MT J??o Cornell University Library MT 40.A34 1870 ■3 "1924 022 487 841 BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIFT OF 1S91 £ui£i mm The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022487841 NOVELLO'S ^ rOE THE M^^^ MUSICAL m m -CHEIlUBIiaX'S TREATISE ON COUNTERFOINT ANB FUeUE. Translated b7 Mart Cowden Glareb, The musical examples revised by Josiau Pittuan. Bound in whole cloth, 6s. 6d; ZI.— DR. MARX'S SENERAK BIUSZ- CAK INSTRVCTXOM. Translated from the German by G. Macirone. The musical examples revbed by Josiah Pittman. Bound in whole cloth, 6s. 6d. •«• This work comprehends minute ex- planations of every musical matter, from the simplest rndiments.through the various elabora- ■ tions of rhythm, doctrine of tones, instruments, elementary and artistic forms of composition, artistic performance, and musical education in general. ];iX.— FSTIS' TREATISE ON CHOIR AMD CKORUS SINaiNG. Trans- lated from the French, by the Rev. Tbomas Helhobb, M.A. In paper wrapper. Is. ^V.-MOZART'S SUCCINCT THORO' BASS SCHOOL. Translated from the , German, by Sabxlla Novbllo, The musical examples revised by Josiab Fittuan. ' In paper wrspgei;, lOd. v.— CATEIi'S TREATISE ON KAR- MONT. Translated by Mart Coa^den Clarke. The musical examples revised by ' Josiau Fitiman. In paper wrapper, 2s. 6d. VI.— AI^BRECHTSBERSER'S Col- lected Writings on THORO'-BASS, KARMONT, and COMPOSITION, for Self-lnatmction. .Translated by Sabilla Novello, f>om the original German. The -musical examples revised by Vincent NovELLo. Vol. 1., Harmony and Thorough- Uass, 38. 6d. Yols. II. and III., Guide to VIl.— BBRIIOZ' TREATISE ON MODERN INSTRUMENTATION AND ORCHESTRATION. Contain- ing an exact table of the compass: a slcetch of the mechanism, and study of the quality of tone (timbre) and expressive character of various instruments; together with a large number of examples in score, from tlie pro- ductions of the greatest Masters, and from some unpublished worlds of tiis -Author. Bound in cloth, 12s. VIII.-DR. CROTCH'S EI.EMENTS OF MUSIC All COMPOSITION, with the Musical Examples properly combined with tlie Text. (Reprinted by the kind permission of the proprietor of the copyright.) The musical examples revised by Thomas Pickering. In paper wrapper, 48. 6d. IS.— SABII.KA NOVEUO'S VOICE AND VOCAZi ART ; a Treatise written for the use of Teachers and Students of Singing, with anatomical illustrations of the vocal in- strument. In paper wrapper. Is. X.-SXi;CKER'.S SUCCINCT IN- STRUCTIONS for the Guidance of Singing Schools and Choral SocieticE. Translated front the original German, by Sabilla Novello. In paper wrapper, 6d. XI.-NAGE!lI and PFEIFFER'S EIGHTV-ONB PART-SONGS & CHORUSES in ProgresBiTe Order for the Cnltivation of Part-Singing. With Instructions for forming and improving Male Choral Singers. Translated from the German, by Sabilla Novello. Bound in whole cloth, gilt, 3s. ; paper cover, 28. PRACTICAL SEBIES. U.-RINB'S PRACTICAL ORGAN SCHOOL. (Oblong loHo bdition.) Care- folly revised, with the German directions and terms translated into English, and the- pedal part printed on a separate staff. The whole «lited by W. T. Best. Cloth, 12s. ; ot in 6 books, 2s. 6d. e^ch. UI.-ON :^AGANINI'S ART OF PZiATING THE VIOIIN. (An Ap- pendix to all oiher. Violin Schools which have as yet appeared), with a Treatise on Single ^nd Double Harmonic Tones. Dedicated to the Heroes of Violin-Playing, Bode, Kreutzer, Baillot, and Spohr, by Carl Guhr, Chapel Master and Director of the Theatre in Frank- fort-on-the-Maine.Translated A*om the German by Sabilla Movello; and the musical ex- amples revised by W. G, Cusins, Price 6s. XiIII.-XAXKBRENNER'S METHOD OF LEARNING THE PIANO- FORTE, with the aid of the Manual-Guide ; containing the Principles of Music, a complete system of fingering, a classification of authors to be' studied} rules on expression, on manners of phrasing, on musical punctuation, etc. ; followed by Twelve Studies. Dedicated to the Musical Academies of Europe. Translated (torn the French, by Sabilla Novello. With an Appendix in furtherance of this system, by Barbara Quschl. Price 10s. 6d. 1^. i LONDON & NEW YOEK; NOVELLO, EWEE AND CO. |» itja'«Jk»'€xa*exyfc»«attw^«'el^s't^J 1/6 — TWENTY SONGS (Contralto) . 1/6 — TWENTY SONGS (Sop. or Ten.) 1/6 — *SCHWANENGESANG (Swan Songs) 1/6 — *DIE SCHONE MULLERIN (The Fair Maid of the Mill) ... 1/6 - *WINTERREISE (The Winter Journey), Op. 89 ... • ... 1/6 -r- SCHUMANN. *SONGS Folio — 10/6 *MYRTHEN (26 Songs), Op. 25 1/6 - *LIEDERKREIS (12 Songs), Op. 39 1/0 - *VOCAL ALBUM 2/6 4/6 ♦WOMAN'S LOVE AND LIFE (8 Songs), Op. 42 ... ... 1/0 ~ ♦TWELVE SONGS (Op. 35) ... 1/0 - DICHTERLIEBE (A Poet's Love), (16 Songs), Op. 48 ... 1/6 — VARIOUS COMPOSERS. OLD IRELAND (Irish Melodies) 2/6 THE SUNLIGHT OF SONG. 46 Illustrations — 51 ♦VOLKSLIEDER ALBUM (40 Songs) 2/6 German and English Words. LONDON & NEV\^ YORK: NOVELLO, EV\^ER AND CO. Theoretical Series. — No. 6. NOVELLO'S LIBRARY for the diffusion of MUSICAL KNOWLEDGE. " Studies serve for delight, for ornament, and ability. . . . There is no stond or impediment in the wit, but may be wrought out by fit studies." — Lord Bacon. J. G. ALBRECHTSBERGER'S COLLECTED WRITINGS ON THOROUGH-BASS, HARMONY, AND COMPOSITION, FOR SELF INSTRUCTION. WITH MANY EXPLANATORY EXAMPLES, VERBALLY COMMUNICATED TO, AND SYSTEMATICALLY ARRANGED, ENLARGED, AND EDITED BY HIS PUPIL, IGNAZ CHEVALIER VON SEYFRIED ; WITH A SHORT GUIDE TO FULL-SCORE PLAYING, AND A DESCRIPTION OF ALL INSTRUMENTS EMPLOYED UNTIL THE PRESENT TIME. IN THREE VOLUMES. VOL. I. Translated by SABILLA NOVELLO, prom the original German, expressly for NOVELLO'S LIBRARY for the diffusion of MUSICAL KNOWLEDGE. The musical portion HAS BEEN revised BY VINCENT NOVELLO. LONDON : NOVELLO, EWER & CO., I, BERNERS STREET (W.), AND 80 & 81, QUEEN STREET (E.G.) BOSTON, NEW YORK, AND PHILADELPHIA : DITSON & CO. NOVELLO, EWER AND CO., TYPOGRAPHICAL MUSIC AND GENERAL PRINTERS, I, BERNERS STREET, LONDON (w.) DEDICATION.— To the Riglit Honorable Count Casimir Esterliazjr von Galantha, Imperial Chamlierlain, Patron ol the Church- Music Society in Preashurg, Member of many Benevolent Societies, Sic, &c., this worlc is respect- fully dedicated by The Editor. PREFACE TO THE SECOND EDITION. BY IGNAZ, RITTER VON SEYFRIED. Although the first edition of this book of instruction met with a highly flattering reception, and was entirely Bold oflf some years ago, yet the editor feels it to be his duty to explain fully, if he cannot justify, some few wants which could not fail to exist in it. The first defect observed, was a too apparent diversity of style, which cannot be denied, but which may be naturally and clearly accounted for. The first volume, a thorough-bass school, had to be compiled to a large extent, as only a very small portion of the necessary materials existed ; on the other hand the subjects of the latter volumes, " Guide to Com- position," &c. &c., had been worked out with the greatest precision by Albrechtsberger himself, who considered the substance of more importance than the words conveying it; therefore his manuscript reached the printer, written in his usual unadorned style, and nearly in the terms of his verbal instructions. On this account, it required no alteration, but only such additions as were rendered necessary by the extraordinary progress made in the instrumental branch of music during the lapse of more than twenty years. In order to meet the wishes ex- pressed on this point, much has been done — not fruitlessly, it is hoped — in this second carefully revised edition. A further reproof was thrown on the order of the rules. Modern theorists place the study of simple and double counterpoint immediately after each other, and then proceed to the fugue. Albrechtsberger, supported by his oracle, Job. Jos. Fux, was of a different opinion on this point — and not without sufficient reason. Simple counterpoint merely demands a perfectly sure, gram- matical correctness of composition. When this has been steadily attained by the knowledge of certain rules, of the restrictions concerning perfect and imperfect chords, and of the almost despotic law which banishes all dis- sonant chords — then surely it must prove a real intel- lectual refreshment to the scholar, to throw off" the oppressive yoke, to free himself from the narrow shackles of a chorale, find to write in the free style. Imitations of all intervals, in two, three, or more parts, give him the means to continue hie ideas thematically, to order them symmetrically, to place them in a melodious frame-worlt, and form from them (in musical metaphor) a large or small tone-picture according to rhythm and rule. Ones familiar with the inversions — able to produce the same thought in even new shapes and harmonies — to appear manifold, though uniform — in short, capable of expressing much by little means — thus ai-med and prepared, the pupil may attack simple fugue, which does not require the aid of double counterpoint. By an intimate knowledge of formulas of this kind, he will become fitted for higher development ; double fugues, with two, three, and four subjects, based on the secrets of double counterpoint on the 8ve, 10th, and 12th, unveil their mysteries, while the strictest of all fugal combinations, the canon, with its manifold branches, forms, like a keystone, the crown of his theoretical course. A long experience has also determined the editor to retain this system of order ; the only change he has allowed himself to make is, that he has placed Inversion immediately after Imitation, as they are clpsely connected, and, also, he has transplaced from the third volume into the second, the short rules on five-part composition, as they complete the instructions on har- mony, and belong to this part of the work. The Appendis has received considerable, and, it is hoped, not unwelcome additions. May it aid in fulfilling a former prophecy : " we may, perhaps, be able to express ourselves more fully, by studying and remarking the practical results of the separate and combined use of all instruments." Many circumstances tend to retard the fulfilment of this promise ; it must be especially remembered that a com- piled work of this kind would become too voluminous if it contained the examples which might be taken from the best masters of all ages, to illustrate the dead letter of the rules ; while if containing none, it would not attain its proposed object — that of furnishing practical knowledge, and useful, progressive, and exemplified instruction. May this work serve as a finger-post to indicate the honorable goal which may be reached by one mora worthy. Ignaz, Riiter von Seyfried. BIOGRAPHICAL MEMOIR. JoiiN' George Albreciitsbekger first saw the light of tills wovld on the 3rd of Februarj', 1736, in Klosterneubuvg, a town about two leagues distant from Vienna. In his seventh year, he was already trehle-singer in the monas- tery of regular canons, belonging to the town, where he also attended the schools. Leopold Pittner, the curate of St. Martin's, in the lower town; became fond of the good-natured boy, whose decided inclination for music did not escape his observation ; he instructed him in thorough-bass, became his steady patron, and even caused a small organ to be constructed for him ; which relic is still preserve'd in the village of Kahlenberger- dorfchen, situated on the Danube, above Nussdorf, near Vienna. Towards this first benefactor, Albr'echtsberger continued through life to entertain the warmest gratitude, and endeavoured upon all occasions to instil the same sentiment into the minds of his children. His great love of learning was displayed when a boy, by his carrying his little clavichord with him into bed, where he usually played until he fell asleep, and awoke to find his beloved instrument still with him. On one occasion, it being Easter Sunday, he came to his master to beg for instruc- tion ; the latter would not give a lesson on such a holy day, but as the boy persisted in his petition, he obtained permission to practice by himself. Overjo3'ed by this indulgence, he played so unusually well, that his listening master not only praised him highly but gave him a handr ful of small coin in his delight at the boy's talent. In order to continue his studies, Albrechtsberger, at a later period, entered the gymnasium of the Benedictine Abbey at IVIelk, where, having finished his courses of humanity, he filled the post of organist for twelve years. In this abbey it was customary for the choir-boys to perform small operas during the Carnival, and it happened that one of these representations was honored by the presence of his Majesty, the Emperor Joseph. The little George attracted the attention of the Emperor by his peculiarly beautiful treble voice, and his Majesty commanded that the boy sho\ild be presented to him, gave him much praise and a ducat. When, in 1765, the august bride of this monarch. Princess Josepha of Bavaria, travelled through Melk, Albrechtsberger composed an ode, which was sung in the monastery, and received universal ap- plause. He continued to perfect himself as a profound theorist by intense study of the works of Caldara, Fux, Mann, Riepel, Pergolese, Graun, Handel, Benda, Hasse, Bach, and others, kindly lent to him by Robert Kimmef- ling, the director of the choir. Some years after, the Emperor Joseph again passed through Melk, and attended high mass on the Sunday. Albrechtsberger played the organ, and preluded, as usual after service : his per- formance so pleased his Majesty, that he desired to speak with him, and proposed that he should become Court-organist, as soon as the post should be vacant. While yet a boy, Albrechtsberger had twice the mis- fortune to fall into the Danube, through inattention, but was luckily saved both times, by boatmen. At a later period he became organist at Raab, and at Mariataferl ; for some years he was music-master to a gentleman in Silesia, and at last was engaged as choir-director by the Carmelite monks, in Vienna. This fortunate change of abode enabled him to'realize his long-cherished wish of enjoying instruction from the esteemed Court-organist, Mann. Gassmann, the brothers Haydn, and Renter, made his acquaintance, and the last conceived a great respect for him, when he heard him transpose at sight,, and without mistake, his (Renter's) mass in G, into G| major, on an organ which had been tuned too low in pitch. In the year 1772, he at length obtained the situation promised him by the Emperor ; and when Leopold Hoffinann, chapel-master of St. Stephen's cathe- dral, died in the year 1792, Albrechtsberger was named as his worthiest successor. From this time may date his real influential sphere of action ; his best and self-erected monument is what he produced as composer and teacher- his memory will be gratefully loved by contemporaries and eternally preserved by posterity. In 1798, he re- ceived a diploma as honorary member of the Royal BIOGRAPHICAL MEMOIR. Swedish Musical Academy, and in 1808, by the distinct command of the Emperor, his new mass (composed on the occasion) was performed at the coronation in Pressburg. A short time previous to his death, he com- posed a Te Deum, intended for performance after the treaty of peace, and the return of our Emperor to the capital ; but death frustrated his wishes. A few days before his end, he recommended his wife to preserve this score until some especially solemn occurrence in the Imperial family, when she was, in person, to lay this Te Deum, the last work which God had permitted him to finish, at the feet of the Emperor, declaring that, " As a true subject, he wished to do homage to his Majesty, even with his latest work." Could a more remarkable event happen to bless the millions of inhabitants dwelling beneath the mild sceptre of Austria, than the solemn espousals of Francis to Caroline Augusta? On this occasion, when all hearts rejoiced, the widow accom- plished the desire of the deceased ; one of her daughters presented the bequest to his Majesty, who, in remem- brance of the great church-composer, most graciously and affably accepted it, and some weeks after, not only signified his content and gratification to the widow, through the medium of Joseph Eybler, Court chapel- master, but also awarded her an Imperial present. All Albrechtsberger's works bear the stamp of simple gran- deur and elevated dignity; they are simple, pious, and religious, as he was himself. The so-called free style of composition never became congenial to him, and he often expressed himself on this point with humble sincerity ■- " It is no merit of mine that I write good fugues, for no idea ever presents itself that is not fitted for double counterpoint. He married, on the 31st August, 1768, Rosalia Weiss, daughter to the sculptor, Bernhard Weiss, of Eggenburg, born the 30th of August, 1740, and mar- ried in the Imperial chapel at Vienna. She bore him fifteen children, nine boys and six girls, of whom eight sons and four daughters are already deceased. In his familiar life, Albrechtsberger was generally serious, but always amiable, affable, and, on proper occasions, even jovial ; as a man, husband, and father, the strictest per- former of duty. His latter years were troubled by the sad companions of weakened old age ; the hour of demise approached on the 7th March, 1809 — he died as he had lived, with child-like resignation, and as a good Christian, in his seventy-third year ; his earthly remains lie in the same churchyard where his intimate friend and brother- iii-art, Mozart, found rest eighteen years before, and where in a few months the great Joseph Haydn, who warmly appreciated them both, rejoined them, " Sil illla terra levis." J. G. Albrechtsberger had numerous scholars, many of whom, to use his own words, "caused him true joy." Among these may be mentioned : — Ludwig von Beethoven, in Vienna (died 26th March, 1827). Peter Edler von Decret, in Vienna (died 1830). Baron von Dohlhof, in Vienna (died 1837). Joseph Eybler, Principal Imperial Chapel-master in Vienna. Stephen Franx, Member lof the Imperial Chapel in Vienna. Johann Fuss, Composer (died March, 1819, in Pestli). Johann Gansbacher, Chapel -master at St. Stephen's, Vienna. John Nepomuk Hummel, Chapel-master to the Grand duke of Weimar (died 17th October, 1837). Baron Nic. von Krujft (died 16th April, 1818, in Vienna). M. J. Leidesdorf, Composer and Pianofor-teteacher in Vienna. Joseph Preindl, Chapel-master at St. Stephen's (K\- brechtsberger's successor to the post). Chapel-master at St. Peter's, and free burgher of Vienna, (died 26ch October, 1823, in Vienna). Ambros. Rieder, Choir-director and Schoolmaster in Berchtoldsdorf, near Vienna. Ignaz, Chevalier von Seyfried, Chapel-master a;;d Director of the Opera in Vienna. Fr. Schneider, formerly Organist in the Monastery at Melk. Joseph Triebensee, Chapel-master of the State Theatre in Prague. Michael Umlauf, Imperial Chapelrmaster to the Thea- tre in Vienna. Joseph Weigl, Imperial Vice-chapel-master in Vienna. A list of Albrechtsberger's works, the scores of wliich are placed in the musical archives of his Excellence tliR Prince Nicolaus von Esterhazy-Galantha, &c. &c. : — 26 Masses. 43 Graduals. 34 Offertories. Vespers (in C) de Confessore. „ (in A) de Confessore. „ (in Eb) de Apostolis. „ (in C) de Beata Maria Virginn, „ (in D) de Beata Maria Virgins. BIOGRAPHICAL MEMOIR. 4 Litanies. Psalm (in D) Magnificat. „ (in D) Magnificat. „ (in C) Dixit Dominva. „ (in A) de Confessore. Te Deum (in C). (in D). „ (in C) for her Majesty the Empress Theresia. (in Bb). Veni Sancte (in C). „ (in D). 6 Motets. 5 Salve Regina. 6 Ave Regina. 5 Regina coeli. 5 Alma Redemptoris. Tantiim ergo (in C). „ (in C). 18 Hymns. AUeluja (in C). Miscellaneous Church-music : — Chorus de Sancta Theresia (in C). De profundis „ „ (in D-m). Memento „ „ (in G). Introitus „ „ (in F). „ „ „ (in D-m). ., ,, ., (in F)- Citcuitus (in C). „ (in D) de Beata Maria Virgine. Tenebrse (in C-m). Responsorium (in F). 6 Oratorios, viz . — Die Pilgrime auf Golgatha. Kreuz-Erfindung. Geburt Christi. Applausus Musicus. De Nativdtate Jesu. De Passione Domini. Aria (in Bb) de Sancto Nepomuceno. „ (in Eb) de Sancto Nepomuceuc. ,, (in G) de Beata Maria Virgine. „ (in F) de Beata Maria Virgine. „ (in D-m) de Passione Domini. „ (in F-m) de Passione Domini. „ (in G) de Sancto Joanni Nepomuceno. Duetto (in Bb) de Sancto Joanni Nepomuceno. Coro (in Eb) de Sancto Joanni Nepomuceno. An Operetta (with German text). 77 Violin Quartetts. 9 Violin Quintetts. 2 Violin Sestetts. Miscellaneous pieces : — Serenade for 5 voices, with oboe obligato. Quintett, with flute concertante. Notturno for 4 voices, with flute obligato. „ „ „ oboe obligato. 6 Divertimenti a quattro. 1 Divertimento „ 1 j> »> Concertino „ 28 Divertimenti f6r 2 violins and violoncello. Concertos for different instruments : — Concerto for the harp. „ „ organ. „ „ trombone. „ „ pianoforte. ,, „ mandora (7 pieces). Concertiiii for the harp (4 pieces). Symphonies : — Symphony (in F). (in D). (in D). (in C). A chorus for instruments. Seventeen masses from the pen of this indefatigable composer are not here mentioned, as some of them were presented to the Emperor, who requested to have them ; and some of them, according to the will of the deceased, have become the especial property of the choir to which he devoted the last hours of his artist-life. A list of J. G. Albrechtsberger's works, which hav« been published (with an indication of the publisher and the price) : — in C. M. fl. kr. Publishers. Op. 1. Fugen for the Pianoforte . {^ ^^ Ca^r^'' ,, 2. Quatuors en fugues (in D, A, Bb,F,C,Eb)p.2, Viol.,Alt. et VcUe 5 Hummel. „ 3. Preludes etune fugue p. rOrg. 3 „ " ^- F".-(inC)perrOrgano . { ° j'^s^pX „ 5. Fuga : Do, re, mi, per I'Org. 30 Cappi. „ 6. Fughe e Preludj per I'Organo 1 „ ,, 7. Fugues pour I'Orgue . . . 1 30 MoUo. ,. 8. Fugues pour I'Orgue . . . 50 Artaria. „ 9. Fugues pour I'Orgue ... 1 20 „ „ 10. Fugen fiir die Orgel . . . 1 o Hasiiuger. ,,11. Fugen fur die Orgel ... 1 Cappi. „ 12. Pralud. fur die Orgel, 1, 2, 3, I-ief 2 15 Haslingor. BIOORAPHIOAL UEMOIR. vH. Op. 13. Sextuors (in Eb, G-m, D-m) p. 2 VI., 2 Alt., Veil, et B. L-iy- 1 2 30 Riedl. „ 14. Sextuors (in D, F, C) p. 2 VI., 2 Alt., Vclle. et B. Liv. 2 . 2 30 „ ,,15. Fuga (in C) p. Pianof. a 4 m. . 30 „ Ifi. Fugues pour I'Orgue . . . 1 30 „ 17. Fugen fvir die Orgel ... 1 „ 18. Fugues pour I'Orgue ... 1 .„ 19. Quatuors (in G, B\>, Eb, F, t, D-m.) per 2 Violini, Alto et Basso 2 30 „ 20. Fugues pour le Pianoforte . ] „ 21. Quatuors (in A, D-m., G,C-m., F, Bb) p. 2 VI., Ajte et Basse 2 30 Prelude et Fug. pour le Pianof. a 4 m. 45 Parludien to be played with 3 or 4 ( 54 registers (.1 30 Versetten for the Pianoforte . . . 45 Duos, instr. p. VI. et Vclle. Liv. 1, 2. 2 Quintett (in C) p. 3. VI., Alt. et Vclle. 45 Sonatas ^ 2 Choeurs (in D, G, C) p. 4 Viol., 2 Alt. et 2 VcUes. ... 2 Artaria. Trag. Haslinger. Cappi. Artaria. Riedl. Haslinger. Peters. Weigl. Cappi. Peter*. Riedl. (1 Peters. Generalbass-Schule -j 1 12 Artaria. (1 30 Cappi. M^thode de I'accomp., trad, de I'Alle- mand 8 -.30 Choron. Ausweichungen von C-dur und C-moU in die iibrigen Tonarten . . . 20 Haslinger. Inganni (Trugschliisse). 2. L. d. fO 45 Peters. Ausw (.0 36 Cappi. UnteiTicht iiber den Gebrauch der ("„ ., p . vermind. u. uberm. Intervalle. \ " t^ i.'^.' 3 Lief. d. Ausw | 30 Cappi. Kurze Regeln des reinstein Satzes. (2 Ausg.) 30 Haslinger. Anweisung zur Composition ... . 4 30 Breitkopf. M^thode 616ment. de Compo. trad, de TAllem 5 Choron. Clavierschule 10 Artaria. Posthumous. 50 Versetten und 8 fugen fiir die Orgel. : — 1. Abth. Moll-Tonarten . . 1 30 Haslinger. 2. Abth. Dur-Tonarten . . 1 30 „ CONTENTS OF VOLUME THE FIRST. THOROUGH-BASS AND HARMONY. PAOE VISI Intboduot ION - - 9 XXII. . Examples of figuring ; with one figure - 20 I. . . . On intervals ... - 9 XXIII. . „ „ „ two figures 20 II. . . On the perfect and augmented unison . 10 XXIV. Major ti-iads ; in the position of the octave 22 III. . . . On consonant and dissonant intervals - U XXV. . . •• ,. „ „ „ third 22 IV. . . On the different kinds of triad - 12 XXVI. . fifth' 23 V. . . . Continuation - 13 xxvn. . Minor triads ; in the position of the octave 23 VI. . . On dissonant chords in general - 13 XXVIII. . ,1 „ „ „ „ third 23 VH. . On chords of the seventh - 13 XXIX. . „ „ „ „ „ fifth 24 VIII. . „ „ „ ninth - - 14 XXX. . . Exercises on various triads - - 24 EX. . . „ „ „ eleventh - 14 XXXI. . „ ,, the minor diminished triad - 25 X. , . „ „ „ thirteenth - 14 XXXII. . On doubling ... 26 XI. . . On the progression of consonants - 15 xxxm. . On prohibited skips - . - 26 XII. . On the use of dissonants - 15 XXXIV. . Exercise on doubled thirds and sixths 26 xin. . Continuation - - . - 15 XXXV. . Accompaniment of the scale - 27 xrv. . . On the implied intervals to the second - 16 XXXVI. . ,, „ with two kinds of chords 28 XV. . ,) „ » >, third - 17 XXXVII. On the six hazardous progressions - 29 XVI. . , „ „ fourth - 17 XXX vm. Exercises on chords of the seventh - 32 XVII. . . fifth - 17 XXXIX. . „ „ the chords derived from it - 32 XVIII. . „ >, ,. „ sixth - 18 XL. . . On figuring ... 35 XIX. . . „ „ „ „ seventh - 19 XLI. . . Principal features of figuring . .36 XX. . . ,. „ „ „ octave 19 XLII. . . Continuation - . - - 3fi XXI. . . , ""ith - 19 XLIII. . Continuation - - - - .S? VUl. CONTENTS OF VOLUME THE FIRaT. xuv. XLV. . XLVI. XLVII. XLvni. XLIX. L. . . LI. . . Ln. . LIII. . LIV. . LV. . LVI. . Lvn. . Lvni. LIX. . LX. . LXI. . Lxn. . LXIII. LXIV. . LXV. . . LXVI. . LXVII. . Lxvin. . LXIX. . LXX. . . LXXI. . Lxxn. , Lxxin. . LXXIV. . LXXV. . LXXVI. . LXXVII. LXXVffl. LXXIX. . LXXX. . LXXXI. . Lxxxn. LXXXIII. LXXXIV. On the figaring of changing notes ■> II II triads „ „ „ chords of the second „ „ „ other chords - General rules for accompaniment Continuation ; in bars of two divisions „ „ „ triple time „ with a figured fundamental part On suspended dissonants - • - On unprepared dissonants On the resolution of dissonants - • On the place or seat of intervals - Examples of all chords ... Exemplary exercises on the prepared chord of the second .... II )i II II 11 „ progression of chords of the third „ prepared chords of the 4th in 3 parts II II II )i 4 parts „ unprepared chords of the 4th and 6th „ prepared chords of the 4th and 6th „ „ with the minor sixth „ chords of the fifth and sixth „ „ „ chords of the sixth „ prepared chords of the seventh „ prepared chords of the second „ prepared chords of the 2nd and 5th „ chords of the 2Qd, 4th, and dth „ passing chords of the seventh „ „ „ chords of the ninth „ chords of the fourth and ninth „ chords of the sixth and ninth „ chords of the seventh and ninth „ various chords, in three parts ,, „ „ „ four parts On strict composition ... LGE rAsa 87 LXXXV. On the use of dissonant intervals 55 37 LXXXVI. On the seat of the diminished third 65 37 LXXXVII. II II „ fourth 65 87 LXXXVIII » » fifth 65 37 LXXXIX. II II minor fifth 65 87 XC. . . II II diminished sixth 66 87 XCI. , . H II „ seventh 56 87 XCU. . II II „ octave 66 37 XCIII. . II II augmented unison 56 37 XCIV. . II II „ second 57 37 xcv. . II » „ third 57 38 XUVl. . II II „ fourth 57 38 XCVII. . II II „ fifth 67 88 XUVlll. . II II „ sixth 57 89 XCIX. . On modulation . 58 39 c. , . . II through the chord of the minor 7th 58 41 CI. . . „ through the imperfect 5th with the 6th 69 41 en. . . II through the diminished seventh 69 42 era. . . II through the inversion of the same 60 CIV. . . Continuation . - 60 48 cv. . . II - . 60 49 CVI. . . •1 - . 60 49 evil. . On modulation hy the perfect triad 60 49 cvra. . On cadences . 64 49 cix. . . On deceptive cadences through the chord of 49 the minor second , . . 64 49 ex. . , II •1 „ major second 64 49 CXI. . . II II „ augmented second 65 50 cxn. . II II „ „ minor triad 65 50 CXIII. . II II „ „ major triad 65 60 CXIV. . II II „ perfect fourth 66 50 cxv. . II 11 „ augmented fourth 66 50 cxvi. . II augmented 4th with the minor 3rd 67 50 CXVII. . II II „ diminished fifth 67 50 CXVIII. II II third, fourth, and sixth 68 50 CXIX. . II II „ augmented sixth 69 61 cxx. . •1 » „ diminished seventh 69 51 CXXI. . » •1 „ dominant seventh 70 51 CXXII. . II II „ major seventh 70 61 CXXIII. II II both the chords of the ninth 70 52 CXXIV. . Example of a succession of deceptive cadences 71 62 cxxv. . On divided accomoauiment • . 72 ALBRECHTSBERGER'S THOROUGH-BASS AND HARMONY. Thorough-bass is the fundamental basis of all music, and must be profoundly studied by all those ■who desire to dedicate themselves to this beautiful art. Without this science, we can admire the ex- cellence of a composition by the physical impression it may cause, but we can never worthily appreciate its intrinsic merit. With innate talent we may produce some not imperfect compositions, but we cannot satisfactorily account for the mattet created, nor vouch for blameless immaculacy in regard to grammatical technicality. Thorough-bass teaches us to reduce to its simple, original, natural, and derived chords, every composition, — for whatever instrument it may be written, and however florid the melody, accompaniment, or embellishments : it grants us a view of the unveiled innermost sanc- tuary, — shews the whole wonderful construction of a work of art in a skeleton shape, stripped of all ornamental garb : by a mere figured bass, enables the initiated to follow correctly a composition of many parts, throughout all its turns and modu- lations : it is our sure guide and director, — orders and binds ideas, — straightens paths, — chains and unites that which without its aid would be separate and erring. Therefore let us all become intimate with this elemental science, as our great ancestors were, and it will fare well with us I On Intervals. The distance from one tone to another is called an interval ; as, from c to ci, from d to e : — Ex. 1. 3 E3=gEB3^=l^^^ i^f^Bf^ffia The intervals are smaller or larger, according to their relative distance from the fundamental note ; therefore the smallest interval is a semitone — e, c%, ff, ff^. There are only eight intervals, namely : — Unison. Second, Third. Fifth. Ex.2, Sixth. Seventh. Octave. Ninth. Tenth. RemarTc. — ^The unison is a number, but is not really an interval, as it stands on the same grade as the funda- mental note. The tenth, also, may be considered as the third above the octave. These intervals may be minor, major, diminished, or augmented, according to their position. The semitone may be minor or major ; minor when it stands ' on the same grade with the funda- mental note ; for example : — Ex. 3. Minor semitones. major when it stands on the next grade; for example: Ex.4. Major semitones. i ^ip^np^ipii Remark. — The minor semitone (the minor second) is not considered an interval, as there is no change of grade between it and the fundamental bass ; the major semi- tone (the major second) is considered the first interval, as it stands on a different grade from the fundamental Two semitones, one major and one minor, make one whole tone ; as, from c to d ia a, whole tone ; the two semitones are, the minor, c — ci, and the major, cj| — d ; or the major, c — d]p, and the minor, d\? — d. This whole tone is called a second; for, example ; — Ex.5. =^=:-KVi:B==*i=.^l i^^~f^'jt^i H#^H An interval which contains three grades, is called a third ; for example : — Ex.6. 3 3 3 3 l^pL^pi^l^^ 10 ALBRECHTSBERGER'S An interval whicli contains four grades, is called a fourth ; for example : — Ex. 7. w^ ^^T^^^^^^m An interval wticli contains five grades, is called ajifth ; for example : — Ex.8. 5 5 5 • m An interval whicli contains six grades, is called a sixth ; for example : — Ex.9. 6 6 6 IP^^ii^^^i An interval whicli contains seven grades, is called a seventh ; for example : — Ex. 10. i An interval whicli contains eight grades, is called an octave ; for example : — Ex. 11. 8 iii^^^ eI^^ An interval which contains nine grades, is a second ahove the octave, and is called a ninth; for example: Ex. 12. 9 ^l^^i^lSl^ 1*^ ESS3 -m-*~ An interval which contains ten grades, is a third ahove the octave, and ia called a tenth s for example : Ex. 13. 10 tp ^=W--^ eEe ^E^ In the same manner, follow — elevenths, fourths ahove the octave ; twelfths, iifths above the octave. Intervals may be placed one or more octaves higher, without losing their original name ; for example : a second two octaves higher; ^ =:: = a third two octaves higher. The second, fonrth, and sixth are exceptions, as they sometimes appear, as will he seen later, in the form of ninths, elevenths, and thirteenths, and therefore must be distinguished from the real seconds, fourths, and sixths. 11. The unison is two -fold — perfect and augmented ; for example : — Perfect. Perfect. Augmented. Augmented^ Ex. 14. ^ P^^B^PBf^-^ r 'I"! The second is three-fold— minor, major, and aug- mented ; for example : — Ex. 15. Minor. Minor. Major. Major. Augmented. Augmented. The minor contains a major semitone ; the major, a whole tone ; the augmented, one whole and one minor semitone. The third is threefold — diminished, minor, and major ; for example : — Ex. 16. Diminisbed. Diminished. Minor. Minor. Major. Major. i?3 bt73 i?3 — 3 — The diminished contains two major semitones ; the minor, one whole tone and one major semitone ; the major, two whole tones. The fourth is three-fold — diminished, perfect, and augmented ; for example : — Diminished. Diminished. PerFent. Perfect. Augmented. 8,«-" I r . The diminished contains one whole tone and two major semitones ; the perfect, or major, two whole tones and one major semitone ; the augmented, three whole tones. The fifth is three-fold — diminished, perfect, and augmented ; for example : — Diminished. Perfect. Augmented. The diminished contains two whole tones and two major semitones ; the perfect, three whole tones and one major semitone ; the augmented, four whole tones. The sixth is four-fold — diminished, minor, major, and augmented ; for example : — Diminished. Minor. Major. Augmented. Ex. 19. g^i^^^F -«^ The diminished contains two whole tones and three THOROUGH-BASS AND HARMONY. 11 major semitones ; the minor, three whole tones and two major semitones ; the major, four whole tones and one major semitone ; the augmeirted, five whole tones. The seventh is three-fold — diminished, minor, and major ; for example : — Ex. 20. Diminished. Minor. Major. 1?T |7T l7T bt T T T XT T The diminished contains three whole tones and three major semitones ; the minor, four whole tones and two major semitones ; the major, five whole tones and one major semitone. The octave is generally only two-fold — diminished and perfect ; but it is sometimes augmented, and then contains one minor semitone more than the perfect octave ;. for example : — Ex. 21. i Diminished. ¥- ^-Vtjitz Perfect. - - fis Augmented. ft- "s,- ^ ^in^az ?^ r ; 1 ' The diminished contains four whole tones and three major semitones ; the perfect, five whole tones and two major semitones. The ninth is two-fold — minor and major ; for example : — Minor. Minor. Major. b9 >9 9 9 Ex. 22. ^^ m =11 The tenth, which is, in fact, a repetition of the third an octave higher, is threefold — diminished, minor, and major ; for example : — Diminished. bbio Ex. 23. Minor. bio Major. 10 =?s= ^i HI. There are (with respect to the sound which im- presses the ear) two kinds of intervals — tlie con- sonant, which produce an agreeable, perfectly sooth- ing effect ; the dissonant, which excite a painful and nneasy sensation. The consonants are — the perfect unison, the minor third, the major third, the perfect fifth, the minor sixth, the major sixth, the perfect octave, and the minor and major tenths ; for example : Ex. 24. 1 b3 3 5 be 6 ^ ■£r-:SS'-^?S~ SS^-e»- -«»- -6 fl- bT i bT T P8 #8 _ib9 _^9 bblO ^^»- -^- ^*=*~ «^- -^*- -^*- -^*- All chords which are composed of these intervals, are called discords. But a real conscmant becomes a dissonant, by being coupled with such an interval, as — the perfect fifth with a sixth ; the sixth with a seventh ; the perfect octave with a ninth ; as may be seen in the following example : — Ex. 26. i?^^ =g= i^t^^Ssi -. I..- m^^^iH-t^.^^ -r-r b?bl I P I Ton i-iOH -i=- ^^P - fT - 6 6 5 4 2 3 t 1 8 — I 3 -.titiz ^S- The consonants are subdivided into perfect and imperfect. The fifth and octave are perfect ; both thirds and sixths are imperfect. Therefore it appears that every chord over a fundamental note, composed of three consonants, must be perfect or imperfect. The common chord only is perfect — the third, fifth, and octave, 5, with its two transpositions — the fifth, octave, and third, s, or tenth ; and the octave, third, and fifth, | : or when a new position is obtained, by omitting one and doubling some other interval — the third, fifth, and third, 5 : and fifth, third, and fifth, 3. The imperfect consonant chord is — third, sixth, and octave, «, with its two trans- positions — third, octave, and sixth, § ; and octave, third, and sixth, 3 : and the new positions obtained by omission and doubling — third, sixth, and third, | ; and sixth, sixth, and third, « ; for example : — 6 Perfect consonant chords. Ex. 27. iiiliiilBlHiiililt^i 3 8 orio S i^i^eiei^i 12 ALBEECHTSBERGER'S Ex.28 Imperfect consonant chotds. 11 ^^ When one or more dissonants appear in a chord, it always belongs to the class of dissonants, as — third, fifth, and sixth, 5 ; fifth, sixth, and octave, § ; second, fourth, and sixth, 4 ; third, fifth, and seventh, 5 ; fourth, fifth, and octave, 5 ; third, fifth, and ninth, 5 ; third, sixth, and octave, 6 ; also when the third and sixth are minor, and the octave perfect ; when the sixth is major, the third minor, and the octave perfect ; when the third and sixth are major, and the octave perfect ; for example : — Ex. 29. i3ii=ii§i^B=ig=i u'i 8 mi m These chords, although according to the rule they would belong to the imperfect consonants, are ex- cepted, as is also the chord of the major third, with the minor, diminished, or augmented sixth ; for example : — Ex. 30. - , , ^M ?i5i^ lUi IS - S3 ft # J #3 m^^^^m There are in music five principal kinds of chords, viz. : — 1st, common chords ; 2nd, chords of the seventh ; 3rd, chords of the ninth ; 4th, chords of the eleventh ; and 5th, chords of the thirteenth. The perfect common chord consists of the third and fifth, to which is added the perfect octave in four- part compositions. The twelve keys may be either major or minor ; the first require the major, the second the minor third, as is shewn in the following table : — ,Ex. 31. Major chords with sharps. ^^^^^Mm^m ^ip si^^i # ft 9 # Major chords vith flats. Ex. 32, ppipi^T^p^^ Ife^i^l^igE^^^ Ex. 33. Minor chorda with sharps. ^ilitei^i*lisei Minor chords with flats. Ex. 34. ^-H^ill^ilg^iii J&ic ^^^ f^^gjgiiiifel^ fi: As remote kej's, with many sharps or flats, in- crease the difficulty of reading and execution, it is- well to substitute the keys which stand on the same grade ; for instance — Dp major instead of Ojj major; Ap major instead of Gi major ; B major instead of Cb major ; and so forth^ IV. The common chord is four-fold — the major, with the major third : — Ex. 35. feEgElilEl^ifetof The minor, with the minor third : — Ex. 36. pii|i^|ii|*^iipil§ii The diminished : — Ex. 37. liiii|g=iii^i^ a The augmented : — Ex. 38. 1^11 tei=i^ Every common chord is capable of two inversions ; the first is made by taking the third as the funda- mental note, by which the chord of the sixth ia produced ; for example : — THOROUGH-BASS AND HARMONY. n |iil^giSl]^S|:lli Ex. 39. 1 The second is macle by taking the fifth as the fiinda- ineiital note, by which the chord of the six-four is jirodueed ; for example : — Ex. 40. ililB^^SlQill^^i a '-^- m 4^ d2ix= From this it may be seen how, from a perfect consonant chord, may be made an imperfect, or even a dissonant one. When the perfect fourth is used in conjunction with a minor or major sixth, it is usnally called the consonant fourth ; when with the fifth, the dissonant fourth ; for example : — Ex. 41. Confionant4th. Dissonant 4th. -r — 1_ I « 5 3 4„ 3 #^fa#tei5g=ppa= j= Hi ^^^^^11 a i It may be here remarked, that the common chord is never "figured, andthat the third, fifth, and octave are always to be played with an. unfigured bass note ; a i, b, or h above it, expresses the kind of third, and thereby denotes a minor or a major key ; for example : — Ex.42. ^ Instead of, thus. Instead of, thus^ Instead of, thus. _ I S5 (3 m^^m^^^[i The i, b, or if always relates to the third ; and it must be understood, that whenever this is major, the fifth and octave must be perfect. V. ' Of these four common chords, two are consonant — the minor and major ; c, e, g — a, c, e : and two are dissonant — the diminished and the augmented ; /(, d,f—c, e, ffj^; for example : — _^ Consonant. Dissonsnt.j* Ex.43. " '^' Me^ot. Minor. Diminished. Auginented. It follows, from what has been already said, that every chord, whether perfect, imperfect, or dis- sonant, may be taken in three diS'erent positions : in the position of the octave, when the octave of the fundamental note (the tonic) is highest; in the position of the fifth, when the fifth (dominant) is highest ; in the position of the third, when the third is highest ; for example : — Ex. 44. Perfect Chorda. ^!=iy.^g^i^|pS Position of the 8th, of the Sth, of the Srd. m^ i^i In this key, _/ is the tonic, and c the dominant ; being the fifth above, and the fourth below ; for example : — Imperfect Chords. m =g= S: ?nlttSof''the"th.'' Position of the Srd. Position of the 8ve. 6 6 6 ^£t2z 1 ois the tonic, y the dominant ; for example : — ' 1st position* 2nd* 3rd. 1st position, 2nd, Srd. m m Eg^H^TB ^MWi 3 l^i ztrzzrEci i It will be almost superfluous to add, that the terms of " position of the third, fifth, and octave," must not be used with chords, which, according to their pecu- liarity, are without those intervals ; the terms of "first, second, and third positions," mugt be sub- stituted. VI. It has already been said, that all chords of the second, fourth, seventh, and ninth, are dissonants ; when these intervals are bound — that is, when the note already heard is not repeated^they are called prepared ; for example : — Ex. 47. /T-. /r\ ;^^S^i=^|Si3#i VII. The second principal kind of chord, the chord of the seventh, consists of a third, fifth, and seventh ; for example : — T T 'i Ex. 48.' 14 ALBRECHTSBERGER'S The chord of the seventh may be major, minor, or diminished ; for example : — Chord of the major 7th. Chord of the minor 7th. Chord of the diminished 7th. ■^ «• ^^lti^illiii|_P^ I- Each of these chords is capable of three inversions — firstly, with the third for the bass ; secondly, with the fifth for the bass ; and thirdly, with the seventh itself for the bass. First inversion. Ex. 50. 1 eS" iHiill i?T l75 7 m^ In this, the chord of the seventh becomes the chord of the five -six. Second inversion. Ex. 51. t?T ba T '^ii=^S:ifgd^^i*[S3 ^p 4 2 i In this, it becomes the chord of the third, fourth, and sixth. Ex. 52. Third inversion. ii^iiiiiiiaiiili i?T 4 •i I T a T 6 #1 H In this inversion, the chord of the seventh becomes the chord of the second, fourth, and sixth. The fourth thus formed is considered as a consonant ; but all chords of the seventh, with their inversions, are dissonants. VIII. The third principal kind of chords, the chord of the ninth, is formed when a note, a third below the chord of the seventh, is added to it ; for instance, in the chord of the seventh, g, b, d, f, add e as bass under the g, and the chord of the ninth will be pro- duced, consisting of a third, fifth, seventh, and ninth ; for example : — Ex.53, M '^1= bT 5 1^1^^ i In four-part accompaniment, one interval in this chord is usually omitted, either the seventh, fifth, or third ; for example : — Ex.54. Without the 7th. Without the 6th. Without the Srd. ^i^^fedgd^a^g^ 8 ^' 9 8 9 8 9 EF=H P^ l^^llii^ Although the ninth is played upon the same note as the second, and represents, to a certain degree, the same interval an octave higher, yet a decided difference exists between these intervals ; for the ninth, in real chords of the ninth, is prepared above, and descends ; whereas the second obliges the funda- mental note to descend a grade, being already pre- pared by a bind ; for example : — Ex. 55, =g=: El^ =J= EBE ^Z -D|= S ¥ s Choid of the ninth. ^P:^^ Chord of the second. IX. The fourth principal kind of chord, the chord of the eleventh, is formed when a note, a fifth below the chord of the seventh, is added to it ; for instance, to the chord of g, b, d, f, add c as bass, arid the chord of the eleventh will be produced, consisting of the fifth, seventh, ninth, and eleventh ; for example : — Ex. 56. -g: m 7 5 if m In accompaniment, one interval of this chord is always omitted, — even two occasionally ; if the omitted notes are the seventh and ninth, the three- note chord containing the fifth and eleventh is called the chord of the fourth and fifth ; should this be in- verted, and the fourth taken as bass, the chord of the second and fifth is produced ; for example : — Ex. 57. Inversion. 1 1 The 5th omitted. The 9th omitted. The 7th & 9th § omitted. 5 5 eI i 1^^^; The eleventh and fourth are different ; they are differently accompanied, and peculiarly treated, as will be shewn in the sequel. The fifth and last principal kind of chord, the chord of the thirteenth, is also formed from the chord of the seventh, when a note, a seventh below the fundamental note, is added to it ; for instance, to the diminished chord of the seventh, ^4, b. d, f, add THOKOUGH-BASS AND HARMONY. 15 as bass the seventh below g^—a, and the chord of the thirteenth is produced, consisting of the seventh, ninth, eleventh, and thirteenth ; for example : — Ex.58. One interval is usually omitted ; either the seventh, ninth, or eleventh ; for example : — Ex. 59. 7th omitted. 9th omitted. 11th omitted. i| § --^'=r \ =t=^ li^^i The chord of the thirteenth, although similar in sound, must be distinguished from the chord of the sixth, from which it differs in its implied intervals and in its resolution. XI. The movement of consonant chords is fourfold*: direct, when all the parts ascend or descend : — Ex.60. contrary, when one part descends while the other ascends : — Ex. 61. ^ oblique, when one part remains stationary, or is re- peated, while the other moves : — X' -JS- -^>- -^t- -c»- -^»- -S- and parallel, when the parts remain on their grade, and are continuously repeated : — Ex.63. The following rules may here be given. The contrary movement must be used in passing from one perfect consonant chord to another : — or one part may remain stationary : — Ex.65. ^~ if m All movements may be used in parsing from a per- fect to an imperfect consonant chord ; for instance, from an octave or fifth to a third or sixth : — Ex.^ -gj_ Ci7 a^^* -^^- -^*- •*^ -^*- -€^~ The contrary or oblique movement must be used in passing from an imperfect to a perfect consonant chord : — Ex. 67. i^B^i^^l^g All four movements may be used in passing from one imperfect to another imperfect consonant chord : Ex. 68. =8^^E =g: iE^^; Two consecutive perfect fifths or octaves must be carefully avoided, as they not only sound thin, but are extremely offensive to the ear : — Ex. 69. iteJ5 ^^n^JEffl^gp^a In a composition of many parts, however, a suc- cession of octaves may be used, and dispersed through different instruments, partly high and partly low ; in this case, they are not considered consecutive octaves, but doubled, trebled, and fourfold unisons, and are by no means objectionable. XII. Dissonant chords are used in a threefold manner : first, as passing notes : — Ex. 70, .^ In this example, the tenths, e e, and the sixths, g b, — c, e, are consonant chords, and bothy's, d, and b, regular passing dissonants. Secondly, as changing notes : — Ex. 71. i^Bi £^ In this example, _/ and d are changing notes in the accented division of the bar, and are only suspensions of the following consonants, e and c. Thirdly, as suspensions : — Ex. 72. ^^^JB^^ii In this example, the seventh, c, is produced by the change in the bass. XIII. When two different notes are played to one chord (either in the lower or higher part), only one of them belongs to the chord. When it is the first note, and it falls on the accented division of the bar, the second note, which forms the after-sound, is called a passing note : — Ex. 73. =d=fP ^g^-^g^^ i6 ALBRECHTSBERGER'S C and e belong to the chord ; d and / are passing notes. When the second note is an interval of the chord, then the first note, although it may fall on the accented division of the bar, does not belong to the chord, and is called a changing note : — Ex.74:. ^m^m^m i^^^^ e and c are part of the chord ; y and d are changing notes. Three points must be attended to, in the employment of dissonants by suspension : first, their preparation ; secondly, their percussion ; and thirdly, their resolution. The preparation of a dissonant is effected by using it as a consonant in tbe even part of a bar, before its real percussion : — i^-^; Ex. 75. 1 ^Eg T Their resolution is effected by causing the dis- sonant interval, after its percussion, to ascend or descend a grade, on to a consonant : — Ex. 76. ^Bj^^^-^lgp^^g JEgEJ This proves that the real percussion, which is gene- rally pr.epared, is always a dissonant, but that the preparation and resolution must be consonant. Further, it may be remarked, that in the fourth, seventh, ninth, eleventh, and thirteenth, the highest part of the interval is dissonant and must descend a grade for its resolution : — ■ ■ ■ -J Ex. 77. I I =P^ mm 1 g^ T 9 8 , &c. An exception to this rule is the major seventh, when it is in conjunction with a fourth, minor sixth, ninth, eleventh, or minor thirteenth ; which must then ascend one grade : — Ex.78. In the second and augmented fourth, the lowest part of the interval is dissonant, and must, as a rule, descend a arrade for its resolution ; — ■r^T r In the diminished fifth, the highest part is disso- nant, and must descend one grade : — Ex.80.^gi Although certain dissonants — for instance, the minor seventh above the dominant ; the diminished fifth, with its inversion ; and the augmented fourth — may be used without preparation in free style, yet they must always be regularly resolved. In the free style, one dissonant is often resolved by another; but this license originates from a particular figure, which we shall explain in the sequel. XIV. In order to facilitate reading, and a rapid general view, it has become the universal rule not to figure the fundamental bass with all the intervals contained in a chord ; therefore it is highly necessary for those . who would become good figured-bass players, to know the implied intervals which belong to each figure. When the bass note has no figure, a perfect common chord is always to be played : — i m- tmw. g-h I^^ES^i^iSi^iil A b, |l, or if indicates that the third is to he diminished, minor, or major. 2?ie jigwe a, the second, always implies the fourth and the sixth : — Ex. 82. Should a fifth be written above the second, %, one of these intervals, either the fifth or the second, must be doubled : — Doubled fifths. Ex. 83. THOROUGH-BASS AND HARMONY. 17 Horizontal lines after figures, §rr, indicate tliat both the intervals played are to remain on the Mlowing fundamental note ; for as the bass, as we know,^ must necessarily descend a half or a whole tone, in order to resolve the second, which then be- comes a third, a new figuring is thus avoided. By the resolution of the second into a third, a new chord IS produced, which in four-part compositions is accompanied by a fifth and sixth, and so formed into a third, fifth, and sixth, or chord of the third and eixth: — Ex.84:. ^ SE- =g^- r-f^ =^ ^ ^fcESEE XV. The diminished third implies the diminished fifth and diminished seventh : — Ex.86. TJie minor and major third, we already know, imply the fifth and octave, whether the fundamental note be unfigured, or have above it a 3 , in order to produce the minor or major chord. Should it happen that many perfect chords follow each other, the player must nse contrary movement, as in the direct movement prohibited fifths and octaves would constantly occur : — Direct movement. Contrary movement. Ex. 86, Bad. Good. mm ^WB When many successive thirds are marked above a progressive bass, only the last and first chords are played in four parts ; the intermediate ones are accompanied in three parts, and even in two, when the time is quick : — Ex.87, |gE3:«g: ^igg :g^^a^gE[ EgEE^BE^E= XVI. The diminished fourth implies the doubled minor sixth : — Ex. 88. pi^^^^p=i 5 ^^^^ iSo:: 11 In this case, the fundamental bass takes the seventh major grade, which is called the leading note. In the above example, _/j| is the leading note to the scale of G, and c ;| the leading note to the scale of D. The perfect fourth implies the perfect fifth and perfect octave ; and is, in this form, eminently adapted to the cadence : — Ex.89. ^ ESEB m If the sixth is to be used instead of the fifth, this must be indicated by figuring : — , Ex. 90 _ ^S^Sl =g^ 5§Ebs=i ^^- The augmented fourth implies the major second and the major sixth : — Ex. 91. =^^ ^m P^p 1- 2 i In case the minor third is to be used instead of the second (especially in minor keys), this interval must be indicated by its figure ; excepting when the bass moves upwards a minor third, and itself indi- cates the interval, rendering an especial figuring unnecessary : — SS^ililfe Ex. 92. -I- =*tE|i 3tll il 4 6 3 6 -tu a 6 XVII. The diminished fifth, whether prepared or un- prepared, implies the minor third and minor sixth ; the fundamental note, however, must stand on this fourth or seventh major grade of the scale, and ascend a major semitone to resolve- itself upon the fifth or eighth grade :— 18 ALBRECHTSBERGER'S Ex. 98 Prepared. Unprepared. 7th grade. 7th grade, 4th grade. i^5 is the seventh major grade of the scale of G major, and leads to the eighth ; ^:J is the leading note to A minor ; and c 1 the fourth major grade of the tonic G, which is resolved by ascending a major semitone into the dominant. When it happens that the fundamental note stands on the second grade of a minor key, or on the seventh of a major key, and moves away from it, the octave may be used instead of the sixth : — Ex. 94. ^ M- eg= 175 w rpr: zila- ^^m^^^m -fe<2_ |75 5& i? |7't A is on the second grade in the key of G minor, but on the seventh in the key of B p major ; there- fore the sixth is omitted throughout, and the octave substituted. The 'perfect Jifth implies the minor or major third and the perfect octave ; and forms, as we already know, the perfect triad : — Ex. 95. ;|^e=g=d "^i :i=fEtpi£iei^ H^ ^^ This interval does not require to be figured, because all unfigured bass notes are accompanied with common chords ; but the quality of the third must be indicated, when it requires to be heightened or lowered according to the key. The augmented fifth, which usually only appears after the perfect fifth as a passing note, always implies the major third and the perfect octave : — The major seventh seldom appears as a euBpension of the octave. XVIII. The diminished sixth, which occurs rarely, and is always used as a preparation of the impetfect fifth, implies the minor third and diminished seventh :— ^^ Ex. 97. ■tr- — I*- ■ziaa— -g-- ==!= *£<-•: ii= W^m ^m bi a is l6 L. J_ The minor and major sixth imply the third and the octave, or the third or the sixth may be doubled : — Douhled sixth. Doubled third. Ex. 98. :fc E^E J76 6 ^ i A third or a sixth may be played alone, without doubling : — Ex. 99. =fe= be m^^^ i Care must be taken not to double the major third or major sixth, when it stands on the seventh major grade, and is the leading note ; as it would then become the octave of the fundamental note, and pro- diice too sharp an impression on the ear; for example: Ex. 101. Si Ex .100. rr^ # -g- zbi2c>z. E|g? ~ : z CJ be 6 :i H- ^\f— Efe zU= S=E.-t!»2= l76 iiii 6 m^ B is the seventh major grade of the key of C, and sounds disagreeably by being doubled. In example 101, the last skip in the highest part, from «J7 to Vi, is faulty, because the melody is unnatural, Snd difiicult to execute. When many sixths follow each other, it is well to choose the contrary movement in playing them, in order to avoid prohibited fifths and octaves ; it adds to the grace of their performance, also, to omit an interval occasionally, and double some other : Ex. 102. -o|- ^p^ 6 6 be 6 J76 tf6 m^ ftf ^^^^Epspi[^ =ai The augmented sixth implies either a doubled third, or a major third and an augmented fourth, or a perfect fifth with a major third ; but this must not be followed by a perfect, but by a chord of the six- four, in order to avoid two perfect consecutive fifths: THOROUGH-BASS AND HARMONY. 19 Ex. 103, ^t.„^,gi^i;^,^fe; ,t W^^- ^1 1? =i XIX. All sevenths, when employed as preparations, and resolved ty descending, imply the third and fifth ; ■ also the third and octave, or a doubled third : — Ex. 104. Minor sevenths, Major sevenths. The major seventh, which, when a leading note, is resolved by ascending to the octave of the bass, always implies the major second and perfect fourth, even when it occurs without preparation : — Ex. 105. ^ ^-JAct -**- ^ ^>L. #1 bgdzgztzS s /7\ •i ^ m XX. The diminished octave is only used in oblique movement, and implies the minor third and minor sixth I- — Ex. 106. The perfect octave belongs to the perfect and 8 8 8 imperfect chords, 5> g' §, and is also sometimes found with the minor seventh, especially when the bass ascends a whole tone, and thus produces a chord of the seventh : — Ex. 107. When many perfect octaves follow each other, they are really heightened unisons, and are played as such, without any accompanying intervals. Such passages are marked by the word " unisons," or by a continuous horizontal line : — Ex. 108. :§=,: -_^^|:=agii;^^3^E^i Unison. 0mmM^^^^^^^ Small short lines signify to the player, that the chord last struck is to remaiu unchanged, and prolonged : — Ex. 109. m^^^^^ ^^^ ^m The augmented octave, which is no real interval, can only be considered as a passing note, or pre- paration to a note on the next grade : — Ex. 110. ^m M =g; -i3gr: ms J8 Si/ ^i -^m^mw^^mw^ SeS^ -#« _4_ J8 1 m XXL The two ninths, which, like fourths and sevenths, must be prepared in the highest part, and resolved by descending a whole or half tone, imply a third and fifth. , It is advisable, when the bass ascends, to omit the fifth, and double the third, in order to avoid two ugly consecutive perfect fifths : — Ex. 111. 20 ALBRECHTSBERGEE'S Although the ninth sounds like a heightened second, we have already become acquainted with the difference by which we may recognise them. Firstly, the second is accompanied by the fourth and sixth, while the ninth is accompanied by the third and fifth. — Secondly, the second (unless a passing note) is always a preparation to the bass ; the ninth is always prepared by the accompanying intervals. XXII. In order to attain facility in accompanying a figured bass freely and without fault, the scholar will find it a very useful study to make himself inti- mately acquainted with the following tables, and vividly to impress on his memory the intervals belonging to each fundamental note, in all keys. An unfigured bass, unless marked by " unisons," or "tasto solo" (which signifies the left hand alone, entirely without accompaniment), implies in all cases a common chord : — Ex. 112. the fourth and sixth : — The third implies the fifth and octave; — The fourth implies the fifth and octave : — The augmented fourth implies the second and sixth ; — The diminished fifth implies the minor third and the minor sixth : — The perfect fifth implies the third and octave :-— Ex. 113. The second implies ^ — " I " — H ^m .Ex. 114. -g:- mM Ex. 115. ^^^ 4 Ex. 116. g^^^ @g^°H i „Ex. 117 u_*^ — ZXi- bs $ Ex. 118. I — = m^- a -rr zutz The sixth implies the third and octave: — The seventh implies the third and fifth : — The octave implies the third and fifth : — The ninth implies the third and fifth • — i Ex. 119. m @:| ^g^ ; i Ex. 120. =?gF ■^ Ex. 121. I^^[ 8 U3C 11^ Ex. 122. ^Mlii ~-B-~ ^ ^EE^ : ^>Ex. 123. The tenth implies the fifth and octave : — XXIII. When two figures are placed over a bass note, they are accompanied by the following implied intervals : — y Ex.124:. ' The minor second, with the major third, imply the fifth : — The second, with the fourth, imply the sixth : — The second, with the fifth, imply one of the same doubled :- The second, with the major seventh, imply the fourth: — b2 == E5^=r:H=: ^E| 8-B : Ex. 125, Ex. 126. ^=; ^^m Ex. 127. i= The tHrd, witb tLe fourth, imply the sixth : i THOROUGH-BASS AND HARMONY. Ex. 128. 21 w V3 w^- m E^iii . Ex 129. The third, with py EEoE B e" U:^£H ^^ =ff the fifth, imply the octave, or one in- terval doubled : — The third, with the sixth, imply the octave, or one in- terval doubled : — ^^1 i i Ex. 130. —^=M EL '^^^m Ex. 131. The third, with the seventh, imply the fifth or the octave : — The third, with the octave, imply thefifth : The third, with the ninth, imply the fifth : The fourth, with the fifth, imply the octave : — The fourth, with the sixth, imply the octave or the doubled sixth : — The fourth, wi'th the minor seventh, im- ply the fifth or the octave ; — i^^iBi^i 'I -rw -rr- . Ex. 132. 3^BE ^^ Ex. 133. . Ex. 134. ^i ^^ i^e . Ex. 136. Ex. 137. The fourth, with the octave, imply the fifth :— The fourth, with the ninth, imply the fifth :— i The fourth, with the tenth, imply the augmented sixth : — Ex. 138. W- . Ex. 139. ^mm 10 ^ The fifth, with the sixth, imply the third or octave :— . Ex. 140. P^^^gEB^feg^gili^g^ S^BtE^I P5 ■N i^^ The fifth, with the seventh, imply the third :— , The imperfect fifth, with the octave, imply the minor third : — The fifth, with the tenth, imply the third : The sixth, with the seventh, imply the second or third : — The sixth, with the octave, imply the third :— Ex. 141. n Ex. 142. li^^^=i^i . Ex. 143. qfe : S \ — 3^-Tg^ «^«= — 1— .. 1- _^ExJL44^ T 6 ^^^l^i^ Ex. 145. 22 ALBRECHTSBERGER'S Ex, 146. The sixth, with the ninth, imply the third : The seventh, with the octave, imply the third:— The seventh, with the ninth, imply the third :— The octave, with the ninth, imply the fourth : — The octave, with the tenth, imply the fifth :— ^mm Ex. 147. mm bi i Ex. 148. ii^ m i Ex. 149. m $ Ex. 150. EBE 10 s Ei=^ XXIV. It IS furthermore necessary to become well ac- quainted .with the harmonic triad, and its derivatives — the chord of the sixth, and the chord of the six- four — in all positions and in all keys. In the first position, the octave is highest, the fifth is in the middle, and the third is lowest : — Ex. 151. ■E^- Wm^m Major Triads. . 6 4 3 /Tv -4 1,1 EiiE&S m 6 5 6 _* 3 /7\ Ie^e^ 1 P^eii i£fe •^ ^^; 6 5 6 4 3 ' ^g g^^fl s#«-8-| -i^§m0}^_§^'^^ 6 S ^ m .J_J__U Elfeii ^5*.=^: 6 6 4 m^- ^^m pi^igm s i ^i^= =i' i ^ 6 S 6 4 3^ n-^^' ^ ^V -g--^ .g. iiiifii"^i ^^i^prs XXV. In the second position, the third is highest, the octave is in the middle, and the fifth is lowest : — Ex. 152. ' . d^^=i la 6 4 2 § S^E ^i :d=t 6 4 3 ^ ■(=3 "13 ipipp^l 6 4 S g ^ i .fcid^ |5ff s 1-4 6 6 4 ^^EEg m tf fe^piff^ 6 5 6 4 3 @jfepEg^^ ife*i^^-^:Fd- mmmm 6 4 3 is^g^^^ i# r-n^ ^^^°^' S§ sifei jE^n EpJf^ 6 1 e ^Ite m^ p=grrs= J— !-r-J- ^g^^iiil 6 5 6 4 3 ISlE^I^^ ilia 6 § i ^ g^g^lSa gi^is 6 A » S ai=S^^ THOEOUGH-BASS AND HARMONY. XXVI. In the third position, the fifth is highest, the third is in the middle, and the octave is lowest : — Ex. 153. 6 t " ^¥Pg^^ 6 I e ^= ^=a? I»=i S= 5 3 /CN S^^iii ^- h% w% I r 6 S i _ -•^ jfeM^a ^g^gf^^ ^tel^^l XXVII. Examples of minor triads are similarly given. 1. — In the position of the octave : — , Ex. 154. ^ ,^a _^ 6 I » /TV ^^^^-=ra ^H 6 S # ?l.^ 23 /IN ^ysip^i 6 6 4 X ispa 1 1 nil m^^M -Tt l5*Ste^ el it ^ 12!^H:E ""^■t m^^m 4-'*'- D ^r " 1 ^^_ E^Edk. --^\ f:^i2:: i^^±:^ii SSE ^^^tl r^ I-J-^-J- 3 el* ^P^ . 6 { mi^B XXVIII. 2. — In the position of the third : — Ex. 155. 6 4 S /^ ^3^ «E^j| 6 ji ?:^^ ii ^g^^^-^il 6 4 # /TV iig^ 6 ij 1 fM « 2 « ,:v 1.1 s^g 6 6 4 X sig^^^ii l^ig^jjift sgg^ -^ ~ /TV J U-^r ife^ 6 I it iiS B?p 1 6 T"'^ Ji igJli aiS il e _ 6 4 q 21 ALBRECHTSBEKGER'S ^^ligii-J 6 4 i m^ Id ■-N ;]^ i^ 'P^Sl^=i XXIX. 3. — In the position of the fifth : — Ex. 156. fi^ 6 4 J( ^=d=g;3=^=j=t S^^l 9 t # ^ ^^pi^^a 6 I # I =t=d=p:fi: @^i^^ 6 u 6 4 S P^lP^^i 6 § >« sififei^igl ifetegigig^a 3*' iH^ll 6 4 t] 'irV^z r^rt iiL -I—!-, ii^_ M^ m^^^^ J 1 .,- ^iSJH ifci= — r- :^9-j7^ ^^^mm 6 4 ?; ?a^: S^E ^1^ fci r-t- 6 M, 6 4 it S^£ 'f-i 6 t # ® XXX. When many triads follow each other, care must be taken — firstly, that the third, fifth, and octave shall alternately stand on the highest grade ; secondly, to use oblique and contrary movement, in order to avoid the error of consecutive fifths and octaves ; thirdly, to keep the chords as near as possible to each other, and to avoid distant skips ; fourthly, to substitute the iinison for the octave, when the parts, and therefore the hands, come iuimsdiately together ; for example : — Ex. 157. ^ m j^fL. 5l=a=:e Consecutive fifths and octaves, produced by direct movement :- Improved by the use of contrary move- ment : — Faulty, because of the distant skips : — , Ex. 158. @^=^£ , Ex. 159. =EB= ^If^ii S^i^ ■-N m Ex. 160. 123= ^B Exercises on various triads :— Ex. 161. iifeartiiiiie^iii E^jspg^FJ^e zfi—a- feng^lig^^iipi ^g =zt i^3^ rj2= =1= u .J — I. I — A- a l^lii=i^ii=g^a=i=ilii mi m ^m li?^^ Eg=l J 1- Eiiis^i^; /IS ^— IF ^iftS= =E^^3i 1 * -J I—,—, -i-T:-4 1 , I ■■ . 3 — n — tg — g— i=g! — 3 — t^ — It: ^^^m i -a— SJa rag' ■s-»EE ^ :gliili^=^pi ^5J :fc8: :^1^ EEE i^ THOROUGH-BASS AND HARMONY. 25 agi=p^=pg^^g^g^g^^=gi islg^^liii^iligii g= g^g ^g|^B ^^^^^^idlili^i S^M^^i^^l^ifeB ii-J^li^^HilglPfli ^ fcE^ rf=F= :e^ 5=^ J — J- i=Pali^ i^E^ =a=ii^i^li^=a=§^ -dr El^^= XXXI. In the following examples, in addition to minor and major triads, will be found the minor diminished triad on the second grade — b, d, f. In order to ascertain its place, the scholar must analyse the scale, and the quality of the fifths belonging to it. Every chord which contains a diminished fifth, is a minor diminished triad, and stands on the seventh major grade — for instance, on b in the scale of major ; also on the second grade of minor scales — for in- stance, on b, in the scale of A minor ; also on the majjor sixth and major seventh in all minor scales — for instance, on f^ and ff |i, in the key of A minor. We have already said, that the diminished fifth, as a real dissonant, must always be resolved by descending. Exceptions will be given further on. Position of the fifth. Ex. 162. iiii^iiaii^iliil =p^ -I — I- =F ^^^^m^^^^ ( Position of the third. p gg^ -zf — l^pr-d -I — F=:=l=n: i3=eEE i=il[=i^lN Eli Hi s=^E=:^f.^^=r^gir-*— ^ =^ m^^ Position of the octave. r^=f=3=^=Pi^3^=:4 --8 =tr-=t=J =_1. >=g^^^^^j^ t=:t=zt= aHilii fe=a= mmim ^- -§--"= - # ^i^l^pil •^— T -81= Ei=gE -0 E0E -^zr ;i}a^i:3 5^ — ri= .Z_t. ^^^^"^^=^=1=1 i^l^ig^^l^i^^iiiiii m Se EP-^EE a: ^i itegMilii^^i^ii^li - 13 = =:i]z piii rrJiz zazztg; =^= i^lEEEi^gE z:^= a^-=^^iE==^i^^ - 'it :=!=.«-- f-f ^i iaiini^ii^iifiiifii '^^^^^^^^^^M hk piiEiiig^pEi :bE zS^z: 5:*-#Jzzn=:p=d: dzzrpiz:— j: ztzzdzM Pi »ii^i ^ a==3= iEfei=J,=i^ i^^ ^^^Mm zi :a=n= 1 26 ALBEECHTSBERGER'S -g: l^^HiMiiii =&- ^ll^^i^^^^l pg^i^iii*iiilii ei^=r£ i^ XXXII. In order to avoid, in direct movement, the fifths and octaves, prohibited on account of the disagreeable effect they produce on the ear, it is necessary some- times to double some interval ; and a player from figured bass must endeavour to be able at one glance to recognize what is required by the progression of the fundamental part. Consonant intervals may be doubled. Firstly, the minor and major third, when the latter does not stand on the seventh major grade of the tonic, where it is the leading note ; for ex. : — Ex. 163. I P=SF rg= mz S is the seventh major note of the scale of 0, and must therefore not be doubled, as it already impresses the ear more strongly than the other tones, being the leading note. If the fifth d is added in five-part composition, the defect is improved. Secondly, the minor and major sixth, which, however, must not be the leading note ; for example : — Ex. 164. ^l =^i ^E^z mM 1=^1^1 Neither sixth, being leading ■ note to 0, may be doubled. Thirdly, the perfect fifth. Fourthly, the perfect octave ; but only when the bass regularly ends on a perfect chord after a major seventh ; for example : — Ex.165. The following dissonant intervals may be doubled. , Firstly, the major second when accompanied by the fifth ; for example : — Ex. 166. ^m mi i^^g^^^^i^i Secondly, the perfect fourth in consonant chords of the six-four ; for example : — Ex. 167. 8 T 8 7 a^sE m Thirdly, the perfect fifth accompanied by the second ; for example : — Ex. 168. $ E :b= EB=[ XXXIII. Every skip to an augmented interval is unmelo- dious, and therefore defective ; for instance — to the augmented second, from jT to ^ 4 ; to the augmented fourth, from c tof'^ ; to the augmented fifth, from cto^|:— Augmented 2nd. Augmented 4th. Ex. 169. Augmented 5th. ■ ^= ^m^=^mm It is infinitely preferable to use the inversions of these intervals — that is, the same notes, but in a different position ; for instance — the diminished seventh instead of the augmented second ; the dimi- nished fifth instead of the augmented fourth ; the diminished fourth instead of the augmented fifth : — Ex. 170. Diminished 7tb. Diminished 5th. Diminished 4th. ^^|gi^Eg|gigEpE|^PEprg;H XXXIV. In the following exercise, the doubled third or sixth is quite necessary, as, without them, two octaves would follow in direct movement : — Ex. 171. Position of the third. THOKOUGH-BASS AND HARMONY, Poaltion of the octave. ^^^^^m m^ =i^^[^ifE^igi M^^4^^im Position of tlie fifth. tefefeii^^iiii m ^ 'e' 0f°= ^^E^^^^ : i^^^^il^^ufi ^ i^^\^M^^^^^^EE^^^^i '^m arc =^=F :3=c=3=ar fi =o=f. '■'^t BE5!£ ^: ^^ 7 i-fe |rja=:»=p: I^eS^^^^^^ ^^r »ft^lgi^_fp|i^l «^ !3^!^3^ P-p^ -ri -a- xrt: 3^ ^ -»-f -rt estg; S^#pi^*^ 27 ,_:i' lil -N te^-! iiSilOiiiiliai ^^^^^^^^ 6 r rr 6 if -P- SSs: m ;e^g^ 33 :riz gli ^^^ S 6 aS j =J 5Si ^m^^^^^^ -«-« 55EEE^=E'~^E^Ei#ip; EEEEH m^^^M ^^^^^^p^^M ^^^^^^^^m XXXV. When a bass part ascends or descends eight eqnal grades, it is usual to meet with it slightly figured, or quite unfigured. On account of its direct pro- gression, it requires an accompaniment in contrary movement ; therefore the student must diligently practise this formula in all major and minor keys, and in its three positions, as the knowledge of it is highly necessary for preluding. Ascending scale in major keys : — Position of the octave. J 1_,-J- Ex. 172. J-r-J- 3l^s^li3l^^i=^ 4 6 t EEEfe 1^1 Position of the third. ^EB^lEffl^ ^^= i 3 6 6 5 C2- =pa=g— F '- Position of the fifth. ^m^^^^^^m 6 5 ?t== 3== --P= 1 28 ALBEECHTSBEEGBR'S Ascending scale in minor leys : — i Position of the octave. if—JS-- ^^. rr ^=9i ^E -S-- ai= li :dz 6 ^ii -^ 1 Position of tlie third. Position of the fifth." fip^np^lp^pliiiiili .1, :^=^- pb^%ffe^j Descending scale in major keys :— i=s Position of the octave. m =1= =^= ilE^d=i=i ^ ^E^ ^i Position of the third. Eg^^ !§nr :8= ESEE =g- EBE e^ Position of the fifth. #=^^«^- fM- ~8 8~ -f^- -«^T"S B^ tit— «■ z? — ^- t — 6 3 /Ts — t: F — 1= -J Descending scale in minor keys :— Position of the octave. ==1= --8 =t @^ 6 Eig; Sg- =t=I 1^ "r r f= 6 J !8, 6 Elg; -p — I — -4r «- 4 3 -^^^ ^ ^i^^ Position of the third. m t 3 :l=- :ii^3l d=q: izia: I r eIf^^ ii=ii=iE t "^^m^ Position of the fifth. m r- 6 E^ELi EgE _/?s P -4- 2, I- 3 XXXVI. When the fundamental part slowly ascends or descends, the accompaniment is more graceful and varied if two chords are introduced over each note, these being suspended dissonants resolved into har- monious consonants ; for example : — i ESE -| h W^ -.P^ SS:iN^B3 w 1=^ ^^ ^=3 ^EB B=t=gE=U=P EBE SlE 6 .5 :^^=^ ^ T 6