. How Smooth the Accompaniment Should Be 278
3. How the Smooth Accompaniment may be
Broken 280
4. The Broken Accompaniment in Recitative 283
5. How Far the Accompaniment Should Double the
Existing Melody 284
6. How Far the Accompaniment Should Possess an
Independent Melodic Interest 286
7. How Contrapuntal the Accompaniment Should
Be 289

XXXI. INSTRUMENTS OF ACCOMPANIMENT

1 .
Early Baroque Instruments of Accompaniment 293
2. Supporting the Harmonic Accompaniment with
a Melodic Bass Instrument 294
3. Gamba or Cello 296
4. Adding a Double-bass 297
5. Other Effects of Sharing Responsibility for the
Accompaniment 297
6. The Choice of Harmonic Instrument 298
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