IMSLP62525-PMLP127720-Albrechtsberger Thorough-Bass Harmony and Composition I

8/6/2019 IMSLP62525-PMLP127720-Albrechtsberger Thorough-Bass Harmony and Composition I

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NOVELLO 'S LIBRARY FOR THE DIFFUSION OF MUSICA L KNOWLEDGE .., Studlea _ tor delight, tor om_eDt, .ad ability. There I. no .toDd or impediment In the wit,

but may be wroqht out by lit .tudiel. "-Lor" BIuoto.

J. G. ALBRECHTSBERGER 'SCOLLEU rED WRrrINGS ON

T H O R O U G H -B A S S , H A R M O N Y ,AND

C O M P O S I T I O N ,FOR SELF - IN ST RUCT ION.

WITH MANY EXPLANATORY BXAMPLES, VERBALLY COKJIUNICATED TO, AND SYSTBIfATICALLY ARRANGlm,BNLARGED, AND BDITED BY BIS PUPIL,

IGN AZ OHEVALIER VON SEYFRIED;WITH A SBORT GUIDE TO FULIrSCORB PLAYING, AND A DESCRIPTION OF ALL INSTRUMBNTS BMPLOYJP>

UNTIL THB PRBSBNT TIIlB.

I NTH R E E VOL U M E.8.

VOL. I.TIlAII ' ILATBD BY SABILLA NOVELLO , nOM TBE OIlIGIlUL GUMAIf, EX.azIILY 'O IL NOVELLO 'S

LIBRARY .OR THE DI"UIIO II' o . MUSICAL KNOWLEDGE. TH E MUIICAL 'ORT IOII'BAS BUM REVl8D BY VINCENT NOVELLO.

'. LONDON:J. ALFRED NOVELLO, 69, DEAN STREET. SOHO, AND 2 4 : , POULTRY;

I

rALSO IN NEW YORK, AT 81lt, BROADWAY. .

1855.


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IIanarc! Oolle.. :LibPa~'Jam. 8, :919.I'rOJn L ibr &17 of..,. Jalm KIlowlell PaIDe.

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,.

BIOGRAPHICAL MEMOIR.

JOBK GBORG.ALBRBCHTBBBBGUirat laW the light ofthis world on the 3rd of February, 1736, in Kloatemeuburg,a towu about two leagues distant from Vienna. In hisaeventh year, he 11'88 already treble-einger in the monu-tery of regular canon., belonging to the towu, where he.lso attended the school.. Leopold Pittner, the curateel SL Martin's, in the lower town, became fond of thegood-natured boy, whole decided inclination for musicdid not eacape his obaervation; he instructed him inthorough-baas, became his steady patron, and evencaused a"emall organ to be constructed for him; whichrelic ia still preaerved in the village of Kahlenberger-ddrfchen, situated on the Danube, above NUlldorf, nearVienna. Towarcla this fint benefactor, Albrechtsbergercontinued through life to entertain the warmest gratitude,and endeavoured upon all occasione to inltil the sameaentiment into the minds of hi. children. His great loveof learning 11'88 displayed when a boy, by his carryinghis little clavichord with him into bed, where he usuallyplayed until he fell asleep, and awoke to find his belovedInstrument still Witll him. On one occasion, it hein,Easter Sunday, he came to his master to beg for inatruo-tion; the latter would not give a lesson on such a holyday, but as the boy penisted in hi, petition, he obtainedpermislion to practice by himaelf. Oveljoyed by thisindulgence, he played lO'UIlusually well, that his listeningmaster Dot only praised him highly but gave him a hand-ful of smell coin in hiB delight at the boy'. talenL Inorder to continue his studies, Albrechtsberger, at a laterperiod, entered the gymnuium of the Benedictine Abbey.at Melk, where, having finished his counee of humanity,be filled the post of organist for twelve yeara. In thisabbey it wu customary for the choir-boys to performemail operas during the Carnival, and it happened thatone of theae repreaentatioDs was honored by tile presenceof his Majesty, the Emperor Joaeph. The little Georgeattracted the attention of the Emperor by hie peculiarlybeautiful treble voice, and his Majesty commanded thatthe boy should be presented to him, gave him much

praiae and a ducat. WIlen, in 1765, the august bride of,this monarch, Princess Josepha of Bavaria, travelled:through Melk, Albrechtsberger compceed an ode, which!W88 BU~gin the monutery, and received universal ap-plauae. He continued to perfect himself 88 a profoundtheorist by infenee study of the worb of Caldara, FllX,1Mann, Riepel, Pergoleae, Graun, Handel, Benda, Hesse,Bach, and others, kindly lent to him by Robert Kimmer-ling, the director of the choir. Some yean after, theEmperor Joseph again paued through It,lelk, and attendedhigh mau on the Sunday. Albrechtsberger played theorgan, and preluded, 88 usual after service: his per-formance 10 pleaaed his Majesty, that he desired toapeak with him, and proposed that he should becomeCourt-organist, 81 soon 81 the post ehonId be vacant.While yet a boy, Albrechtsberger had twice the mis-fortune to fall into the Danube, through inattention, butwas luckily laved both times, by boatmen. At a laterperiod he became organiet at Rub, and at Marlatalerl;for lOme yeara he 11'88 music-master to a gentleman inSilesia, and at last was engaged as choir-director by theCarmelite monks, in Vienna. This fonunate changeof abode enabled him to realize his long-cherished wish ofenjoying inatruction from the esteemed Court-organiat,!Mann. Gassmann, the brothen Haydn, and Reuter,made hiB acquaintance, and the laat conceived a greatrespect for him, when he heard him transpOl8 at sight,and without mistake, his (Rent


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BIOGRAPHICAL)lE.Om.

Swedish Musical Academy, and in 1808, by the diatinctcommand of the Emperor, hi. new IJlU8 (composedon the occuion) wu performed at the coronation inPreeaburg. A short time previous to hi. death, he com-posed a T., Dtwm, intended for performance alter thetreaty of peace, and the return of our Emperor to thecapital; but death frustrated his wishes. A few daysbefore his end, he recommended his wife to preaene thisscore until lOme especially solemn occurrence in theImperial family, when she was, in person, to lay thisTe D. ,, ,, ,. , the last work which God had permitted him tofblisb, at the feet of the Emperor, declaring tbat, " Asa true subject, he wished to do homage to his Majesty,even with hi, latest work." Could a more remarkableevent happen to bleu the million. of inhabitalltl dwellingbeneath the mild eceptre of Austria, than the IOlemnespousals of Francis to CtU"oline Augu.ta f On thisoccasion, when all hearts rejoiced, the widoW' accom-plished the deaire of the deceased; one of her daughterspresented the bequest to hi. Majeaty, who, in remem-brance of the great church-composer, mOlt graciouslyand affably accepted it, and some weeks after, not onlysignified hia content and gratification to the widow,through the medium of Joseph Eybler, Court chapel-muter, but also awarded her an Imperial preaent. AllAlbrechtaberger's works bear the stamp of aimple gran-deur and elevated dignity; they are aimple, pious, andreligious, as he was himself. The so-called free style ofcomposition never became congenial to him, and he oftenexpreased himself on this point with humble aincerity:" It u no merit of mine that I write good fugues, for noidea eYer preaentl itself that ia not fitted for doublecounterpoint. He married, on the 31st August, 1768,Rosalia Wew, daughter to the sculptor, Bernhard Weiaa,of Eggenburg, born the 30th of Augult, 1740, and mar-ried in the Imperial chapel at Vienna. She bore himfif\e'n children, nine boy. and sO : girls, of whom eightsons and four daugh~rs are already deceased. In hisfa.mniar life, Albrechtaberger was generally serious, butalways amiable, affable, and, on proper occasions, evenjovial j as a man, husband, and father, the strictest per-fonner of duty. Hi. latter years were troubled by thesad companions ofweuened old age j the hour of demiaeapproacbed on the 7th March, 1809-he died 88 he hadlived, witb child-like reaignation, and as a good Chriatian,in his seventy-third year; hi. earthly remaina lie in theaame churchyard where his intimate friend and brother-ill-art, Mozart, found rest eighteen years before, andrere in a few months the great Joeeph Haydn, who. . - I

warmly apprtciated them both, rejoined them, II Sit illiIlaTa lem."

1. G. Albrechtaberger had numeroua scholars, many ofwhom, to use hia own words, "cau.ed him true joy."Among these may be mentioned ;-

Ludwig tIOIt BedhOtJeR, in Vienna (died 26th March,1827).Peter EJkr _ Deeret, in Vienna (died 1830).B_ flO" Dobllao/, in Vienna (died 1837).JOIepA Ey6ltr, Principal Imperial Chapel-muter in

Vienna.StepAm Frau, Member of the Imperial Chapel in

Vienna.JOM"" FuN, Composer (died March, 1819, in Peath).J olu lllr t G a ru ba ch n- , Chapel-master at St. Stephen'.,

Vienna.JoAn N tp omuTt Humme l, Chapel-master to th~ Grand

duke of Weimar (died 17th October, 1837)!BarotJ Nac. "011 K"'ffl (died lOth April, 1818, in

Vienna).M. J. Ltitk.dorf, Composer and Pianofor-teteacher in

Vienna. .JOIepA Prmdl, Chapel-muter at St. Stephen'. (AI-

brechtlberger'. succe880r to the post), Chapel-masterat St. Peter's, and free burgher of Vienna, (died 20thOctober, 1823, inVienna).AmbrOl . BUdu, Choir-director and Schoolmaster in

Berchtoldadorf, near Vienna.IpG S, C laefIaU er "011 Seyfried, Chapel-master and

Director of the Opera in Vienna.Fr. Scluuitkr, formerly Organist In the Monutery at

Melk.JOIepl 7rW6tllUt, Chapel-master of the State Theatre

in Prague.M ic ha el Um la uf, Imperial Chapel-master to the Thea-

tre inVienna.JOIeph Weigl , Imperial Vice-chapel-maater inVienna.

A 1m of Albrechtlberger's works, the scores of whichare placed in the musical archives of bis Excellence thePrince Nicolaus von Esterhazy-Galantha, &0. &c. :-2 6 Maae e a.43 Gradual 34 OfFertorieLVespera (in C) de Confesaore.

" (in A) de Confeaaore." (in E~) de Apodtolis." (in C) de Beata Maria Virgine... (in D) de Beata Maria Virgin ..


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1BIOG8APRIOAL Om.

4 Litaniee.Pwm (in D) Magnificat." (in D) MagnificaL" (in C) Dixit Domin1llo" (in A) de Confeeaore.Te Denm (in C)... (in D)." (in C) for her Majeety &heEmpreu Thereeia." (in B~).

Veni Sancte (in C)." " (in D).6Moteta.

5 Salve ReginL6AYeReginL5 Regina eeali,5 Alma Redemptorll..Tantnm ergo (inC).

" .. (in C).18Hyams.Alleluja (in C).Miscellaneous Church--mUBic:-

Chorus de Sancta Thereeia (in C).De profunda" " (in D-m).Memento " " (in G).Introitus " " (in F)." " " (in D-m).

" " .. (in F).Circuitus (in C)... (in D) de 'Beata Maria Virgine.

Tenebra! (in C-m).Reapon80rinm (in F).

6Oratorioe, vis ;-Die Pilgrime auf Golga&hLKreuz-Erfindung.Geburt Christi.ApplaU8U8MUBicua.De Nativitate Jeeu.De Pusione DominL

Aria (in Bb) de Sancto Nepomuceno." (in Eb) de Sancto Nepomuceno." (inG) d e B eata Maria Virgine." (in F) de Beata Maria Virgine... (in D-m) de Panione Domini... (in F-m) de Panione Domini." (inG) de Sancto Joanni Nepomuceno.Duetto (in~) de Sancto Joanni Nepomuceno.Coro (in E;) de Sancto Joanni Nepomuceno.An Operetta (wi&hGerman text).17 Violin Quartette. r:9 Violin Quintette.2 Violin Se8tette.

Miacellaneou. pieces :-Serenade for 5 voice&,wi&hoboe obligato.Quintett, with flute concertante.Notturno lor 4 voiCe&,wi&hflute obligato.

.. " "oboe obligUo.6Divertimenti a quattro.1Divertimento "1 " "Concertino "28 Divertimenti for 2 violins and violoncello.

Concertos for dift'erent instrnmenta :-Concerto for &heharp.

" " organ." "trombone." .. pianoflJrte." " man dora (7 pieeee).

Concertini for &heharp (4 pieces),Symphoniee :-

Symphony (inF)... (inD)." (inD)... (in C).

A chorus for inltrnmenll.Seventeen _ from the pen of this indefatigable

composer are not here mentioned, as lOme of them werepreeented to the Emperor, who requeeted to have &hem;and lOme of them, according to the will of the deceased,have become &heeepecial property of the choir to whichhe devoted the last houn of his artia~life.

A list of J. G. Albrechtaberger'. works, which havebeen published (with an indication of the publisher andthe'price) :-

.. C.II. ~. lrr. Pol6Iw...Op. 1. Fagen for the Pianoforte {t ~ ~;rel... 2. Quatuon en fuguee (in D, A,

lID,F, C, E~) p.3, Viol., Alt.et .Y clle.. . 5 0 Hnmmel.

.. 3. Pr~ludee et une fugue p.l'Org. 3 0 "" 4. Fuga (inC) per 1'0rgano {O 30 Cappi.o 15 Spebr." 5. Fuga: Do, re, mi, per I'Org. 0 30 Cappi.to 6. Fugbe e Preludj per 1'0rgano 1 0 "" 7. Fugues pour l'Orgue 1 30 Mollo.,. 8. Fuguee pour I'Orgue 0 50 ArtariL" 9. Fuguee pour 1'0rgue 1 20 "" 10. Fugen I'tir die Orgel 1 0 Haslinger." 11. Fugen fiir die Orgel 1 0 Cappi. " 12. Pralud, fiir die Orgel, I, 2, 3, \ _:

Lief. 2 15 Haslinger. \ a 1


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BlOORAPmCAL IIB.OIB. vii.Op. 13. Sextuon (in E~, G-m, D.m)p. 2 vi, 2 Alt., Vcll. et B.Liv. 1. 2 30 Riedl." 14. Sextuon (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. " 0 30 Artaria." 16. Fugues pour l'Orgue 1 30 Trig." 17. Fugeo C'tirdie Orgel 1 0 HuUoger." 18. Fuguel pour I'Orgue 1 0 Cappi." 19. Quatuora (in G, ~, E~,F, C,D-m.) per 2 Violini, Alto etBuao. . 2 30 Artsria.,,20. Fugues pour Ie Pianoforte 1 0 "" 21. Quatuon (inA, D-m., G, Cm.,F, Bj,) p.2 VI., Alte et Buae 2 30 Riedl.Pr~lude et Fog. pour Ie Pianof. 14m. 0 46 Hulinger.P"lirludieu to be played with 3 or 4 {O 54 Peters.registen. . . 1 30 Weigl.Veraetten for the Pianoforte 0 45 Cappi.Duos, inltr. p. VI. et Velle. Liv. 1, 2. 2 0 Peters,Quintett (in C) p. 3. VI., Alt. et Vclle. 0 45 Riedl.Sonatea 1 2 Choeura (in D, G, C) p. 4Viol., 2 AI&. eU Velie.. I 0 "

{I 0 Peters.Generalbaa-Sebule 1 12 Artoria.1 30 Cappi.

M~thode de l'accomp., trad. de l'AHe-mand 8. 3 0 Choron.Auaweichungen von C-dur und C-mollin die tibrigen Tonarten 0 20 Hulinger.Inganni (Trugachliillle). 2. L. d. {O 45 Pete'!'.AUI... 0 36 -Csppi,Unterrich~ tiber ~en Gebrauch der { O 45 Petera.ve~nd. u. uberm. lote~alle. 0 30 Cappi.3 LIef. d. AUI... Kurze Regeln del reinltein Satzel.(2 AUlg.). 0 30 Hulinger.Anweimng zur Compoaition 4 30 Breitkopf.M~thode 616ment. de Compo. trad. deI'Allem. 5 0 Choron.Clavierachule 1 0 Artaria.

POITBUKOUB.50 Veraetten und 8 fugen fU r die

Orgel. :-1. Abth. Moll-Tonarten2. Abth. Dur-Ton.rten

1 30 HuUnger. 1 30 "

CONTENTS OF VOLUME THE FIRST.THOROUGH-BASS AND HARMONY.

....0. .0hmioD1JOTIOK . 9 XXII Examples of f igur lng; with o ne fig ur e - 20I. On Intervals 9 XXIll. " " " twofigurea - 20II. O n the perfect and aug me nte d un ison 0 XXIV. Major triads; In the position of the octave 22m.. On e on ao na nt a nd d iIIIo na nt in te rv ale 11 XXV . . . " " " " third 22IV. O n the d itre rent kind s of triad II I XXVI. to " " to " fifth 23V. . Continuation 13 XXVll. Minor triads; In the position of the octav e 23VI. On d is Bo nan t c ho rd a in g en er al . 18 XXVlTI. " " . . " " third 23\'11. O n chord a of the se ve nth 18 XXIX. " " " " fifth 24VIII. " " " ninth . 14 XXX. E xe rc i8 es o n v ar io us triads - 24IX. " II " eleventh 14 XXXI. " . . the m in or d im in ish ed triad 26X. " . . to thir teenth 4 XXXII. On d ou blin g 6Xl. On the pro gr essio n o f c on so nan ts 15 xxxm. On p r ol u'b it e d atipe 6XII. O n the use of d ie Bonants 16 XXXIV. Exe rcise on d ouble d th ird s and sixths - 26Xlll. Continuation 16 XXXV. A ccom panim ent of the acaJe 7XIV. O n the im plie d inte rv als to the ae co nd 16 XXXVI. . . " w ith tw o kinds o f c ho rd a 28XV. " " " " third 7 XXXvn. On the six hazardOUlprogress ions 9XVI. " " " " fourth 1 xxxvm. E xe rci8e s on chord a of the ae ve nth 2XVII. " " " " fifth 1 XXXIX. the chord a d erive d from it aXVIII. " " " " sixth - 18. XL. On f ig ur in g - 36XIX. to " " " aeventh 19 XLI. . P rin cip al f ea tu re s o f fi gu rin g 6XX. ., " " " octave ,9 XLII. Continuation 6XXt. " " . . . . ninth 9 XLm. Continuation .t /


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viii.XLIV.XLY ..XLVI.XLYU.XLvnLXLIX.L..LL LII.LllLLlV.LV.LVI.Lvn.Lvm.LILLX.LXI.LXll.LXIII.

LXIV.LXV .LXVI.LXVII.rxvm,LXIX.LXX LXXI .LXXILLXXlII.LXXIV.LXXV.LXXVI.LXXVII.LXXVIII.LXX IX LXXXLXXXI .LXXXn.LXXXW.LXXXIV.

OONTIINTSOP VOLGIfB THE l'JRST.

On the figuring of changing n o t . e e - 81.. .. .. tria ds - 87

.. cho rda of the a e o o n d - 81. . ." . . other chord s - -' 81.. . . .. . .. . . . . ... . . . . .." . .. . ." . .. . ... .. .." - 87

CootiDuatlon; in ban of two dlviaiODl - 88.... triple time - 88.. with a figured fundamental part 88

On 8U8pe1lded d iaIonant.e - - 89On unprepared d laBonant.e - 89On the reaoIution of d iEonant.e - QOn th e place or .atof intervals - - QEumplee of all cbord s - 4!

Exem plary exeroieM on th e prepared chordof the IeCOnd - - 48 a v o

49 CVI.. . . . . " . .. . prosr-ion of chorda of the third 49" p re plll'e d chorda of the 4th in S parts '49" " .. .. 4 parts 49.. u np re p ar e d chorda of the 4th and 6th 49.. p repared chorda of the 4th and 6th 49

with the minor Uth 49chorda of the fifth and sixth D O

.. chorda of the sixth IS O. . "It. . . .. . prepared chorda of the ammth 60.. prepared chords of the Iecond D O" p re pared chorda of the lind and 6th 60" chords of the 2nd, 4th, and 6th D Opusing cbords of the 88venth D O

" .. chords of the ninth 60chorda of th e fourth and ninth 51chords of the sixth and ninth 61

chorda of the 88venth and ninth 61various chords, in three parts 61

. .. .. .. .. .. ." " four p&rt8 52- 52. . . .On Mct compoe i t i oa

LXXXV. On the D88 of diMoDant intervalsLXXXVI. On the .atof th e diminlahed thirdLXXXVll. " .. " fourthLXXXVllI." .. " 6fth

xcv.XCVI.XCVII.XCVIn.XCIX.CCI.en.em .CIV.

cvn.cvnr.C1X.

CX.CXI.cxn.cxnI.CXIV.CXV.CXVLCXVII.CXVIli.CXIX cxx.CXXI.

" m in or fifthdiminished sixth

P40E

- O S

- 81 I,xXXIX.- 81 XC - 87 XCI..- 87 xcn.- 81 xem. 81 XClV.

". . "- O S- 65- I i 6- 56- 56- 06- 06- 56- 67- 51- G7- li7-57

On modulation - 08" through the chord of the minor 7th liS.. through the imperfec t 5th with the 6th 59.. through the dlminilhed aeventh 59" through the lnveralon of the lI&IIIe 60

Continuation - 60- 60- 60

On modu la ti on by the per f ec t triad - 60On cadence s - 64On deceptive cadences through the chord of

CXXII. .. " " m t J o r 88venth 70CXXIll. " "both the chords of the ninth 70CXXIV.. Eumpleofasuccc.tonofdeceptivecadencee 71CXXV. On divided accomoaniment - 12

-Mm t J o r eecond 64

augmented eecond 66.. minor triad 66.. ~or triad 6Sperfect fourth 66

angmented fourth 66augmented 4th with the minor Srel 67

" " diminished ftft.h 67" third, fourth, aud sixth 1)8" " augmented sixth 69" .. diminished I18venth 69" "dominant aeventh 10

"

"" "" . .". . . ." fourthfifth

sixth" "

" ". .

" " . .

. .. .the minor Iecond. . . . . .. . . . . .. . . . . ." . , "., , .. . , . " . .. .. .. .

\


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ALBRECHTSBERGER'STHOROUGH -BASS AND HARMONY.

major when it stands on the nextgrade; for example:Ex. 4.x.Ior-tt_.= I rJ 1 J ; i J U , jJ I Ip w I I i p P = E b

. L.n-ark.-The minor semitone (the minor seeoud) hnot considered an internl, as there ie no change of gr,,-~,between it and the fundamental b... ; the major serlfi'-tone (the major second) ie considered the first interval,as it standa on a di1I'erent grade from the fundamentalb...." Two semitones, one major and one minor, makeone whole toae ; 88, from (J to d is a whole tone;the two semitones are, the minor, ~, and themajor, c$-tJ; or the major, c-d!7, and theminor, df:,-d. This whole tone is called a ucond ;for example:-

The intervals are smaller or larger, according to Ex. 6.their relative distance from the fundamental note; J It It It , -'- -'therefore the smallest interval is a semiton~, 4 jjU"9I ::S~~~",t. There are only eight intervals, namely :- -- ~ --SecoDcl. Thlrd~ Pomth. Pltth. An interval which contains three gradesl is calleda third; for example :-

G Ex.6.a a a a~_~ __~ __ __ It __ I f]ffzr.~ ..i jpRF1E

THOROUGH-BA.BBs the fundamental basis of allmusic, and must be profoundly studied by all thosewho desire to dedicate themselves to this beautifulart. Without this science, we can admire the ex-cellence of a composition by the physical impresaionit may ca1188,but we can never worthily appreciateita intrinsic merit. With innate talent we mayproduce some not imperfect compositions, but weeannot satisfactorily account for the matter created,nor vouch for blamelesa immaculacy in regard togrammatical technicality. Thorough-b888 teachesus to reduce to ita simple, ori~nal, natural, andderived chords, every composition,-for whateverinstrument it may be written, and however floridthe melody, accompaniment, or embelliahmenta:it grants ns a view of the unveiled innermost sanc-tuary,-shewa the whole wonderful coDBtruction ofa work of art in a skeleton shape, stripped of alIornamental garb: by a mere figured baM, enablesthe initiated to follow correctly a composition ofmany parts, throughout all ita turns and modu-lations: it is our sure guide and director,-orders 'and binds ideas, - straightens paths, - chains and 'unites that which without ita aid would be separateand erring. Therefore let ns all become intimate 'with this elemental science, 88 our great anceetorswere, and it will fare well with us!I.ON INTJCBVALS.

The distance from one tone to another is called "an int8n7al; 88, from c to c t , from d to 8 :-E x . 1 .

'71tt ! l i l t ? " f"","" I f D f i f U'713 f " " 7 ? I I! r " ; F B f H -a

Sixth. "Tenth.- HII~B_th. Oeta... Ninth.8 II 10- ~ : : : : : : : : : n r~-=H-~--===- ~- -- - - - - - - - - -6 'I'Bnna,.k.-The unison is a number, but is not really aninterval, as it stands OD the same grade as the fund,..mental note. The tenth, alto, may be considered as thethird above the octave.

These intervals may be minor, major, diminished,or augmented, according to their position.Tks umito'lls may be minor or major; minorW\en it 8tands on the same grade with the funda-mental note; for example :-Ex. s.JliDor HJDiton... - -- -- Jt .. .J _ ,J - r - p t l l r ';klljIl)J .Jj-r===n= &c.


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10 ALBRECHTSBERGER'SAn interval which contains four grades, is ealledafourth; for example:-Ex. 7. '.: ;.I .... II j8 1;;fu)1~~An interval which contains five grades, is calledafifth; for example:-Ex.S.6 6 6 -~iiF~JI=$~-gH=~An interval which contains six grades, is ealleda Meh; for example :-Ex. 9.8 8 8

~ ~IZE.~IGo:IJ-t_ . .An interval which contains seven grades, is calleda I e' fJ e nth ; for example :- Ex. 10.~ ~ ~I-I ...I f:2E... ~~H_ . . . . - ~An interval which contains eight grades, is ealledan octa1HJ; for example :-Ex. 11.

8 ~8" 1 4 4 - . . . . . . . . . " j.3f- - _ -I~n .-.-.,....An interval which contains nine grades, is a secondabove the octave, and is called a ninth; for example:Ex. 12.9 9

An interval which contains ten grades, is a thirdabove the octave, and is called a tentlt; for example:Ex. 13.10 . ~,gg==;.?Gi::::~- _ _ .,.1_0 ___: : ; ! . ~ . . . . . . . . . -~gg::t;f ;a:!_- .. F-In the eame manner, follow-eleventM, fourths

above the octave; tmel f tM, fifths above the octave.Intervala may be placed one or more octaves higher,without losing their original name; for example:Jl1.~TF 'a ucond two octaves higher;_

. Jl1.~--=-Tf a tAw two octaves higher. Theo

second, fourth, and sixth are exceptions, as theysometimes appear, as will be Beenlater, in the formof ninths, elevenths, and thirteenths, and thereforemnst be distinguished rpm the real seconds, fourths,and sixths.n.The t lnU01l is two-fold-perfect and augmented;for example :-

Perfect. Perfeet. AupMIlte4. AqmeDted.

Ex. 14.'m ? If~Itft+~The lI8Contl'is three-fold-minor, major, and aug-mented ; for example :- .Ex. 15.Minor. Vlnor. Major. Major. Augmented. Augmented.h t 1;'I i J r - H r = i t 1 t ~ + = t r d ~ ~ = U =

The minor contains a major semitone ; the major,a whole tone; .the augmented, one whole and oneminor semitone.TM third is threefold-diminished, minor, andmajor; for example :-Ex. 16.DImbIiIhed. DillllDllWo lOaor. lOaor. ""01. KaJor.ua p to a h a~ = t I ? - n Ifl*P 1 1 H ~The diminished contains two major semitonee ; theminor, one whole tone and one major semitone ; themajor, two whole tones.

The fourth is three-fold - diminished, perfect,and augmented; for example :-DImlui.hed. D1'1!Isbed. Perfecl. Perfeet. AllI"'ented.EL17.l4bn~

The diminished contains one whole tone and twomajor semitones; the perfect, or major, two wholetones and one major semitone; the augmented, threewhole tones.The fifth is three-fold-diminished, perfect, andaugmented; for eumple :-

The diminished contains two whole tones and twomajor semitones; the perfect, three whole tones andone major semitone ; the augmented, four wholetones.Phs Meh is four-fold-diminished, minor, major,and augmented; for example :-

Diminished. MInor. Major. Augmented.P8 8 8 -&

Ex. 1 9 . : t ; i H ~ U :iU - - S = ~The diminished contains two whole tones and three


11/76

THOROUGH-BABS AND HARMONY.majorsemitonea; the minor, three whole tones andtwo major semitones; the major, four whole tonesandonemajor semitone; the augmented, five wholetones.Th e I8V en tk is three-fold-diminished, minor,

andmajor; for example :-Ex. 20.DlmbllaW. MiDor. Klllor.1 1 , " . , "'1 1:> '1 '1 ,. '1 x . ,:tft$tifn~j r I I : I ~ I ~

The diminished contains three whole tones and threemajor semitones; the minor, four whole tones andtwomajor semitones; the major, five whole tonesand one major semitone.T h e OctaV6 is generally only two-fold-diminishedand perfect; but it is sometimes augmented, andthen contains one minor semitone more than theperfect octave; for example :-Ex. 21.DimlDlabe4. PorI"ect. AUjrIMlIted.1:>8 - 8 - - ~#-t1-1~.I;I~* 11,1~

The diminished contains four whole wnes and threemajor semitones; the perfect, five whole wnes andtwo major semitones.The nit&th is two-fold-minor and major; forexample :-

JIlDor.17.& . 2 2 . , : _ MInor.f Major. 8:I aM- - I ITke tent", which is, in fact, a repetition of thethird an octave higher, is threefold-diminished,minor, and major; for example :-DImlDIahecI. MiDor. Klllot.I71n0 ino 10E x . 2 3 1 " ' : I : : ~m

. There are (with respect to the BOundwhich im-preasea the ear) two kinds of intervala--the con-sonant, which produce an agreeable, perfectly sooth-ing effect; the disaonant, which excite a painful anduneasy sen&&tion. The consonants are-the perfectunison, the minor third, the major third, the perfectfifth, the minor sixth, the major sixth, the perfectoctave, and the minor and major tenths; for example:Ex. 24.\" ,17. 8~~= H~=aIfI$jJIg~~---- ijJ:,.. -- -- - -- -- --bo4. t " b i

. All chords which are composed only of these in-tervals, are called perfect or consonant chorda. Thedisaonants are-the augmented noon (the minoJ'

11semitone), the minor second (the major semitone),and all the remaining intervals; for example :Ex. 25.#1 ,~ ~ .. 171:>3 #S

j : e p : 1 I bCiEili :0 ; ; : 1 1 f lU & l I ~ ~abc - - -~ ~__17~5 5178. h-- wn-~~ftIIf$~i4---f--6- --~~: 0 '1 ' 8 ~ ~ 8 1 i l '~ 0=-H1iJI{U~ ~ : _ M ~- - . - - - -All chords which are composed of these intervalB,are called discords. But a -real consonant becomes

a dissonant, by being coupled with such an interval,as-the perfect fifth with a sixth; the sixth witha seventh; the perfect octave with a math; as maybe Beenin the following eDlDple :-

- 'VThe consonants are subdivided into perfect andimperfect. The fifth and octave are perfect; boththirds and fifths are imperfect. Therefore it appearsthat every chord over a fundamental note, composedof three consonants, must be perfect or imperfect.The common chord only is perfeot--the third, fifth,and octave, I , with its two transpositions - thefifth, octave, and third, I , or tenth; and the octave,third, and sixth, ,: or when a new position isobtained, by omitting one and doubling some otherinterval-the third, fifth, and third, I ; and fifth,third, and fifth, I . The imperfect consonant chordia--third, sixth, and octave, " with its two trans-poeitions-c-thlrd, octave, and sixth,I;nd octave,third, and sixth,I:nd the new positions obtainedby omission and doubling-third, sixth, and third,I;and sixth, sixth, and third, I ; for example :-

II I 1 f t


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12 . ALBREOHT8BERGER'8

I I Ix. 28 - - - -When one or more dissonants appear in a chord,it always belongs to the class of dissonants, as-third, fifth, and sixth, 1 ; fifth, sixth, and octave, I ;second, fourth, and sixth, I ; third, fifth, andseventh, I; fourth, fifth, and octave,I;hird, fifth,and nint~, I ; third, sixth, aud octave, I ; alsowhen the third and sixth are minor, and the octaveperfect; when the sixth is major, the third minor,and the octave perfect; when the third and sixthare major, and the octave perfect; for example :-

Theae chords, although according to the rule theywould belong to the imperfect consonants, are ex-cepted, 8B is also the chord of the major third, withthe minor, diminished, or augmented sixth; forexample:-Ex. 80.

~There are in music five principal kinds of chords,viz. :-let, common chords; 2nd, chords of theseventh; 3rd, chords of the ninth; .4th, chords ofthe eleventh; and 6th, chords of the thirteenth.The perfect common chord consists of the third andfifth, to which is added the perfect octave in four-part compositions. The twelve keys may be eithermajor or minor; the first require the major, thesecond the minor third, 8B is shewn in the followingtable:-

~ E I : : t : e ! : : :

As remote keys, with many sharpe or Bats, in-creaee the difficulty of readiug and execution, it iswell to substitute the keys which stand on the samegJ'!lde; for instance-DI? major instead of 0$ major;A P major instead of G t major; Bmajor instead of0 & maJor; and so fortlLIV.

PM common clwrd is four-fold-the major, withthe major thir4:-Ex. 86. .., . I J i t D = n = o = u ~ = u =The minor, with the minor third :-Ex. 36. fM=U~EJI l i f l fp . U l ! b l l M tThe diminished :-

Ex. 37.~IIjia=ttgThe augmented :-EL 38. J - ~ = - 3 E i . i i : l f t ; : : : : ~ d i d i : : : : : o : : : a = E

Every common chord is capable of two inversions;the first is made by taking the third 8B the funda-mental note, by which the chord of the sixth isproduced; for example :-


13/76

THOROUGH.BASS AND HARMONY.

From this it may be seen how, from a perfectconsonant chord, may be made an imperfect, or evena dissonant one. When the perfect fourth is usedin conjunction with a minor or major sixth, it is Poe ld oD 01 tile.... Poe:tIGa of tb e a....uanallv called the consonant fourth; when with the 8 U:==!.-IEfifth, ille di880nant fourth; for example :- - --= IEEx. ~t ftb. ~ ftb. 11is the tonic,fthe dominant; for example :-e r :1 t L t k t t ~ ~ =t may be here remarked, that the ~mmon chord .is never figured, and that the third, fifth, and octave ~!il~~ almost superfluous to add, tha~,the termsare always to be played with an unfigured bass note of poetnon of the third, fifth, and octave, must nota JI " or"" above it, expr88868the kind of third' ~ ~sed with :hords,which,.according to their pecu-~" ~ . ' hanty, are wlthout those mtervals; the terms ofand thereby ~enotes a DUnoror a major key; for .. first, second, and third positions," must be sub-example :- stituted.Ex. 42;I~ of, tInu. Inltead of, thu. IIUItead of . tbu ..Fa I B H4i~=fiP~'I~atl

Ex. 89, I IThe second is made by taking the fift.h aa the funda-mental note, by which the chord of the sixfour isproduced; for example :- .

c : I:-r:t:!I

The $, 1 1 , or : f ; always relates to the third; and itmust be understood, that whenever this is major,the fifth and octave must be perfect.V.o r these four common chords, two are consonant-the minor and major; e, e, g-a, C, e: and twoare di880nant - the diminished and the augmented ;11,d,f-c, ~,9 $ ; for example :-D._

&.48. JOnor.

18It followa, from what baa been already said, thatevery chord, whether perfect, imperfect, or dis-sonant, may be taken in three different positions:in the position of the octave, when the octave of thefundamental note (the tonic) is highest; in thoposition of the fifth, when the fifth (dominant) ishighest; in the position of the third, when the thirdis highest; for example :-

Pert8d Cbonla.

Ex. 44.

In this key, f is the tonic, and c the dominant;being the fifth above, and the fourth below; forexample:- Imper&et Cbonla.-U

VI.It haa already been said, that all chorda of thesecond, fourth, seventh, and ninth, are di880nants;lVhen these intervals are bound-that is, when thenote already heard is not repeated-they are calledprepared j for example :-Ex. 47.

~ ~'- n 3EiEB:=:t:D~~ . .-~-ut - '1~ ~VII.

The second principal kind of chord, the chord ofthe seventh, consists of a third, fifth, and seventh ifor example:-T TI7T _1_ I !)T

Ex. 48.ft4iF~~


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14 ALBRECHTSBERGER~The chord of the seventh may be major, minor,or diminished; for example :-

Chord of the Chord of the Chord oUllema,Jor 7th. minor 7th. dlmlDllhed 71...Ex. 49 . ~WBiMi=B.~41JgEach of these chords is capable of three inversions-firstly, with the third for the bass; secondly, withthe fifth for the bass; and thirdly, with the seventhitself for the baas.

~

PInt mallon.~~~Ex. 60. h ul .. I 'I' t~@i@f -~-I=B=

In this, the chord of th e seventh becomes the chordof the five-six.

In this, it becomes the chord of the third, fourth,and sixth.

In this inversion, the chord of the seventh becomesthe chord of the second, fourth, and sixth. Thefourth thus formed is considered as a consonant;but all chords of the seventh, with their inversions,are diBBOnants.VIII.

The third principal kind of chords, the chord ofthe ninth, is formed when a note, a third below thechord of the seventh, is added to it; for instance, inthe chord of the seventh, g, b,d,f. add e as bassnnder the g, and the chord of the ninth will be pro-duced, consisting of a third, fifth, seventh, and ninth;for example :-

In four-part accompaniment, one interval in thischord is usually omitted, either the seventh, fifth, orthird; for example :-

Although the ninth is played upon the same noteas the second, and represents, to a certain degree,the same interval an octave higher, yet a decideddifference exists between these intervals; for theninth, in real chorda of the ninth, is prepared above,and descends; whereas the aecond obliges the funda-mental note to descend a grade, being already pre-pared by a bind; for example :-

~

I~J ~IJ=F~ I I ndl1FEx. 56 I~--_~. - -=-=-0 F?T r =r=1f=ginth. Chord of the ~ -

IX.The fourth principal kind of chord, the chord ofthe eleventh, 18 formed when a note, a fifth belowthe chord of the seventh, is added to it; for instance,to the chord of g,b, d, f,add c as bass, and the chordof the eleventh will lie produced, consisting of thefifth, aeventh, nin~ and eleventh; for example :-

In accompaniment, one interval of this chord isalways omitted, - even two oeeasionslly ; if theomitted notes are the seventh and ninth, the three-note chord containing the fifth and eleventh is calledthe chord of the fourth and fifth; should this be in-verted, and the fourth taken as b888,the chord of thesecond and fifth is produced; for example :-

Ex. 57. JDYenlon.- -~ -::=IE-ii-=D1=flI'~~---H==- ~~=-::u==~==~-11 Theiih omitted.The 81h omltted. The 7tll a 8thI o m i t t e d . I-ggjfr-~~The eleventh and fourth are different; they aredifferently accompanied, and peculiarly treated, 88will be shewn in the sequel.

X.The fifth and last principal kind of chord, thechord of the thirteenth, is also formed from thechord of the seventb, when a note, a seventh belowthe fnndamental note, is added to it; for instance, tothe diminished chord of the seventh, 0 $ , b,d,f, add


15/76

THOROUGH-BASS AND HARMONY.18 baas the aeventh below gf-:a, and the chord ofthe thirteenth is produced, COll8istingof the eeventh,ninth, eleventh, and thirteenth; for example :-

Ex. O S .

One interval is usually omitted; either theseventh, ninth, or eleventh; for example :-Ex. 59. 7th omitted. 11th omitted./ ~

T 1 3 9 f1! I 1; ~f-I'I r = = = a = t i - = t 1 rITr]The chord of the thirteenth, although similar insound, must be distinguished from tho 'chord of thesixth, from which it dift'ers in its implied intervalsan d in its resolution.

XLThe movement of oonsonant chords is fourfold:direct, when all the parts aacend or de scead :-Ex. 60.J S8 II ISB~~gg=::=~

contrary, when one part desconds while the oth~rascends:-Ex. 61. J :;;: l f I I : ;-&11oblique, when one part remaill8 stationary, or is re-peated, while the other moves :-Ex. 62. jj _u II n 9~. ------ ------#and parallel, when the parts remain on their grado,and are continuously repeated :-Ex. 63.J23-.B--a:I I - i -~U2~~n=::: :ggTho following rnlea may here be given. Thecontrary movement must be used in passing from oneperfect consonant chord to another :-Ex. 64. ~~$E

or one part may remain stationary :-Ex. 65. r~----=u---:*= !1 = = ~ . . . . * " "All movements may be used in p8118ingfrom a per-fect to an imperfect consonant chord; for instance,from an octave or fifth to a third or sixth :-Ex. 66.$,~. :;;nii1 1 - B H -a-id- - - - - - - - - - - - - - - -

16The contrary or oblique movement must be used inpassing from an imperfect to a perfect consonantchord:-Ex. 67. ~=~ uj B --II*-~BB--o 0 VI'All four movements may be used in passing fromone imperfect to another imperfect consonant chord :Ex. 68. _ ~$b;WU B~~Two consecutive perfect fifths or octaves must becarefully avoided, as they not only sound thin, butare extremely offensive to the ear :-Ex. 69. - - ~ft_~M-II;;~;;~g~-eJ

In a composition of many parts, however, a sue-ceaaion of octaves- may be used, and dispersedthrough different inatruments, partly high and partlylow; in this case, they are not considered consecutiveoctaves, but doubled, trebled, and fourfold unisons,and are by no meaua objec.:tionabl&.XII.

Diseonant chords are used in a threefold manner:fint, as passing notes :- . ,E:x.70.~=lj : u n fJ~~-r-'f" r r -In this example, the tenths, e e, and the sixths, 9 b. .'--C, e, are conaonant chords, and bothfs, d, an d b,regular passing disBonants. Secondly, as changingnotes:-

IEx. 71.~~~ ~~~rIn this example,fand d are changing notes in the

accented division of the bar, and are only suepeneioneof the following consonants, e and c. Thirdly, assuspensions :-E x . 7 2 . ~ ; e u 1 + 1 1 :I~In this example, the seventh, e, is produced by thechange in the baas.

XIII.'When two different notes are played to one chord

(either in the lower or higher part), only one ofthem belongs to the "chord, When it is the firstnote, and it falls on the accented division of the bar,the second note, which forms the after-Bound, iscalled a passing note :-

Ex. 73.


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16 ALBREOHT8BERGER'B

. Their resolution is eft'ected by causing the dis-sonant interval, after ite percussion, to ascend ordescend a grade, on to a consoriant :-Ex. 76. ~ . I >if$}MWo::J d e It~ ~.,. -0- Y """_-o-This proves that the real percussion, which is gene-rally prepared, is always a dissonant, but that thepreparation and, resolution must be consonant.Further, it may he remarked,. that in the f?urth, = ~_eventh, nin~, eleve~th, ~nd thirteenth, the highest : : : ~ ~ B 3art of the Interval 18 dI880nant and must descend f8= a !ta grade for its resolution :- I ~~

~~' - r I r H . _ M A t A P , $ . , or ~ indicates that the third ~ to beEx. 77. ~ a T .A. diminishei:l, minor, or major. T h e .figure s, tJ ufM := tl I r Ir r r VI r I ucond , always implies the fourth and-die sixth:-~ ~ r.-. ,....

Ex. 82. - M ; I-.I;-lIiItr~I~~~~~~~~~~!~~. ~Should a fifth be written above the second, " oneof these intervale, either the fifth or the second, mustAn exception to this rule is the major seventh, when be doubled :_it is in conjunction with a fourth, minor sixth, ninth, Doublod Mbo.eleventh, or minor thirteenth; which must then _ '" r .-. :

.J ~ 4 ! I ! f-t=aa=; ctzltIn the second and augmented fourth, the lowest I = . , - . . . ,_ _ , . . . .part of the interval. is dissona!'-t,and must, aa a rule, ~~::Jij=t"""lI1gt ~H=descend a grade for Its resolution :- -..

8 and c belong to the chord; tl and.f are passingnotes. When the second note is an interval of thechord, then the first note, although it may fall on theaccented division of the hart does not belong to thechord, and is called a changing note :-= . 1E L 7 ~ . : ;: : J : :8and c are part of the chord; fand tl are changingnotes. Three points must be attended to, in the. employment of di880nants by BUBpension:first, theirpreparation; secondly, their percu88ion; and thirdly,their resolution. The preparation of a di880nant is effected by using it aa a consonant in the even partof a bar, before ita real perc_on :-E L 7 ~ = ; t - =

Ex. 79. :t-f~ By f B gIn the diminished fifth, the highest part is disso-nant, and must descend one grade :-

1 7 6Ex. SO .~-=5tf*1 L - - - r - . , . yAlthough certain dlssoneate - for instance, theminor seventh above the dominant; the diminishedfifth, with its inversion; and the augmented fourth-may be used without preparation in free style, yetthey must always be regularly resolved. In the free .style, one di880nant is often resolved by another;but this license originates from a particular figure,which we aha l l explain in the sequel.

XIV.In order to facilitate reading, and a rapid generalview, it haa become the tlIliversal rule not to figurethe fundamental baas with all the intervals containedin a chord; therefore it is highly nece88&lYfor thosewho would become good figured-baas players, toknow the implied intervals which belong to eachfigure. When the b a a s note baa no figure, a perfectcommon chord is always to be played :-~=::


17/76

THOROUGH-BASS AND HARMONY. 17Horizontal lines after figures, a=, indicat,! thatpoth the intervals played are to remain on thetollowing fundamental note j for 88 the bass, 88 weknow, must necessarily descend a half or a wholetons, in order to resolve the second, which then be-

comes a third, a new figuring is thus avoided. Bythe resolution of the second into a third, a new chordis produced, which in four-part compositions isaccompanied by a fifth and sixth, and 80 formed intoa. third, fifth, and mth, or chord of the third and,81Xth-

xv.PM diminW8tl tAird implies the diminished Sethand diminished seventh :-

XVI.PM diminiBAedfourth implies the doubled minorsixth :- eJt_$~x. 88. I i - - - r -I; ~e=::r:P~ - = - ===I=ET~~--'EIn this case, the fundamental ba88 takes the seventhmajor grade, which is called the leading note. Inthe above example, f$ is the leading note to the

acale of G, and c $ the leading note to the scale of D.PM perfect fourth implies the perfect firth andperfect octave j and is, in this form, eminently

adapted to the cadence :-==~'Il'- 89 - 1 - -&:a. a ~g~In case the minor third is to be used instead ofthe second (especially in minor keys), this intervalmust be indicated by ita figure; excepting when theWhen many successive thirds are marked above baas moves upwards a minor t1l.ird,aud itself indi-a progre88ive bass, only the last and first chords are cates the interval, rendering an especial figuringplayed in four parts; the intermediate ones are unnecessary :-

~~~~,..pa~and even I. _. wh.. ~:; :::-

E L 8 7 . C l & = =E L ~ ' ~ ~ ~:ii= XVII.i=S:::

PM mitior and major third, we already know,imply the fifth and octave, whether the fundamentalnote be unfignred, or have above it a a, in order toproduce the minor or major chord. Should ithappen that many perfect chorda follow each other,the player must use contrary movement, as in thedirect movement prohibited fifths and octaves wouldconstantly occur:-

PM attgmented fourth implies the major secondand the major sixtli :-

The dimi""W.lift1&, whether prepared or un-prepared, implies t1li minor third and minor sixth jthe fundamental note, however, must stand on thefourth or seventh major grade of the scale, andascend a maj:>r semitone to resolve itself upon thefifth or eighth grade :-


18/76

18 ALBRECHTSBERGER'S

7th pad.. 7th rnde. .th rnd"Fi is the seventh maj?r grade o~ the seale. ofG major, and leads to the eighth ; ,tIS. the leadingnote to A mino~; ~nd c $ the fourth maJ.orgrade. ofthe tonic G, wInch 18 resolved by ascendmg a maJorsemitone into tho dominant, When it happens thatthe fundamental note stands on Ute second grade ofa minor key, or on the seventh of a major k~y, andmoves away from it, the octave may be used 1ll8teadof the sixth ,_8

~==r I ;g:u:: ~c::~:" -.A is on the second grade in the \tey of G minor,but on the seventh in the key of B 1 1 major; there-fore the sixth is omitted throughout, and the octavesl1bstituted.Phs perfect .lift" implies the minor or major thirdand the perfect octave; and forms, as we alreadyknow, the perfect triad :-~

Ex. 95. I':'~~~=a-~5 "If "T '='

~o I - Ji-~- t=-=E~=(This interval does Dot require to be figured,because all unfigured baas notes are accompaniedwith common chords; but the quality of the thirdmust be indicated, when it requires to be heightenedor lowered according to the key.Phe a 'U f lmen t ed .f t. ft k, which usually only appearsafter the perfect fifth as a passing note, alwaysimplies the major third and the perfect octave :-Ex. 96. ...... ~---- --~- ~-~.::I.D'__ 1"'"~ --- - -


19/76

Ex. 108.THOROUGHBASS AND HARMONY. 1$

When many perfect octaves follow each other, they are really heightened unisons, and are playedAll '6r;entluJ, whe~ employed 88 preparatIons, and 88 such, without any accompanying intervals. Suchresolved b r descending, Imply the thud. and fifth; passages are marked by the word "unisons," or byalso the thIrd and octave, or a doubled third :- a continuous horizontal line :_r.-.XIX.

r.-.~====XX.

TluJ aimin uke d octafJ6 is only nsed in obliquemovement, and implies the minor third and minorsixth:-

Ex. 106.

TluJ per fec t oc tmJe belongs to the perfect andImperfect chords, I , I , " and is also sometimesfound with the minor seventh, especially when thebass ascends a whole tone, and thus produces a chordof the seventh :-

Small short lines signify to the player, that thechord last struck is to remain unchanged, andprolonged :-Ex. 109.r -- r "."..---.....~--- fI~B=~- - - _ . - - - - - - = = + ' +~ = = = = = = = = = = = ~@#:~_.:rcrt!ifr~n=PIuJ augmented oetae; which is no real intervaJ,can only be considered 88 a passing note, or pre-paration to a note on the next grade :-

XXI.Phe tnJo mntluJ, which, like fourths and sevenths,must be prepared in the highest part, and resolvedby descending a whole or half tone, imply a thirdand fifth. It is advisable, when the bass ascends, toomit the fifth, and double the third, in order to avoid

two ugly consecutive perfect fifths :-Ex. 111.~~ I!:'_ ~ ~ = = = = = - . .


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20 ALBRECHTBBERGER'SAlthough the ninth lOunds like a heightenedsecond, we have already become acquainted withthe difference by which we may recognise them.Firstly, the second is accompanied by the fonrth andsixth, while the ninth is accompanied by the thirdand fifth.-Seeondly, the second (onlo88 a passingnote) is always a preparation to the base ; the ninthis always prepared by the accompanying intervale.

XXII.In order to attain facility in accompanying afigured b a 8 8 freely and without fault, the scholarwill find it a very useful stody to make himself inti-mately acquainted with the following tables, andvividly to impre88 on his memory the intervalsbelonging to each fundamental note, in all keys.

An unfigured basa, unless marked by "l1ni80ns," or"tasto BOlo"(which signifies the left hand alone,entirely without accompaniment), implies in all easeaa eommon chord :-

The second impliesthe fourth andsixtb:-

The third impliesthe fifth and octave:-

The fourth impliesthe fifth and octave:-

The aUglDentedfourth implies the.eeond and sixth:-

The diminishedfifth implies the minorthird and the minorsixth :-

The perfect fifthimplies the,..titml andoctave :-

c:EX114~-a ~Ex. 116.-~-=n-----------=~~=~~MnC 116.~=

~

Ex. 117.

~ -t~~j,6~ I WI n=~

The sevellth impliesthe third and fifth :-

The octave impliesthe third and fifth :-

The ninth impliesthe third and filth '-

The tenth impliesthe fifth and octave :-

,; T fXXIII. o c t a vIWhen two figures are placed over a bass Dotethey are acoompanied by the following implie


21/76

THOROUGH-BASS AND HARMONY.

=.-~f.~12S.1_ H: The third, with the ,fourth, imply the lixth:I = - I n = = U = =, Ex 129..tllerr;f~h~~~~l;:~ = : F = E : ; : a ; = : g : H : r : - i l l - = i - I E U ~ E k ! 4 i i : : _ E - :octave, or one Ia- Iterval doubled:- @j-ii:@-ugu~

The third, withthe sixth, imply theioctave, or one in-,ternl doubled:-

The third, with theoctave, imply thefifth:

I

I The third, with the'ninth, imply the fifth :

Ex. 136.

I;g~~~;~~~.:::Ex. 1S6.

21

Ex.13S.The fonrth, with ~ =.::::::::=~~g;;u:===tIE_the ninth, imply the t

fifth :- @I :a :t=u=R

Ex. 141.

~

. Ex. 142..The imperfect fifth, J b1a n =with the octave. imply Ithe minor third:- ~ I i~c:Ex14:3.t=:-II$The fifth, with thetenth, imply the third: f%~=EX.l44:.The sixth, with the = u !'[:!EI8venth, im.ply the _second or thIrd:- o = - . . . . I I - , - : _ - : : a : : ~ -. Ex. 146.The .mh, with the = n = _ 3 : : : : : : : : = i i ! ! I = : : B I I @ g ~octave, imply the I

third:- _ I ..3


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22 ALBRECH'rSBERGER'S

~---~~~--~ Ixxv.In the second position, the third is highest, theoctave is in the middle, and the fifth is lowest:- IEx. 162./~~~ ~~Jij~tlr.- ei1r.-."' ~_ga ~@~H

_:-8= _ -- ~~~.flr.- .tlr.-~-&EiJ8M-3 ~~U_ ~:-~fl h:fJ-11t-1-Jol1-n

~

EX'146.Thesixth with the = : I _ G = = n =:t_~_ninth, imply the third: I~~~'==!=rz==:11

~

EX.147.Th. seventh, with' - I~: i - 0th~ octave, imply the ~,

third:- t=-~g-~~~~~~~=~J:2. :II

~

Ex. 148.The seventh, with =-=-! II_: : 1 . . . : nth, imply tke :~:d=

~

Ex. 100.The' octave, with J -~-911-the tenth, imply the 10fifth:- 8~==?=:==$g"'-_-.--~

XXIV.It fa furthermore nec888ary 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 themiddle, and the third is lowest :-Ex. 161.


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THOROUGH-BASS AND HARMONY.XXVI.

In the tllird position, the fifth is highest, thethird is in the middle, and the octave is lowest;-Ex. 163 w - t i B~h~

-~~1.,......~ __8 . . - t . . . . . .__! r.--

_ m ~8 !_!r.--,


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ALBRECHTSBERGER'B

XXIX.S.-In the position of the fifth:-

Ex. 156.

=~~t,~--J-~nr:Lg.

r o o .-.-=&3~~~~

xxx.When many triads follow each other, care mustbe taken-firstly, that the third, fifth, and octavelhall alternately stand on the highest grade;eecondly, to use oblique and contrary movement, inorder to avoid the error of consecutive fif~s andoctaves; thirdly, to keep the chords as near 88possible to each other, and to avoid distant skips;fourthly, to substitute the unison for the octave,when the parts, and therefore the hands, comeimmediately together; for example :-

Ex. 151.


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THOROUGH-BASS AND HARMONY. 25

~

~~ ~ ~ r.- or:~=i2i;2iri~g~~ ~=9=g~=jgg;_"ggj=ilD~~~--t=JFI.J .J 8#~ ~Etr=FF~4itn== ~-=d~~H ~ -~~=i = n =~=;:c~~~~:==-==== = - : r c ; :fN:~~==_~: .~ ~~~m.~~~ETI~= _..~XXXI. = : : - - : : : : = : : = ~n the following examplee, in addition to minor - ~ - =:;:t:~r:::~~l ;:~:ndh~hd,'1.noI:i~:d:;l: ~~ascertain its place, the echolar must analyse the scale, ,and the quality of the fifths belonging to it. Every = = _ r."l-

c~o~d.which ~ontains a diminished fifth, iB a mi~or = = : : :_ _ ~iminished triad, and Btands on the seventh maJor -e- __ 9grade--for instance, on b in the scale of C major; ~ - i_~also on the second grade of minor scalea--for in- :'it u gBtance, on b, in the scale of A minor; also on themajor sixth and major seventh in all minor scales-. _~!eih::~~r:/ytid,dt!Jt~et~fm~:ra~~lfi~~~o~ = ~ , = - o : = = ~ ~ - -real d188Onant, must always be resolved by --=--==- _ - - - - - - - = - - r.-descending. Exceptions will be given further on. --=- = - = : . : . : : : : _& , ' . ~ = : : : : ===oeIUoo of tile thIrd.~~!=igjfl~ Ejqj~-IE

- #~@ffG-r r I.J FEEfgn~


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26 ALBREOHTSBERGER'S====:::-::c:===XXII.In order to avoid, in direct movement, the fifthaand octavea, prohibited on account of the disagreeableeffect they produce on the ear, it is neceaaary some-times to double some interval j and a player fromfigured baaa mnst endeavour to be able at one glanoeto recognize what is required by the progreuion ofthe fundamental part. ConBODantintervals may bedoubled. Firstly, the miDor and major third, wbell.the latter does not stand on the seventh major gradeof the tonic, where it is the leading note; for ex. ;-

B is the seventh major note of the seale of 0, andmW!ttherefore not be doubled, 88 it already impreuesthe ear more stronglv tban the otber tones, beingthe leading note. If the fifth d is added in five-partcomposition, the defect is improved. Secondly, theminor and major sixth, which, bowever, must not bethe leading note; for example :-

Neither sixth, being leading no~ to 0, may bedouhled. Thirdly, the perfect fifth. Fourthly, theperfect octave j but only when the b a s e regularlyends on a perfect chord after a major seventh; forexample:-

Ex. 165.

The following dieaonant intervals may be doubled.Firstly, the major second when accompanied by thefifth; for example :-

~

~a -~ ~8jr - - = ~--=tiJlIEx. 166. i = i =..---; ~ - ~~E tf tIf2EP-~=~Secondly, the perfect fourth in consonant chords o fthe aix-four; for example ;-

r."'\ --%;~Ex. 167. T t T t

'V ~Thirdly, the perfect fifth accompanied by the second;for example ;-

XXXIII.Every skip to an augmented interval is unmelo-dious, and therefore defective; for instance-to th eaugmented second, fromf to II$ j to the augmentedfourth, from c tof$; to the augmented fifth, fromctoll$;-

AUlIDenled lu.. Aurmeuted 4tb. AUlIDellted 6" IEx. 169. ~ 'Fb=-ll i#-k!lE;~t:::JItis itlfinitely preferable to use the Inversions o rthese intervals--that is, the same notes, but i na different position j for instance-the diminishedseventh instead of the augmented second; the diminished fifth instead of the augmented fourth; th ediminished fourth instead of the augmented fifth :-Ex. 170.Dlminl.1M4 7". DlmiulaW l1li. D""fulahed 41b.J-tF=:ti1=A~~k iJ~

XXXIV.In the following exercise, the doubled third o rsixth is quite necessary. as, without them, tw ooctaves would follow in direct movement ;-


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THOROUGtt.BA.88 AND HARMONY. 27


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Ascending acale in minor key. :-AL BRECHT SBERGEIt'S

~

PoIltIoni of the acta.... I:-.5Ll93iIft4~+~~g@~~..E : u =~7#v"'=~ ~&>: i t elle , r.-..i!k~RF' tft E - n =

P.,.ltIoni oft. third. When the (nndamental part slowly aacends or==l:= _ . s . c : ~n : deeeends, the accompaniment is more graceful and~ a varied if two chords are introduced over each note,h~if~.~~e~~Iijl~!e~~"~'~~I--~r.-..~: _ tbe~ being snspeuded dlssonente resolved into har-g__ =~- :~_= monlOUBconsonants: for example:-= f~~":"~~%~--..~r;~~w = : ;:;r:;:;: ~~~~~=--r_.~l~=]pI=F~r$a~=tg...._- I p-----r-.. . ;el r.-.. 8'1'e'l'e~ ~ _0- t==I5==f==-~--DeacendiDg lICalein major keye :-

Descending eea1ein minor keys :-PGei t l oD of the acta",.

XXXVI.

Although we have eaid that the lowest interval i nthe augmented fourth muat be resolved by descend-ing, yet thill rule only applies to the fourth which i.placed next the baas: when it ie placed in the innerpart, it forms an exception: for example :-

In this example, the augmented fourth,f~, isnot resolved into tbe sixth, I-b, but by ascendingto the fourth, g-d :-Ex. 176.


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~~~.=tr~8

In accompanying the major sixth, we may snb-Btitute for the octave or doubled third, a fourth;and this inte"al is even preferable, ut is theoctave of the note to which the ma)or sixth formsa major third, but to which the nnnor third onlyforme a seventft, and should therefore not be doubled,according to strict mle, although innumerable exam-ples by the best composers sanction this exception:

When many sixths follow each other above anuninterrupted ascending or descending baae, theymay be played in three parts, with ouly the third :-Ex. 177.

~

~~ __ grl_~~i$e88888 88888@F'?mFnt~~~r~~

or the third, sixth, and octave may be altematelydoubled, to obtain a full four-part aceumpaniment :-

Ex. 178.

~"~~--88888 868861 ~But the first method is preferable, 88 in {our-partshidden fifths and octaves are produced, and althoughoccurring in the inner part, are prohibited in strictcomposition. These sueeeBBionsof three-aix belongto the puugea which most easily induce the' fault ofconsecutive fifths and octaves; because although thefigures placed over the fundamental baas indicate themte"ala of the chord, yet, they do not decide theprecise position of the octave where the chord is tobe played; for instance, violins execu~ the followingfigures :-

~

Ex.179.~l::t J F*;$$ff - I F : W fF F I J 88888 8888.

S. @ F f r = J 2 f tF = = - lr ' r E ~ : : : : - r - . w - _. . . . .the organiat, meantime, finda nothing in his partmore than the figure 8,which indicates that he is toplay chorda of I. Unacquainted with the distanceat which the instruments accompauy, and obedientto the rule of keeping chords 88 near 88 pouible toeach other, he chooaes the middle position:-Ex. 180.

and, without his dreaming of mch a thing, thefollowing ear-splitting fifths and octaves crash outinto existence :-Ex. 181.~~J_=::I~~~I ~~. . . . . . . ..~~~: = --~~===n=

XXXVII.The ease just shown, leads us to speak especiallyof the 8ia: ha za r tlo 1 u p rogr e# io7U , which muat becarefully avoided, in order not to ran into similarerrors. Thepe hazardous progreselona occur-firstly,when the second is the lowest interval of the accom-paniment, and is consequently next the bus; forexample:-

I

I


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so ALBRECHTSBERGER'SAnother position must be taken, or an intervalomitted; for example :-

e E g l : ~ ~ i ~r.-- 1 1 . 1 1 1-=- s - _ ~=U ill @l43I one of the fifths be perfect , and the other im-perfect , this progression may be used in free style;but it is always more advisable to change theposition of the latter chord in Stich a manner, thatthe second must descend; for example:-Ex. 184:. r.-- ~

~JiHtU=~f~jj_3I- ~ - - . . _ _ _ - - -. . . - - . , , . . . - - . , s , r.--Secondly, when the augmented fourth forms theinnermost of the accompanying intervale; for ex. :-Ex. 186. r.--

~9E1 Iud ~ ~~~l 6 ~ ~t 6----. . . . - - . . .~ Fe I 'D~ --~l2ii-lw - - . s : r -

This bad position may be avoided, either by- omit-ting the second, or by descending from the firstchord to the chord of the augmented fourth; for ex.:

e~::::t:w

Should the sixth be followed by a triad containinga dissonant diminished fifth, then in every case theaccompanying intervals must ascend in contrarymovement to the baas; for example :-

An equally objectionahle case, is when the sixthfollows the fifth, because two perfect fifths are pro-duced in the upper part; the sixths therefore mustbe doubled, or the interval taken in another position;for example :-Ex. 189.e : ID'~ of. r.-- Better t~ r.-- r.-.~ l f = I I ~ D h JI I D t~B~~8 8 8 8 6r.-. r.-- r.-- ~ r.-.~ ....uMfaI f U-C!f)

An imperfect fifth may not proceed to a perfect fiftb,either in ~cending or deacending, i J . : - ! even whenthe imperfect fifth forma a chord of the sixth by theposition of the fundamental note; therefore, an in-terval must be omitted, or a different position chosen;for example :-Ex. 190.In.tead o r . Better thUi. r.-._ r.-. r.-. r.-. ~'8:a~ta-lI-iiI~~~

8 8 8 8 8~:prr.-- s r.-- s r.-- F--~~r.-.: L I I : g HIW r u : : ~Fourthly, when many sixths follow each other indirect movement, by which, sometimes consecutive

fifths, and sometimes consecutive octaves to the base,are produced; for example :-Ex. 191.

~r=l=iJi~~m*,~

8 8 8 8 8 #8 ~ 8 8 t :~_O ~= flI ~ ~~_-r=- ~ ~ =0===This bad position may be remedied by contrarymovement, or proper doubling; for example :-

Ex. 192.

.Fifthly, when sevenths occur, accompanied by thethird and fifth, and are resolved on a perfect triad;


31/76

THOROUQHB.A88 AND B~MONY.

Therefore, the poaition must be changed, the eon- ~trary movement used, or, sometimes, an interval ~ t = ! - j g J J gdoubled; for example :- ~~ ~ ~ ~ Ez.199. , . I I

E L 1 9 < = = t ~~E.1;=~~~~~. : : ~ ~ : o p o n e " Mba !allow e a c h;;;;~::!f ~~.j1 'U Ex. 200. 9 I 9 I/J:'. ~Or the intervals may be divided into the two hands ; @I F ' tlJfI [' I I r I r ,t9Ffor example :- ====which prodacee a prohibited I1ICCeIIionof &ft.bs; f'01'eumple:-Ex. 193. ;":\ '"' ;":\=~~~~'I' I f 'I'%; 0#=1 & 413+ + E \U

=.~~~E~IFEx. 195. ~ .. .1. .!.~tBut in this manner, hidden fifths must be guardedagainst; f'or example :-

~ ~ - - J $ ,ere it would be better to double the third,and to make c $ ascend to d$; thus:-

To obtain contrary movement, it is not allowable torC80lve the leading note by descending :-

81

as 4 is the seventh major tone of D, and in thischaracter always requires to be resolved by ascending one grade, for example :-

This error, which is likely to occur principally inthe position of the fifth, may be avoided-firstly, byomitting an interval, and doubling anot.her consonantone j for instance, in minor keys, the perfect fifth isomitted and the minor third doubled j In major keys,the fifth may be retained, but the third in the follow.ing chord of the five-six must be doubled, and thesixth played afterwards; or this chord must bedivided, and the fifth introduced after the sixth:-

E%.201.


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a t ALBREOHTSBERGER'SSecondly, by playing such a succeeaion of ninths inthree parts only, in the same manner &8successionsof I18venths,prepared fourths, and seconds; for ex :

Should the player desire to use four-part accom-paniment, then, thirdly, contrary movement is thesurest method, and cannot be to o highly recom-mended in moat caaea :-

XXXVln.We will now treat of the chord of the seventh,and ita appropriate progreseione. In examining thefollowing example, we shall perceive, firstly, that inthe eeeond chord the fifth a is omitted, and the

oetave of the fundamental note substituted, in orderto avoid consecutive fifths, viz.: ~. Secondly,thAt in the second chord, the seventh C h&8been pre-pared by appearing as octave in the first chord, andis resolved, in the third chord, on h, the third of thefundamental note, g; while thef, which formed thethird, becomes the aeventh of the present bus, g.Thirdly, that the third.'c,in the fifth chord appearsas the seventh in the sixth chord, and by changingto h, becomes the fifth of the chord of E minor, inwhich, however, the third g is doubled and theoctave 8 is omitted, to prevent an imperfect fifthfollowing a perfect fifth in direct movement-.tt -: :~Q-~lE" I 6# r . - . .~_-fFHHr-f=J:~

,, , ~. Ifg"J I . J J 1 J 1 i l J I J . 3 1 tI,~ r r p; J 4 F r'I; # 3 & : 1,

" . ~ II t J r . - . . IN' fr q:@Ir' F'lr~

XXXIX. JWhoever is sufficiently acquainted with theseprogreselons of the seventh, also knOW8 the treat-ment of its derivatives; &8the fifth in the chord ofthe five-six, the third in the chord of the three-four-six, the aeeond in the chord of the two-four-six(when it is placed next the b&88),must all be treatedin a similar manner, &8will be clearly seen in thefollowing examplee, We will first change the ..two aeventha :-


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THOROUGH-nASa AND HARMONY.. By altering th e position of the inte"a1s of thef i l ' B t chord of the seventh (reckoning among them

t1the omitted &ftb, s),i we ereat. the chord of the

~three-five-aDt :-

The former minor third"f, is now taken 88 lunda-m~nta1 note, above which tJ forma a third, (J a tifth,and a a sixth. The followiDg chord is alto natu-,rally produced from it :-the original seventh,"remains as baa; 9 becomes the second; h t i l efourth; and a the sixth. The ball returns onegrade to ~ and requires a chord of the three-eix asa ba lf -c ad e nC8 , instead of the former perfect cadence:

Ex. 208.I It. ~ @f .J I C I T E(tI- J 1- & - j . : : n : '\!fI6 I -=-r=1 F ' r' I t-3f~ .J Ir r I;;)4\.:,I ~I f .. r'lr rlF'ii~~'-= ' ~

_.. J IL jm-1L\ ,JhH\:.I '...:,/" 'v J I~(clllil.t r r r & ~:.I ~I6 IIt 6.iH~r=F=~--'LtJ[J:ggngWe will now convert the aecond chord of theaeventh into a chord of the three-four-aix :-

Ex. 209.

, . , .In order to do this, we mUBt, in the tiret chord ofthe seventh, omit the fifth a, and the octave a, anddouble the third. "lille the seventh c descends,according to rule, upon b, the baaa remaina upon thefonner fifth, tl, and the other intervals change theirpoeitioD8: the seventh, f,becomes the third; thefundamental note, g, the fourth; the third, b, thesixth; the bass rises a whole tone, and again re-, qr.irea a.tixth :- .

~ 210. 9 ,.1. ,. 1.4iQ 4G I~ ~tJ O J [ :lLIEr r . ~8i~ I r I M ' E 3 H = L - .v \U-=wi=~~ ~ll*.~ E Idtt-ir I;':'IP,.'. ,.I.~ p:a~E rt ffEU:'=-' ~,.1. ,.1.~4;J-J=ijlIff8-Rr=J@*~ ~We will now convert the tiret chord of the seventhinto a chord of the aecond !-

The seventh, c, which ia placed above, beeomes aprepared second in the bass ; the fundamental note,a,becomes the real contiguous second to it; the third,f,becomes the fourth; and the fifth, a, the sixth.The suspended bus, c, true to its nature, descendsone grade to h , and draws aftllr it, in parallel motion,the sixth, a,on to g; while the other intervals changetheir names, but Devertbeleaa occupy the same posi-tion; thus, the fourth, f,becomes the fifth; and thesecond, d, becomes the third-whereby the full chordof the three-five-six ia created, which is resolved onthe perfect tonic, as a complete termination:-Ex. 212 . 6 6.6 ~ --!6itO J l?!.J~=Nta:lltu:-.............~ _. I ~~Ffya.l~ F ' J tl.: I~ I~rrtl~ JJ 11- -,~ _.I .- tiEd r - fJ 'M$i i r . J _ t i = t

.I~ ~t~~bJQJ IP ! 'A ' I F ' ff#- -.!~ ,-.....I~~::ttJ~=tL~tr5flTm. . . . . . .


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35/76

THOROUGH.BASS AND HARMONY. 35. In the following example, the ninth p1aeedabovethe fandamental note may be resolved either by8IlCendiogto the tenth, or descending to the octave.When the seventh is omitted, the harmony of theeleventh is D8ua1lyand beet prepared by the chordof the seventh, of which it is a derivative by in-v8lllion; for example :- .,Ex. 219.

@ t - 1 - J l 4 I I IW~ I t / l H i i s nt tit n I til uwrJ1 r 'rITQt!Wr I F ' itlJEII til n I til II~ Ir II.,', J p o l i j I J IJ UI UIII IU!U'\\b r f F ' nr' .- ill.JlTI-=~M ~ ] [ ~ - v . -lUlU gUI!!~~J IW__~--tII=

In order to Bhewthe origin of the harmony of theeleventh 88 clearly as poeaible, we will again takeethe chord of the seventh as a model,1:-tl-~~Exercise on the second manner:-Ex. 225.With tb. ""ntb .nd ninth omitted, and tb. oct.... . doubled.~gpi~t,. ~~~ffi~

Change the fundamental note to tbe fiAh below, 9 :-

EL221.~ ~land we shall produce the incomplete chord of theeleventh, either with.the ninth omitted, or withthe seventh and ninth omitted, in which latter cue,the octave of the baas must be doubled. This in-complete chord of the eleventh is generally calledthe chord of the fourfive :-

e - i = _ - . -- l - -. I ..~ - The chord of the thirteenth also proceeds fromthe chord of the seventh, and therefore requires tile


36/76

S6 ALBREOBTSBERGER'B.me treatment. We bave Mid that it is producedby adding a seventh below the b888; for instance,I ~add to : the fundamental DOte,a, viz.: b

a I o J~===tII=n=

Es.226.~ I ! . _ n gand the seventh,.r. will become the ,thirteenth (orsixth above the octave); the fifth, d,WIll become theeleventh (or fourth above); the third, 1 1 , will becomethe ninth; and the former fundamental note, d,will become the seventh, or leading note: tlieeleventh, il, must be resolved by descending; butthe ninth, 1 1 , mlly be resolved bl descending orascending. As the chord of the thIrteenth is some-times reduced by omitting the seventh or the ninth,it is usually frepared hy the harmonr of the seventh,from which It is derived, that the lntervals may bepresent, and capable of being used .. suspensions;

::==:&.228.

#iN i I Iq l~$.J It! r f J ~[' I i T u -~I ~I 8Df$'tJr r' IFF

#r 11tft.. J Ft J

XL.The correct figuring of a b a a s is so importanta point, that we shall treat of it DOWn detail. Theligns which are placed above fundamental Dotea, todenote the appropriate intervals of each chord, are-firstly, the numbers from 1 to 9 (that is, from theunison to the nintlJ); for the intervals requiring two

figures, the eleventh and tlJirteenth are marked anoctave lower, .. fourth and fifth, to facilitate quickreading. Secondly, the signa $. x, 1 7 , 1 2 1 7 , and isharp, double sharp, fiat, double Bat, and natural,which are used to raise and lower intervals, or re-duce them to the original grade indicated by the 'key. Thirdly, successive short lines, - - - - whichindicate the repetition of ODeand the same interval.

XLI.The advantages and principal qualities of a full-

figured bass, are, ea8e and correctneu. It will beeuy, if marked with as few figures &8 possible, be -cause many figures weary the eye unneceaearily, andconfuse the general view; besides which, they areuseless, as all those who have studied thorough-baseproperly, will know every interval implied by oneor more figures, according to given rules. It will becorrel!t, if the different and characteristic chords aremarked bl such sufficient and clear signs, as ahallrender it Impossible for the initiated to miatake oneharmony for another.

xm,If a chord cannot be sufficiently indicated by onefigure, two or more must be used; these are nsnallyplaced perpendicularly above each other, and overthe fundamental note, but sometimes beneatll it whenroom is wanting :-aEx. 229 . i!=n++g 1M & 1 1


37/76

THOROUGH-BASS AND HARMONY.XLmIr chord. are to be repeatedly struck above onebaa note, proper aigna mUBtbe used to indicate theI l lUDe l--

Ex. 230.. ~Jt.. I:: or: ,. - I- = r . I;:n - p - = t r r - - - t t ~ : : c nXLIV.Ifa 1Iarmony 1 8 to be struck on a changing note,this must be indicated by a transverse ascendingline, and the figure is placed above the real funda-mental note of the chord :-

Ex. 281.

XLV.The common chord requires no figure, or merely aingle fiS!lre, 8, 5, or S j the major third is Indi-eated by a I:the minor third by a p or q , accordingto the modulations made. by the fundamental har-mony to foreign and unrelated keys. The diminishedtriad is often marked in the manner of Telemann,thus ,._Ed3a~ - e z ::jgl_- I I Tbis ligo fa called the Telemann C Q l ' V e .

XLVI.The chord of the second is aufticiently indicatedby the figure t. .XLVII.

The single figure 8 requires the third, with adoubling or one of these intenala, or the octaveadded 88 a fourth part.The chord of the fourth and sixth il indicated by tIf " fourth and fiCth " t,. " fifth and lixth " a.. ,. fifth aDd seccnd " i" ,. ninth, with the third or fifth 9" " ninth, with the leventb ," " third and fourth " .. " thirteenth on the funda- fI

mental baaa ..seventh, with tbe fourth Ininth, witb tbe fourth " IXLVIII.When aU the parts progresa in unison, the basaalone is played, or may be doubled in the righthand to produce fort8. The word tMtn, or ttuto 8 0 1 0 ,indicates that die note is to be held on, and only tobe again 8t11lOk wben it begiua to weaken or toeease . .

" ". . , .

17XLIX'. In ease the poaition of the right hand hftBbecometoo high or too low, and the player should deaire tochange it to a more appropriate situation, he canonly do so in consonant harmonies.. L .Altbough it is a general rule to aeoompnny h ' fourparts, yet m~ny ~a present themselves, in whichan accompamment ID three, or even two parta, pro-duces an infinitely better effect. But judgment ODthis point can only be gated by mature experience;therefore the student must keep strictly to the rule,and diligently practise in four partfo.LI.AD accompaniment is in four parts, althougb onlytbree different notes appear, when an unison is sub-

stituted for tbe octave, in confined apace, or whenan interval is doubled according to the roles ofprogreaaion.LII.Ita hardly necesaary to remind the student, thattbose who would devote themselves to the study oftborongh-baas, must have acquired the knowledgeand habitual practice of playing in all keys.LIlI.All consonants may be doubled: but no di8BO-nants, al they sound disagreeably, and produce con-

secutive octaves in their resolutions.LIV.At every principal division of a bar, a chord muatbe strock j according to this role, four chorda are tobe atruck in a bar of common time :-

- .'-FJ


38/76

88 ALBREOHT8BERGER ' 8

....'. -:~=::: : : :c;:= : : : : : : 1 : :C : : : : F ~ ;.:Two chords are to be struek in every bar eon- = r....taioing two division&,viz. :-in bars of aUa ""eVil, ; ~ : i : J=~r two ~inim8 j of two cro~hets; of ~x crotchets; I iand of S1X quavers-when, In quick time, these are _! __ ~ __ _r....accented by two beats; for example :- 3- - = : - = u = - - =__ ---,-_- ~B===-~~=

~~:0: J : ; : : :~~~:~...'i:":orth~~_-L_ mterrupted by pasalDg notes. Whether the busproceed inquavers, pass through the harmony, or~ ~ :'"' roll on in semi-quavers or even shorter notes, the~=+~= :~~;:E:~~==:~ = W ic : : : : :=three, tn ..... o r triple _,_

-sI 1 8 ~ 1 1 7 ' 8~EYtr r rtf r fflh F f-I I e 8 1 t 8 1 7 1 1 7 ' . . 8 '1' J r r"lr O J J @G J &43*-sI..I ~1 7 1 1 7 1 8N"jr' e 1r MC 1- r r r I r J ITt-I I It 1 1 7 1 1 7 1 8,",~HJ5FH-lrJ J 'IrlB-sI..I 7 1 1 7 2 . . 8 '"'tjF[I&4 J liL=g=rl$tqpLV.

LVI.Three chords are to be played in every bar con-taining three divisions, viz.: - in ban of threequavers j of three crotchets j of three minims;and of nine quavers--when the movement is slow j


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THOROUGHBABS AND HARMONY.

In free style, an unprepared di880nantmay be usedin two cases. Firstly, when one dissonant is resolvedWith triplets, a single chord is to be played on the into another; for instance, a ninth or a seventh :-lint note; fo::::.ple~ ~ .hmC~~=~~~=r:+:tr~~f J ~WM~rrrm ~_. R t r t : ' ' _ ' = ~LVllI.We have already learned that every dissonant ~~ta-u=l~- "~I;r-~~~mll8t be resolved into a consonant, but it is nowise ~-- = = - - -~:!3...=tii~.51neceuary that the resolution should follow imme- r , "diately; it may be prolonged or suspended by re- , T 5~ + f r : t .maining on its grade, and be"changed into a new in- ~1J1;~;J4-~~ -=~ =l]terval before being resolved according to its rule:- - --~.~.===~~*~-~n this example, (I, which is the fourth above tbebus, g, in the third chord (!), becomes a fifth, whenthe baas descends tof.and thus its regular resolutionIIinto the con8ODant third, I I , of the perfect cbord, ~

gis postponed from the fourth to the fifth chord.Another manner of prolonging di880nants is by trans-position of the harmony, that is, by introducing thesame chord in another position of the intervals, andthus changing a dissonant original chord into an in-version, or an inversion into an original chord :-

Where a bar in triple time is to be played in quickmovement, two chords are sufficient-one ou the firstand I aa t crotchet or quaver; for eumple :-= ::L-==:t:8 '

InNo.1, the original chord or the sennth,f, d, I I , g,is changed to its derivative, the chord 0 1 the fiftnand sixth, before it is regularly resolved into thecommon chord of 0major. In No.2, tbe cbord ofthe fifth and sixth is changed to its original position,the chord of the seventh. In No.3, the chord of"he second, ~ is changed to its derivative, the chordI" . "of the third and fourth, ~

tlLIX.

In this example, the ninth. is always resolved intotbe seventh, which, in its tum, is resolved into tIleimperfect fifth. In order to perceive dearly tIli.


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ALBREOBTSBERGER'Sproo8II, we m aa t fm agiD e a puling OODIODIDtlIetween the two diaonau; for example :-

The imaginav octave, fI, forma to the ear the tran-lition of the nmth to tbe seventh, or a leY8nthwhichis neolved into a augmented fourth:-

In thia example, the imaginal')' mtb, 1 1 , forme theCOD80uut link between tbe aeventh ad fourth :-

,.tl ,.II.. r I U tti!:;:If.!dE rUn....II , . . e Ii.. r I .. a Wjll-a: f :p &1r J I I_r l i ;OI : ; I I -M!IEFir tU.

,. fl. ..,. II ."rIrr_ J 11'Mtt I; ~J O J 1 E i j 1,.,. II ". II.',tlf r tt411. ElltOlr;.

,. t I:it. J I J J Jjl J 1 1 2Secondly, when a dissonant is . taken immediatelyafter a consonant cbord. This usually occun in ca-deneee with the seventh; for instance, from 0 majorwith the seventh, toA minor-from F to D minor :-, . , .Ex. 246. @ I : 3 F~Ir",jI r !f ? *

With the derived and inverted chords of tbe fifthand sixth, the third. and fourth, and the chord of thesecond; for instance, from C to A minor, from Fto D minor, with the chord of the fifth and sixth:-

I tJl IEx. 247."r~rE ' I t t ,,3 t = a =

or, the IIIDeprogr_on wiill the third and fourth:-# 1 . ! tk248. w-r- r I r r I r [ ' 1 F I

and from the COD8ouut eixtb: above ~, through thechord of th e aecond to iIle same intenal above D r a,aDdf:- .-t.t e'1".k 249.. r ' r 1 .J " I . J J I jI I

With the minor seventh in major ke,... or the di-minished seventh in minor keye, which is placed onthe eeventh major grade; and with ita derivativechorda; for example :-Ex. 260. ,. -+ t ,.G

~ , I P G I P " :h!n~f#:16-1 r.-..~ wrjjJ~~lr':tljnWith the minor chord of the leventh, placed on theaecond major note in miDor keye; for in ata ac e , ~ inAminor:- "u, I t ! I "I. & p I aEx. 261. 1LJ E ' II r ' J II J r 111*4*With th e minor chord of the Dinth, over a busplaced on the dominant of minor key; forI .

tlinStlDce:_d_

Ex. 202.

And with the major chord of the ninth, over a .,...placed on tbe dominant of major key; for"IinataDce' tl 6-Ex. 263. a ' lit~ J f ':=el,


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,.if' 8 .-, II~,WJIfTHOROUGH-BASS AND HARMONY., LX.. A .1 th01lgh all til... diIeonaat chorda may be in-troduced without preparation, yet they must be re-eolved according to rule. The use of unprepareddisBODantsproceeds from a figure, called tI~from ita ca1l8ing an interval to appear before it isexpected, while the ear suppliee the intermediatelinks. For instance, in the following example oflIeVenths, let us add in imagination the omittedcrotchets which are 1lIlderlined, and all dissonantawill become consonants; these latter belong to theorder of regular transitions. The apparently un-prepared introduction is thus not only justified, bntentirely obviated :-Ex. 2M. --

~D ,. Ii" ~,.~,.gIn;} ;_n1;kiu

!IT ,. ,~,.",... It.. 88-' I ~",. ..,,, 8 8-# ~ IIh!4~~m:s:g@tD_ or",.h. . 1 7 1 8 8-11 ~ b I7f_ S ijr r I f 1 1 i r i l lh II,.

.. ",. 8 8-b I I II 1 1 , . '!br ({barr-TlEhIlT

. . 1 1 1 ' - : !II" .. ftr~ ifh.. j,,. 8~ II_tbr Ii4WJ! rS f

.. II,. D#" I;~" iT 8- X I_1Ir J rlJ r J~. or,.~,. h'!I~" 4 ' 1 8 8- # I_:Er r~ILIb, . . ~ , . I~' 11"8 .~-E J rIJJ~. .

LXI.Above we nsed the words, "the interval is placedupon;" and we will now speak detailedIy of theterm. Mant chorda have then appropriate place, ornatural poBltion, and this is always reckoned fromthe fundamental note of every minor and major key.The Beventh always has its place on the dominant(or fifth grade) of the real key, viz., ongin-


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II ALBRECHTSBERGE&~

In this exerciee, we must obaerve,-firstly, that con-trary movement mUlt be ueed in this progreasion, 81the direct movement would produce hidden fifthsand oet.aves, and a 8kip to an augmented secondwould occur in the two penultimate chords. Secondly,I~~~~~~~~~~~~~~ on this account, the position of the third is preferable~ - to the others :-Ex.268." F ' 1 . 3 J 1 iii . 3 1 ' : J 1 i l l- r o o .jr 1[' r 1;4 I.J r iBEl_ e IiFt@5iLl t & a = 5 = t l_rtf! r IF' r 1# ,. lfililt x

L 3

A D c l lutIy, the chord of th e all~ted I8OOnd,which alwaye has ita place OD the 81xth grade of .nminor by.; for iDitance, onf in A minor :-

B L _ C t : ' h ~ : : :The augmented aixtb ha s ita p1lce on the I&1Il8 grade,Inminorbp:-"261. "iTI

'iVThe chord of the eleventh, couting of fifth, Ie-venth, mnth, and eleventh (or fourth .bove), alwayeba a ita place on the tonic or fundamental note; forexample:-~~:j::t::t:Q!:::::t:LXII.In recapitulation of all the rules gi 'f 'eo, the fol-lowing examples of all the intervale ehould be dili-gently practieed, in all poeitioDi and in all keys.The student will find thi8 the 8urest method of be-

coming rady and practical player from figuredbaa. . .. Common chorda in major key- ,_& _ = r ; : : : : : : t=

&_= : : : : : : : -oeWoa fit t1i. octu..In this exeroise, wemust obeerve,-6ratly, that whentbe fundamental hue aace nd a a tifth, u in the con-cluding chorde,f and e, th e accompaniment muet bemade in contrary movement; leCobdly, when. pro-greeeion is made in contrary movement, the poeitionof the octave is preferable, as both other8, eapeciallytbe position of the third, frequently produoe hiddenfifths, which d iatre aa fine ear :-Ex.266. n

. . J IJJJJlrJfn@lj r1rrrrlCrt-Un l...., JI~JrJttri"rlrrrntrdi,I n ~_ J I c A r r l rtf!" UJuJUIfiJ

I ht. ~.\\ r I F e r, Irrtlla" J 1 U r a Ir r r II.\ 11i j l j : l : l B j # - n .bJ1u r r I.

~h J J I J J 4 S u : :Common chorda in minor ke ya :-h ~ 1 ' = : :a : f :........ e u n e .


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t ~ Xt\ r IF ' r I F E ' I . J r I UR - j...!r 1 4 1 .F'I.l & 1 IJ ~~ I tr a - ' Z t! \ , Ir r 1 F ' r I r F ' rt I 1II F ' 1 . 1 r IJ r I . J r I I~ I

~@~ r I J .J IJ J IOJ . 1 fChorda ...r the minor second :-

1 . , .&.ari.-lC, inthe lteCondchord, the major third,"" ia taken inltead of the minor third, g, the second muatace.d; for uample:-

which, however, could not be uaed ina tOUl'-part acco_paniment, .. either two perfect fiftba would be producedby aacending l-

. . m = t ~ ; ; ~:tor an UDmeloc1iouaskip to aD aagmentec l l8C01 ld would beproduced b1 d_diDg :- J+t IiI,l,.~lib::Ex. 272. .It " f* " - "I::r ..,,............I

u.-W.R..arl.-'ndI progre.ion alwa,. 1 t e s f a a _ theioDic, aDd en_ OD the dominaat :-

E L ~ ~ = = C 8 I I' 8 tli r n;r r'I:II-f12 r'r J ;@ I It ~ 8 gg.~!lp_~

$\1" J r [r W S 11.Igg44tt4@l)(I. )( "I 8 _JrJr.JI:II_.J E n e r t @ I I

8 I_I 8 I.. J,lI.JJI .. lltllj J r I~........... -.:,I -.:,I .81-E'91rl~

Chord. o r the major second :-, PoeitioD 0I&be 1ft...

. . L ' " p..waa 01the tldr4. ~'

.~I'"_ 815I !-a+r1F'rl"'U@'L I rFf3T~-.;ulln-. 81511~Mi! F ' I-I@....... E ' I}r iC ; 1 4815.1", UII_Jqrlrr_JrTrF'I~U89-.' I eo, 1 '"M\5OJ r Ir .lE tt- v , J rj! r~g;80.1", .0.1",at O i l r ft' r I ,'11.' Jor "1 aD

u~ I.JrlrF'I~U


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ALBRBOBTSBBBGEB'S. Ohorde 0 1 the augmented second :-

~=~lil:~:c;~~~:. . ~ . ._.IJrl:II"6JlltJIJr~.~.

!@EJ o - r ;I.JI~ahorda 01 the prepared fourth; in minor keys :-Ex. 277.

====rtl &.cw1.-The third or the atb must alway. becloubled ill the cbordl of the ath whicb here occur,o&henr i le coDl8Clllive 6ftbI, ~ :-&.978.or coueeuliye octav.. with the ..... {::: will beprocluced :- ,,-

~IjilEL 979. I

Ex. 280.


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THOROUGH.BASS AND HARMONY .Chorda of the .up_ad fourth, with & h e "'!COMandsixth:-Ex. 281.P.,.ltIn of tb. Ird. P.... daa of the m . Poett .... of the ath.

~_wige;~:F:;it_q~: e : -+ .-!__ -+ _8_ -+ _8_F .Jj-e=W J 1~U.J .J I@ IElkIatwl.-ln a I UCceu i o n of mauf Iiltth., CORt ra r ymovement muat be principally uaed, an Interval iometimelomilted, and the third or aixth doubled, when thia leat ianot plaeed on the leventh major grade; occasionally, thefourth il IUblti&uted for the octave sa a fourth iaterYal j6-b

for inltance. inltead, ~:-tl-d

Ohorda of th e sixth:-Ex. 288.6 6

8888 8888 888t r r r Ir 'IIIiJ r r I E 'I Y r r r l .888 8 8e8 8 8ee e_'~rrlF'~-_~ reee e e8,!....,..,,1

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IMSLP62525-PMLP127720-Albrechtsberger Thorough-Bass Harmony and Composition I