<0 O
ESSAT
"'ARO
ON THE TRUE ART OF
PLAYING
c
s
i
KEYBOARD INSTRUMENTS By Cari Philipp Emanuel Bach
Translated
and Edited
W I L L I A M J.
by
MITCHELL
ASSOCIATE PROFESSOR O F M U S I C , C O L U M B I A U N I V E R S I T Y
An engraving by F. C. Kruger, Sons, Berlín, which appeared in Allgemeine Deutsche Bibliothek, Vol. 34, Berlín and Stettin, 1778
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W • N O R T O N & COMPANY • I N C • New
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DEPARTAMENTO p Ob 'ON
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PREFACE
T
HE PRESENT edition of Bach's Versuch über die wahre Art das Clavier zu spielen is the first complete English translation, having been preceded only by excerpts and sc( tions which appear principally i n books by Dannreuther, Dolinctsch, and Arnold. I t is also the eleventh i n the complete series oí printings, reissues, and editions going back to the publication á i 111 1753 of the original edition of Part One. Published privately by Bach, i t was set up by the court primer to Frederick the Great, (iliristian Friedrich Henning. A second printing was made i n 1759 at Berlin by George Ludewig Winter, agairí with the author as públisher. The same pair produced the first edition of Part Two in 1 7 6 2 . Remaining copies of both parts along with manuscript nipplements were sold to Engelhardt Benjamín Schwickert of I .cipzig, who reissued the work i n 1780, the year of the transaction. 1 lie nature of this edition w i l l be discussed i n the Introduction that follows. The first and only revisión of Part One was published ¡A 1 111 1787 along with an unaltered Part Two by Schwickert, who also issuecTPart Two, revised, i n 1 7 9 7 . Thus, on the face of i t , the Essay appeared four times during the eighteenth century. I n 1 8 5 2 Gustav Schilling edited the Essay " i n the raiment and iiíter the needs of our time." But raiment and needs combined to produce only a curious distortion of the original. I t was published in Herzberg by Franz Mohr, and reappeared i n 1856, published by í 1 anz Stage of Berlin. I n our own century, Walter Niemann prepared an abridged rdition, disrespectfully ignoring Bach's stern reproof of all "com(icndium writers." This publication, based on the editions of 1 7 5 9 «nd 1 7 6 2 , first appeared i n 1906, published by C. F. Kahnt of Leipzig. I t was reprinted i n 1 9 1 7 , 1920, and 1 9 2 5 . I t has not been
r It E l A C E
P II E l- A C E
possible to secure additional iníormation about a projected new Germán edition " w i t h manuscript supplements," which was announced several times during the last decade. I t is to be published by Gustav Bosse of Regensburg. The present translation combines the original and revised editions of the eighteenth century. A l l of Bach's alterations, additions, and footnotes have been incorporated into the main text, but are identified i n the editor's notes. For the rest, the organization of material i n Part One follows the Germán text i n all details. Part Two, however, has been slightly altered i n order to make i t more accessible to the reader. The original edition and all subsequent ones consisted of forty-one sepárate chapters, some hardly a page i n length. The sequence of these suggested a larger organization. Thus, without altering the order of these chapters, but simply by demoting many of them to the rank of sections, the total has been reduced to four. The first and last alone retain their original status. But twenty successive chapters, following the first, have been grouped under the heading Thorough Bass, and the next nineteen under the heading Accompaniment, this being the subject matter of these originally sepárate chapters.
i>> I01111 .111 iniroduction to the more challenging earlier pieces. I l i e 1 «-l.il ivcly large format that would be required for a practicái s . 1I111011 of all of these made it impossible to include them here. I l i i w r v c - i , they are available i n modern editions, the Probestücke l u i v i i i K been published by Schott, and the Sonatine Nuove by N i < |. Also, all but the first sonata of the Probestücke appear i n v >111111c* 11 oí Le Trésor des pianistes, Paris, 1 8 6 1 - 7 2 . l i.uiilation and editing of the Versuch would have been a far i i i m r difhcult, if not an impossible, task had i t not been for the H< i i o o u s assistance of my colleagues, members of our library staff, Hi.l my students. I am particularly indebted to Professor Erich l l r i t / m a n n for much wise counsel, to Mrs. Susanne Morse, who n l i i c d the manuscript with great care, to Miss Jane Paul, who paly trailed and captured many elusive details of information, • • i . 1 to Mr. Wolf Franck of the Music División of the New York I'uI.Ik Library, who brought to my attention several choice ítems (tul would otherwise have escaped me.
viii
The musical examples for Part One were originally engraved and published under sepárate cover. These have been placed i n the text and numbered serially throughout. The examples for Part T w o were originally printed i n with the text, but were unnumbered. For purposes of easy reference and maintenance of order these also have been numbered i n continuation of the examples to Part One. I n preparing them for the present edition, the Gclef which Bach used for the right-hand staff, after the dying fashion of his time, was discarded i n favor of the more familiar G-clef. As part of the illustrative material for Part One, Bach wrote Achtzehn Probestücke
in sechs Sonaten. Bound originally with the
examples, they are an integral part of the entire work. W i t h respect to technical and interpretative problems contained i n them, they range from fairly easy to quite diffkult. A t least one of the pieces, the free fantasía of the last Sonata, is among the finest of Bach's works. I t achieved immediate and lasting fame i n the eighteenth century. T o the revisión of 1 7 8 7 Bach added VI Sonatine Nuove. Written i n his broad, later style, they seem to have been designed
IX
f
W.J.M.
COMTENTS
Vtrfntr
vii
/ nli odllt liori
1
PART l'iiirword
ONE
to Part One
/til 1 oduttion I M A I ' I I R
O N E .
iiiAi'ii'R
T W O .
27
to Part One
30
Fingering
41
Embellishments
79
(.I'.NERAL
79
T H E
87
A P P O G G I A T U R A
T H E
T R I L L
99
T H E
T U R N
112
T H E
M O R D E N T
T H E
C O M P O U N D
T H E
S L I D E
T H E
S N A P
T H E
E L A B O R A T I O N
B H A P T E R
127 A P P O G G I A T U R A
132 136 142
O F
F E R M A T E
143
Performance
T H R E E .
147
PART
TWO
t'oreiuord to Part Two / a 1 roduction BHAPTER <;IIAITER
169
to Part Two
F O U R . F I V E .
Intervals
172 and Their
Thorough
Bass
Signatures
180 198
T H E
T R I A D
(i)
198
T H E
T R I A D
(il)
204
O F
T H E
C H O R D
T H E
C H O R D
T H E
T H E
D I M I N I S H E D
T R I A D
T H E
A U G M E N T E D
T R I A D
O F
T H E
S I X T H S I X T H
(i)
20g
(il)
217 222 224
xi
xii
C O N T E N T S T H E
S I X - F O U R
C H O R D
T H E
S I X - F O U R
C H O R D
T H E
F O U R - T H R E E
C H O R D
(i)
233
T H E
F O U R - T H R E E
C H O R D
(ll)
239
T H E
S I X - F I V E
C H O R D
T H E
C H O R D
C H O R D O F
231
(i)
243
(ll)
248
T H E S E C O N D
O F T H E S E C O N D
T H E
F I V E - T W O
T H E
F I V E - F O U R - T W O
T H E
226
(ll)
C H O R D
T H E S I X - F I V E T H E
(l)
C H O R D
T H E
C H O R D
T H E
S E V E N - S I X
252
(ll)
2 D O
C H O R D
T H R E E - T W O
T H E
(i)
262
C H O R D
264
C H O R D
264
O F T H E S E V E N T H O F
(i)
T H E S E V E N T H
265
(ll)
274
C H O R D
283
T H E
S E V E N - F O U R
T H E
C H O R D
O F
T H E
C H O R D
O F T H E M A J O R
S E V E N T H
T H E
C H O R D
O F T H E N I N T H
(i)
T H E
C H O R D
O F T H E N I N T H
(ll)
N I N E - S I X
T H E
N I N E - F O U R
T H E
N I N E - S E V E N
T H E
F I V E - F O U R
six.
C H A P T E R T H E
C H O R D
286
T H E M A J O R
T H E
S E V E N T H
(i)
T H E
(ll)
3O2
C H O R D
304
C H O R D
307
C H O R D
310
Accompaniment
313
F O R T H E L E F T
P O I N T
N O T E S
D O T T E D
S U D E
P R E C A U T I O N S
O F
A C C O M P A N I M E N T
T H A T
T H E
O F
A C C O M P A N I M E N T
F O R F I G U R E D
C H O R D S
BASSES
T H E I R
N O T E S
T H E M E S
F R E E
Bibliography
351
386
407 410 412
P R E C E D E
R E C I T A T I V E
S E V E N .
316
403
T O N E S
C H A P T E R
H A N D
384
R E F I N E M E N T S
P A S S I N G
BASS
irin by P. Haas
379
F E R M A T A
C H A N G I N G
3*
/ ri|
366
I M I T A T I O N
T H E
1 i f i l c r k k the Great with His Musicians
362
C A D E N C E S
N E E D
168
348 A P P O G G I A T U R A
P E R F O R M A N C E
S O M E
BASS
N O T E S
418 420 425 426
Improvisation F A N T A S I A
«6
t 11I1 I'.IK<- <>í ibe First Edition of Essay on the True |f| ,./ Playing Keyboard Instruments, Part I I
319
C O M P O U N D
D O T T E D
T H E
| lili I ' . I K C of the First Edition of Essay on the True |f| »/ Playing Keyboard Instruments, Part I
322
T H E
C L O S I N G
Frontispiece
raving by F. C. Krüger, Sons
313
A C C O M P A N I M E N T
O R G A N
T H E
|H
305
C H O R D
S Y N C O P A T E D
T H E
297
„ | 11,,1,,,,, hmanuel Bach
299
A P P O G G I A T U R A S
S O M E
293
U N I S O N
O N E - P A R T
ILL US TRA TIONS
430 4 3 O
446
xiii
1
WTRODUCTION
,
1 ()( >N A I T K R Emanuel Bach's death on December 14, 1788, pliiis were formed to erect a commemorative monument i n ^ ' iii< Mii luir lisiare he in Hamburg. T o this project, which d i d ' nrc, the renowned poet and Bach admirer, Friedrich I niilicli K lopslock, contributed an epitaph: T a r r y not, imitators, For you must b l u s h i f you r e m a i n . Cari P h i l i p p E m a n u e l Bach, Profoundest harmonist, U n i t e d novelty a n d beauty; W a s great I n text-led strains B u t greater y e t I n b o l d , wordless m u s i c ; Surpassed t h e i n v e n t o r o f k e y e d i n s t r u m e n t s , F o r he raised t h e a r t o f p e r f o r m a n c e T h r o u g h teaching A n d practice T o its p e r f e c t i o n .
• " m i iluiig less than inspired, it has valué as a catalogue of Bach's i pal adivines, and as a summary of the basis of his fame i n || 11 Is of his contemporaries. Our chief concern here is with the 1 ii who "raised the art of performance, through teaching and ¡M ni ¡1 c\0 its perfection." I hr most lamous pupil of Bach was his youngest brother, Johann 1 in 1.11 . n i , who studied with h i m during the four years he spent i n 1 11111.111 er his father's death. Another was the widely known Czech 1 • ÍH 1 |an Ladislav Dussek, who spent about a year at Hamburg i n i , ' t wiih Bach, after having already come into prominence. D11 ik was praised by both Haydn and Mendelssohn, and described
I N 7 R O I) U C T 1 O N
/ N T R O I) U C T I O N
in W . J. Tomasi hek's Autobiography as being "the first pianist who placed his instrument sideways on the platform, i n which our pianoforte héroes now all follow him, though they have no very interesting profile to exhibit." I t is doubtful that he learned this as any essential part of his study with Bach. Other pupils were less well known, such as Nikolaus Joseph Hüllmandel, the Kónigsberg organist Cari Gottlieb Richter, Friedrich Wilhelm Rust, and Cari Fasch, who alternated with and later succeeded Bach as accompanist to Frederick the Great, after being coached i n the musical idiosyncrasies of the flute-playing monarch. For the rest, a good deal of Bach's teaching was directed to the amateurs i n whom he had an enduring interest. But i t would be a gross injustice to both h i m and his pupils to l i m i t Bach's influence solely to those who studied directly with h i m . His fame as the founder of a school was achieved much more significantly through the agency of his music and the Essay. The latter was called by Haydn "the school of all schools." And Mozart, Beethoven, and Clementi added their endorsements, speaking uniformly of Bach as one whose music must be studied, not simply played. Beethoven, after hearing the*young Czerny perform i n 1801, turned to the father and said, " T h e boy has talent; I shall take h i m as my own student and teach him. Send h i m to me once a week. Be sure to procure Emanuel Bach's instruction book on the True Art
i i > n ( )nc and manuscript revisions to the entire book, Bach asked uní rvidrntly received 180 louis d'or. T o dispel any false notion i l . .1 ilir matter was urgent, Bach added shrewdly, " I am no more i i U i g r d 10 sell than you are to buy." The transaction was com-
2
of Playing Keyboard
Instruments,
so that he may bring i t to his
next lesson." Czerny goes on to relate that Beethoven's method followed the Essay closely and included the playing of the Probestücke. A l l of these men, especially Haydn, who discovered Bach early i n life and never forgot h i m , can be called his pupils i n this broader sense of the term. The Essay became famous as an instruction book almost immediately and reached many students throughout the latter half of the 18th century. No record is available of the number of copies that were printed, but an idea of the rate of its distribution can be gained by consulting a letter that Bach wrote to Engelhardt Benjamin Schwickert, A p r i l 10,1780. I n i t he expressed his willingness to turn over control of the work to this Leipzig publisher. He wrote i n part: " I can now say with certainty that I still possess 260 copies of Part One and 564 of Part T w o . " For these 824 copies, with the examples
le ( I
l he H24 copies, some going back 21 years, others 18, must rep11 «r-ni only the lesser part of the total printed i n 1753, 1759, and 17(111. Bul more information is provided by the fact that Schwickert, who most certainly was not inclined to destroy merchandise on u l i i . I i Itach placed a retail price of 3 thalers an item, reissued the K»ny in 1780 by simply altering the title page of the acquired 1 opirs to make room for the ñame of the new publisher. The title |i.iK«' of this so-called " T h i r d Edition" retained the revealing /write Auflage" of the edition of 1759.
I he 260 copies of Part One must have been largely sold by 1787, w l u n Schwickert issued the revised edition, and the 564 copies • «I Part T w o had been, exhausted by 1797, when i t reappeared i n irvision. This represents a yearly average sale of between 30 and ,|o < opics for each part, which, if extended backward to the original yrurs of publication, would suggest that up to the appearance of the revisions between 1000 and 1500 copies of each part had been piintcd and sold. A modern publisher would sniff disdainfully at mu li paltry figures, but i t should be kept i n mind that the reading public in the i 8 t h century was far smaller than i t is today. Also, inethods of printing and distribution were extremely modest. The piihlisher Góschen later ( 1 7 8 7 - 9 0 ) printed 2000 copies of Goethe's Werke, but could find no more than 602 subscribers to the series. And sales of the individual volumes were even smaller. The Jena I illeratur Zeitung, a very popular and widely read journal of the time, achieved its success on issues of 2000 copies, according to a letier written by Góschen to Wieland. For a work like the Essay, designed for a very limited public, to reach our suggested, coniiei vatively estimated number of copies, is indeed impressive, when compared with these other figures. I t must also be remembered that the copying and borrowing of books were widespread practices at this time. Henee 1000 to 1500 copies served many more than the cquivalent number of readers. Other indications of the spread of Bach's Essay, but with totally
INTRODUCTION
4
/ N T R O I) ll (', ¡ION
unsatisfactory results, are round in an opon letter of protest, that the author published i n the Hamburger
unpartheiischer
Correspond-
ent, 1773, No. 7. Dated January 11, 1773, it runs i n part: I h a v e observed w i t h greatest satisfaction t h e change t h a t has come over the w o r l d o f k e y b o a r d p l a y i n g since the p u b l i c a t i o n o f m y Essay. I can assert w i t h out
b o a s t i n g t h a t since its a p p e a r a n c e , t e a c h i n g a n d p l a y i n g h a v e i m p r o v e d .
And
yet I m u s t r e g r e t t h a t m y h i g h m o t i v e s h a v e i n n o c e n t l y g i v e n rise t o o í d
a n d even worse b a r b a r i s m s . V a i n a n d selfish addlepates are n o l o n g e r satisfied w i t h p l a y i n g t h e i r o w n f a b r i c a t i o n s c r e d i t a b l y a n d f o r c i n g t h e m o n t h e i r students. N o ! T h e y m u s t seek i m m o r t a l i t y t h r o u g h a u t h o r s h i p . As a r e s u l t so m a n y s c h ool a n d t e x t books h a v e a p p e a r e d since m y Essay t h a t n o e n d o f t h e m c a n be seen. I have been i n j u r e d m o s t b y those t h a t c o n t a i n s t o l e n passages b o t h w i t h a n d w i t h o u t a c k n o w l e d g m e n t . P l a g i a r i z i n g is free t o a l l a n d I h a v e n o t h i n g t o say against i t . B u t i t is m o s t h a r m f u l t o s t r i p p l a g i a r i z a t i o n s o f t h e i r p r o p e r c o n t e x t s , a n d e x p l a i n o r a p p l y t h e m i n c o r r e c t l y . E v e r y o n e k n o w s the d a m a g e t h a t can be d o n e b y a n i n c o r r e c t
fingering,
a wrong explanation and
a p p l i c a t i o n o f e m b e l l i s h m e n t s , a t h o r o u g h l y b a d c h o r d . I can assert w i t h o u t anger, a n d i n t r u t h , t h a t every i n s t r u c t i o n b o o k t h a t I h a v e seen since the p u b l i c a t i o n o f m y Essay ( a n d I b e l i e v e I have seen t h e m a l l ) is filled w i t h erro r s . W h a t I say can be p r o v e d i f necessary.
However, the Essay i n its uncorrupted form reached all parts of the Continent. "Sale of my works is chiefly i n the North, i n Russia, Livonia, Courland, Sweden, Denmark, Holstein, Hanover, Mecklenburg, i n Lauenburg, and Lübeck wrote Bach i n the letter to Schwickert. But it also made its way southward. Czerny, for one, procured his copy i n Vienna. Thus the seed of the Bach in fluence was widely scattered. Some concept of the impact of his music and Essay on the i 8 t h century can be gained from Mozart's famous sweeping statement, as quoted by Rochlitz: "He is the father, we are the children. Those of us who do anything right, learned it from him. Whoever does not own to this is a scoundrel." The evidence that is provided by such testimony from many sources, and by the sale and spread of the Essay, makes it clear that Emanuel Bach's contributions were no small part of the forces that directed the leading musical activities of the time. I t should not be necessary to seek for superficial thematic similarities between his works and others' i n order to prove this. Mozart gave succinct expression to the relationship of the music of his generation to Bach's: "We can no longer do as he did; but the way i n which he did it places him beyond all others." I t takes a true student to make so profound an observation. Rochlitz, the source of this as well as the
JIM 11
5
statement, is not always dcpendable; but i n this case he • 111 he 11 usted, simply because h e lacked the insight necessary for lili 1 111 lat ion of so penetrating an observation. ii 1. n o t pointless to inquire after the teachers of this teacher. 1' 1 < b u les llurney i n his Present State of Music wrote of Bach: I I . n v h e loimed his style, where he acquired all his taste and rei . i i . nirnl, would be difficult to trace; he certainly neither inherited i.loptcd L h e m from his father . . ." But i n his History, he asK lia, " l l appears from Hasse's operas, where Emanuel Bach acijii ¡i < i l his line vocal taste i n composing lessons, so different from the . h \í laboured style of his father." Philipp Emanuel was inileed .1 gieat admirer of 77 caro Sassone, as the Italians called that 1 ivmed (omposer of operas, but it is certain that the Essay owes h to Johann Sebastian. " I n composition and keyboard per[01 manee, I have never had any teacher but my father," we are told n i the Autobiography. Repeatedly i n the Essay he mentions his inilrbtedness to his father. Km a large part of the practical wisdom contained i n i t must hive been gathered during the years that he spent at the court i n l l e i l i n . Engaged informally i n 1738 by Frederick, the crown prince, In was appointed to his position as chamber cembalist on the new I Ing's accession i n 1740. We read i n Emanuel's Autobiography: " I . . . had the honor to accompany alone at the harpsichord the first Ihue solo that he played as king at Charlottenburg." lUch absorbed much through his duties at the court. His presence was t equired almost daily, for he played the accompaniments at the lling'8 prívate concerts. These chamber concerts were held from 7 lo o P.M. except on Mondays and Fridays, when Frederick the Great attended the opera. Punctuality was the king's rule i n all .illaiis, henee the musicians found i t advisable to be assembled bebu e t h e required time. Precisely at 7 he would appear and sound llie pitch. Earlier, the waiting musicians could hear h i m rehearsing the more challenging passages of the evening. There was not much variety over the years. Usually the main fare c onsisted of about six concertos played by the monarch. Later this number was reduced to three or four. Most of these were composed by Johann Joachim Quantz, ilute virtuoso, whose playing had uroused the young Frederick's interest i n that instrument. Frederick had received ilute lessons from Quantz regularly since 1727, and the ilni).',
6
I N T R O 1) 11 C T 1 O N
teacher wrote approxiniately 300 concertos for the exclusive use of the king. Occasionally, Frederick played one of his own works. Quantz and other instrumentalists played too, their performances being varied with arias sung by the court singers. Emanuel Bach's music was not popular at the court. Burney, after his visit of 1773, made no mention of the performances of Bach's music, but wrote: " T h e compositions of the two Grauns and of Quantz, have been i n favour with his Prussian majesty for more than forty years . . ." And later: " I t must be owned that many of the passages, i n these pieces of M . Quantz are now become oíd and common; but this does not prove their deficiency i n novelty, when they were first composed, as some of them have been made more than forty years." Burney give us an intimate picture of one of the prívate concerts: M . Q u a n t z b o r e n o o t h e r p a r t i n t h e p e r f o r m a n c e o f t h e concertos t o n i g h t , t h a n t o g i v e t h e t i m e w i t h t h e m o t i o n o f h i s h a n d , a t t h e b e g i n n i n g o f each m o v e m e n t , e x c e p t n o w a n d t h e n t o cry o u t bravo! t o his r o y a l scholar, a t t h e e n d o f solo p a r t s a n d closes; w h i c h seems t o be a p r i v i l e g e a l l o w e d n o o t h e r m u s i c i a n o f the b a n d . T h e cadenees w h i c h h i s m a j e s t y m a d e w e r e g o o d , b u t v e r y l o n g a n d s t u d i e d . I t is easy t o discover t h a t these concertos w e r e c o m p o s e d a t a t i m e w h e n h e d i d n o t so f r e q u e n t l y r e q u i r e a n o p p o r t u n i t y o f b r e a t h i n g as a t p r e s e n t ; f o r i n some o f t h e d i v i s i o n s , w h i c h w e r e v e r y l o n g a n d d i f f i c u l t , as w e l l as i n t h e closes, he was o b l i g e d t o take h i s b r e a t h , c o n t r a r y t o r u l e , before t h e passages w e r e finished.
There is no strong reason to believe that this concert which Burney attended after Bach's departure for Hamburg was very different, except i n unimportant details, from earlier ones. From other contemporaries, chiefly Johann Friedrich Reichardt and Cari Fasch, Bach's altérnate at the harpsichord and later Kapellmeister, we w i n more information. Fasch asserted that the king, along with Bach and Franz Benda, was a great artist i n adagio playing, but that his rhythmic sense was not always dependable, especially i n rapid passages. As monarch he retained and exercised the right to bring the ensemble into agreement with his wayward tempos by beating time forcefully. A story goes that a royal admirer on one such occasion exulted, "What r h y t h m ! " T o which Bach replied dryly, "What rhythms!" The fruits of these daily experiences appear throughout the Essay. They can be found i n the many details of practical advice that Bach gives to his reader. These two sources of Bach's artistic education, his father's instruc-
TNTRODÜ
C TI OH
7
< a n d the execution of his dutiei in the service of the king, were •iipplcinented by a third, his association with many of the leading m u s i c a l figures of his day. At the court were two of the brothers (.laun: Cari Heinrich, music director and celebrated composer of / he Death of Jesús, and Johann Gottlieb, conductor of the royal • >i< hestra, composer, and eminent violinist. Quantz, already menlloned, was present as chamber musician. His Versuch einer Anión sung die Flote traversiere tu spielen (Berlin, 1752) was a spur t o Bach. Five members of the Benda family played at the court, in1 luding Franz and, for a shorter time, Georg. Johann Friedrich Armóla, too, was there as court composer, "more corpulent than | < > i i i c l l i , or than his relation Handel," according to Burney, who v M i t r d him later. I n Berlin was also the quarrelsome Johann Philipp Kirnberger, Hite Agrícola a student of Johann Sebastian Bach. Engaged as vioI m i s i in the court from 1751, he left to become musical director to tli< l'rincess Amalie i n 1758. He wrote several important theoret• • -ti works and contributed many of the musical articles to J. G. Sul/cr's Allgemeine
Theorie der schónen Künste (Berlin, first edi-
t 1771-74), the remainder being written by his pupil Johann A l n . i h a m Peter Schulz. On adding the ñame of Friedrich Wilhelm M . i i p u r g to this roster we have reassembled the group of writers w h o made Berlin the hub of musical theory. Burney i n The Present State of Music writes of Berlin: I was i m p a t i e n t t o b e g i n m y m u s i c a l i n q u i r i e s i n a place . . . w h e r e b o t h t h e Ihcory a n d practise o f m u s i c h a d been m o r e p r o f o u n d l y t r e a t e d t h a n elsewhere, l
I l e proceeds to enumérate, not without errors, writings by Quantz, B.u l i , Agrícola, Marpurg, Kirnberger, and Sulzer. With the exception of Quantz's Versuch and two publications h y Marpurg, all of the writings of these men appeared after Bach's Fs.uty. Its influence is apparent i n many of them, just as it is i n still I n t e r works such as Türk's Clavierschule (1789) or Milchmeyer's Die wahre Art das Pianoforte zu spielen (1797). But trafne i n ideas
rnn in two directions; Bach met his associates frequently and ex1 lianged opinions with them. I n his Autobiography he wrote: " M y Cumian duties never left me enough time to travel i n foreign
/ N T H O 1) 11 C T 1 O N
countries. . . . This lack . . . would liavc been harmful to anyone i n my profession, had I not had the good fortune from my youth on to hear at cióse range the finest of all kinds of music and to meet masters of the first rank, many of whom became my friends." Bach absorbed much from these friendships, the results of which, carefully evaluated and recast, appear throughout the Essay. Most easy to discover are those points on which he and his contemporaries disagreed. Although he rarely mentions anyone by ñame, i t is clear that he and Quantz were divided on several matters. I n order to complete our sketch of the Essay's background we must direct our attention to Bach's abiding interest i n the proper instruction of the musical novice. A great deal of his music was written for teaching purposes. The title of his best-known keyboard works, the collections for Connoisseurs and Amateurs, indicates the spread of his interests. I n addition, the Sonatas with varied reprises and the pieces published i n Marpurg's and others' collections were designed for the non-professional musician. I t is true that the Essay was written for the student whose aim was complete mastery of the keyboard. But the Introductions to both parts show clearly that Bach was well aware of the general state of musical instruction, indeed thát he wrote with i t i n mind. Especially is this true of the Introduction to Part One, where he writes caustically of the pretentiousness of the average teacher, his abysmal ignorance and unmusicality. A few contemporary documents give us information on keyboard instruction at the time. The first, a continuation of the open letter that has already been quoted, states Bach's views on teaching the serious and the casual student:
I N T R O I) U C T I O N
o
For the second g r o u p , the a m a t e u r s , t h e re is i n d e e d n o i n s t r u c t i o n b o o k , i f this r o u l d once be impressed u p o n t h e i r teachers. I n s t e a d , o n e s h o u l d p r o c e e d U
I used t o , u n w i l l i n g l y b u t o u t o f necessity. Before each p e r i o d , I w r o t e o u t t h e
lesson t h a t I i n t e n d e d t o give a n d c o n c e r n e d m y s e l f o n l y w i t h t h e m o s t essential p r i n c i p i e s . N i c e t i e s of, a n d p r o p e r c o n t e x t s f o r , e m b e l l i s h m e n t s , r e f i n e m e n t s o f .i< < o m p a n i m e n t , t h e d i v i d e d a c c o m p a n i m e n t , etc. h a d t o be o m i t t e d ; t h e y w e r e ROI needed. T h r o u g h o u t , t h e s t u d e n t was n o t a l l o w e d t o c o m m i t a si n gl e e r r o r l i k c those t h a t are accepted as postulates i n m a n y books. I f t h e s t u d e n t was p r e -
ptred,
i t t u r n e d o u t t h a t t h e e n t i r e t r a n s c r i b e d lesson ( w i t h o u t e x a m p l e s a n d
the r u d i m e n t s , w h i c h were p r e s u p p o s e d since t h e y can be t a u g h t as w e l l b y a v i l l;ige schoolmaster as b y t h e greatest a r t i s t ) filled a b o u t a h a l f sheet o f p a p e r . H e n e e , f o r purposes o f t h o r o u g h i n s t r u c t i o n t h e a b r i d g i n g o f a k e y b o a r d h a u d b o o k , even w h e n i t is d o n e w i t h o u t e r r o r s , c l e a r l y does m o r e h a r m t h a n g o o d . A l l o f t h e c o m p e n d i u m w r i t e r s t h a t I k n o w h a v e w r i t t e n , i n c e r t a i n re-
ipects,
t o o l i t t l e , i n o t h e r s , t o o m u c h , b u t i n a l l respeets, masses o f e r r o r s . W h a t
miserable nonsense can be f o u n d i n somel A n d t h i s is t h e reason: t o j u d g e f r o m t h e i r bo o ks , t h e a u t h o r s h a v e n e v e r s t u d i e d c o m p o s i t i o n , w h i c h t h e y m u s t b y means k n o w i n o r d e r t o c o n s t r u c t a n a c c o m p a n i m e n t . T h i s s t u d y is n o t i n e r e l y o f the r u l e s o f c o m p o s i t i o n ; i t bears d i r e c t l y o n a n u n d e r s t a n d i n g o f c o m p o s i t i o n . I n a w o r d , n o o n e can p u t his t r u s t i n a k e y b o a r d i n s t r u c t i o n b o o k , if the a u t h o r has n o t p r e v i o u s l y m a d e h i m s e l f k n o w n a n d p r o v e d h i m s e l f w o r t h y to be c o n s i d e r e d a n a c c o m p l i s h e d composer t h r o u g h his g o o d c o m p o s i t i o n s .
I n Der critische Musicus an der Spree, the weekly that Marpurg published i n 1749, there are two more letters, satiric i n nature and probably written by the publisher, that refer to keyboard playing and instruction. These give us more information than is revealed in many textbooks of the time. The first, attributed to an anonymous young lady, appeared i n the issue of March 11, 1749. I t runs, in part: M y d e a r P a p a a c q u i r e d a n e x c e l l e n t i n s t r u m e n t a t a n a u c t i o n f o r 1 5 grosc h e n a n d 6 p f e n n i g e . I a m i n s t r u c t e d o n i t b y a v e r y clever c o u n t r y o r g a n i s t f r o m a
T h o s e w h o assert t h a t m y Essay is t o o l o n g , say n o t h i n g a n d a t t h e same t i m e
near-by t o w n . W e l e t h i m v i s i t us a t h i s c o n v e n i e n c e every t w o weeks, a n d o n
reveal t h e i r gross i g n o r a n c e . I d i v i d e a l l k e y b o a r d p e r f o r m e r s i n t ó t w o g r o u p s .
each t r i p he gives m e a h a l f - h o u r lesson. H e is n o t e x p e n s i v e ; we p a y h i m r o u g h l y
I n t h e first are those f o r w h o m m u s i c is a g o a l , a n d i n the second, a l l a m a t e u r s
s o r 3 ducats a m o n t h , a n d each year m y d e a r M a m a gives h i m a b u s h e l o f
w h o seek t h o r o u g h i n s t r u c t i o n . M y Essay is i n t e n d e d f o r t h e first g r o u p ; n o
oats. Everi i f I h a d n o i n t e r e s t i n m u s i c , t h i s m a n w o u l d be t h e o n e t o c r é a t e i t .
p a r a g r a p h is superfluous. I n fact i t w i l l be seen f r o m t h e s u p p l e m e n t s soon t o
H e is q u i t e u n a s s u m i n g , b u t f o r a m a n o f c o m m o n b l o o d he k n o w s v e r y w e l l
a p p e a r t h a t far f r o m h a v i n g said t o o m u c h , I have n o t yet said e n o u g h . T e a c h e r s
h o w t o get a l o n g w i t h p e o p l e . H e always sits o n m y l e f t w h e n I p l a y a n d n e v e r
m u s t k n o w e v e r y t h i n g t h a t a p p é a r s i n m y Essay a n d be clever e n o u g h t o select
forgets t o b o w w i t h a few l i g h t steps after each lesson. I n o r d e r t o r e l i e v e m y
t h e m a n n e r a n d o r d e r o f i n s t r u c t i o n best a d a p t e d t o the s t u d e n t s t h a t they
m i n d o f unnecessary b o t h e r he m a r k s a l l notes w i t h l e t t e r s , a l t h o u g h I a m
teach. N i c e t i e s come last, as expressed i n o n e o f m y I n t r o d u c t i o n s .
already b e g i n n i n g t o recognize t h e c-clef o n t h e first a n d o t h e r l i n e s . H e can-
N o t h i n g f u n d a m e n t a l can be l e a r n e d w i t h o u t t i m e a n d p a t i e n c e . S t u d y o f
n o t bear t h e g-clef. I t was i n t r o d u c e d a b o r t i v e l y , he says, b y m u s i c a l f r e e t h i n k e r s ,
k e y b o a r d p e r f o r m a n c e is n o t a c o m p e n d i o u s aífair, a n d d a r é n o t be i f i t is t o
a n d h i s teacher's g r a n d f a t h e r was t h e i r s w o r n e n e m y . H e considers
be l e a r n e d t h o r o u g h l y . W h a t is t h e r e t o say a b o u t those false i n s t r u c t i o n b o o k s
a s m a l l m a t t e r w h i c h he leaves t o m y d i s c r e t i o n , a l t h o u g h he insists o n b a n i s h i n g
fingering
w h i c h i n t h e i r a lleged b r e v i t y are a l m o s t as l o n g as m i n e ?
the t h u m b , a n d o f t e n expresses a n n o y a n c e a t those w h o m a k e so m u c h use o f i t .
10
1 N
T R O I) U
CT
INTRODUCCION
1 O N
u
f u l master carries w i t h h i m a Jew's h a r p o r a p i p e w i t h w h i c h h e o f t e n ac-
linrsl and subtlest topics to the hroadcst and most basic. If it disaHirrs with Quantz, or echoes Couperin, it also lashes the local peilanlic music masters. The Essay is first and foremost a practical book that was designed I C M for discussion than for instruction. Its ancestry runs back through works like Mattheson's General-Bass Schule, Heinichen's
c o m p a n i e s m e so t h a t , as he expresses i t , h e c a n g i v e m e a few ideas a b o u t c o n -
(¡eneral Bass, to Niedt's Musicalische
Because he has n o i n t e r e s t i n o r n a n u - n t s a n d does n o t w a n t t o delay m y progress f o r t w o o r t h r e e years, he disregards a l l o f t h e m , asserting t h a t they h a m p e r r a p i d p l a y i n g . A l s o , he assures m e t h a t I s h a l l soon b e g i n t o p l a y the latest arias, since I a l r e a d y have u n d e r m y fingers a b o u t a h a l f dozen c h ó r a l e s , i n a d d i t i o n t o t h e S m i t h y ' s C o u r a n t e , some p o p u l a r songs, a n d t w o P o l i s h dances. So I a m p r e p a r e d f o r m o r e d i f f i c u l t pieces. I m u s t n o t f o r g e t t o t e l l y o u t h a t m y resource-
certos.
The second letter appeared i n the issue of May 13, 1749, and is signed Musenhold. The body of i t describes a projected method of financing an orchestra i n a small town by means of contributions and the novel imposition of fines for such transgressions as a lady's premature wearing of a new coiffure or a husband's withholding of a small service from his spouse. The correspondent proceeds to describe the sorry personnel of the incumbent orchestra and concludes as follows: B a m b o o z l e r , o u r k e y b o a r d i s t , has fine h a n d s . B u t h e is u n a b l e t o p u t t h e m t o g o o d use e x c e p t w h e n t h e governess, h i r e d b y t h e m o t h e r , excuses herself f o r a m o m e n t , l e a v i n g h i m a l o n e w i t h h i s y o u n g l a d y s t u d e n t s . T h e mechanics o f fingering
are c o m p l e t e l y u n k n o w n t o h i m . I n r i g h t - h a n d t r i l l s , h e uses o n l y t h e
second a n d t h i r d fingers, r e f u s i n g t o a l l o w t h e t h i r d a n d f o u r t h t o p l a y o n a n y acc o u n t . I n p l a y i n g t h r e e - p a r t c h o r d s i n t h e r i g h t h a n d i n w h i c h t h e lowest tones l i e a f o u r t h a p a r t a n d t h e u p p e r a t h i r d ( p a r ex. d, g, b) he uses t h e second, t h i r d , a n d fifth fingers, even t h o u g h t h e m i d d l e t o n e m u s t be p l a y e d b y t h e f o u r t h . A n d so, f r o m t h e b e g i n n i n g , h e r u i n s his s t u d e n t s ' h a n d s . A l s o , he is so b a d a t thorough-bass t h a t h e k n o w s n e i t h e r t h e tones ñ o r t h e t o n a l i t y o f t h e c h o r d o f t h e a u g m e n t e d second. I n a c c o m p a n y i n g he is l i k e t h e l o w l i e s t c h ó r a l e p l a y e r ; h e leaps a l l o v e r t h e k e y b o a r d f r o m o n e octave t o a n o t h e r w i t h h i s r i g h t h a n d , as i f t h e i d e n t i t y o f chords w e r e k n o w n t o h i m o n l y here a n d t h e r e . A n d a n o t h e r p r o o f t h a t he k n o w s n o t h i n g a b o u t h a r m o n y : n o t o n l y does he p l a y a l l mistakes f r o m p o o r copies o f arias, he transcribes t h e m n o t e f o r n o t e i n h i s students' copy books.
I f Bach was unacquainted with these two letters, published i n Berlin by a musician who was well known to him, it made little difference, for this famous son and pupil of "oíd Bach of Leipzig," as Marpurg called him, this celebrated keyboard player who knew and practiced at its best the music of Berlin, who knew many of the coregnant musicians of his time, was also conversant with the common day-to-day practices. The content of the Essay provides us with direct evidence, for the discussions that i t contains r u n from the
Handleitung,
the text on
Which his father's teaching was based. Also i n the background is I' rancois Couperin's L'Art de toucher le clavecín. There is no trace oí the speculative temper of the Age of Reason that brought forth I rssing's Laokoon, Sulzer's Allgemeine Theorie . . . , or earlier, (¡liarles Batteux's Les Beaux-Arts reduits a une méme principe.
For
works that pronounced first principies and the governing laws of esthetics, Bach had only the practitioner's scorn. "They dispense their alms with a completely unhappy arbitrariness," he writes i n the Essay.
Primarily the book seeks clarification and improvement of the keyboardist's lot through a painstaking ordering and exposition of the several factors that relate to the practice of his art. The author's (|ualifications were eminently suited to the requirements. Of his practical experience and wisdom we already know. His contemporaries set the highest store on his expressive playing. As a composer he was the leading exponent of the Empfindsamkeit, the Germán eounterpart of the style galant. Beyond this he had an enduring interest i n all music, as well as highly developed critical faculties. In his Autobiography he wrote: I t is because I h a v e n e v e r l i k e d excessive u n i f o r m i t y i n c o m p o s i t i o n o r taste, because I have h e a r d m a n y d i f f e r e n t k i n d s o f g o o d t h i n g s , because i t has always been m y o p i n i ó n t h a t t h e g o o d s h o u l d be accepted regardless o f w h e r e i t m a y be f o u n d , e v e n w h e n i t appears i n s m a l l d e t a i l s o f a piece; i t is because o f these c o n s i d e r a t i o n s a n d t h e assistance p r o v i d e d b y a G o d - g i v e n n a t u r a l a b i l i t y t h a t the v a r i e t y w h i c h is a t t r i b u t e d t o m y c o m p o s i t i o n s has arisen.
y
Another important qualification: he was a collector by nature. I n his estáte were over 300 portraits of famous men, mostly musicians, which he had gathered together over the years. Many of these hung in his home i n Hamburg, where Burney saw and remarked on them. A n d without his careful preservation of many of his father's scores, our knowledge of the Leipzig Bach's music would be far poorer. Wide musical experience, catholic tastes and interests, dis-
I N T ¡i O 1) U C T ION crimination, the collettor's habita of acquisitiveness, all of these factors contribute to the valué of the Essay and lend to it a unique quality. But, finally, there can be found on more than one page a síy, sometimes a caustic, wit. Johann Friedrich Doles, a school companion and one of Johann Sebastian's successors at the Thomasschule, once said, "Like many boys of active mind and body, he was afflicted from childhood on with the malady of the roguish tease." Symptomatic are his remarks on local teachers, Italian accompanists, the performance of incompletely marked scores. Nowhere is Philipp Emanuel's indebtedness to his father more clearly expressed than i n the chapter on fingering. The son worked out the details, but the father fixed the basic principies. However, it is clear from the reference to fingering as "a secret art, known and practiced by very few," that the Bach family did not discover it, but rather organized and elaborated its technique. Other facts can be adduced to support this view. Of the older fingering, it can be said that it lacked systematization. I t was conditioned by earlier musical styles and was characterized i n general by a sparing use of the thumb and fifth finger with a consequent favoring of the middle fingers. For example, i n running passages the right hand often ascended and the left hand descended by repeatedly crossing the third finger over the fourth. As the right hand descended the thírd finger repeatedly crossed the second. The thumb carne into repeated use only i n wide stretches and as the left hand ascended, a common fingering being 4,3,2,1,2,1,2,1. The differences from one school to another lay essentially in the amount of use allotted to the extreme fingers. I n Girolamo Diruta's/Z Transilvano (1593?, 1597) these hapless members are almost completely banished. More kindly disposed toward them were the English virginalists and Germans such as Elias Nicolaus Ammerbach, i n whose Ein New Kunstlich Tabulaturbuch (1575) the fourth finger of the left hand crosses the thumb i n stepwise ascent. I n Francois Couperin's L'Art de toucher le clavecín (1716, 1717) the thumb is employed frequently i n wide stretches, and i n running passages for the left hand, but i n the right no more frequently than others had used it. Characteristic for the French school at this time is the replacement of one finger by another on an unrepeated, held tone, along with direct repetitions of a single finger i n running passages. A palpable misprint ac-
,2
/ N T R O I) U C T ION
n
muñís for the claim that LArt de toucher . . . foreshadows the l í r v v c T fingering. A very ímportant innovation of the new method was the turning I I I K I C I ol the thumb i n running and arpeggiated passages. The older hngei ing made use of the thumb in large stretches and runs, but i n iln l.uter its solé function was to strike the key and remain inactive wliilc the second or rarely the third and fourth vaulted it. Yet the iiiincd thumb i n the Bach fingering must have been known and nnployed by Domenico Scarlatti, for one, for the virtuoso passages 111 his sonatas could hardly have been delivered satisfactorily withiiul it. For corroborative evidence we can cali on Franz Antón M . I K lielbeck, i n whose Die auf dem Clavier lehrende Caecilia (Au^sburg, 1738) the turned thumb is called for repeatedly. This I i< 1 is of special interest here, for Maichelbeck's own keyboard woiks incorpórate many of the bravura elements of the Scarlatti nonatas. I'urther, Marpurg's Die Kunst das Clavier zu spielen (1750/51) rinploys the turned thumb as a basic technique i n the performance ol scales. I t is quite possible, however, that Emanuel Bach had a part in the working out of this feature of Marpurg's short treatise. Cerlainly Marpurg did not hesitate to pick plums from the Essay once it liad appeared. II, then, the new fingering was known to some, it remained a closed book to the rank and file of teachers and students until llach's systematic exposition appeared i n 1753. Marpurg's satiric Irt t ers, quoted earlier, are clear enough proof of this, and also of the l.ic 1 that the oíd fingering had outlasted its function. " W h o does not know when a new epoch began for music i n general, and for its tnost aecurate and finest performance i n particular . . . ," wrote llach i n his Autobiography. The new style demanded a new deI ivery. t Bach's fingering is the foundation of modern technique. Of the older methods but few details remain i n his exhaustive exposition, ittuh as the crossing of 3 over 4 i n the ascending right hand, but this only as an alternative to the new method of turning the thumb. As keyboard style developed, as the pianoforte with its different action carne into its own, certain extensions of technique were required. These were provided by Clementi, Czerny, J. B. Cramer, and many others. I f Muzio Clementi is sometimes credited with introducing
i
4
I NT
RO
DUCTION
modern finger technique, we need only read his own acknowledgment of indebtedness to the Essay i n order to restore the proper sequence: "Whatever I know about fingering and the new style, i n short, whatever I understand of the pianoforte, I have learned from this book." The most extended contemporary review of the Essay appeared i n the Bibliothek der schónen Wissenschaften und der freyen Künste (Vol. 10, Pts. i , 2, 1763/4). I n i t Bach's work is ranked as the equal of Quantz's Versuch, Leopold Mozart's Violinschule, and Agricola's translation with additions of Tosi's Opinioni. The review is laudatory on all counts save those that refer to the chapter on embellishments, where several exceptions are taken to Bach's treatment and organization of material. Whether these differences of opinión are entirely justified is less significant than the fact that they indícate that Bach did not, as indeed he could not, represent all practices of the eighteenth century. Taste and style are important factors i n his treatment. Further, although Bach's ordering of his material is clear and logical, it is obvious that a somewhat different organization might have been undertaken. A l l i n all, the chapter on embellishments contains a large but discerning selection of ornaments from all styles. Ornamentation at the time of the Essay was of two kinds. There were first the optional elaborations which performers were expected to interpólate into the pieces they played. Ornamentation i n this sense was a dying practice. Johann Sebasian Bach had already subscribed to the writing out of every note that was to be performed. Philipp Emanuel, following his father's practice, treats free elaborar o n only briefly, i n connection with the performance of fermatas and cadenzas. The second kind was the stereotyped short embellishments, the appoggiaturas, trills, turns, etc. T o these, Bach directed his full attention. The task that he set for himself was a twofold one. First he classified each type and designated a distinctive sign, notation, or position for each subtype. For example, the section on the turn includes the turn over a note, after a note, over a tie, over a dot, the trilled turn, the snapped turn, and the ascending turn. I n all, he cites seven types and twenty-four subtypes of ornaments exclusive of slight varíants. While the ends at which Bach arrived are, i n certain instances, peculiar to his own judgment i n these matters, the
INTRODUCCION
i
5
idra oí sortingand classifying embellishments was not at all new, for ihis was the subject matter of many books and prefatory notes of the lime and earlier. Much more original and provocative was the »!><•( ilying of the exact musical context that was suited to each ornai i i n i i . Here Bach attempted to assist the performer who must know where to insert unspecified ornaments. For, if the practice of provid i ng free elaborations was approaching its end, the more modest one of inserting short embellishments was still a vigorous art. Ceri.unly it met with Bach's approval, where the other did not. I he chapter on embellishments is a difficult, but an inescapable Iftd rewarding assignment for the musician who would discharge ueditably his responsibilities to i8th-century music. Generally »l>e,iking, Bach's contemporariesand later composers did not accept his advocacy of a sepárate designation for each ornament. Instead, ihey followed the practice of using a few signs to cover all cases, when they did not write out the ornament completely. Today we have come to believe that each of these signs represents a single, pat foi muía. The often gruesome results of this misapprehension can be heard from conservatory to concert hall. Bach's chapter is a primary, 1:01 rective source work. I n it we are provided with an opportunity lo study i n detail the exact manner i n which these ornaments were performed by one of the most precise and sensitive artists of his peiiod. In the third chapter of the Essay, Bach writes of performance. On the evidence presented by his own keyboard music, it is doubtItiI that he possessed or sought the technical wizardry of Domenico Scarlatti. His fame derived from other sources. I t was the heightened rxptessiveness of his playing, the daring originality of his music that impressed his listeners. Among those who heard him and remarked on his performance were the poet Klopstock, the musicians and mwsicographers Marpurg, Reichardt, and Burney. The last-named wiote i n his Present State of Music: "His performance today conVinced me of what I had suggested before from his works; that he is 1101 only one of the greatest composers that ever existed, for keyed Instruments, but the best player i n point of expression; for others, perhaps, have had as rapid execution: however, he possesses every ntyle; though he confines himself chiefly to the expressive." And the niuhor, possibly Reichardt, of Musikalischer Almanach, Alethinopel (1782) writes similarly: " T o know Bach completely one must
té
/ N T RO I) U C II
INTRODUCTION
O N
iy
Throughout the Essay Bach distinguishes between the learned and galant styles i n music. He set no high store on the former, although he wrote his share of polyphonic pieces and had a deep admiration for his father's works. His predilection was for the galant style, French i n derivation. Yet his own music and manner of performance were far different from the patterned forms, the restrained elegance and grace of the rococó. His manner of delivery, like his music, was replete with personal expressiveness, with song. This view is clearly expressed in his Autobiography: " M y principal aim, especially of late, has been directed toward playing and composing as vocally as possible for the keyboard, despite its detective sustaining powers. This is no easy matter if the sound is not to be too thin or the noble simplicity of melody ruined by excessive noise. . . . I believe that music must, first and foremost, stir the heart. This cannot be achieved through mere rattling, drumming, or arpeggiation, at least not by me."
h< (1 and joined notes, the exe< iition ol the vibrato and portato, dolted notes, sustained and arpeggiated iones. And like the tempo inhalo and dynamic shading, all of these matters are of importance only as they advance the first aim of the performer, to seek and intcrpret correctly the true expressive content of each piece that he performs. T o many it must seem strange that Philipp Emanuel, modernist and eclectic of the eighteenth century, did not employ the theories ol Ramean, in writing the chapters on intervals and thorough bass. I le was not ignorant of the writings of the Clermont organist whose Traite had appeared forty years before Part T w o of the Essay. I n deed, the Essay was written after the publication of all of Rameau's theoretical works. liach and his father were acquainted with Rameau's theory, which has become the basis of most of the modern writings on harmony, hut they disagreed with it. This was made known i n a letter to Kirnherger, cited i n his Kunst des reinen Satzes (Pt. I I , Sect. 3, p. 188): "You may proclaim that my and my deceased father's basic principies are contrary to Rameau's." Extended consideration had been given by the members of the Bach school to the new theories of the lundamental bass, the suppositional root, the triad as the mother oí all chords, and the seventh as the origin of all dissonances. This is apparent from the analyses i n the Rameau manner which can be lound, according to Spitta, i n the definitive autographs of the Sarabande and two Menuets from Johann Sebastian Bach's D minor Ki ench Suite, and i n Fischoff's autograph of the C minor Fugue and I) minor Prelude of the Well-Tempered Clavier. Later, Kirnberger analyzed the B minor Fugue of Book One and part of the A minor l'relude of Book T w o with the avowed purpose of proving the miperiority of his own analytic procedure over Rameau's. I n only one respect can i t be said that Philipp Emanuel made use of any (i)f the new principies. He speaks several times of chord inversión. Hut this principie was known before the Traite was published, having made its appearance i n Andreas Werckmeister's Hodegus curiosus (1687) and Godfrey Keller's Rules . . . (before 1700).
Thus i n the chapter on performance the points stressed are those concerned with expressive playing, with correct interpretation. I t is only after attention has been directed to these matters that Bach turns to such technical details as the notation and performance of
Bach's rejection of Rameau can be traced largely to the fact that the latter had pronounced a theory, whereas thorough bass was esscntially a practice. Certainly, as Bach presents his material, i t is apparent that the pervasive problems were first tactile and then
hear the wealth of Iiis imagination, tlie prolound sentiment of his heart, his constant enthusiasm as he improvises on his Silbermann clavichord." As the principal practitioner of the Empfindsamkeit, with its emphasis on the feelings, the "affections," with the clavichord as its best-loved instrument, Bach made technical mastery of the keyboard only a contributory factor to the expressive end that he sought. Music here was far removed from a decorative art, from abstract patterns of sound; it was, above all else, a vehicle for the expression of the emotions. Music must languish, it must startle, it must be gay, i t must move boldly from one sentiment to another; these were the requirements that had to be met by the composer. And the performer must understand the true content of each piece that he played. He must transmit accurately and faithfully its expressive nuances to an audience whose heart must be stirred. This was the core of the aesthetic doctrine of the Berlin school. Its artistic parallels were the English sentimental novéis and the romantic Germans of the literary movement that became known later as the Sturm und Drang.
»
iH
I N T R O I) U C T
ION
artistic, but never speculative. Thus in organi/.ing the chords of thorough bass, Bach follows an older principie. Chords, regardless of their origin, are grouped according to the deíinitive interval that they contain. For example, all chords that contain sevenths are treated successively. They are the chord of the seventh, the sevensix, the seven-four, and the seven-four-two chords. Although only the first of these is a chord i n the Rameau sense, all are chords i n Bach's sense. Each of them must be recognized from its signature and played instantaneously. The student's task was to lócate at the keyboard the deíinitive interval and then to bring under his fingers the various accompanying intervals. Identification of the root, real or supposed, did not aid h i m i n his direct gauging of intervals above a given bass tone. Moreover, i n thorough bass some chords were closely associated, even though their roots were not identical. For example, above certain bass tones the six-three and six-four-three chords were regarded as interchangeable. Knowledge of the fact that these chords had different roots would have deterred rather than aided the student. The greatest difficulty with the older system was caused by the great increase i n the numbef and variety of chords that made their appearance i n the course of the eighteenth century. Mattheson referred scornfully to the thirty-two posted by Heinichen, and Usted seventy, but overlooked six of the latter's chords. Bach has twenty, but includes many others as subtypes, chromatic variants, and alternates. It.was this unwieldy bulk of chords that aided the spread of Rameau's system, but i t is not pointless to note that the theory gained unquestioned acceptance only after the period of the basso continuo had passed. Bach's method, the one he inherited from his father, was the only effective introduction to the musical practices of his time. The crucial difference between Rameau and Bach is most evident i n those places where Philipp Emanuel explains the nature of chords. Where Rameau's emphasis rests on the vertical origins of a chord, Bach's rests on its behavior. Repeatedly he cites context, voice leading, rhythmic and melodic manipulation as the critical chord-shaping factors. Thus there are two kinds of six-four chords, those that retard a following five-three, and those that retard a following six-three. Where Rameau calis the two identical because their roots are identical, Bach differentiates between them because
/ N T R O l) V C T ION
i
9
thcír behavior is different. The first attempt to reconcile these two points of view, harmonic function and behavior, was made by Kirnlurger, whose works, despite certain obvious shortcomings, should be examined by all. He distinguishes between essential and inesscntial chords, and makes the root a determinative factor of a succeision of chords rather than a single chord. I n general, the chapters on intervals and thorough bass are concerned solely with the rudiments of accompaniment. Attention is directed to chord construction, doubling, and spacing. This was (lie groundwork that must be covered by every student accompanist. But it was hardly enough to make a skilled practitioner of the keyboardist. So, after treating the raw material, Bach turns i n the chapter on accompaniment to refinements, stylistic matters, and special problems of settings, such as the treatment of appoggiaturas, passing tones, etc. He writes of the liberties that may be taken, of the amount of freedom from four-part accompaniment that may be indulged, of the ways i n which a realization might be made into an active, essential part of a composition. On only one final point is his thorough, detailed exposition less than adequate—he did not include a complete piece with a fully realized accompaniment. The examples themselves are highly informative and shed light on many particulars of construction, but they are, by nature, isolated fragments. While it would have been impossible to construct an accompaniment i n which all problematic matters would find illustration, nevertheless a single complete movement would have clarified our concept of the total shape of an accompaniment, of its balances and parallelisms. The extemporaneous realization of a figured bass is a dead art. We have left behind us the period of the basso continuo and with it all the unwritten law, the axioms, the things that were taken for granted; i n a word, the spirit of the time. T o become convinced o| this one need merely play through the effulgent nineteenthcentury tone poems that were added as accompaniments to eighteenth-century works; or the shy, halting harmony exercises that are prevalent i n our own day. These latter reveal their timidity all the more clearly through their small notation. Both types, i t should be remembered, were painfully and studiously wrought, but they fail completely to enter the creative milieu of the eighteenth century. T o be sure there were bad, faltering accompaniments i n the eight-
I N T R O 1) U C I I O N
2O
I N T R O l) 11 C T
centh century too. We can rcad about them here and elsewherc. But it is illuminating to read first-hand accounts of the accompaniments fashioned by one of the greatest improvisers of all time. W r i t i n g of Johann Sebastian Bach, Johann Friedrich Daube expressed himself as follows i n 1756: F o r the complete practice of thorough bass it is necessary to k n o w three species: the simple or c o m m o n ; the n a t u r a l , or that w h i c h comes closest to the
O N
21
17 If. T h i s carefully ediled work contains a realization by K i r n b c r g e r of
|i|>
thr A n d a n t e from the Trio. T h e r e m a i n i n g movements of the T r i o a n d m i r r o r • anón
(pp. 59 ff.) have accompaniments by an u n k n o w n student of the eight-
r r n t h century. T h e s e accompaniments have i n the past been incorrectly atnibuted (.
to K i r n b e r g e r
Schirmer, 1945,
C . F. H a n d e l , Werke, II ni» ti cémbalo
(cf.
H. T.
David, /.
S.
Bach's
Musical
Offering,
pp. 99 ff.). V o l . 48, p. 115,
concertato,
|. S. B a c h , Werke,
character of a melody or a piece; the intricate or c o m p o u n d .
1
Adagio. T h e keyboard part is super-
but is i n the nature of an arpeggiated realization.
I I , 2, pp. 97 ff., A r i a , Chi in amore. T h i s is the most com-
T h e excellent B a c h possessed this third species ín the highest degree; w h e n
|iU-x of the accompaniments listed héfe, but even i n its elaborated qualities it
he played, the p r i n c i p a l part h a d to shine. B y his exceedingly adroit accompani-
Miggcsts an extemporaneous realization of the " i n t r i c a t e " k i n d . T h e keyboard
ment he gave it life w h e n it h a d none. H e k n e w how to imitate it so cleverly
p a n is superscribed cémbalo
w i t h either the right h a n d or the left, a n d how to introduce a n unexpected
V. T . A r n o l d , The
obligáío.
Art of Accompaniment
from
a Thorough
Bass, L o n d o n ,
counter-theme against it, that the listener w o u l d have sworn that everything
1931,
h a d been conscientiously written out. A t the same time, the regular accompani-
lioui textbooks by H e i n i c h e n , Mattheson, a n d G e m i n i a n i .
m e n t was very little curtailed. I n general his accompanying was like a
An accompaniméíit from a thorough bass demands more than a «arefully gathered knowledge of eighteenth-century idioms. I t re(|iiires i n additioñ a highly creative imagination. When these two lactors are present much of the elusive spirit of a good setting can he recaptured. As an example, Brahms' accompaniments to Handel's Duetti e Terzetti may be cited. They appear i n Handel's Werke, Vol. 32, 2nd ed. Nos. Ib ánd X to the end of the volume. Nos. X V - X X were published i n Handel's Duette, Peters, No. 2070. I t is a rare privilege to be invited into a composer's workshop to look on as he fashions a model for us, as i n the chapter on improvisation. Partial glimpses of the creator at work are provided i n letters scattered through the centuries; and many rare vistas are opened up to the careful student of Beethoven's notebooks. But aside from these and the final chapter of the Essay, our only recourse is a vast desert of textbooks on the proper writing of inventions, .K ademic fugues, sonatas, songs, etc. Their authors' compositions heing at best of only minor significante, such books represent "but sccondary sources for those who wish to know intimately of the pioblems and processes of creation. Burney i n his Present State of Music describes Philipp Emanuel's improvising as follows: "After dinner, which was elegantly served, and cheerfully eaten, I prevailed upon him to sit down again to a clavichord, and he played with little intermission, t i l l nearly eleven o'clock at night. During this time, he grew so animated and possessed, that he looked like one inspired. His eyes were fixed, his under lip fell, and drops of effervescence distilled from his coun-
concer-
tante part most carefully constructed a n d added as a c o m p a n i o n to the p r i n c i pal part so that at the appropriate time the u p p e r voice w o u l d shine. T h i s right was given at times even to the bass, without slighting the p r i n c i p a l part. Suffice it to say that anyone who missed h e a r i n g h i m missed a great deal.
in
Lorenz Mizler also listened to Bach's accompaniments. He wrote 1738:
W h o e v e r wishes truly to observe what delicacy i n thorough bass a n d very good a c c o m p a n y i n g m e a n need only take the trouble to hear our Capellmeister B a c h here, w h o accompanies every thorough bass to a solo so that one thinks it is a piece of concerted music a n d as if the melody he plays i n the right h a n d were written beforehand. I can give a l i v i n g testimony of this since I have h e a r d it myself.
Because thorough-bass realizations were created extemporaneously and served only an immediate purpose, there was no need to write them out. Nevertheless, a few have come down to us, some avowed realizations, others that partake so much of the nature of an accompaniment that they can be used to supplement Emanuel Bach's discussion. As listed here they range from the simple, through the natural, to the intricate, as classified by Daube: P h i l i p p Spitta's / . S. Bach
(Novello, 1899, I I I , 388 ff.) contains a realization
by H . N . G e r b e r w i t h corrections by B a c h of a Sonata fot V i o l i n a n d Bass by T . Albinoni. G e o r g P h i l i p T e l e m a n n - , SingeM a x Seiffert, Barenreiter, 1935.
Spiel-
und
General
Bass Uebúngen,
ed. by
T h i s volume contains several songs w i t h fully
realized accompaniments. I t was designed as a n instruction book. Musical
Offering
by J . S. B a c h , prepared by H . T . D a v i d , G . Schirmer,
1944,
C h . I V . T h i s chapter contains suggestive, short, but complete
examples
22
/ N T R O I) U C T
1
ON
tenance." Reichardt was bewitched by Bach's communicative improvisations. Signihcant i n Bach's exposition is the omnipresence of a ground plan, regardless of whether the subject of discussion is the short preliminary exercise, modulation, or the complete fantasia. The improvisatory character of this type of composition is achieved not by a meaningless wandering from key to key, but by an imaginative manipulation of details that fit persuasively into a unified whole. But the relation between execution and plan is bold and free. Nowhere does the plan obtrude. Its function is to direct the general course of the work, and this it accomplishes by remaining quietly where it belongs, i n the background. And when necessary i t yields to a free twist of the foreground. Under the conditions set by Bach the sample piece could scarcely turn out to be one of his best works. His avowed purpose is to show the student how to construct a free fantasia. Limitations imposed by this aim were severe. Yet for all its circumscribed, unassuming modesty, it breathes the same atmosphere as the famous final piece of the Probestücke, also a free fantasia. I n this chapter, as i n many parts of the chapter on thorough bass, Bach presents himself as an analyst. His procedure is to discuss each inflection with relation to its normal behavior. I t is instructive to compare such a method with the present practice of chordnaming which is passed off almost everywhere as analysis. Where the latter is mechanical and visual, Bach's approach is aural and artistic. The requirements of such an approach are keen perceptive powers, the ability to evalúate musical processes, and a long experience i n the art. Bach had all of these qualities, and having them, he could never have regarded analysis as a search for chord roots and identification tags. The Essay was Bach's only extended theoretical work. Aside from it and certain illustrations that appeared i n Marpurg's Abhandlung vori der Fuge, there was only one paper that carne to print, a Suggestion for the Constructing of Six Bars of Double Counterpoint i n the Octave (Einfall . . .) which appeared i n Marpurg's HistorischCritische Beytráge (Vol. I I I , Pt. 2, pp. 167 ff.). I t is a work more ingenious than useful. Other writings, some of which were planned as supplements to the Essay, were concerned with thorough bass, fingering, embellishments, modulation, and the free fantasia. They
I N T RO I) U C T I O N
23
irmained in manuscript (Wotquenne, Nos. 111, 256, 258). What|VCI merits can be found i n these other works, they contributed little to their author's renown. None worked as did the Essay to mtablish him as one who "raised the art of performance through iraching and practice to its perfection."
FOREWORD
iifeer
í»ie
n>ai)re
TO PART ONE
3(vt
K imb ad)ta
€rfter $&eü. >
SJfrírgung
t?« Síuctprií.
83er(in, 1759. «rtritcft («9 Qmgt ínHmia, «Mnttr.
EYBOARD I N S T R U M E N T S have many merits, but are beset by just as many difficulties. Were i t necessary, their excellence would be easy to prove, for i n them are combined .ill the individual features of many other instruments. Full harinony, which requires three, four, or more other instruments, can be expressed by the keyboard alone. A n d there are many similar .idvantages. A t the same time, who is not aware of the many demands that are made upon i t ; how i t is considered insufficient for the keyboardist merely to discharge the normal task of every ex(•( utant, namely, to play i n accordance with the rules of good performance compositions written for his instrument? How, beyond iliis, he must be able to improvise fantasías i n all styles, to work out cxtemporaneously any requested setting after the strictest rules of liarmony and melody; how he must be at home i n all keys and transpose instantly and faultlessly; and play everything at sight whether dcsigned for his instrument or not; how he must have at his cominand a comprehensive knowledge of thorough bass which he must play with discrimination, often departing from the notation, sometirnes i n many voices, again i n few, strictly as well as i n the galant inanner, from both excessive and insufficient symbols, or unfigured and incorrectly figured basses; how he must often extract this 1
i
Title page of the first edition of £way on the True Art of Playing Keyboard Instruments, Part I
1 Clavier. T h e meaning of the term "clavier" has suffered so many ramiñeations that it seemed wise to avoid it entirely and use instead the more stable "keyboard instruments." I n J . S. Bach's time, Clavier referred to all keyboard instruments. Henee Das Wohltemperirte Clavier should read The Well-Tempered Clavier rather than Clavichord. But in the generation of C. P. E . Bach and later, Clavier often meant «mly clavichord. However, there can be no doubt of the inclusive meaning of the term in the title of this Essay, despite the further confusión added by Burney when he calis it (The Present Stale of Music, Vol. I I , p. 263) " A n Essay on the Art of Playing llie Harpsichord." Translation of Clavier as "keyboard instruments" or simply "keyboard" led inescapably to "keyboardist" as the translation of Clavierist. *7
2
/•
o n /•: w o
H ¡)
r o
/* A R T
O N E
thorougli bass from large stores witli unligurcd or oven pausing basses (when other voices serve as harmonk: l'undamcnt) and with it reinforce the ensemble; and who knows how many other things? A l l this must be done competently, often on an unfamiliar instrument which has not been tested to determine whether it is good or bad, whether it is playable or not, i n which latter case extenuation is but rarely granted. On the contrary, it can be expected that, normally, improvisations w i l l be solicited without anyone's being concerned whether the performer is i n the proper mood, and if he is not, without any effort being made to créate or maintain the proper disposition by providing a good instrument. Notwithstanding these demands, the keyboard has always found its admirers, as well it might. Its difficulties are not enough to discourage the study of an instrument whose superior charms are ampie compensation for attendant time and trouble. Moreover, not all amateurs feel obliged to fulfill all of the requirements. They satisfy as many of them as they care to or as their innate talents permit. However, keyboard instruction could be improved i n certain respects to the end that the truly good which is lacking i n so much music, but particularly keyboard music, might thereby become more widespread. The most accomplished performers, those whose playing might prove instructive, are not to be found i n such numbers as might perhaps be imagined. A n d yet, study by listening, a kind of tolerated larceny, is the more necessary i n music because, even if ill-will were not so great i n mankind, many matters would still present themselves which cannot be easily demonstrated, much less written down, and would have to be acquired by ear alone. I n presenting an introduction to keyboard playing it has not i n the least been my intention to treat systematically all of the previously mentioned tasks and to show how they may be satisfactorily discharged. Neither the art of improvising ñor thorough bass is discussed here. These have long since been dealt with i n part i n many excellent books. I t is my aim to show the performer how he may play solos correctly and thereby gain the approbation of connoisseurs. He who has done his part i n this respect w i l l already have 2
2 Handsachen. Mattheson (Der vollkommene Capellmeister) writes: ". . . Everything that is played on keyboard instruments falls into two classes, solos (Handsachen) and general bass." However, cf. Pt. I I , Introduction, f % 12-15, where Bach's description of Handsachen would seem to limit the term to certain types of keyboard solos.
FOREWO
11 1)
T 0
P A Ii T
ON E
29
accomplished much, for his facility wiil help him to succeed far inore easily in his remaining studies. The demands made of the keyboard as compared with other instruments testify to its comprchensiveness and many capabilities; and it can be observed from the history of music that those who have achieved renown i n the world of music have usually excelled on our instrument. I n all matters, I have had i n mind chiefly those teachers who have lailed to instruct their students i n the true foundations of the art. Amateurs who have been misled through false precepts can remedy matters by themselves from my teachings, provided they have already played a great deal of music. Beginners, by the sanie means, will easily attain a proficiency that they could hardly have believed possible. Those who expected a voluminous work from me are i n error. 1 believe I deserve more gratitude if through brief precepts I have made practicable, easy, and agreeable many things that are quite difficult i n the study of the keyboard. I ask the forbearance of my readers for repeated mention of divers truths, made necessary partly because matters on hand demanded it, partly to avoid frequent cross references, and finally, because I feel that certain principies cannot be stated too often. And perhaps some w i l l find themselves embarrassed by these truths, although I wrote them without the slightest intention of malice. Should the present work meet with the appróval of connoisseurs, I might find therein the encouragement to continué with a few supplements. The acclaim accorded this work by the musical public has given me the incentive to enlarge the present third edition with textual additions and six new keyboard compositions i n fulfillment of the promise made i n the Forewords to the first and second editions. 3
4
T h i s «entence was added to the ed. of |j * See Note 17, Introduction to Pt. I . 8
1787.
INTROD
INTRODUCTION
T
TO PART ONE
i
H E T R U E A R T of playing keyboard instruments depends on three factors so closely related that no one of them can, ñor indeed daré, exist without the others. They are: correct fingering, good embellishments, and good performance. 2. Owing to ignorance of these factors and their consequent absence from performance, keyboardists can be heard who after torturous trouble have finally learned how to make their instrument sound loathsome to an enlightened listener. Their playing lacks roundness, clarity, forthrightness, and i n their stead one hears only hacking, thumping, and stumbling. A l l other instruments have learned how to sing. The keyboard alone has been left behind, its sustained style obliged to make way for countless elabórate figures. The truth of this is attested by the growing beliefs that to play slowly or legato is wearisome, that tones can be neither slurred ñor detached, that our instrument should be tolerated only as a necessary evil i n accompaniment. As ungrounded and contradictory as these charges are, they are, nevertheless, positive reactions to the false art of playing the keyboard. I n view of the opinión that the keyboard is unsuited to present styles, and the consequent discouragement of many from studying it, I fear that the skill, already waning, which has been brought to us chiefly by great performers, w i l l suffer an even worse decline. 3. I n addition to the neglect of the three factors mentioned above, students are taught the wrong position of the hand. A t least their errors remain uncorrected. Thus, the last possibility of their playing competently is removed, for it is easy to imagine the kind of sounds produced by stiff, wire-strung fingers. 4. Most students are required to play their teacher's own works, 8°
V C TI
O N
1 O
PART
O N E
)i
loi nowadays it secms to be scandalous not to compose. Good pieces l»y others which might be studied proíitably are withheld under i lie- pretext that they are obsolete or too difficult. Worst of all, there || a malicious prejudice against Frenen keyboard pieces. These have always been good schooling, for this country is sharply disi inguished from others by its flowing and correct style. A l l necessary finbellishments are clearly indicated, the left hand is not neglected, nor is there any lack of held notes; and these are basic elements ni the study of coherent performance. Our pedants can often play nothing but their own fabrications; their abused, awkward fingers tIrl¡ver these stiffly; they can compose only what their hands can subdue. Many are held i n high esteem who hardly know how to perlorm tied notes. Consequently there arise great quantities of miserable works and abominable students. 5. T o begin their studies, pupils are racked with vapid Murkys and Gassenhauer i n which the left hand, its role reduced lo a mere thumping, is rendered useless for its true employment. Actually the left hand should be preferentially and intelligently exercised i n order to attain a facility equal to that of the right, which by the very nature of things is constantly active. 6. Should the student i n listening to other music acquire a more discriminating taste, he is thenceforth revolted by the pieces he must practice; and, convinced that all keyboard music is poor, he seeks refuge i n arias which, when well set, and sung by reputable voices, are suitable for the development of good taste and the study of good performance but not for the development of the fingers. 7. Teachers feel that they must do violence to these arias and transcribe them for the keyboard. Along with other disparities, the left hand as usual is badly treated. A sluggish or even a drum bass is assigned to i t which, even when it is suited to the character of the piece, is more harmful than beneficial to the left hand. 8. As a result of all this the keyboardist loses the special asset, 1
2
3
4
1 An accompaniment consisting of broken octaves. A Gassenhauer was a popular song or vaudeville in Bach's time and later. Cf. Moser, Musiklexikon. • A similar protest was raised by F. W. Marpurg in Die Kunst das Clavier zu spielen: " T h e arias which students are given serve to form their taste, but not to créate facility and dexterity, above all in the left hand." * Trommel-Bass; a scornful reference to basses fashioned out of repeated tones. They were an intermedíate step between the older linear bass and the somewhat later harmonic, catapulting bass. 2
?2
/N
7 R O I) U C I I O N
l O VA R T
ON E
/ N T R
possesscd by no other instrumcntalist, of keeping time easily and enunciating its smallest fraction with exactness, an ability which he acquires i n playing idiomatic keyboard music, for this comprises more syncopations, short rests, and rapid dotted rhythms than any other type of composition. O n our instrument such difficult elements are quite easy to master because one hand assists the other to hold the beat, and this brings i n its train the spontaneous sharpening of the rhythmic sense. 1 know from experience that rapid syncopations and, above all, short rests cause great ado among the most rhythmically sure and accomplished of other instrumentalists. A l l enter too late, even though other parts that enter just ahead of them provide the same assistance as the keyboardist has i n his hands. T o the latter these things are easy even when he omits the left hand or accompanies with other instruments. Provided that he is certain of the tempo, his entrance w i l l always be exactly right. Quantz i n his Flute Method, page 113, even advocates a delayed entrance (which goes to prove that a correct entrance is nearly impossible) and thus takes the lesser of two evils. 5
6
9. The student i n playing the basses described above develops a stiff left hand, for the amount of harm done by performing quick repeated notes without a change of fingers is nearly incredible. Many have suffered this injury as a result of industrious and prolonged study of thorough bass, wherein they have had to play such notes with either hand but particularly with the left i n octaves. 9a. I take this opportunity to express my thoughts on the per7
» Remainder of paragraph from ed. of 1787. « T h e reference is to Johann Joachim Quantz (1697-1773), engaged as flute teacher to Frederick the Great, and later as his Kammermusicus and court composer. H i s encyclopedic work, Versuch einer Anweisung die Flote traversiere zu spielen (Berlín, 1752), reads, in the passage that Bach mentions, " A t short rests which occur on downbeats i n place of principal notes, caution must be taken to avoid coming i n too soon with the note that follows. For example, when the, first of four sixteenths is a rest, the performer must wait half again as long as the valué of the rest, for the following notes must be shorter than the first. T h i s applies as well to thirty-seconds." (Ch. 12, f 12). A n abridged modera edition, prepared by Dr. Arnold Schering, was published at Leipzig in 1906. 1 T h i s long paragraph appeared originally as a footnote and was retained as such in all editions. At first glance it is puzzling i n both its length and somewhat heated style, for the practice advocated here pf omitting certain repeated notes from the left hand was not new. For example, Heinichen (General Bass, 1728) recommends not only the expedient suggested, but also the changing of repeated notes into broken octaves or into a right-hand Alberti figure against simple chords i n the left (cf. Arnold, Art of Accompaniment from a Thorough-Bass, p. 774 ff.). Saint Lambert makes similar suggestions (p. 196, l.c). However, the entire matter clears up on turn-
o
i)
uc
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formance of quick rcpetitions in the left hand for the benefit of those who are charged with the task of playing thorough bass. T h e device, an everyday occurrence in the present style, offers great risk of stiffening and ruining the best of hands. This remark can stand as a good argument against those who ask expressly that all notes written for the left hand be performed. Certainly the right hand is not required to accompany all notes, particularly when the bass contains so common a device as the passing tone. The quick repetitions of whose hazards I speak are eighth notes i n rapid, and sixteenths i n more modérate tempos. Further, I assume that another instrument is playing the bass with the keyboard. When i t plays alone, these notes, like the tremolo, must be performed with alternating fingers. Although the consequent omission of the octave w i l l detract from the sonority of the bass, this small defect is to be preferred to other greater evils. W i t h an accompanying bass instrument i t is best to omit one, three, or five notes according to the tempo and meter and strike the others i n octaves (or double octaves with both hands i n a fortissimo), employing a heavy attack, somewhat sustained so that the strings will víbrate sufficiently and the tones blend with each other. I n order not to confuse the ensemble, the first bar may be played as written and notes left out from there on. Another means that may be employed when every note must be played is to strike the key alternately with each hand. However, it has been my experience that, because the right hand usually comes i n late, this expedient may upset the ensemble, a fact that has strengthened my conviction that the keyboard is and must always remain the guardián of the beat. I t is considered correct and indeed 8
9
10
ing to Quantz's Versuch, where we find the following statement (Ch. X V I I , Sect. I V , " O f the Keyboard Accompanist," f 32): " W i t h regard to allegro movements it is important that the accompanist . . . . possess the facility in his left hand to play everything clearly and purely, . . . that when many eighth notes occur on a single tone he play every one with his left hand, and avoid the practice of some who for untimely reasons of convenience, strike one note and omit the following three or even seven, especially in vocal works." When all factors are considered, i.e., the public a r o n dat^s of both Essays (Quantz 1752, Bach 1753), the cióse association of both men as fellow court musicians, etc., it becomes clear that Quantz is referring to Bach and that Bach's paragraph is an elabórate rejoinder and defense of his own practice. s See C h . I V , f f 68-78, and C h . V I , especially f 3, for a description of passing tones in the eighteenth-century sense. » Cf. C h . V I , "Passing Tones," f f 4, 7-12. . . . Wie die Schwármer. T h e term was used chiefly with reference to the string tremolo, although Marpurg applies it to repeated notes at the keyboard. T h e Italian word was Bombo. Arnold translates literally, "resembling crackers" (Arnold, op. cit., p. 776). 1 0
?./
1 N T R O I) U C T 1 O N
7 O PA H T
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advisable for the accompanist to rcpcat chords which are sustained by the rest of the ensemble in order to rnaintain a clear indication of the meter; the correetness and advisability of omitting notes should be conceded for the same reason; the more so when such omissions are compared with the hazards and impracticability of literal performance. A n d this latter is really hazardous, for on other instruments such notes are played with the tongue or the wrist; but the keyboardist must express these rumblings with a rigid arm when, due to octave doubling, he is unable to employ alternating fingers. I n doing this the left hand grows stiff and incapable of performing the passage satisfactorily for two related reasons: The first, because i n a prolonged contraction all muscles are employed; the second, because most of the fingers are inactive. I t can be established through experiment that the left hand and entire arm grow so tired, twisted, and taut from thumping away at a drum bass that i t is impossible to play anything active afterwards. This clinking noise is impossible for another reason: Many of the drum basses that are encountered today cannot be survived because of their sheer length. I n all styles the other musicians have occasional rests; the keyboard, however, is constantly at work often for as many as three, four, or even more hours without respite. Assuming that one were hardened to such labor, even the most dependable musician would begin eventually to waver drowsily and unwittingly through fatigue. The drum bass, i n most cases devoid of expression and calling for little mental effort, can only annoy and weary a performer who, as a consequence, loses the inclination and ability to perform stirring passages fittingly. Further, this injurious clinking is contrary to the nature of the harpsichord as well as the pianoforte, for both instruments are thereby robbed of their natural tone and clarity; the tangent of the harpsichord seldom reaets quickly enough. The French, who understand the keyboard and know that i t is capable of more than mere strumming, take pains even today to inform the keyboardist that i n such passages not all notes are to be played. Further, broad accented tones contribute to the expression of basses that carry dots or dashes over the first of a group of notes. Many cases arise where a clear, strong attack with both hands is not only advisable but mandatory. The keyboard, entrusted by our fathers with f u l l command, is i n the best position 11
i i Cf. C h . V I , "Performance," f 18.
INTRODUCTION
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10 assist not only the other bass instruments but the entire ensemble i 11 maintaining a uniform pace. And yet the best musician, fatigued, m a y find it difficult to guide even his own pace at t i m e s , even though he might be the master of his powers under normal conditions. Such being the case with one performer, how much more important it is that our expedient be employed i n an ensemble; the more so because t i m e is beaten today only i n larger C o m p o s i t i o n s . The tone of the keyboard which, correctly placed, stands i n the center of the ensemble, can b e heard clearly by all. A n d I know that even diffuse, elabórate compositions played by impromptu, average performers can b e held together simply by its tone. If the first violinist stands nears the keyboard as he should, disorder cannot easily spread. I n arias, the singer's burden is lightened by our means when the tempo changes precipitately, or when all parts scramble while the voice alone has long notes or triplets which because of their división demand a clear beat. The less the bass is preoecupied with difficult, involved runs, the more easily w i l l i t be able to rnaintain a steady pace; the more i t is, the more frequent w i l l be the spectacle of compositions starting more vigorously than they end. Should someone hasten or drag, he can be most readily corrected by the keyboardist, for the others w i l l be too much concerned with their own figures and syncopations to be of any assistance. Especially those parts that employ the tempo rubato w i l l find herein a welcome, emphatic beat. Finally, i t is easy (and often necessary) to make minor changes of tempo by this means because exact perception w i l l not be hindered by the keyboard's excessive noise, and, i n addition, those performers located i n front of or beside the keyboard w i l l find i n the simultaneous motion of both hands an inescapable, visual portrayal of the beat. 12
10. Teachers try to make amends for a stiff left hand by teaching their students to favor the right and garnish adagio or expressive passages with a wealth of pretty little trills to the revulsión of good táste. These are often interchanged with senile, pedantic embellishments and fumbling, inept runs i n the playing of which the fingers seem to grow choleric. 11. Before we proceed to remedy these faults with wellgrounded instruction, something remains to be said about keyboard instruments. Of the many kinds, some of which remain little 12 a . Píate I V .
36
INTRODUCTION
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known because of defects, others because they are not yet in general use, there are two which have been most widely acclaimed, the harpsichord and the clavichord. The former is used in ensembles, the latter alone. The more recent pianoforte, when it is sturdy and well built, has many fine qualities, although its touch must be carefully worked out, a task which is not without difficulties. I t sounds well by itself and i n small ensembles. Yet, I hold that a good clavichord, except for its weaker tone, shares equally i n the attractiveness of the pianoforte and i n addition features the vibrato and portato which I produce by means of added pressure after each stroke. I t is at the clavichord that a keyboardist may be most exactly evaluated. 18
14
12. A good clavichord must have i n addition to a lasting, caressing tone, the proper number of keys, extending at the very least from the great octave C to the three-lined e. The upper limit is needed for the playing of scores written for other instruments. Composers like to venture into this high register because many instruments can reach it quite easily. The keys must be properly weighted to help raise the fingers after ea'ch stroke. I n order that the strings may be attacked as well as caressed and be capable of expressing purely and clearly all degrees of forte and piano, they must be resilient. T a u t strings keep the tone of a vibrato puré; yet they should not be too taut or they w i l l sound strained and the performer w i l l be unable to achieve any volume; on the other hand, if they are too loóse, they w i l l sound impure and unclear if they sound at all. The keys must not fall too deep, and the pegs must be tightly fitted so that the strings w i l l be capable of withstanding the full forcé of an attack and remain i n tune. 1 6
16
13.
A good harpsichord must have uniform quilling i n addition
Die Bebung und das Tragen der Tone. Cf. C h . I I I , f f 19-20, and the accompanying Note 17. i * J . F. Reichardt wrote: "Not only does Bach play a slow, singing adagio with the most touching expression (to the embarrassment of many instrumentalists who could imítate the voice with far less difnculty on their own instruments), he sustains, even in this tempo, a note six eighths long with all degrees of loudness, both in the bass and the treble. But this is perhaps possible only on his very fine Silbermann clavichord for which he has written sonatas in which long sustained notes occur. " A n d it is the same with the extraordinary power which Bach can give to a passage: it is the utmost fortissimo. Another clavichord would go to pieces under it. Likewise, his most delicate pianissimo would not sound at all on another clavichord." is T h i s sentence, up to the semicolon, appears as a footnote in the ed. of 1787. 18 T h i s sentence appears as a footnote in the ed. of 1787. l s
INTRODUCTION
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37
10 .1 good tone and the proper tange. The tests of the quilling are neat, facile execution of embellishnients, and an equal, quick 1 caction of each key as the thumbnail sweeps over the entire manual with a light, uniform pressure. The action of the harpsichord must not be too light and effeminate; the keys must not fall too deep; the lingers must meet resistance from them and be raised again by the jacks. On the other hand, they must not be too difficult to depress. For the benefit of those whose instruments have less than the desirable range, I have so constructed my Lessons that they may be played on a four-octave keyboard. 14. Both types of instrument must be tempered as follows: I n tuning the fifths and fourths, testing minor and major thirds and chords, take away from most of the fifths a barely noticeable amount of their absolute purity. A l l twenty-four tonalities w i l l thus become usable. The beats of fifths can be more easily heard by probing fourths, an advantage that stems from the fact that the tones of the latter lie closer together than fifths. I n practice, a keyboard so tuned is the purest of all instruments, for others may be more purely tuned but they cannot be purely played. The keyboard plays equally i n tune i n all twenty-four tonalities and, mark well, with full chords, notwithstanding that these, because of their ratios, reveal a very slight impurity. The new method of tuning marks a great advance over the oíd, even though the latter was of such a nature that a few tonalities were purer than those of many present non-keyboard instruments, the impurity of which would be easier to detect (and without a monochord) by listening harmonically to each melodic tone. Their melodies often deceive us and do not expose their impurity until it is greater than that of a badly tuned keyboard. 17
15. Every keyboardist should own a good harpsichord and a good clavichord to enable him to play all things interchangeably. A good clavichordist makes an accomplished harpsichordist, but not 17 Probekücke. T h i s refers to the pieces written by Bach to illustrate the Essay. They are available in the following modern editions: (a) Sechs Sonaten für Klavier, ed. by Erich Doflein, Edition Schott, Nos. 2353-54 (1935). These are the "18 Lessons in 6 Sonatas" which appeared with the first ed. of the Essay. T h e Adagio of Sonata V appears in Zeitschrift für Músik, no. 103, 1936, Notenbeilage, and the Fantasía of Sonata V I can be found in Vierteljahrschrift für Musikwissenschaft, No. 7, 1891. (b) Kleine Stücke für Klavier, ed. by Otto Vrieslander, Nagels Musik-Archiv, No. 65, Hannover, 1930. Includes (Nos. 19-24) the VI Sonatine Nuove which were published in connection with the third ed. of the Essay in 1787.
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the reverse. The clavichord is needed fot the study of good performance, and the harpsichord to develop proper finger strength. Those who play the clavichord exclusively encounter many difficulties when they turn to the harpsichord. I n an ensemble where a harpsichord must be used rather than the soft-toned clavichord, they w i l l play laboriously; and great exertion never produces the proper keyboard effect. The clavichordist grows too much accustomed to caressing the keys; consequently, his wonted touch being insufficient to opérate the jacks, he fails to bring out details on the harpsichord. I n fact, finger strength may be lost eventually, by playing only the clavichord. On the other hand, those who concéntrate on the harpsichord grow accustomed to playing i n only one color, and the varied touch which the competent clavichordist brings to the harpsichord remains hidden from them. This may sound strange, since one would think that all performers can express only one kind of tone on each harpsichord. T o test its truth ask two people, one a good clavichordist, the other a harpsichordist, to play on the latter's instrument the same piece containing varied embellishments, and then decide whether both have produced the same effect. 18
16. After mastering the requisite knowledge of keys, notes, rests, rhythm, and so forth, students should be made to spend a good deal of time practicing only the examples of fingering, slowly at first and then more rapidly until i n due time good fingering, as difficult and varied as it is at the keyboard, w i l l become so much a matter of habit that it may be put out of mind. 17. Above all, practice i n unisón those examples i n which fingering is given for both hands, so that they w i l l become equally dexterous. 18. Then ply at the chapter on embellishments, practicing them until they can be performed skillfully with proper facility. Since this is an assignment on which a lifetime may well be spent J . F. Reichardt wrote: "Bach's manner of playing would not have been devised at all without the clavichord, and he devised it only for the clavichord. But he who once masters this instrument plays the harpsichord quite differently from those who never touch a clavichord. For him harpsichord compositions may be written which under the hands of the mere harpsichordist become insipid, often unintelligible, and disconnected." Also: "Soul, expression, feeling, these things Bach gave first to the clavichord, and the harpsichord could not receive the smallest degree of them save from the hand of him who knew how to anímate the clavichord." 1 8
INTRODUCTION
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(cnibellishments demand in part more technique and dexterity than runs) the student should not be detained after his ability, depcnding on his aptness and age, is great enough to stand him i n tnodest stead. 19. After this, proceed directly to the Lessons; play them first without the ornaments, which should be practiced separately, and then with them, according to the rules treated in the chapter on performance. This must be done first at the clavichord and later interchangeably with the harpsichord. 20. The whole approach to performance will be greatly aided and simplified by the supplementary study of voice wherever possible and by listening closely to good singers. 21. I n order to become oriented at the keyboard and thus make easier the acquisition of a necessary skill at sight reading, i t is a good practice to play memorized pieces i n the dark. 22. I n notating the Lessons, I have scored everything that seemed necessary; and I have played them many times with great care so that not even the smallest detail would escape me. Therefore I believe that if everything is given careful attention, finger dexterity as well as taste w i l l be improved to the point where other, more difficult things may be studied. 23. I n order to avoid ambiguity I have written all triplets without the numeral three, and indicated the detached notes not with strokes, but with dots, and abbreviations such as f., p . , and so forth, without a period i n most places. 24. Because I wanted to publish a complete work illustrative of fingering i n all keys, the use of embellishments, and all varieties of expression, I could not prevent an increase i n the difficulty of the Lessons. I considered it better to serve everyone rather than append a collection of very easy pieces and leave many things untouched. I hope that after clear preliminary instruction, the fingerings and performing directions, painstakingly added, w i l l make the more difficult pieces a great deal easier I t is dangerous to delay the student with too many easy things, for no progress can be achieved in this manner. A few simple pieces at the beginning suffice, after which the wise teacher w i l l do better to introduce his pupils gradually to more challenging works. It is in accord with the art of teaching and the reason asserted above that by this means the student w i l l be unaware of the increasing difficulty of his tasks. My
4<> 1 N T R O I) II (1 T I O N
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dcceased fatlier made many succcsslul cxpcriments of a similar nature. He introduced his pupila directly to his modcrately difficult pieces. Therefore, no one need fear my Lessons. 25. Should some because of their facility be inclined to read the Lessons at sight, I urge them first to study every smallest detail with proper diligence.
CHAPTER
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FINGERING
T
1 O A L A R G E extent the shape of an instrument determines its fingering. I t would appear to be most arbitrary i n the case of keyboard instruments, for the arrangement of the keys is such that any one of them may be depressed by any finger. 2. For this and other reasons the study of fingering is a treacherous path along which many have erred. For one thing, there is only one good system of keyboard fingering, and very few passages permit alternative fingerings. Again, every figure calis for its own distinctive fingering, which may require modification simply through a change of context, and the comprehensiveness of the keyboard creates an inexhaustible wealth of figures. Finally, the true method, almost a secret art, has been known and practiced by very few. 3. This erring is the more considerable, the less one is aware of it, for at the keyboard almost anything can be expressed even with the wrong fingering, although with prodigious difficulty and awkwardness. I n the case of other instruments the slightest incorrectness of fingering is usually betrayed by the downright impossibility of performing the notes. As a result, all manner of things have been ascribed to what is believed to be the difficulty of the instrument and the compositions written for i t . 4. From these remarks i t can be seen that correct employment of the fingers is inseparably related to the whole art of performance. More is lost through poor fingering than can be replaced by all conceivable artistry and good taste. Facility itself hinges on i t , for experience w i l l prove that an average performer with well-trained fingers w i l l best the greatest musician who because of poor fingering is forced to play, against his better judgment. 5. Because almost every figure requires its own, distinctive fin4»
.2
FINGERING
f
gcring, presen t-da y musical thoughl, so radically difícrent from that of the past, has devised a ncw method of exccution. 6. Our forefathers were more concerned with harmony than melody and played in several parts most of the time. We shall soon learn that i n this style the position of each finger is immediately apparent since most passages can be expressed i n only one way and are variable to only a limited degree. Consequently, they are not so treacherous as melodic passages with their far more capricious fingering. Furthermore, i n earlier times the keyboard was tuned differently and not all twenty-four keys were available as they are now. Consequently, the variety of passages was not great. 7. Henee, today, much more than i n the past, no one can hope to play well who does not use his fingers correctly. My deceased father told me that i n his youth he used to hear great men who employed their thumbs only when large stretches made i t necessary. Because he lived at a time when a gradual but striking change in musical taste was taking place, he was obliged to devise a far more comprehensive fingering and especially to enlarge the role of the thumbs and use them as nature intended; for, among their other good services, they must be employed chiefly i n the difficult tonalities. Hereby, they rose from their former uselessness to the rank of principal finger. 8. Because this new fingering is such that everything can be played easily with i t at the proper time, I shall expound i t here. 9. However, before proceeding to the actual use of the fingers, I must mention certain points, some of which must be known i n advance of our study, others of which are so important that without them even the best rules are futile. 10. The performer must sit at the middle of the keyboard so that he may strike the highest as well as the lowest tones with equal ease. 11. When the performer is i n the correct position with respect to height his forearms are suspended slightly above the fingerboard. 12. I n playing, the fingers should be arched and the muscles relaxed. T h e less these two conditions are satisfied, the more atten1
T h e few extant, notated fingerings attributed to J . S. Bach are largely in the older style. They may be found in his Werke, 36.4, pp. 126, 224, 237. However, cf. Spitta, Bach, Vol. I I , pp. 34-41; The Bach Reader (Norton, New York, 1945), pp. 223, 306-312; and Dolmetsch, The Interpretation of the Music of the XVIlth and XVIIIth Centuries, pp. 412 ff. 1
F INGERI
NG
lion must be given to them. Stifíncss hampers all movement, above all the constantly required rapid extensión and contraction of the hands. A l l stretches, the omission of certain fingers, even the indispensable crossing of the fingers and turning of the thumb demand this elastic ability. Those who play with fíat, extended fingers suffer from one principal disadvantage i n addition to awkwardness; the fingers, because of their length, are too far removed from the thumb, which should always remain as cióse as possible to the hand. As we shall see later, the principal finger is thereby robbed of all possibility of performing its services, whence i t comes about that those who seldom use the thumb play stiffiy, something that those who use i t correctly can not do even willfully. For the latter, everything is easy. This can be observed immediately i n a performer: If he understands the correct principies of fingering and has not acquired the habit of making unnecessary gestures, he w i l l play the most difficult things i n such a manner that the motion of his hands w i l l be barely noticeable; moreover, everything w i l l sound as if i t presented no obstacles to him. Conversely, those who do not understand these principies w i l l often play the easiest things with great snorting, grimacing, and uncommon awkwardness. 13. Those who do not use the thumb let it hang to keep it out of the way. Such a position makes even the most modérate span uncomfortable, for the fingers must stretch and stiffen i n order to encompass i t . Can anything be well executed this way? The thumbs give the hand not only another digit, but the key to all fingering. This principal finger performs another service i n that it keeps the others supple, for they must remain arched as i t makes its entry after one or another of them. Those passages which, without the" thumb, must be pounced upon with stiff, tensed muscles, can be played roundly, clearly, with a natural extensión, and a consequent facility when it lends its assistance. 14. I t is evident that the muscles cannot remain relaxed ñor the fingers arcl+ed i n leaping or stretching; and even the snap calis for a momentary tensión. These are, however, the rarest cases and take care of themselves by their very nature. A l l others follow the precepts of Paragraph 12. Especially children's hands, not yet fully 2
2 Das Schnellen. T h e nature and execution of this technical element of clavichord playing are described i n C h . I , f 90; C h . I I , " T h e T r i l l , " % % 8, 36, and " T h e Snap," Un.
44
F I N G ERIN
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FINGERING
grown, should be trained to stretcli as lar as possible, rather than leap everywhere with the lingers bunched, as so ol'tcn happens. In this manner it will be easy to strike the keys accurately, and the hands will not readily depart from their proper position of swinging horizontally over the keyboard, which they tend to lose i n leaps by inclining to one or another side. 15. Pupils need not be alarmed when a passage must be tested by their teachers i n order to ascertain its best fingering. Occasionally, doubtful cases arise which, even when they are played correctly at the first reading, might require reflection before the fingering can be recited to another person. Teachers are rarely provided with a second instrument at which they might settle such issues while accompanying their pupils. From all this it can be seen, first, that i n spite of the endless variety of fingerings, a few good principies are suíficient to solve all problems; and second, that through diligent practice, execution becomes so mechanical that, eventually, a stage is reached where, without further concern, full attention may be directed to the expression of more important matters. 16. While playing, always think ahead to the approaching notes, for these often necessitate modification of a normal fingering. 17. The form of one hand being the reverse of the other, I have found it advisable to illustrate the exceptional cases i h contrary motion i n order to make them identically applicable to both hands. Most of the examples that did not cali for inversión have been fingered for both hands so that they might be practiced i n unisón. Every opportunity to practice i n this manner must be seized, as recommended i n the Introduction. The clef signatures of each example indícate the hand for which the fingering numeráis are intended. When numeráis appear both above and below the notes, those above refer to the right hand and those below to the left, regardless of the clef. 18. Having disposed of these preliminary points, all grounded in Nature, let us now proceed to the school of fingering. Here, too, 3
4
As described in f f 86-92. * T h e examples for the right hand appeared in the customary descant clef in the original. In order to make them more accessible to modern readers, out of touch with C-clefs, they have been transcribed in the familiar G-clef. 3
4
5
I shall buikí upon Nature, for a natural fingering devoid of unnecessary strain and extensión is clcarly the best. 19. The shapes of our hand and the keyboard teach us how to use our fingers. The former tells us that the three interior fingers are longer than the little finger and the thumb. From the latter we learn that certain keys are longer and lie lower than the others. 20. I shall follow the usual designations by indicating the thumb with the numeral 1, the little finger with 5, the middle finger with 3, that next to the thumb with 2, and that next to the little finger with 4. 21. I shall cali the raised and recessed keys by the more usual than correct ñame of half tones. 22. I t follows directly from the statements of Paragraph 19 that the black keys belong essentially to the three longest fingers. Henee, the first principal rule: Black keys are seldom taken by the little finger and only out of necessity by the thumb. 23. I have found it advisable because of the great variety of passages to construct all types of examples; some i n one voice, others i n several, some i n conjunct motion, and others i n disjunct. 24. The scales have been arsanged according to keys in the first examples, which w i l l illustrate all twenty-four, ascending and descending. Thereafter, the order of illustrations will be as follows: Progressions i n several parts; spans and leaps, because these can be more readily gauged after the study of progressions, or even traced back to chords; and, finally, tied or held notes, a few licenses, exceptional cases, and certain expedients. The Lessons w i l l account for the remainder. I n appending these with their continuous passages of all types, I believe I have served a greater purpose and stimulated more interest in the difficult study of fingering than I could have hoped for had I amassed quantities of fragmentary examples, for these would have made the work overlong and unendurable. 25. Chírnge of fingers is the most important element i n our study. Our five fingers can strike only five successive tones, but 5
6
s Halbentóne. T h e "raised and recessed keys" of Bach's day were not universally black, henee he could not use the convenient "black keys," which appears from this point on as the translation of the term that he adopted with easily understandable misgivings. Die A bwechselung der Finger. 6
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F I N G
INC
there are two principal means whereby wc can extend their range as much as required, both above and below. They are the turning of the thumb and the crossing of the tingers. 26. Of the five fingers, the thumb alone is naturally adept at turning under. Flexible and propitiously short, it is the only one to be concerned with this technique, which is employed when the fingers, playing i n their normal order, cannot encompass the range of a passage. 27. Crossing over is a technique limited to the remaining fingers. I t occurs when a longer one vaults a shorter, including the thumb, i n order to strike a tone that lies beyond the natural range of the fingers. This device must be practiced u n t i l it is brought to the point where the fingers w i l l not interlock. 28. These are to be avoided: T u r n i n g the thumb under the little finger, crossing the second finger over the third, the third over the second, the fourth over the fifth, and the fifth over the thumb. 29. The correct application of these two techniques can be learned most readily from the patterns of scales. I n playing these and runs based on them our precepts find their principal employment. I t is understood that i n the performance of scalewise runs which begin or end differently from those illustrated here the performer must allocate his fingers so that they w i l l come out correctly without his feeling obliged always to use the assigned finger on a given tone. 30. Figure i represents the ascending scale of C major with three fingerings for each hand. None of them is impracticable, although those i n which the third finger of the right hand crosses the fourth, the second of the left hand crosses the thumb, and the 7
ERING
47
8
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thumbs strike / are perhaps more usual than the others. Applications of each are shown i n Figure 2. 31. Figure 3 illustrates the descending scale of C major. Here, too, there are three fingerings, all of which are good i n various situations, as indicated in the examples of Figure 4, although aside from these cases which require the specified fingerings, one may turn up more often than the others. Figure 4
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7 Das Untersetzen. 8 Das Überschlagen. Observe that one important technique of the older fingering is not ruled out, the crossing of 3 over 4. It appears more than once in the fingerings of scales, and in f 30 is among those that Bach expressly prefers. 8
32. I t can be seen i n Figures 2 and 4 that owing to the necessity of paying heed to the approching notes, the little finger is held in reserve in stepwise passages and is used only at the beginning or when a r u n happens to terminate exactly with it. This is illustrated in the examples of scales where its use is specified. Elsewhere its place is usually taken by the thumb. I n order to avoid confusión with regard to the little finger and to illustrate a more ex-
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tended change of lingers, 1 have led the scales hcyond the octave. 33. In Figure 5 we find A minor, ase enditig, with two fingerings for each hand. The best are those directly above and below the notes. Nevertheless, the others may be applied to good ends, as i l lustrated in Figure 6. However, since many more might be devised were I inclined to construct the examples, and since those i n Figure 6 are not as natural as those that I have recommended, I include them here more as a warning than as an endorsement, the more so, because I know that they enjoy scattered popularity. Their defect is the assignment of d to the thumb despite the succeeding e and two black keys, for the thumb is best used immediately before black keys. I n any event, this fundamental rule should be observed: The thumb of the right hand is brought i n after one or more black keys in ascending, before them i n descending, and the left thumb after in descending, and before i n ascending. Those who have this rule i n their fingers will consider it unusual to commit the thumb too soon before black keys. Figure 5
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34. The descending scale of A minor is represented in Figure 7 with three fingerings. Because, as i n C major, there are no black keys, all are good and practicable. Less usual than the others is that in which the thumb takes d. 35. The ascending G major scale and its three fingerings appear in Figure 8. Those marked with an asterisk are the least usual. The middle one in the G-clef and the lowest i n the bass present an opportunity to state a new rule: Crossing the fingers, that is, passing lü
19 T h i s turns out to be the most usual modern fingering, at least for the right hand. Perhaps Bach's reservations are concerned with the use of the fifth finger, which does not appear in the alternative fingerings.
G F. R I N G
49
Figure 7
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the second finger over the thumb or the third finger over the fourth, is applied primarily to passages with no accidentáis, where, if necessary, it may occur several times i n succession. Occasionally, it may be used i n connection with a single black key in this manner: The thumb or the fourth finger plays the tone immediately preceding the black key, which is then struck by the second or the third finger, an action easily performed by either, owing to their convenient length. Thereupon, and i n accordance with the rule stated in Paragraph 33, the thumb takes its assigned place as a matter of course. Example a of Figure 9 might stand for an exception to our rule were it not more usual to execute the passage by turning the thumb as i n Example b. I t is better i n such cases to cross the second finger over the thumb than the third finger over the fourth. I n order to illustrate the crossing of fingers in connection with black keys I have written two octaves of this scale. 1
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F I N G E R I N G
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40. F major, descending, appears in Figure 14 with two fingerings in the G-clef and three in the bass, of which those directly above and below the notes are the most usual. There is nothing irregular about the others. They are to be noted because there may be need for them at times.
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37. E minor, ascending, has only one good fingering (Figure 11). I t is inadvisable to take the fourth step, a, instead of the fifth, ~b, with the thumb unless the succession demands i t . Contrary to the rule of Paragraph 33, the thumb must avoid g when the ascending scale ends on the octave, or there will be too few fingers to complete it. As we shall see later, this rule suffers a few exceptions, which, however, do not i n the least reduce its valué i n the complete school of fingering. Figure 11
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41. D minor, ascending, as shown i n Figure 15 has three fingerings for each hand, all of which are good and should be practiced, although those farthest removed from the notes are somewhat less usual than the others.
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38. E minor, descending, is illustrated i n Figure 12 with two fingerings for each hand, of which those directly above and below the notes are the best.
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42. D minor, descending, appears i n Figure 16 with two fingerings for each hand. Those that lie farthest from the notes are poorer because the black key, 6-flat, calis for the thumb on a. Figure 16
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43. Only one fingering is possible for B-flat major, ascending and descending, as illustrated i n Figure 17. Figure 17
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44. G minor, ascending, in Figure iK lias two lingerings for the right hand and three for the left. Those directly above the notes and farthest below follow the rule of Paragraph 33. However, the others will prove serviceable on occasion. Figure 18
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45. G minor, descending, i n Figure 19 has only one fingering. I t is understood that when a passage does not begin exactly as i l lustrated here, the appropriate finger must take the initial tone.
E I N G E Rí
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48. 11 minor, ascending, appears in Figure 22 with one fingering for each hand. When a passage for the left hand begins below the first step of the scale, the thumb replaces the fourth finger on b. I n this connection note that the fingering for the higher octave should be used to play all variants of the beginnings of scales. There is an unavoidable departure i n the right hand from the rule of Paragraph 33. Those who have this rule i n their fingers must be careful not to assign the thumb to d instead of e—á difficulty that makes the scale rather treacherous. Figure 22
Figure 19
46. D major, ascending, i n Figure 20 has only one fingering for the right hand, but three for the left. According to the rule covering the use of the thumb, and i n all passages that begin or end differently from the illustration, the fingering immediately below the notes should be employed. However, the others are good, particularly i n the illustrated case, and should be practiced. The second fingering in the bass demonstrates the merits of crossing the fingers as discussed i n Paragraph 35. Figure 20
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49. B minor, descending, with one fingering is shown i n Figure 23. T o construct an altérnate setting for the right hand, begin with the little finger, place the thumb on e, and the third finger on d i n order to bring i n the thumb again on b. This setting, while it is not incorrect and may be used, is good for only one octaVe. Extensión of i t might easily prove confusing. Figure 23
50. A major, ascending, is illustrated i n Figure 24 with one fingering for the right hand and two for the left. That which stands just below the notes agrees with the frequently cited rule and i n most cases is more useful than the one below it, which, nevertheless, is required at times. Figure 24
51. A major, descending, i n Figure 25 has only one fingering. I t is understood, as previously noted, that when the scale begins above
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the initial tone of the illustralion (he right hand takes a with the thumb rather than the little finger. Also, when a passage for the left hand in this key begins on the tonic degree, 1-2-3 should be substituted for 2-3-4.
Figure 28
Figure 25
55. C-sharp minor, ascending, has only one good fingering, as illustrated i n Figure 29. Figure 29 =F5=
52. F-sharp minor, ascending, with one fingering appears i n Figure 26. The valué of the rule cited i n Paragraph 33 w i l l become apparent in the forthcoming scales, for as they increase i n accidentáis or black keys, they grow simpler, less treacherous, and easier to learn.
56. B major, ascending and descending, and G-sharp minor, descending, take only one fingering, which is shown i n Figure 30. The latter, ascending, is different i n the size of its intervals but not in the fingering, as we can see i n Figure 31.
Figure 26
Figure 30
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i 53. F-sharp minor, descending, has, according to Figure 27, one fingering i n common with A major. We learned i n Paragraph 50 that the additional setting for the latter i n the ascending left hand is used only occasionally. As we proceed, note that descending minor scales employ the same fingerings as major scales with the same key signature or, i n the case of enharmonically equivalent signatures, the same fingering as major scales whose tonic degrees lie a minor third above those of minor scales. 11
Figure 27
54. E major i n Figure 28 has a simple fingering for both hands, ascending as well as descending. C-sharp minor, descending, is the same. Because anyone can determine the steps of descending minor scales from the statement i n Paragraph 53, I shall omit their illustration as superfluous unless they have an exceptional fingering. n Le. a minor third, not as notated, but at the keyboard.
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57. F-sharp major, ascending and descending, has one fingering i n common with E-flat minor, descending, as illustrated i n Figure 32. The same is true of E-flat minor, ascending, except for the difference i n the size of its intervals and the notation (Figure 33). I n the left hand there is an exception to the rule of Paragraph 33, according to which the thumb should take d rather than c. Figure 32
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58. I) llal or Cshaip major, its fingering applicable to ascending as well as descending scales, appears in Figure 34. B-flat minor, descending, takes the same. B-flat minor, ascending, and its fingerings, of which there are two good ones for the left'hand, appear i n Figure 35.
FINGERING
57
only to progressions within an octave. Note that as scales lose accidentáis (which oceurs in the ascending minor before other scales) the number of fingerings increases. Figure 38
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59. A-flat major i n Figure 36, ascending and descending, has one fingering i n common with F minor, descending. The latter with its ascending execution is shown i n Figure 37. The left hand has two good fingerings, of which the one directly below the notes is the better, although the other demonstrates anew the remarks of Paragraphs 35 and 46. Figure 36
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61. From the study of these scales we learn that the thumb is never placed on a black key, that it may be used after the second finger, after the second and third fingers, or the second, third, and fourth, but never after the fifth. Note that i n order to rnaintain a uniform fingering i n playing through two or more octaves of a scale with its seven degrees, the thumb is usually employed once after the second and third finger, and again after the second, third, and fourth. I n ascending with the right hand and descending with the left this action of the thumb is called turning, a technique which must be practiced until the principal finger has learned to turn and take its note automatically. The performer who has reached this point has gained the summit of fingering. 62. We learn, further, that a crossing oceurs when the second finger, the second and third fingers, or the second, third, and fourth pass over the thumb or when the third passes over the fourth. Later, we shall find an exception, allowed under certain conditions, i n which the fourth crosses the fifth. Also, a case w i l l arise i n the study of embellishments i n which the third finger strikes a key after the second. However, this striking must not be confused with a crossing, which refers only to those cases where one finger crosses another which is still depressing the key that i t has struck; i n the former the initial finger leaves the key and the hand is shifted. 63. Finally, we learn that scales with few or no accidentáis per12
13
12 See, in the present chapter, f 93. i» See C h . I I , " T h e T u r n , " f 30.
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m i l the gicatcst varia!ion with résped to fingering and the techniques of turning and crossing. I he others have only one execution. Henee, because the former have many fingerings, because both techniques must be correctly applied to them without confusing one with the other, and because a fingering, once it has been chosen, must be retained in all registers, particularly with regard to the thumb, the so-called easy keys are, i n fact, much more challenging and elusive than the so-called difficult ones. These have only one execution, i n which the thumb soon learns through practice to take its tones efíortlessly. These keys are called difficult because they are never or, at best, rarely played or employed i n their own right. As a result, their notation as well as the location of their tones remains unfamiliar. Once forbidding, when they were played without the thumb or the correct use of it, the difficult keys have become inviting, thanks to the true study and employment of the fingers. Thus, i n earlier times one of the great advantages of the keyboard, the facility with which it can express all twenty-four tonalities, lay hidden behind ignorance. While speaking of accidentáis, I must state my opinión concerning their employment. Our forerunners followed the correct practice of placing an accidental before each altered note which did not succeed itself directly. Today, one accidental is considered sufficient for several such notes. Accidental signs must be used generously to clarify unexpected modulatory shifts and their occasional resultant ambiguities. 14
F I N ('• E R 1 N
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cases and licenses will be reserved for discussion at the end of this chapter. 66. We shall now treat progressions in parts. Leaps w i l l be included in this discussion because under normal circumstances they must be devised with a view to an unforced execution by fingers of average length and are therefore fingered in the same manner as part progressions. Should some find it more comfortable, because of their longer fingers, to take chords, arpeggios, or stretches with a fingering different from that recommended here, they may do so, provided that the comfort is not imaginary. I have stressed leaps and stretches i n a slow movement, the B-flat adagio, in order to make them easier. Those who wish to practice them rapidly by themselves may do so. 67. Adjacent tones, struck simultaneously, are taken by adjacent fingers. The preceding and following tones determine which pair of fingers is to be used. Examples of such seconds are contained in Figure 40. Observe that the thumb avoids black keys. I n the examples, notes without fingering numeráis are to be played by the finger assigned to the preceding note. Each clef appears only once and remains i n forcé until replaced by another. 15
64. Crossing and turning, the principal means of changing the fingers, must be applied i n such a manner that the tones involved in the change flow smoothly. I n keys with few or no accidentáis the crossing of the third finger over the fourth and the second over the thumb is i n certain cases more practicable and better suited for the attainment of unbroken continuity than other crossings or the turn. W i t h regard to the latter, when a black key acts as the pivot the thumb is conveniently provided with more room i n which to turn than i n a succession of white keys. I n keys without accidentáis crossing should cause no stumbling, but i n the others care must be exercised because of the black keys. 65. A l l runs must be approached i n the light of these scales and the two techniques derived from them. Certain exceptional 1 4
Remainder of paragraph from ed. of
1787.
50
is T h e middle movement of Sonata I I . Cf. Pt. I, Introduction, Note 17.
/ N C E R I N G
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68. Ilrokcn scconds are played l>y altérnate fingers as illustrated in Figure ,| i . Allernation is better for this kind of passage, nsually shirred, than a repeated (inger which causes an excessive detaching of the notes. It should be noted here and more frequently as we proceed that the thumb and second finger of the left hand are used, generally, in those places where the right hand employs the second and third fingers. 10
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9 69. Thirds are played by the fingers which are indicated i n the several examples under Figure 42. Here, too, attention must be directed to preceding and succeeding notes. The thumb and the little finger do not play black notes, except when a contextual leap makes it necessary. Because successive thirds are often encountered, I have introduced several examples i n order clearly to indícate the necessary finger changes. The little finger may also strike a black note when the accompanying finger does likewise. Viewed i n this light, the fingering for the right hand i n Example a is not as good as that i n Example b ñor that for the left hand i n Example c. The little finger is neither repeated directly ñor succeeded by another (d). Normally, it is employed but once and then only on the extreme notes of a succession of thirds (e) unless single tones intervene, as i n Example /. Note that repeated thirds are played by repeated fingers, as i n the third and following examples. The same applies to successive thirds i n fast tempos, like those i n Example g, for a change of fingers is more difficult. I n conclusión, observe that many fingerings are used on thirds, although some are more fre-
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70. In slower lempos, broken thirds, singly oí in succession, are played in the same manner as the thirds desci ibcd in the preceding paragraph. Several successive broken thirds in rapid tempos are played with a pair of repeated fingers, s or 4, so long as black keys do not intervene (Figure 43, Example a). When they do, the finger5
2
ing is changed, the thumb being withheld from them (b). 8 or 1 are employed i n passages containing a sustained or an interpolated tone (c). When necessary, the thumb may play black keys i n such spans.
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71. Fourths are taken i n the manner of Figure 44. I n the examples written i n the G-clef the lowest notes are to be played by the left hand, and i n the bass clef the uppermost notes by the right. Broken fourths i n a slow tempo have the same fingering. A succession of these without black keys is executed by a pair of repeated _
1
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fingers, 4 or 2 (a). W i t h black keys, 4 may be used, but only once at 112
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a time (b). Broken fourths may also be played 2, 3, 4, or 3, provided that the succeeding notes cali for i t , as shown i n example c and further. Figure 44 1 4 1
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of Figure 47. When the thumb
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72. Fifths and sixths may be taken i n three ways, as illustrated i n Figure 45. Figure 46 indicates the execution of a series of sixths. Broken sixths are played i n the manner discussed previously i n the cases of thirds and fourths. I n stretches such as these the little finger may be repeated directly; i n other words, it may be played before the extremity of a passage has been reached.
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73. Sevenths and octaves are played l . Those who have long fingers and find it easy to take a seventh containing a black key with 2 ° l may do so. Beyond this, it is permissible i n playing these large intervals to use the thumb as well as the little finger on black keys without further ado. 74. Octaves that leap, particularly in the left hand, where they appear most frequently, cali for the repeated thumb and little finger. Those who are not sufficiently trained to execute the octave doublings of thorough bass can practice by playing any given bass first with the thumb and then with the little finger. I n doing this, progress w i l l be made not only i n a fundamental kind of finger repetítion, but also i n becoming familiar with the keyboard. 75. I n leaps of an octave, preceding or succeeding notes may require the second finger to take the place of the thumb, or the fourth finger to take the place of the fifth, as shown i n the examples r
76. We shall now discuss the execution of three-toned chords. Their fingering within the interval of a fourth is shown i n Figure 49. The additional tones of examples a and b cali for a special fingering.
77. Figure 50 illustrates the execution of three-toned chords within the interval of a fifth. W i t h respect to example a, note that
66
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in addition to the minor triad built from /, the same fingering applies to those from c, c-sharp, /-sharp, g, g-sharp, fr-flat, and b. And with respect to Example b, the fingering of the major triad built from d applies equally to those built from c-sharp, cí-sharp, e, g-sharp, a, t>-flat, and b. The longer third finger rather than the fourth takes the third of major and minor triads, particularly when it falls on a black key. Figure 50
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78. Three-toned chords within the interval of a sixth are taken in the manner of Figure 51. Figure 52 illustrates the same chords i n the interval of a seventh, and Figure 53 i n the interval of an octave. Any finger may play black keys in wide stretches, as stated i n Paragraph 73, for a measure such as this is always better than an avoidFigure 51
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able strain. The execution of Figure 51, Example a, is comfortable for some hands. 79. The fingering of four-toned chords appears i n the examples of Figure 54. Example a represents such a chord within the interval of a fifth; Example b, within the interval of a sixth. Chords built from the first degrees of the major keys Usted i n Paragraph 77 may be taken i n the manner of the illustration i n the bass clef under Example b. The chords of Example c lie within the interval of a seventh, and those of Example d within the interval of an octave. The illustrations marked with double asterisks i n Example c are for long fingers. The examples marked 1, 2, 3, 4 refer to the triads of Figure 50, Examples a and b, now become four-toned chords; all Figure 54 2 6 5 18
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68
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of the triads discussed in I'aiagraph 77 are lo be taken similarly when a f o u r t h tone has been added to theni. 80. W h e n either of the outer parts of four-toned chords falls o n a black key, i t is best to take a fingering i n w h i c h , i f possible, either the t h u m b or the l i t t l e finger is n o t used. However, since i t is n o t always comfortable to o m i t the l i t t l e finger, whence i t plays black keys more often than the t h u m b , the p e r f o r m e r should be g u i d e d by contexts and, n o t a l l fingers being alike, seek after an unforced and n a t u r a l setting, especially i n spans. A slight discomf o r t being preferable to a greater one, i t is better to c o m m i t the l i t t l e finger or the t h u m b to a black key than to o m i t t h e m and cause an excessive, hazardous stretch. Performance of a succession of f u l l chords is fácil itated by changing the fingers whenever possible. 8 1 . W h e n b o t h outer parts of four-toned chords fall on black keys the t w o shortest fingers may be employed w i t h o u t f u r t h e r ado, for w h e n b o t h play such keys the entire h a n d moves to the rear of the keyboard, thereby r e m o v i n g the objections to their use. 82. Since arpeggiated and leaping passages are largely reducible to chords, they should be played according to corresponding rules of fingering and examined i n the l i g h t of particulars already discussed. T h e examples fashioned o u t of the chords i n Figure 55 w i l l make m y m e a n i n g clearer to the reader. Figure 55
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83. Good performance, as w e l l as preceding tones, calis for an occasional slight change i n the fingering of b r o k e n chords. T h e t h i r d finger is sometimes better t h a n the f o u r t h i n descending arpeggios, a l t h o u g h the latter is to be preferred w h e n the tones are struck simultaneously (Figure 55, Example 1). W i t h regard to good performance, the keyboardist cannot always expect the degree of clarity f r o m a weaker finger that a stronger finger achieves q u i t e readily, for c l a r i t y is w o n p r i n c i p a l l y t h r o u g h u n i f o r m pressure. I n this respect, those w h o are left-handed possess no small advantage o n o u r i n s t r u m e n t . I n Example 2, Figure 55, the t h i r d of the arpeggio has been taken by the t h i r d finger because of the preceding/• 84. H a v i n g learned the p r i m e importance of correct use of the t h u m b i n conjunct as w e l l as disjunct, one-part as w e l l as f u l l y set passages, we can understand more clearly the a m o u n t of h a r m done by methods of keyboard i n s t r u c t i o n appearing even i n this day w h i c h , w r o n g i n many of their teachings, are p a r t i c u l a r l y i n error o n this p o i n t . One author dispenses entirely w i t h the t h u m b ; another is even more antagonistic t o w a r d his students—not only must they make a l l of t h e i r fingers clamber i n d i s c r i m i n a t e l y and o u t of sequence over the entire keyboard, they must be able to do this o n any one key alone. T h e first develops p u p i l s whose fingers stumble, miss, and i n t e r l o c k ; the other's t i r e needlessly and u n seasonably, for their hands must be c o n t i n u a l l y twisted and distorted i n order to allow the t h u m b to take black keys w i t h o u t r h y m e or reason, even i n tonalities w i t h many accidentáis. Because of this d i s t o r t i o n the r e m a i n i n g fingers lose t h e i r n a t u r a l p o s i t i o n and must be forced i n t o use. T h e r e is, consequently, n o chance to loosen or relax the muscles, and the fingers s t i f f e n . 19
20
i»Bach enjoyed this advantage, according to Reichardt (Selbst Biographie, Allgemeine Musikzeitung, Jhr. 16, 1814, No. 2 ) . 20 T h i s paragraph indicates that the inadequacy of the older fingering was far from common knowledge. For example, as eminent a musicographer as Tohann Mattheson, who prided himself on his keyboard ability, describes a fingering in his Kleine General-Bass-Schule (1735) in which the ascending right hand employs principally 3 over 4, and the descending, 3 over 2, the thumb being unemployed. (Cf. Spitta, Bnch, I I , p. 38). Couperin's fingering (Cf. Vol. I of his Oeuvres, Paris, 1933) is discussed later in f 88.
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85. As wc have alrcady lcarncd, leaps and progressions i n parts are easier to execute than scales. Sustained tones w i l l prove even simpler, for, i t being mandatory to h o l d them strictly for their assigned length, there is rarely more than one way to p e r f o r m t h e m . Greater l a t i t u d e is allowed here than w o u l d be otherwise advisable; the repeated finger, the t h u m b on black keys, and other expedients w h i c h w i l l be discussed later are a l l freely employed. Since i t is n o t easy to err u n d e r such conditions, the few examples of Figure 56 should suffice.
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86. Figure 57 is the first of a few exceptional examples. I n i t leaps appear i n w h i c h the second finger (a), the t h i r d finger (b), and the f o u r t h (c), cross the t h u m b . I n Figure 58 we see the t h u m b used i n b r o k e n passages. N o t e that this finger is u n i f o r m l y f o l l o w e d by the f o u r t h , and the second by the fifth.
87. One of the most i m p o r t a n t licenses is the omission of cert a i n fingers f r o m stepwise successions. T h i s technique is shown i n Figure 59, where, i n preparation for the approaching leaps, the omissions i n the asterisked example are clearly better t h a n the settings m a r k e d w i t h d o u b l e asterisks. Omissions are f r e q u e n t l y called for i n the bass. T h e n a t u r a l flexibility of the t h u m b makes Example 1, where three fingers are o m i t t e d , easier than Example 2, where only t w o are o m i t t e d .
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Because o u r "forerunners rarely used the t h u m b , i t got i n the Henee, they o f t e n f o u n d that they liad too many fingers. Gradually, i t began to play a more active role, b u t traces of the oíd m e t h o d survived and many were n o t enterprising enough always to set the t h u m b o n appropriate tones. T o d a y , despite improvements i n the use of the fingers, we find, at times, that we have too few of t h e m .
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88. I n the Lessons, w h e n t w o numeráis appéar i n succession over a single note, the first of the assigned fingers is n o t released u n t i l the second has a f r i v e d , f o r such notes are to be sounded only once unless an embellishment intervenes. T h e successions of F i g u r e 6o, E x a m p l e a, as w e l l as the performance of certain embellishments cali f o r this replacing of a finger. Occasionally i t is needed i n order to sustain the tones of an arpeggio (b). T h e flexibility of the t h u m b malees i t w e l l suited f o r replacement. Because i t is n o t easy to employ this device s k i l l f u l l y i t is correctly restricted to relatively long notes a n d cases of necessity. T h i s precaution should be heeded i n the use o f a l l expedients w h i c h , partly by t h e i r nature, partly by their unusualness, are a n d r e m a i n difficult. Pupils should n o t be p e r m i t t e d to employ them except as a last resort or to avoid an even greater difficulty. C o u p e r i n , w h o is otherwise so sound, calis f o r replacement too f r e q u e n t l y and casually. U n d o u b t e d l y , the t h u m b ' s correct use was n o t f u l l y k n o w n i n his t i m e , as suggested by some of his fingered examples i n w h i c h he replaces fingers instead of using the t h u m b or the repeated finger, b o t h of w h i c h are easier.
Figure 60
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89. Because of this, i t is permissible, o n occasion, to use a finger twice i n succession even w h e n the notes change. T h i s oceurs most frequently a n d h a p p i l y i n m o v i n g f r o m a black key to an adjacent w h i t e one. S l u r r e d notes can be w e l l expressed i n this manner. (Figure 61). A simple device, i t may be employed for other purposes, too, a n d i n faster tempos t h a n those suitable f o r replacements a n d finger repetitions o n a single tone. Observe that i t may be used to p e r f o r m detached as w e l l as slurred notes. T h e first of these uses appears near the b e g i n n i n g of the F-sharp m i n o r Lesson and the seco n d i n Figure 56. Beyond this, we have already learned f r o m Paragraph 88 that the repeated finger is more n a t u r a l , even o n successive t i e d notes (where there m i g h t be a choice of expedients), t h a n the replaced finger. Figure 61 2 2
21
2 i Francois Couperin in L'Art de toucher le clavecín, París, 1717.
1 90. Tones repeated at a modérate speed are played b y a single finger, b u t a l t e r n a t i n g fingers are employed i n fast r e p e t i t i o n s . 23
22 Sonata I V , third movement, bars 6-7. Cf. Pt. I , Introduction, Note 17. 23 Die Wiederholungen. Marpurg's terin is "die Schwármer."
74
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O n l y t w o fingers should be used at a time. The l i t t l e finger is the poorest because its weakness retards the snap, a <|iiick retraction w h i c h oceurs w h e n a finger leaves a key as rapidly as possible so that the succeeding finger may play its tone d i s t i n c t l y . T h i s k i n d of passage is most easily performed o n the clavichord. 9 1 . A l t e r n a t i n g fingers may be employed to advantage i n slower repetitions by p l a y i n g the final note of the series w i t h the finger that leads best to the f o l l o w i n g notes, as i l l u s t r a t e d i n Figure 62. Such situations oceur often i n the left h a n d . Figure 62
92. W h e n , i n keys w i t h many accidentáis, there appear passages not so extended as to r e q u i r e the n o r m a l succession of fingers after the t h u m b has t u r n e d , i t is possible to take, instead, the finger that has preceded the t h u m b . I n so d o i n g , the hand maintains a single position, thereby a v o i d i n g the a w k w a r d shift caused by a n o r m a l , Figure 63
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b u t i n this case r a p i d , crossing. This rule applies solely to those cases i n w h i c h a single tone follows that taken by the t h u m b . Should t w o tones f o l l o w , the fingers are to be played i n their usual order. B o t h types appear i n Figure 63. Some employ this device i n passages w i t h two succeeding tones, as indicated by the uppermost numeráis of the t w o final examples. W h i l e this is n o t incorrect, I m a i n t a i n that i t is mandatory to h o l d to the n o r m a l order except i n those few cases where a m o d i f i c a t i o n helps to elimínate awkwardness. 93. I n the Lessons there are t w o places where, contrary to the stated r u l e , the l i t t l e finger is used i n a one-part passage before the l i m i t of the range has been reached. B o t h are q u o t e d i n Figure 64. T h e first is j u s t i f i e d by the modérate speed of the notes. A crossing such as this is to be employed o n l y w h e n the f o u r t h , a longer finger, takes a black key by a slight twist of the h a n d w h i l e the l i t t l e finger plays one of the adjacent w h i t e keys. I t should be employed o n l y once at a t i m e . T h e second illustrates an unavoidable contraction of the h a n d , facilitated by the l o n g note; otherwise the fingering w o u l d be incorrect. Because of the r a p i d tempo a replacement o n / w o u l d probably be more difficult than a contraction. I n execution the h a n d s h o u l d be t u r n e d slightly to the r i g h t . I n the same piece replacements must be employed o n short notes preceding an embellishment i n order to avoid a precarious l e a p . T h i s w i l l be more clearly understood after the discussion of embellishments. 2 4
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94. I n three or more p a r t compositions where each voice expresses an i n d i v i d u a l l i n e there arise situations i n w h i c h the hands must be interchanged i n order to p e r f o r m the notes correctly, even t h o u g h o n l y one h a n d should play t h e m according to the n o t a t i o n . 95. F i n a l l y , i n order to p r o v i d e an o p p o r t u n i t y for b o t h hands to practice simultaneously, I have appended i n Figure 66 t w o exercises i n treacherous keys w i t h one accidental, consisting, i n the first, of a stepwise figure and, i n the second, of a m i x t u r e of leaps and 2* Sonata I , first movement, bars 18-19, and Sonata I I , third movement, bars 22-23. Cf. Pt. I , Introduction, Note 17. 25 Sonata I I , third movement, bars 12, 14, 30, 32. Cf. Note 24.
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96. A t those places i n the Lessons where the performer m i g h t be i n d o u b t or even err i n choosing the h a n d assigned to the notes, I have t u r n e d the stems u p w a r d to indicate the r i g h t h a n d a n d d o w n w a r d to indicate the left. W h e n , o w i n g to l i m i t a t i o n s of space, a few notes i n the i n n e r parts lack tails, t h e i r nature and l e n g t h must be ascertained f r o m the notes struck w i t h t h e m i n other i n n e r parts or the bass. Since I have t r i e d t h r o u g h o u t to l i g h t e n the beginner's tasks and have seized every o p p o r t u n i t y to indicate t h r o u g h the notes the h a n d assigned to them, n o one should be dismayed to find the valúes of certain tones and the conduct of parts notated u n c o n v e n t i o n a l l y at times. Despite this, the t r a i n e d p e r f o r m e r w i l l have n o difficulty i n f o l l o w i n g the path of each voice and d e t e r m i n i n g the note lengths. T h e occasions for these remarks can be f o u n d i n the D major and A-flat Lessons. 26
97. A m o n g the Lessons there is one i n w h i c h the hands cross. I t h o u g h t i t wise to illustrate a n a t u r a l use of this k i n d of j u g g l i n g , even t h o u g h i t has n o t been very m u c h employed of late. I have 27
28 Sonata I V , second movement, and Sonata V I , second movement. Cf. Note 24. 27 Sonata VI, first movement. Cf. Note 24.
/' I N G E R I N G
7*
indicated the notes that helong l o each hand by means of clef signs. I t is also possible to do this w i t h writt.cn directions. Gompositions can be f o u n d i n which the cornposer calis for needless crossing. T h e performer should n o t feel obliged to i n d u l g e i n such i m p o s t u r i n g b u t should seek instead a more n a t u r a l execution. Nevertheless, the technique is n o t to be discarded, for i t helps to make the keyboard a more comprehensive i n s t r u m e n t and opens u p new possibilities of expression. However, the crossing must be so devised that the passage is either unplayable any other way or playable only w i t h a difnculty that causes an ugly g a r b l i n g or even a dism e m b e r i n g of the parts. For the rest, i t is a v a i n tempest that can b l i n d o n l y the ignorant, for the i n i t i a t e d k n o w clearly that, considered by itself, there is no challenge i n i t save its unusualness, and this is soon overeóme. A n d yet, i t is everyone's experience that excellent and also difficult pieces have been w r i t t e n w h i c h employ crossed hands. 28
98. Comments o n the fingering of embellishments must be w i t h h e l d u n t i l the symbols have been explained i n the f o l l o w i n g chapter. W h e n the fingering of f u l l y w r i t t e n embellishments is o m i t t e d i t must be ascertained f r o m the finger assigned to the p r i n cipal tone. 99. F i n a l l y , I refer m y reader to the Lessons, where continuous examples of a l l types of fingering w i l l be f o u n d . 28 I n Bibliothek der Schonen Wissenschaften, Vol. lo (1763), Pt. I, p. 58, there appears the following corament on this paragraph: "About forty or fifty years have passed since such sorcery became known in Germany. A keyboardist by the ñame of Sandoni is said to have started it in a little piece, and a great host of lesser keyboardists tried to achieve eminence by way of the same kind of fraud." Today, Pietro Giuseppe Sandoni (ca. 1680-1750) is remembered chiefly as the husband of the famous singer, Francesca Cuzzoni. He reached London about 1726, after a highly successful European career at the keyboard. Domenico Scarlatti, whose use of this technique needs no extended comment, seems to have preceded him in L o n don by some six years. As for Bach, he had excellent models in at least two works of his father; the Gigue of the B-flat major Partita, and the C minor Fantasía. Indeed, Cari Philipp's first composition (1731, Wotquenne No. 111) made use of the device. I n his autobiography, mention of the work, which he engraved himself, is joined with the following remark: " . . . a natural and at that time much exploited form of m a g i a " T o this Nohl (Musikerbriefe, 1873) adds, parenthetically, "introduced chiefly by Domenico Scarlatti."
CHAPTER
TWO
EMBELLISHMENTS GENERAL
1 O N E disputes the need for embellishments. T h i s is evident f r o m the great numbers of t h e m everywhere to be f o u n d . T h e y are, i n fact, indispensable. Consider t h e i r m a n y uses: T h e y connect and e n l i v e n tones and i m p a r t stress a n d accent; they make music pleasing and awaken o u r cióse a t t e n t i o n . Expression is heightened by t h e m ; let a piece be sad, j o y f u l , or otherwise, and they w i l l l e n d a fitting assistance. Embellishments p r o v i d e o p p o r t u n i t i e s for fine performance as w e l l as m u c h of its subject matter. T h e y i m p r o v e mediocre compositions. W i t h o u t t h e m the best melody is empty and ineffective, the clearest contení clouded.
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2. I n view of t h e i r many commendable services, i t is u n f o r t u nate that there are also poor embellishments and that good ones are sometimes used too f r e q u e n t l y a n d ineptly. 3. Because of this, i t has always been better for composers to specify the proper embellishments unmistakably, instead of leavi n g t h e i r selection to the w h i m s of tasteless performers. 4. I n justice to the French i t must be said that they nótate t h e i r ornaments w i t h painstaking aecuracy. A n d so do the masters of the keyboard i n Germany, b u t w i t h o u t embellishing to excess. W h o knows b u t that o u r m o d e r a t i o n w i t h respect to b o t h the n u m b e r and kinds of ornaments is the influence w h i c h has led the French to abandon t h e i r earlier practice of decorating almost every note, to the d e t r i m e n t of clarity and noble simplicity? 5. I n summary: G o o d embellishments must be distinguished f r o m bad, the good must be correctly p e r f o r m e d , and i n t r o d u c e d moderately and fittingly. 79
So
E M H E l. 1.1 S 11 M E N r s
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fi. Embellislimcnts may be d i v i d e d i n t o two groups: i n the first are those which are indicated by conventional signs or a lew small notes; i n the second are those w h i c h lack signs and consist of many short notes. 7. I shall treat the latter g r o u p only briefly i n connection w i t h the performance of fermate. T h e r e are several reasons for this. For one t h i n g , their use is governed chiefly by taste; as a result, they are too variable to classify. F u r t h e r , i n keyboard music they are usually w r i t t e n o u t . I n any event, there is n o real need for t h e m , thanks to the adequacy of the others. I shall discuss i n d e t a i l o n l y those i n the first g r o u p , for most of t h e m have a l o n g and cióse association w i t h the keyboard and w i l l u n d o u b t e d l y always r e m a i n i n favor. T o the accepted embellishments I have added a few new ones. A l l w i l l be explained and t h e i r proper contexts specified insofar as i t is possible to do so. I shall fix t h e i r best f i n g e r i n g w h e n necessary and i n dicate t h e i r correct execution. I l l u s t r a t i o n s w i l l elucídate those points that cannot be completely p u t i n t o words. I shall p o i n t o u t certain incorrect or, at least, unclear signs so that they may be d i f ferentiated f r o t n the correct, and at the same t i m e I shall criticize poor ornaments. F i n a l l y I shall refer m y readers to the Lessons and hope t h r o u g h o u t to remove the false assumption, occasionally encountered, of the need for profuse keyboard o r n a m e n t a t i o n . 1
2
8. Nevertheless, those w h o are adept at i t may combine the more elabórate embellishments w i t h ours. However, care must be taken to use t h e m sparingly, at the correct places, and w i t h o u t dist u r b i n g the a f f e c t of a piece. I t is understood, for example, that s
1 It was customary for the performer in earlier times to add his own embellishments and elaborations freely. T h e practice was changing about 1750 to the modern method, whereby the composer specifies every last detail and the performer, hopefully speaking, follows orders. Indicative of the widespread nature of the earlier practice is Bach's Foreword to T w o Trios (Wotquenne No. 161), the first of which is programmatic. He was anxious to have the first T r i o performed as written and in order to attain this end (which would be taken for granted today) wrote: " I t would be best to play the first T r i o as notated, without the addition of free ornaments." (Cf. Hans Mersmann in Bach Jahrbuch, 1917.) J . S. Bach won the censure of J . A. Scheibe because of his practice of writing out all detail (Cf. The Bach Reader, Norton, New York, 1945, pp. 237 ff.). It should be added that Bach was a master at introducing ornaments of all kinds into other composers' works. Philipp Emanuel's position here is undoubtedly influenced by his father's stand. T h e opening sentence of § 8 suggests indirectly a defensive reason for the stand taken by both. Evidently, not enough performers were "adept at it." 2 T h a t is, there is no real need for them as free embellishments interpolated by the performer. 3 T h e premise of the theory of the afleas was that music is capable of being more
BELL1
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T S
81
the portrayal of s i m p l i c i t y or sadness suffers fewer ornaments than other emotions. H e w h o observes such principies w i l l be j u d g e d perfect, for he w i l l k n o w how to pass s k i l l f u l l y f r o m the singing style to the s t a r t l i n g and fiery ( i n w h i c h instruments surpass the voice) and w i t h his constant changing rouse and h o l d the listener's attent i o n . W i t h these ornaments, the difference between voice and i n s t r u m e n t can be unhesitatingly e x p l o i t e d . For the rest, as l o n g as embellishments are a p p l i e d w i t h discretion n o one need pause to decide whether a played passage can or cannot be sung. 9. A b o v e a l l things, a p r o d i g a l use of embellishments must be avoided." Regard t h e m as spices w h i c h may r u i n the best dish or gewgaws w h i c h may deface the most perfect b u i l d i n g . Notes of n o great m o m e n t and those sufficiently b r i l l i a n t by themselves should r e m a i n free of t h e m , for embellishments serve o n l y to increase the w e i g h t and i m p o r t of notes and to differentiate t h e m f r o m others. Otherwise, I w o u l d c o m m i t the same error as orators w h o t r y to place an impressive accent o n every w o r d ; everything w o u l d be alike and consequently unclear. than a mere pattern of sounds but is, rather, expressive of many passions. It was therefore considered insufficient for a performer to play a piece solely in a technically correct manner. He must "rouse and still the passions" by portraying the proper affect. All writers of the Berlín School, Quantz, Marpurg, Sulzer, and Bach, were preoceupied with the theory of the arfeets. T h e term and discussion of its meaning recur throughout the Essay. Cf. Paul Lang, Music in Western Civilization (Norton, New York, 1941, pp. 434 ff.). For the rest, the following excerpt from Marpurg (Der Critischer Musicus an der Spree, Sept. 2, 1749) will serve for general purposes of orientation: " T h e rapidity with which the emotions change is common knowledge, for they are nothing but motion and restlessness. All musical expression has as its basis an affect or feeling. A philosopher who explains or demonstrates seeks to bring light to our understanding, to bring clarity and order to it. But the orator, poet, musician seek more to inflame than enlighten. With the philosopher there are combustible materials which merely glow or give off a modest restrained warmth. Here, however, there is but the distilled essence of this material, the finest of it, which gives off thousands of the most beautiful flames, but always with great speed, often with violence. T h e musician must therefore play a thousand different roles; he must assume a thousand characters as dictated by the composer. T o what unusual undertakings the passions lead us! He who is fortúnate, in any respect, to capture the enthusiasm that makes great people of poets, orators, artists will know how precipitately and variously our soul reaets when it is abandoned to the emotions. A musician must therefore possess the greatest sensitivity and the happiest powers of divination to execute correctly every piece that is placed before h i m . " * Marpurg wrote in Der Critischer Musicus an der Spree (1750-51): " A special distinction of Berlín music is that it makes very sparing use of manners and embellishments; but those that are used are the more select and the more finely and clearly performed. T h e performances of the Grauns, Quantz, Benda, Bach, etc., are never charactérized by masses of embellishments. Impressive, rhetorical, and moving qualities spring from entirely different things, which do not créate as much stir, but touch the heart the more directly."
8a
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10. W e shall sce presently that many passages allow for more than one k i n d of embellishment. I n such cases, the art of v a r i a t i o n may be used to advantage; introduce first a caressing ornament, then a b r i l l i a n t one, or for a change, i f the passage permits, play the notes d i r e c t l y as w r i t t e n b u t always i n furtherance of the true affect and i n accordance w i t h the rules of good performance w h i c h w i l l be treated later. 11. I t is difficult to prescribe the correct context for every embellishment, for a l l composers are free to introduce t h e i r favorites where they w i l l , so l o n g as good taste is n o t thereby assailed. Suffice i t i f we instruct o u r reader t h r o u g h a few well-established precepts and examples. A t least he w i l l learn that the nature of a passage can n a r r o w his choice of ornaments. T h u s , w h i l e the performer w i l l have n o need for concern i n those compositions where a l l embellishments are specified, where few or none are indicated he w i l l k n o w h o w a n d where to insert t h e m i n the customary manner. 12. Because I have yet to find a f o r e r u n n e r w h o m i g h t have b r o k e n a p a t h for me, no'one should criticize me for h o l d i n g that, despite certain established cases, i t is conceivable that exceptions can arise. 5
6
13. I n order to master this m a t e r i a l w i t h its many m i n u t i a e and apply i t i n t e l l i g e n t l y , the ear must be t r a i n e d t h r o u g h constant listening to good music. A b o v e a l l , to understand many things more clearly, the p e r f o r m e r must possess a knowledge of t h o r o u g h bass. I t is a matter of experience that those w h o are n o t w e l l g r o u n d e d i n the study of h a r m o n y f u m b l e i n darkness w h e n they use embellishments and must thank their good f o r t u n e rather than insight w h e n they are successful. W i t h this i n m i n d I shall add a bass to the i l lustrations whenever i t is necessary. 14. Singers and instrumentalists other than keyboardists w h o wish to p e r f o r m w e l l need most of o u r short embellishments just as m u c h as we do. However, o u r ways are m u c h more o r d e r l y t h a n theirs, for keyboardists have given embellishments specific signs the more exactly to indicate the detailed performance of t h e i r compositions. 15.
Because others have n o t shown such commendable
fore-
T h i s statement refers only to the problem of defining the contexts suited to each ornament at the keyboard and not, as Dannreuther (Musical Ornamentation, Part I I , p. 5, footnote) believed, to the general description of ornaments and their signs. See, for example, C h . I I , " T h e Appoggiatura," f 16. 5
6
BE L
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sight, b u t have t r i e d , rather, to indicate everything t h r o u g h only a few signs, the study of o r n a m e n t a t i o n is m u c h more t a x i n g for t h e m than i t is for the keyboardist. T h e i r signs have g r o w n ambiguous or, indeed, incorrect, a c o n d i t i o n w h i c h even today causes many i m proprieties i n performance. For example, the m o r d e n t , one of the most essential and widely used embellishments, is k n o w n by its sign to few outside of keyboardists. I k n o w of one place i n a cert a i n piece w h i c h as a consequence is often r u i n e d . T h e passage, i f i t is n o t to sound i n s i p i d , requires a l o n g m o r d e n t w h i c h , because of the nature of the passage, n o one c o u l d presume, unless i t were specified by its symbol. A n d yet, even i n the presence of its indicat i o n ( k n o w n o n l y to keyboardists), a t r i l l is p e r f o r m e d , o w i n g to the a m b i g u i t y caused by a general lack of signs. W e shall realize later i n s t u d y i n g the great difference between the t w o ornaments how a w k w a r d i t is to substitute one for the other. T
16. T h e French are especially careful i n setting the signs of t h e i r embellishments. B u t u n f o r t u n a t e l y we have so far removed ourselves f r o m t h e i r music and t h e i r fine style of p l a y i n g that the exact meaning of t h e i r embellishments is vanishing to the p o i n t where signs once w e l l k n o w n are becoming unrecognizable even to keyboardists. 17. T h e tones of an embellishment adjust themselves to the accidentáis of the key signature. Beyond this, we shall soon learn that at times, preceding and succeeding tones or, m o r e frequently, m o d u lations r e q u i r e a d d i t i o n a l alterations. T h e t r a i n e d ear recognizes such contexts immediately. ¡ 18. However, I have f o u n d i t advisable to f o l l o w the practice of a d d i n g accidental signs to the symbols of ornaments i n order to assist the p e r f o r m e r . I n the Lessons, they w i l l be m e t singly and i n pairs wherever they are r e q u i r e d . 19. A l l ornaments stand i n p r o p o r t i o n e d relationship to the length of the p r i n c i p a l note, the tempo, and the affect of a piece. I n those cases where a variety of embellishments is used and the perf o r m e r is n o t too restricted by the affect, note that the more tones contained i n an ornament, the longer the p r i n c i p a l note must be, regardless of whether the source of this length is the note itself or the tempo. T h e b r i l l i a n c e of an embellishment must n o t be d u l l e d by excessive space f o l l o w i n g its execution. O n the contrary, the performer must avoid a too h u r r i e d performance, w h i c h blurs certain
1
84
E M li E L LI S II M EN M li E L LI S H M E N T S
ornaments. T h i s is causee! moslly by tlie i n t r o d u c t i o n of embcllishments c o n i a i n i n g many tones and the excessive einbellisliment oí r a p i d notes. Figure 67 Adagio Andante A l l e g r e t t o to Presto 7
20. Nevertheless, we shall soon learn that i t is permissible to i n troduce an embellishment w h i c h does n o t completely fill o u t the w r i t t e n length of a long note. However, the last tone of the embellishment must n o t be released u n t i l the f o l l o w i n g note arrives, for the p r i m a r y a i m of a l l embellishments is to connect notes. 21. Henee, embellishments are better suited to slow or m o d érate t h a n to r a p i d tempos, a n d to l o n g rather t h a n short notes. Observe especially that embellishments are best a p p l i e d to those places where a melody is t a k i n g shape, as i t were, or where its pard a l , i f n o t complete, meaning or sense has been revealed. Henee, w i t h regard to the latter case, they are f o u n d chiefly at half or f u l l closes, caesurae, and jermate. 8
22. I n e x p l a i n i n g symbols and small notes, I shall w r i t e o u t the correct lengths of the notes expressed by t h e m . Small notes have been notated i n t h e i r real valúes i n the Lessons. 23. A l l embellishments notated i n small notes p e r t a i n to the f o l l o w i n g tone. T h e r e f o r e , w h i l e the preceding tone is never shortened, the f o l l o w i n g tone loses as m u c h of its length as the small notes take f r o m i t . T h i s observation grows i n importance the more i t is neglected a n d the less I was able to avoid a separation of such notes f r o m their p r i n c i p a l tones i n the Lessons, o w i n g to the space taken u p by the mass of fingering numeráis, symbols of ornaments, and expression marks. 24. A c c o r d i n g to this r u l e the small notes rather t h a n the p r i n cipal tone are struck w i t h the bass and the other parts. T h e perf o r m e r should make t h e m glide i n t o the f o l l o w i n g tone. I t is w r o n g i From the ed. of 1787. * Remainder of paragraph from ed. of
1787.
T S
85
to j u m p roughly on the p r i n c i p a l tone, for this causes f u r t h e r awkwardness i n the i n t r o d u c t i o n as well as the execution of embellishments. I t m i g h t seem superfluous to repeat that the other voices i n c l u d i n g the bass must be struck w i t h the i n i t i a l tone of an embellishment. Yet as often as this r u l e is cited, so o f t e n is i t v i o l a t e d . 0
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25. Because o u r present taste, to w h i c h I t a l i a n bel canto has c o n t r i b u t e d greatly, demands more than French ornaments alone, I have had to accumulate the embellishments of several countries. T o these I have added a few new ones. I bélieve that that style of performance is the best, regardless of the i h s t r u m e n t , w h i c h a r t f u l l y combines the corree tness a n d b r i l l i a n c e of French ornaments w i t h the suavity of I t a l i a n singing. Germans are i n a good position to effect such a unión so long as they r e m a i n free of prejudices. 26. T h e r e f o r e i t may well be that some, predisposed to only one taste, w i l l n o t be satisfied w i t h m y choice of ornaments. However, i t is m y belief that i n music no one can offer reasonable c r i t i c i s m w h o has n o t listened to a l l styles and cannot select the best f r o m each. I agree w i t h a certain great rrian's opinión that, a l t h o u g h one taste may be better t h a n another, each contains something good and none is so perfect that i t w i l l n o t endure additions. I t is t h r o u g h such additions and refinements that we have progressed this far and w i l l advance even f u r t h e r , b u t , certainly, n o t t h r o u g h a d d i c t i o n and restriction to o n l y one style. E v e r y t h i n g good must be p u t to use regardless of its origins. 1 1
27. Embellishments and their execution f o r m a large part of good taste. T h e r e f o r e the performer must n o t be inconstant a n d ac9 Remainder of paragraph from ed. of 1787. From the ed. of 1787. 11 His father's. Marpurg wrote in Der Critische Musicus an der Spree, Sept. 2, 1749, " I n every type of music, in the music of every country there are bad and also good things. T h i s is the opinión of oíd Bach of Leipzig who certainly counts for something in music." 1 0
E M li El. 1.1 S II M E N T S
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cept u n c r i t i c a l l y cvcry ncw r a n d o m ornament. Ñor should lie be so predisposed toward himself and his own taste that he is obstinatcly u n w i l l i n g to accept anything strange. Certainly severe tests should precede the acceptance of the new, for i t is possible that u n n a t u r a l novelties m i g h t i n t i m e make good taste as rare as s k i l l . However, w h i l e i t is wise n o t to be the first, one should also n o t be the last to acknowledge new ornaments i n order not to f a l l o u t of style. Do not t u r n against t h e m because they sound unattractive at first. T h e new, as engaging as i t may be at times, very often repels us. T h i s may indicate the presence of merits that w i l l prove more longlived than those qualities w h i c h at first are entirely too pleasant. As a r u l e we soon t i r e of such charms and they end by revolti n g us. 28; Just because most of the illustrations of embellishments are w r i t t e n for the r i g h t hand, i t must n o t be assumed that I f o r b i d these adornments to the left. I n fact I advise strongly that a l l ornaments be practiced by b o t h hands, the more so because this develops a general f a c i l i t y and dexterity. W e shall see later that certain ornaments are frequently assigned to the bass. Moreover, a l l i m i t a t i o n s must be exact to the smallest d e t a i l . Henee, the left h a n d should practice ornaments u n t i l i t can i m i t a t e skillf u l l y , for ornaments that lose their charm t h r o u g h poor execution are better o m i t t e d entirely. 29. I t w i l l be gathered f r o m the f o l l o w i n g pages that the explanations of ornaments w h i c h have been added to the second p a r t of m y Sonatas are w r o n g . T h e publisher presumed to p r i n t these under m y ñame w i t h o u t my consent or knowledge. I am as guiltless here as I was i n the case of the p u b l i c a t i o n of VI Sonates nouveaux per Cémbalo, 1751, listed under m y first a n d f a m i l y ñames o n page 8 of this year's e d i t i o n of Lotter's Catalogus aller musicalischen Bücher. I have n o t yet examined these Sonatas, b u t I am q u i t e certain that either they are n o t m i n e at a l l or, at the most, are oíd, badly copied things, stolen and then published, a very usual occurrence. 1 2
13
12 T h e Württemberg Sonatas (Nagels Archiv Nos. 21, 22) as published by J . Huffner in Nuremberg, 1744. i s An oíd firm of music printers founded about 1726 in Augsburg by Johann Jakob Lotter. T h e works mentioned may be the six Sonatinas listed by Wotquenne (No. 64) as compósed in Leipzig in 1734 and revised in Berlín in 1744. O r , as suggested by Bach, they may be works falsely ascribed to him. Johann Christian Bach, along with many other well-known composers of the time, was a victim of this practice.
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1. Appoggiaturas are among the most essential embellishments. T h e y enhance h a r m o n y as w e l l as melody. T h e y heighten the attractiveness of the latter by j o i n i n g notes smoothly together a n d , i n the case of notes w h i c h m i g h t prove disagreeable because of their length, by shortening t h e m w h i l e filling the ear w i t h sound. A t the same t i m e they p r o l o n g others by occasionally repeating a preceding tone, and musical experience attests to the agreeableness of w e l l contrived repetitions. Appoggiaturas m o d i f y chords w h i c h w o u l d be too simple w i t h o u t t h e m . A l l syncopations and dissonances can be traced back to t h e m . W h a t w o u l d harmony be w i t h o u t these elements? 2. Appoggiaturas are sometimes w r i t t e n i n large n o t a t i o n and given a specified length i n a bar. A t other times they appear i n small notation, and the large notes before w h i c h they stand r e t a i n t h e i r length visually a l t h o u g h i n performance they always lose some of i t to the ornament. 3. T h e l i t t l e that is n o t e w o r t h y about the former w i l l be reserved for the conclusión of this section. B o t h types ascend as w e l l as descend to the p r i n c i p a l note. 4. I n execution some appoggiaturas vary i n l e n g t h ; others are always r a p i d . 5. Because of their v a r i a b i l i t y , such appoggiaturas have been notated of late i n their real length (Figure 69). P r i o r to this a l l were w r i t t e n as eighths. A t that t i m e , appoggiaturas as diverse as ours were n o t yet i n use. T o d a y , we c o u l d n o t do w i t h o u t the notat i o n of their real valúes, for the rules covering their l e n g t h i n performance are insuflícient to cover a l l cases, since a l l types appear before every k i n d of note. 2
6. W e can readily see i n the examples of Figure 69 that at times appoggiaturas repeat the preceding note (a), at times they do n o t (b), and that the f o l l o w i n g note may lie a step above or below, or i t may be separated f r o m the ornament by a leap. 1 Der Vorschlag. 2 T h i s practice was generally adopted in the latter half of the eighteenth century. T h e alternative (cf., par ex., Haydn) was to write the ornament in large notation, as described in f 2. Henee the rules of length as discussed later in f u refer to a dying practice, not always applicable even to the music of J . S. Bach. Cf. H . Schenker, Ein Beitrag zur Ornamentik, pp. 26 ff.
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13. I t is wholly natural that the unvariable short appoggiatura should appear most frequently before quick notes (Figure 76, Example a). I t carries one, two, three, or more tails and is played so rapidly that the following note loses scarcely any of its length. I t also appears before repeated (b) as well as unrepeated (c) long notes. Further, i t is found in caesurae before a rapid note (d), and insyncopated (e), tied (/), and slurred passages (g). I n all such cases, the character of the notes remains unchanged. Example h with an ascending appoggiatura is better when the ornament is played as an eighth. For the rest, the short appoggiatura remains short even when the examples are played slowly.
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The notation of the short appoggiatura as a small eighth note with a diagonal stroke through the tan was not used by Bach, ñor indeed by the Viennese Classical School. However, it did make its appearance in early nineteenth-century editions of their works, notably those of Mozart published by André. While the older notation gave rise to ambiguities (where variable and short appoggiaturas have the same notation) the later notation, apart from those cases where editors used it indiscriminately for both the long and the short ornament, has the disadvantage of dulling the performer's sensitivity to subtle variations of length in the short appoggiatura, as described in the following ^| 14. A few short appoggiaturas, notated in the later manner, appear in J . S. Bach's Werke, 36.4, pp. 10-11, 14. They are not authentic. 5
12. The examples under Figure 75 are frequent occurrences. Their notation is not the most correct, since i n performance the rests are filled i n . Dotted or longer notes should be written instead.
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with all ornaments, the lempo must be a suitable one, for an excessive speed does not allow for embellishment. The asterisked example is intended to show us that an appoggiatura does not sound well before a long note preceded by a much shorter one. Later, we shall learn that an ornament which is better at filling out may be introduced here. 10
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14. When these appoggiaturas fill i n the interval of a third, they also are played quickly. However, i n an Adagio their expression is more tender when (Example a, Figure 77) they are played as the first eighth of a triplet rather than as sixteenths. The accurate división of triplets can be learned from Example b. For various reasons the resolving tone of a melody must often be quitted abruptly. When such a tone is an appoggiatura, it too must be played rapidly (Example c). I n this example, the appoggiatura, which is present only to complete the run, must be very short so that the principal tone, c, which is the cause of the free execution and is therefore always especially important, loses little or nothing of its valué. Appoggiaturas before triplets must also be played quickly so that the rhythm remains clear (d) and distinguishable from that of Example e. When the appoggiatura forms an octave with the bass i t is played rapidly because of the emptiness of the interval (/). On the other hand, it is often prolonged when it forms a diminished octave (g). I t remains short when it is substituted for a cadential t r i l l (h). 15. When a melody ascends a second and then returns_to either a large note (Figure 78) or another appoggiatura (a), the middle tone may be readily decorated with a short appoggiatura. I n Figure 79 there are many such passages containing notes of various lengths i n duple and triple rhythms. We learn from Example a that a long appoggiatura may also be used here. I t is taken for granted that the phrasing is normally legato i n such a context, since detached notes must always be more simply performed and also because appoggiaturas are invariably joined to the following tone. Further, as 6
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This sentence appears as a footnote in the ed. of 1787. 7 Or, as Bach explains manipulated progressions in Part I I , the underlying progression is from the opening d" to the quarter note c", and the outline of the upper voice is the two-part progression: d"—c" g'-f'-c. » This sentence from the ed. of 1787.
f rf
Figure 78
|
gjj 11
Figure 79
J |>JP1_ÜLUS
U, S
Í/T J
6
9 Example h from the ed. of 1787. 1 0
See Figure 153, Example c.
s_
h.
cj.f
E M li E L L I S II M E N T S
EM
r
r
r
W-0
4°
^4
S 11 M EN
TS
95
80, Example a). A t times the length is determined by the accompaniment, as i n Example b, where, if the appoggiaturas are played as full quarter notes, the fifths struck against the bass w i l l sound ugly. I n Example c, i f the appoggiatura is held beyond its written length, it w i l l créate open fifths. Again, i n Figure 69, the appoggiatura i n the asterisked example must not be prolonged or the seventh w i l l sound too harsh.
| , ^ i y ijp r
BELLl
i
Figure 80 - a.
t
ir
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4" » T l;
j
Jh
<2.
m i'[ § i . rmr rr uf i p g
17. Henee, as with all embellishments, the introduction of an appoggiatura must not corrupt the purity of voice leading. For this reason the examples of Figure 81 had better not be put into practice. Thus it is best to nótate all appoggiaturas i n their real length. Figure 81
I i I I i I LU l 'l 11 —ii
1 "i
—Ji
18. A profusión of appoggiaturas with their releases is particularly good i n affettuoso passages since the releases usually expire pianissimo (Figure 82). I n other cases, however, they make a 11
>
¡i
m
^
11
4.»
fl
1—L 16. W i t h regard to the rule covering the length of appoggiaturas, there are a few situations i n which the ornament must be extended beyond its normal length because of the affect. Thus it may take up more than half the valué of the following tone (Figure
Figure 82
&
T
11 Cf. J. S. Bach, F rainor Prelude, Bk I I , W T C , and the Toccata of the E minor Partita.
6
EM
E M li E I. L l S 11 M E N T S
9
melody insipid unlcss they are followed by livelicr embellishments or are themselves supplemented by additional ornaments 19. When an appoggiatura is decorated, the following tone is best performed plainly. Its simplicity will be happily complemented by its usual piano execution. A n undecorated appoggiatura, however, leads well to a succeeding embellishment. This latter is i l lustrated i n Figure 83, Example a, and the former i n Example b. 20. The decorating of appoggiaturas leads us to other embellishments which will be explained later. Because these are often written as small notes, it is better to write the appoggiatura i n such cases as a large note with its length clearly notated (Figure 83, Example c). I n slow pieces the appoggiatura as well as the following tone may be embellished on occasion (d). 21. However, appoggiaturas are often written i n large notation as a means of indicating that neither they ñor the following tones are to be decorated (
d.
ir
h.
a*
Figure 84
97
1 2
j
v=4r= P f>
fe
22. Although the note following an appoggiatura relinquishes part of its length, it does not lose any of its own embellishments (Figure 84). On the other hand, embellishments which belong to the appoggiatura should not be placed over the following tone. They must always be written directly above the note to which they pertain. I f they are to be performed between the appoggiatura and the following tone the symbol must be placed between the two notes (Figure 85).
TS
23. Descending appoggiaturas written i n large notation may be decorated by another appoggiatura, long or short, when they repeat the preceding tone (Figure 86, Example a), or when they do not lead into closing tones (Example b is therefore wrong). Ascending appoggiaturas i n large notation do not take another appoggiatura either from above or from below. (c). They may, however, be followed by one (d).
r.
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HE L L I Sfl MEN
11 J> ? J F ^ ^ = - -+ :
p" r r r r
•'-—•-
-^0-4
24. A few additional incorrect uses of the appoggiatura remain to be considered. I t is wrong to place a descending appoggiatura before the final tone of a cadenee when the final tone is preceded by a t r i l l without an appoggiatura (Figure 72, Example g). However, a t r i l l which is graced by this ornament may be followed by a similarly graced final tone regardless of whether the final tone stands lower (Figure 87, Example a) or higher (b) than the t r i l l . Another error is the separation of an appoggiatura from its following tone either because the ornament is prematurely quitted or because it has usurped a portion of the preceding note's valué (Figure 88, Example a). Figure 87
a.
ir
r 1?
ir
m
5te
12 Quantz and Bach are in complete disagreement over the performance of this
Figure 85 a
PP°gg'
a t u r a
- The former writes (Versuch einer Anweisung
die Fióte traversiere zu
spielen), "Two appoggiaturas are often found before a note, the first written as a small note and the second as a large, measured one. They appear at caesurae. The small note is short and placed on the preceding divided beat." Bach, of course, wanted the small note to be played on the beat of the large appoggiatura. This difference
8
EMBELLISHMENTS
9
EM fí EL 1.1 SU M EN
25? This latter dislocation is the origin of the repulsive unaccented appoggiatura, so extraordinarily popular, which is reserved, unfortunately, for the most legato passages, such as those i n Figure 88, Example b. I f appoggiaturas should or must be used i n such cases, the asterisked executions are more tolerable. Henee, the remedy for unaccented appoggiaturas is to shift them ahead to the next accent. Yet a good and frequent use of the unaccented appoggiatura is illustrated i n Figure 89, Example a. However, the last bar is more fashionable than harmonious. Figure 89, Example b, is to be avoided. I t illustrates those cases i n which a very short descending appoggiatura is inserted between an ascending one and its principal tone at a cadenee or i n a melody which does not descend immediately afterward.
TS
Figure 88
1
13
14
fiares up when Bach (f 25) calis the weak-beat appoggiatura the "hasslicher Nachschlag." Cf. note 13. is Nachschlag. Bach's high-handed treatment of this ornament has brought censure from many sources. For example, the Bibliothek der schónen Wissenschaften, in reviewing the Essay in 1763, wrote: "Marpurg [Anleitung zum Klavierspielen] gives us better information on the Accent, dividing it into Vorschlag and Nachschlag, which latter, Bach has actually neglected, treating it only superficially here and there." Later, Dannreuther and especially Dolmetsch grew exercised over Bach's feelings and pointed out, not without indignation, that this ornament had an honorable past (cf. Dolmetsch, The Interpretation
of the Music of the XVIIth
and XVIIIth
Centuries,
pp. 148 ff.). Quantz (op. cit.) gives consideration to the Nachschlag or, as he calis it, the durchgehende Vorschlag, an unaccented appoggiatura that filis in the interval of a third in the manner of Figure 87, Example a, here. In France, where it had wide use, it was known as "couler les tierces." Concerning its performance as a Vorschlag (cf. ^1 14 here) Quantz writes: "This would be contrary to the French style from which the ornament springs and the intentions of its authors, who won almost universal acclaim for this device." Bach and Quantz are in obvious disagreement. The strong adjectives used by the former in describing it here and in the sections on The Trill (f 21), "The Turn" (f 29), also in Ch. III, f 27, indícate that he must have winced more than once as court accompanist. However, it must be pointed out in Bach's defense that he was not, as generally believed, unconditionally opposed to the ornament. See, for example, Figure 89, example b, and, in the Lessons, Sonata IV, second movement, and third movement, bars 14, 19, 46. A casual examination of the collections for Connoisseurs and Amateurs will reveal others. He always writes it in large notation except when it is incorporated into a larger ornament (cf. "The Slide"), because his basic rule for the performance of ornaments written in small notes is that they must be played on the beat of the following principal tone (cf. Ch. I I , ^ 23, 24). The essential reason for his disapproval becomes apparent upon reading his description of the functions of the appoggiatura i(i % 1 of the present section, especially the last two sentences. His immediate objections are directed to the excessive use of the ornament, its free insertion by performers, and above all its use where the appoggiatura proper is specified. All of us have suffered on this last score and henee should commiserate with Bach to a degree. M Remainder of paragraph from ed. of 1787.
P e í iTJT)^sf •i. ffi
é
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-
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.
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9 circir Figure 89 ^
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1 II
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26. Other embellishments which are written as small notes w i l l be explained i n later sections. THE
TRILL
1. Trills enliven melodies and are therefore indispensable. I n earlier times they were introduced chiefly after an appoggiatura (Figure 90, Example a) or on the repetition of a tone (b). The first i» Figure 89, Example b, from ed. of 1787.
E M ¡i E L L 1 SU M E N T S
loo
EMBELLISHMENTS
101
is called the enclosed trill. Today they are used in both stepwise and leaping passages, immediately at the beginning of a movement, i n SUCCession, at cadenees, and, i n addition, on held tones (c), fermate (b), and caesurae without (e) as well as with (/) an introductory appoggiatura. Thus, this embellishment has become versatile with the passing of time.
6. A t times two short notes from below are appended. These are called the suffix, and they serve to make a more rapid trill (Figure 92, Example a). The suffix is often written out (b) as well as indicated through an addition to the symbol (c). However, since the long mordent has almost the same symbol, I think it better to retain the m and avoid confusión.
Figure 90
Figure 92
a.
b.
I
&
c.
ir ur:
3E
ir
pj>r | i f i P g p i 2. However, i t is strongly recommended that the t r i l l be employed circumspectly i n affettuóso passages. 3. The accomplished keyboardist has four trills; the normal, ascending, descending, and half or short t r i l l . 4. Each has its distinctive sign i n keyboard pieces, although all may be indicated by either the abbreviation tr. or a cross. The performer has no need to be unduly concerned about the proper location of the t r i l l , for its acknowledged symbols are almost always notated. 5. The normal t r i l l has the sign of an m (Figure 91, Example a), which is extended when it appears over long notes (£>). Its execution is illustrated i n Example c. Since it always begins on the tone above the principal note, it is superfluous to add a small note (d) unless this note stands for an appoggiatura. Figure 91 1
-
c
**• ir
This is a rule of long standing. On the strength of Bach's inclusión of it and the numerous examples that follow, it is safe to conclude that there is no form of Bach trill that starts on the principal tone. The closest to one is the ribattuta, which is illustrated in passing (\5 and Figure 105), although Bach does not give it its common ñame. Note, however, that when the trill proper enters in this example it is the ascending kind and does not commence on the principal tone. The trill-like long mordent starts on the principal tone, but it alternates with the lower neighbor 1
2
7. Trills are the most difncult embellishments, and not all performers are successful with them. They must be practiced industriously from the start. Above all, the finger strokes must be uniform and rapid. A rapid t r i l l is always preferable .to a slow one. I n sad pieces the t r i l l may be broadened slightly, but elsewhere its rapidity contributes much to a melody. W i t h regard to the amount of pressure, the performer must be guided by the nature of the passage, be it forte or piano, i n which the trill appears. 8. I n practicing the t r i l l , raise the fingers to an equal but not an excessive height. T r i l l slowly at first and then more rapidly but always evenly. The muscles must remain relaxed or the t r i l l w i l l bleat or grow ragged. Many try to forcé it. Never advance the speed of a t r i l l beyond that pace at which it can be played evenly. This precaution must be heeded i n practicing rapid as well as difncult passages so that they may be performed with fitting lightness and clarity. Through intelligent practice it is easy to achieve that which can never be attained by excessive straining of the muscles. When the upper tone of a t r i l l is given its final performance i t is snapped; after the stroke the upper joint of the finger is sharply doubled and drawn off and away from the key as quickly as possible. 3
4
5
9.
The t r i l l must be practiced diligently with all fingers so that
and henee has no bearing on the present point (cf. Figure 140, example a). However, see Schenker, Ein Beitrag zur Ornamentik, p. 34, % 3, where a broader explanation is evolved. 2 Nachschlag. Bach uses this term in a general rather than specific sense. It applies to ornaments, parts of ornaments, or other notes that fall on divided, or fractional, beats. 3 From meckern. Marpurg calis it chévroter. * This sentence and the following were footnotes in the ed. of 1787. 5 Cf. Ch. I , Note 2.
roí
EMBELLISHMENTS
E M li E E El Sil M E N T S
they will bcconic strong and dexterous. However, let no one believe that all of the lingers can be made to trill equally well. For one thing, there are natural differences among them, and for another, compositions usually offer more trills for certain fingers than for others; henee these are unwittingly given more practice. Yet prolonged trills appear at times i n outer parts and preclude a choice of fingers, most of them being engaged in performing the inner parts. In additiori certain passages are extremely difficult to perform unless the little finger has learned to t r i l l rapidly, as illustrated i n Figure 93. Figure 93
10. No one can succeed without a minimum of two good trills i n each hand: The second and third, and the third and fourth fingers of the right hand; and the thumb and second, and second and third fingers of the left. I t is because of this normal fingering of trills that the left thumb grows so agüe and along with the second finger becomes about the most active of the left hand. 11. Some performers practice double trills i n thirds with one hand. Various examples of these may be constructed from Figure 42. Such exercise, pursued as far as one wishes, is beneficial to the fingers, but aside from this it is better not to employ double trills unless they can be made to sound even and distinct, the two desiderata of good trills. 12. When the upper tone falls on a black key and the lower on a white key it is ñot incorrect to perform a t r i l l with the second finger of the left hand crossed over the thumb as illustrated i n Figure 94. Also, some find it convenient to trill with the third and fifth or the second and fourth fingers of the right hand when the action of the keys is stiff.
Figure 94 ,2121
„
13. Trills on long notes are played with a suffix regardless of a subsequent stepwise descent or ascent. The suffix may also be added to a t r i l l followed by a leap (Figure 95, Example a). When the decorated notes are short, an ascent (b) is better after a suffix t r i l l than a descent (c). Although i n quite slow tempi the trills of Example d may be suffixed (despite the fact that the rapid notes following the dot may be used as substitutes), i t can be seen that a descending second is the least favorable for such an addition. I t is not unconditionally necessary to suffix the ornament, provided that the dotted notes are trilled for their full length^ The manner of performing the endings i n this example w i l l be taken up i n the following paragraph, which discusses dotted notes. Figure 95
i f j f i'D 1 u TrJiTBjp
6
s
o This is in complete agreement with Couperin (L'Art de toucher le clavecín). The thumb of the left hand played a more active role than that of the right in older systems of fingering. For example, a widely used ascending fingering for the left hand was: 4, 3, 2, 1, 2, 1, 2, 1, while the corresponding descent for the right hand was: 5, 4, 3, 2, 3, 2, 3, 2.
?
I
m
i
14. Dotted notes followed by a short ascent also alíow for suffixed trills (Figure 95, Example e). However, instead of the usual extremely rapid motion into the following note (/), when dotted notes are trilled a very short separation must be made between the last tone of the suffix and the following note (g). This separation need only be long enough to show that the suffix and the following note are two sepárate elements. Its length is dependent on the
104
M
l {
K
E L 1 S 11 M EN
TS
EMBELL1
lempo; henee the execution of Example g is only approximately suggested by the time valué of the last tone of the suffix, for the note following a dot is always shorter i n execution than its notated length (a point which will be treated i n Chapter I I I ) . The suffix running directly into the following note i n Example h is, of course, incorrect. The composer who wishes such an execution must cali for it expressly. 15. The suffix must be played as rapidly as the trill proper. A trill i n the right hand for the thumb and second finger is not favorable for a suffix because it can be added only by crossing the fingers, which retards its pace. I n this manner the best trill will be brought to a ruinous end. 16. The unsuffixed trill is best used i n descending successions (Figure 96, Example a) and principally over short notes (b). The suffix is omitted from successive trills (c) and from trills followed by one or more short notes which are capable of replacing i t (d). I f this substitution is made, the asterisked example must not be played 7
/)
b.
i Uf
1 r
* • J
RI
i
i
______ JTT.
'
1
** 1
1
n j-—aba II 1 *i
J 7 Cf.
Ch. III, f S3.
TS
1
0
/*»•'
j
F ~ g r 4 =
- 1
1
19. When accidental signs are not included with the symbols of trills and suffixes the correct alterations may be arrived at by considering the preceding tones (Figure 98, Example a) or the succeeding (b). Sometimes the ear alone or modulations will díctate the necessary changes (c). While we are on this subject, it should be observed that neither trills ñor suffixes are allowed i n the interval of an augmented second (d). Aside from the keyboard there is a constant need for the notation of accidentáis attendant on trills; especially i n ripieno parts, for i n these it is difficult to perceive modulations with their rapid alteration. For this reason many set the accidentáis as appoggiaturas before the trill. This, however, is confusing i n that it suggests a holding of the initial tone rather than an immediate t r i l l . Figure 98
a.
*/*»*"
1
r - g g II - mP
j J J
J >
J
5
Figure 97
8
J
S 11 MEN
in the slowest tempo. Furthcr, the suffix is not employed over triplets (e). I t is always omitted from the last of those in Example e, although it may be introduced into the first three, but only i n very slow tempos. 17. The average ear can always tell whether the suffix should be used. I have discussed it here only for the benefit of beginners and because this is its proper place. 18. I n very rapid tempos the effect of a trill can be achieved through the use of the appoggiatura (Figure 97). The last two short notes are not an unsatisfactory substitute for the suffix.
r
>•
ÉlI Üüiilüg J i
J
M T f f
s Remainder of paragraph from ed. of 1787.
M
toó
E M B E E LISHM
E N TS
20. Aniong the errors unwittingly causee! by trills we shall first mention the following: Many burden the first notes i n the examples of Figure 99 with a trill despite the presence of a slur. No matter how enticing the appearance of such notes, they must not be trilled. Why must the finest legato passages be ruined so often by inept playing? Indeed, most errors are committed i n just such places. Trills are introduced i n an attempt to rescue these passages from oblivion. The pampered ear demands such treatment, being incapable of perceiving anything but a bustling noise. I t is apparent that those guilty of these faults can neither think lyrically ñor grant to each tone its proper weight and length. Tones w i l l sing on the harpsichord as well as on the clavichord if they are not detached Crom each other, although one instrument may be better constructed for this purpose than another. The French are not well acquainted with the clavichord, most of their compositions being written for the harpsichord^ Yet their works are replete with held and legato notes which are indicated copiously with slurs. Even when the tempo is too slow or the instrument not good enough to sustain tones properly, it is better to sacrifice a little of the clear flow of a legato passage than to disrupt it with trills, for a correct performance will be ampie compensation for the lack of sonority. There are many things i n music which, not fully heard, must be imagined. For example, i n concertos with full accompaniment, the soloist always loses those passages that are accompanied fortissimo and those on which the tutti enters. Intelligent listeners replace such losses mentally, and it is primarily such listeners whom we should seek to Dlease. Figure 99
JL
0
M
• J
J
0' m 0
> »
3
21. There are other errors as ugly as they are frequent: The appending of a limp suffix to a t r i l l as i n Figure 100; the addition to the suffix of a short note, which can be justly included among the worthless unaccented appoggiaturas (Figure 101); failure to give trills their full length, which (excepting the short trill) must always agree with the valué of the note over which the symbol ap9
9Cf. Ch. II, "The Appoggiatura," Note 12.
EM
BEL
1.1 Sil M EN
TS
107
pears; plungíng directly into a trill without playing a preceding appoggiatura or properly joining both ornaments; performing such an impertinent t r i l l loudly i n a subdued, plaintive context; trilling excessively under the delusion that every moderately long note must bear a t r i l l . These are the pretty little trills mentioned i n Paragraph 10 of the Introduction. Figure 100
Figure 101
Q ~r — 22. The ascending t r i l l with its symbol and execution appears in Figure 102. Because, aside from the keyboard, this symbol is not widely known, it is often notated in the manner of the asterisked examples; or the general abbreviation tr. is written, the choice of t r i l l being left to the discretion of the performer. 1 0
Figure 102
23. The ascending t r i l l requires a long note, for it comprises many tones, including the normal suffix. A rapid suffix is written out. W i t h regard to such details the performer should follow the precepts, previously discussed, of the normal t r i l l . 24. The examples of Figure 103 are noteworthy. Example a illustrates a suffix introduced after a tie; i n Example b the suffix may be omitted because of the sixteenth; likewise i n c, because of the thirty-seconds; however, i n a sufficiently slow tempo, or at a cadenee or before a fermata (it being permissible to broaden ad libitum i n the latter two), the suffix is included and the succeeding short notes appended, the final one being played somewhat slower than the other (d). I n my opinión, this widely used embellishment can be best applied to Example c, although the last notes must be played occasionally at other speeds. I n passing, note that i n minor mode cadenees the t r i l l is sometimes played on the sixth above the bass rather than the fifth. 10 Der Triller von unten.
EM
BEL
LI Sil M EN
TS
EMBELLISHMENTS
b.
4$.
P
109 Figure 1107
Figure 106
-CZL
26. I n successive leaps only the normal t r i l l may be used (Figure 108). I t is wrong to attempt to bring such a passage into bolder relief by means of ascending or descending trills. Figure 108 1 2
r 25. Thus the ascending t r i l l appears principally over long notes, especially at cadenees, and before fermate. I n addition, however, i t is found over a repeated note as i n Figure 104, Example a, i n conconjunct motion (b), and after a leap followed by an ascending or descending progression (c). Over long notes of several bars, trills that threaten to lapse can be revived by means of the ascending prefix, but i t must be interpolated without causing the slightest discontinuity. The ascending t r i l l is well fitted to this purpose of resuscitation, for its insertion renews the fingers' strength. I t is possible to move through an octave with such a t r i l l , for its two short introductory notes facilitate the fingering. Figure 105 illustrates a manner of approaching it by means of a gradual acceleration, a device frequently employed at cadenees. The ascending t r i l l may also be used i n the course of modulatory changes, as i n Figure 106. Figure 107 illustrates its application to caesurae. 11
Figure 104
-a.a.
b.
&rrET'r r J
Q
a.
rr
1
F
l
g
l
"
e
—
T
m
27. The descending t r i l l is illustrated i n Figure 109 with its correct symbol and execution. Apart from the keyboard i t is occasionally notated i n the manner of the asterisked example. Figure 109
i i §g
r rr r r i
28. Because it contains more tones than any other t r i l l i t requires the longest notes. Henee both of the previously discussed trills are better suited for a cadenee such as that of Figure 11 o than the descending t r i l l . I n earlier times it was used widely, but today i t is restriced largely to a repeated tone (Figure 111, Example a), descending successions (b), and downward leaps of a third (c). Figure 110 Allegretto Figure 111 a. W
1
r~
TTT 1 1
Known generally as the
ribattuta.
T>
1 2
r -twr
r rr rr
Der Triller von oben. Cf. f 27.
T
E M li E L E I S H M E N T S / 1() 29. Because, as already mentioned, ornaments must not corrupt the purity of voice leading, it is better to employ either the normal or the descending t r i l l i n Figure 112, for the ascending t r i l l creates forbidden fifths. Figure 112 **' /U
T7*r f 30. The half or short t r i l l , which is distinguished from the others by its acuteness and brevity, is notated for the keyboard i n the manner of Figure 113. Included i n the figure is an illustration of its execution. Despite the upper slur, which reaches from the beginning to the end of the example, all notes are played except the second g and the last f, each of which is tied to its preceding tone by another slur which indicates that it must not be struck. The large slur merely specifies the attendant phrasing. 13
1 4
E M ñ E L L ¡SUMEN
T S
m
in Paragraph 8, but with such exceeding speed that the individual iones will be heard only with difficulty. Herein lies its acuteness, which stands beyond comparison with the sharpest of other trills. Like the short appoggiatura, it may appear over rapid notes, but i t must be played with such speed that the listener will not feel that the note to which it is applied has lost any of its length, but rather that it has entered precisely at the proper moment. I t must not sound as frightening as it looks fully written out. The short t r i l l adds life and brilliance to a performance. I t is possible, when necessary, to omit any other ornament, even the other trills, and arrange matters so that easier ornaments may be substituted for them. But without the short t r i l l no one can play successfully. Even if all other ornaments were correctly performed, no one could be happy in the absence of this one. 33. Since the short t r i l l deniands great skill and speed i n execution, it is best performed by those fingers that t r i l l the best. Consequently, it is permissible, as illustrated i n Figure 114, to take liberties with the fingering of a passage and adopt unusual expedients i n order to execute the ornament. Of course, this must be done so skillfully that the performance as a whole does not suffer. ;
Figure 113 Figure 114 _,
31. The short t r i l l joins the preceding note to the decorated one and therefore never appears over detached notes. I t represents in miniature an enclosed, unsuffixed t r i l l , introduced by either an appoggiatura or a principal note. 32. The half or short t r i l l is the least dispensable, the most attractive, but at the same time the most difncult embellishment. Played incorrectly, either it cannot be heard at all or else it sounds limp and ugly, which are attributes far from its true ones. Unlike other ornaments, it cannot be demonstrated slowly to students. I t must literally crackle. I n order to be truly effective the upper tone must be snapped on its final appearance i n the manner described 13 Der halbe oder Prall-Triller. The symbol is that of our inverted mordent, but cf. Ch. II, "The Snap," f i and note i . 1* In the original illustration (Figure 113 here) this "second g" was not tied to the first, an oversight that has been perpetuated in most later (nineteenth- and twentiethcentury) reproductions.
„,
34. The half or short t r i l l appears only i n a descending second regardless of whether the interval is formed by an appoggiatura or by large notes, as depicted i n Figure 115. I t is found over short notes (Example a) or over those made short by a preceding appoggiatura (b). I n this latter respect, when it appears over a note extended by a fermata, the appoggiatura is held quite long and the t r i l l is quickly snapped as the fingers withdraw from the keys (c).
• l°\ í-
/ / 2
M
n /•: 1.1.1 s n
AÍ /•; N
r s
.'55. In addition to its cniployment at cadenees and ¡ermale it is Eound in descending passages oí three or more tones, as in Figure íi 6. I n this use it resembles the unsuffixed trill in a descending succession and, like it, appears in passages where long notes are followed by short ones (Figure 117).
EMBELLISHMEN
TS
side according to whether they pertain to the first or the third ^bone, as illustrated in Example a. Figure
118
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Modéralo
Presto
Figure 116
Figure 117
36. W i t h regard to the execution of this trill, it must be pointed out that it is almost insuperably difficult to play it lightly at the pianoforte. Because the snap requires pressure, its performance on this instrument increases the volume. Yet it is impossible to perform our trill without this characteristic element. Henee the performer is faced with a dilemma, worsened by the fact that the short trill either by itself or combined with the turn often follows an appoggiatura and therefore, according to the rules governing the execution of appoggiaturas, must be played softly. T h e problem arises i n all snaps, but particularly here, where it assumes its most radical form. I doubt that the most intensive practice can lead to complete control of the volume of the short trill at the pianoforte. THE
TURN
1
1. T h e turn is an easy embellishment which makes melodies both attractive and brilliant. Its symbol and execution are shown in Figure 118. Leaps of an octave or other large intervals necessitate the use of four fingers i n order to perform it. W h e n such is the case it is customary to place two fingering numeráis over the decorated note. C o n t e x t often requires the placing of one or two accidentáis over the symbol. T h e y appear on the right- or left-hand 2
1 Der Doppelschlag. 2 Remainder of paragraph from the ed. of 1787.
2. Because it is almost always performed rapidly I have had to illustrate the valúes of its notes in slow and rapid tempos. It is also indicated by the symbol that appears i n the asterisked example. I have chosen the other i n order to avoid an ambiguous placing of fingering numeráis. 3. T h e turn is employed i n slow as well as fast movements, and over slurred as well as detached notes. I t does not appear to advantage over a very short note because the time demanded for the performance of its several tones may detract from the clarity of the melody. 4. T h e turn is sometimes found alone, sometimes in combination with the short trill, and also after one or two thirty-seconds i n small notation which are placed before a large note and differ from the appoggiatura, as we shall see presently. 5. W h e n the turn alone is used, its symbol may appear either directly over a note or after it, somewhat to the right. 6. I n the first case it is employed, as illustrated i n Figure 119, in stepwise successions (a), leaps (b), caesurae (c), cadenees (d), fermate (e); immediately at the beginning (/), i n the middle (g), or at the end after an appoggiatura (h); over a repeated tone (i), or a note preceded by a repetition regardless of whether the note is reached by a step (j) or a leap (k); without an appoggiatura, with one, over one (l), after one, etc. ¡> E . F . Baumgart (Foreword to his edition of the Kenner und Liebhaber collections, Breslau, 1863) expressed the opinión that in the Moderato example /-sharp should be a sixteenth, the additional beam being an oversight. Cf. Figures 68, 128, and H . Schenker, op. cit., p. 45, note 1. * Example a from ed. of 1787.
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would oceupy the entire duration of the note, the turn, much shorter, would leave a part of the length unfilled. 11. While discussing this matter, I must point out an exception in slow tempos where, because of the affect, a t r i l l may be replaced by a soft turn, the last tone of which is held until the following note enters. As illustrated i n Figure 120 this may oceur i n cadenees and also after an ascending appoggiatura (a).
Figure 119
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7. This lovely ornament is almost too obliging. I t fifs almost everywhere and consequently is often abused. Many seem to believe that the sum and substance of the keyboardist's art consists in introducing turns at every slightest instance. Henee its correct use must be carefully investigated, for, despite its complaisance, many apparent opportunities arise which are not actually suitable to i t . 8. I n most cases the turn serves to add brilliance to notes. Henee, passages which must be played undecorated and sustained because of the affect are ruined by those who insert a turn because of the length of the notes, i n ignorance of style and touch. Also, the error of excessive use common to all ornaments applies to this one. 9. A general understanding of its correct use can be gained by considering the turn a normal, suffixed t r i l l i n miniature. 10. I n most cases the turn is performed rapidly and its upper tone is snapped i n the manner already described. Henee i t is wrong to play it instead of the normal t r i l l on a long note. While the t r i l l
12. I t follows from its similarity to the suffixed t r i l l that the turn prefers an ascending to a descending following tone. I t is easy to move upward (but not downward) through an octave or even further by means of a series of turns. Aside from the keyboard this frequent use of successive turns is indicated i n the manner of Figure 121. The turn should not be applied to rapid, descending notes. I t may replace the t r i l l i n those cases where the latter is difficult to perform owing to the presence of another voice i n the same hand. The substitution may be made only on a relatively short note, for others cannot be completely filled i n by the turn (a). s
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13. Again, like the related t r i l l , our embellishment may be applied to leaping notes without further concern. Figure 122 illustrates its use i n both ascending and descending leaps. » Remainder of paragraph from ed. of 1787. « Example a from ed. of 1787.
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Figure 122
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EMBELLISHMENTS
fe
14. Although the turn is well used over a repeated tone, the following tone, a t least i n the case of rapid notes, should rise a second. When i t descends, the compound appoggiatura is better (Figure 123). 7
8
Figure 123
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17. Despite the musical worth of this ornament, its symbol is little known apart from the keyboard. I t is often indicated by the signs of the t r i l l or even the mordent, these two also being often confused. I n Figure 126 there are many examples i n which the turn is better and easier than the t r i l l . Examples a, g, p, and q are the true home of the turn, for no other ornament can be applied to them. Those marked j , k, l, and m, are as well suited to the t r i l l as the turn i n rapid tempos. Note that i n these fragments the last note repeats the middle one. I n example n an appoggiatura is occasionally appended to the turn i n slow tempos. Figure 1 2 6
9
LLT
15. Further, the turn often appears over a long note which follows an appoggiatura as previously shown i n Figure 119, Examples c, e, and /. Note that a turn over an appoggiatura (most of the repeated notes mentioned i n the preceding paragraph are appoggiaturas) will not suffer a decoration over the following tone (Figure 124). The exception to this oceurs before a fermata, where the appoggiatura is lengthened beyond its normal valué. The last note of the turn must then be held to créate a slight but not an awkward break before the entry of the long mordent (a). Figure 124
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16. Appoggiaturas which do not repeat the preceding tone are not turned (Figure 125), although the following resolution may be (a). Figure 125 a.
7 Matter between commas from ed. of 1787, footnote. 8£>er Anschlag.
Cf. C h . I I , " T h e Compound Appoggiatura."
117
» Example o from ed. of 1787.
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EMBELLISHMENTS
EMBELLISHMENTS
18. The lack of symbols aside from the keyboard often leads to the setting of the trill's sign i n places where this ornament is i l l at ease. Sometimes the speed of a piece makes i t impossible to execute. Figure 126, Example o, illustrates such a case i n a passage typical of Tartini, and many allegro movements. The performer should play a turn here, for it is not merely acceptable but i n keeping with the speed and the desired effect. I n other cases legato phrasing makes for an awkward t r i l l . The last two examples are entitled "Recit.," and differ from each other only i n the melodic endings. Both cali expressly for a turn. I n the first of these-the last note of the turn is not held i n the usual manner, i n order to imitate the declamatory style of the voice. Since i t is impossible to set the sign of a t r i l l here, the passage must be left to the discretion of the performer when other signs are lacking. 10
19. As illustrated earlier i n Figure 119, Example e, the turn may appear over a fermata preceded by an ascending appoggiatura. I t is never found, however, over a final note approaching i n a like manner (Figure 127). Yet it does appear i n both cases after a descending appoggiatura (Example a and Figure 119, Example h). Figure 127
ü
21. The turn by itself may appear between a note or appoggiatura and the following tone in three situations: First, when the note is fairly long, as i n Figure 129, Example a; second, over a tie (fe); third, after a dotted note (c). These uses of the turn are very frequent i n all kinds of music and cannot be clearly enough indicated without our distinctive symbol, although some cali for i t by setting the t r i l l sign after a note. I n all three cases i t serves to fill out notes. 22. The first case occurs i n all kinds of motions, but not very well before a stepwise descent. When a performer wishes to avoid a cadential t r i l l he may execute a turn after an appoggiatura which ascends to the final note, as illustrated i n the asterisked example of Figure 129. When such is the case a mordent should not be played over the final note. The execution of all turns i n example a is shown i n the last illustration of that group. 23. I n the second case, the tying note acquires a dot and the tied note becomes the last tone of the turn. When the tempo is rapid the 11
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20. Although the turn and the t r i l l are similar, there are two respects i n which they differ from each other. First, since the final tones of the turn are played less rapidly than the preceding ones, there is always a small space between them and the following tone. Second, the turn occasionally lays aside its brilliance for a purposely broad execution in slow, expressive movements (Figure 128). This kind of performance is also specified i n the manner of Example a. Figure 128
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dot is omitted. Both executions are clearly written out under Example b. This use of the turn is frequent at cadenees. 24. I n the third case (Figure 129, Example c), two tones acquire dots and the turn is placed between them as illustrated i n the notated execution of Example 2. The división of the tones is unvariable. This kind is often used when the tempo is so slow that the dotted note, undecorated, sounds listless; it is also found i n caesurae (Example 1) and before cadenees when a dotted note is followed by a short one which anticipates a trilled tone (Example 2). Such a turn is not employed after descending dotted notes of only modérate length. Example 3, set with this ornament, is the true home of the turn, for a substituted t r i l l , whether it is placed over or after the first note, is unconditionally wrong. Example 4 shows that the turn may be placed over the second note as well as after the first. The accompanying written-out división of the tones demonstrates conclusively that this employment requires a slow tempo. How is i t possible to indícate a desired detaching of the final note of a turn (d)? Either by notating a rest (é) or by placing a vertical stroke to the right of the symbol and just above a second added dot. (/). A l though this new indication looks strange, i t is necessary, for all means which lead to correct performance should be adopted, even though they seem excessive. Occasionally a turn appears after a relatively long note against which the bass has two or more notes or 13
i» Remainder of paragraph from ed. of
1787.
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L L I S H MEN
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121
a rest, as in Example g. I n the interests of greater clarity, divide the long note into two tied parts (h). The proper entrance of the turn w i l l be thereby made apparent. Otherwise, many uninitiated performers might introduce the ornament too soon, thus necessitating a slow performance of it i n order to fill out the note. This would be unsatisfactory and contrary to the rule stated i n Paragraph 10. 25. Accidentáis which oceur i n turns are brought about, as in the case of trills, by preceding or following notes and modulations. Like the t r i l l , a turn must not be used i n the interval of an augmented second (Figure 98, Example d). 26. The required snap i n the turn, at which the little finger is not adept, requires an occasional slightly forced fingering (Figure 130). Figure 130
27. The turn allies itself with the short t r i l l when its first two notes are alternated with extreme rapidity by means of a snap. The effect of the combined ornaments^an be most easily realized by thinking of a short t r i l l with a suffix. This trilled turn introduces a unique charm and brilliance to the keyboard. I t is a miniature but lively, enclosed and suffixed t r i l l with which, however, i t must not be interchanged, for there is as great a difference between the two as there is between the short t r i l l or the turn and the normal t r i l l . It has no distinctive symbol. I specify its use i n the manner of Figure 131, which also depiets its execution. W i t h regard to the long slur over the second illustration, I refer the reader to the discussion of the short t r i l l i n Paragraph 30 of the section on trills. 14
Fieure 1 3 1
15
28. The trilled turn oceurs either with or without a preceding appoggiatura. However, like the short t r i l l it is used only i n a descending second, the first note of which is drawn into the embeli * Der prallende Doppelschlag. T h e first two notes are not tied in the original illustration. 1 B
E MBELLI
722
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EMBELLISHMENTS
lishment as illustrated in Figures 131 and 132. Inasmuch as the trilled turn contains more notes than either of the ornaments which comprise it, it filis out relatively long notes better than either one alone. Consequently i t is better to use it instead of the short t r i l l i n passages such as the first three of Figure 133. On the other hand, the short trill alone is better i n the asterisked example when the tempo is allegretto or faster. As a general rule it can be stated that neither the simple ñor the trilled turn is good i n passages which are suitable for an unsuffixed t r i l l . I n moderately fast movements the trilled turn is often performed i n the manner of Example a. Such an execution is acceptable so long as i t does not créate bad voice leading with the bass. Henee, while the example marked (1) is good, that marked (2) is not. I t is used at half (3) and whole cadenees (4). Further, this execution is more readily comprehended when, instead of setting both symbols, the notation of Example a is adopted. 16
Figure 132
Figure 133
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29. I n slow tempos when three notes descend, the second, over which a trilled turn may appear, takes an appoggiatura, as does the final note. This is illustrated i n undecorated form (a), with the ornaments (b), and with the execution written out (c), i n Figure 134. The first appoggiatura is quite usual before slow notes, for i t helps to fill them out. Moreover, i t is necessary here for the convenience of the trilled turn, which must not enter before half the duration of the principal note has passed, precisely the time taken up by the appoggiatura. The second appoggiatura not only serves to shorten the final tone, thereby bringing i t into agreement with the preceding; i t also satisfies the ascending tendeney of the turn which this ornament has i n common with the suffixed t r i l l . There are three reasons against playing the second appoggiatura ahead of its beat, thus separating i t from its following principal tone and incorporating i t i n the turn: First, because it is a prefix and not a suffix; second, because i n accordance with our explanation of the turn, its final tone must never r u n directly into the following tone (the appoggiatura i n this case) but must always delay a bit i n order to avoid the fault of a t r i l l whose suffix acquires an additional t o n e ; third, because the appoggiatura serves to divide the following tone in a manner similar to the other parts of the passage. Here again we see the amount of harm which can be caused by separating an appoggiatura from the beat of its following tone. T o avoid this error, perform the body of the trilled turn according to the rule, so rapidly that the final tone, c, may be made to sound like a simple sixteenth; this will créate an adequate separation of the ornament from the following appoggiatura. The illustrated execution of this passage looks rather alarming. Indeed, were it written out according to the Figure 134 18
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3. i» Cf. C h . I I , " T h e T r i l l , " f 21 and Figure i« Remainder of paragraph from ed. of " Last six bars from ed. of 1787.
1787.
101.
is I n example c the second and third notes are not tied in the original illustrations. Cf. Ch. I I , " T h e T r i l l , " f 30.
E M B E LLl
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EMBELLISHMENTS
manner in which it must often be played over sixteenths i n an adagio, with each note of the turn once again as fast, it would look even worse. Nevertheless, the entire art of execution depends on the ability to perform a rapid trilled turn, one whose execution sounds natural and facile. Example d is different from the others, but the performance of the last two notes is the same as i n the other examples. 30. I n performing the simple turn or the suffixed t r i l l , at least three fingers must always be employed. Because, beyond this, the snap in these ornaments and particularly i n the trilled turn can be well executed by only certain fingers, there often arise great difficulties of performance, i n the solution of which extreme expedients must be employed. Figure 135 illustrates a few such cases. I n Example a, after e has been played by the second finger the hand shifts slightly to the left and the third finger takes d. I t must not, however, as incorrectly taught, strike its tone by crossing over the second finger. I n Example b our compounded embellishment forces the third finger to glide from a black key to the white one below. The easiest fingerings are those in Example c. Nevertheless it is advisable to practice the trilled turn with all fingers because they w i l l thereby increase in strength and dexterity, and above all, because we are not always i n a position to employ only the best fingers in performing an ornament. Figure 135 5
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32. The short t r i l l and the related trilled turn provide unfailing tests of a harpsichord's quilling, for an instrument i n poor condition will be unable to enunciate them. Keyboardists must be pitied who are robbed of these most essential and superior ornaments because of the poor repair of an instrument. Without them most pieces can be but poorly performed. 33. When a turn is introduced over detached notes it gains acuteness through the prefixing of a note whose pitch is the same as the decorated one. I nótate this ornament, discussed i n no other writings, by placing a small thirty-second before the turned note. The thirty-second is unvariable regardless of the tempo or the valué of the following note, for it is always played with a very rapid stroke delivered by a stiff finger and immediately connected with the following snapped note. This makes for a new kind of trilled turn, which may well be called the snapped turn -° to distinguish it from the other. I t is better suited to rapid notes than the t r i l l , for I feel that a t r i l l is at its best over a note whose valué allows for generous alternation; otherwise another decoration should replace it. Through the added small note the turn acquires a brilliance equal to that of the trilled turn but applied to just the opposite situation. 34. While the trilled turn may be introduced solely after a descending slurred second, it is precisely this situation alone which will not suffer a snapped turn. I n Figure 137 we find its symbol (a), its execution (b), and a few of its characteristic uses (c). I t may appear at the beginning of a passage, i n the middle, before stepwise motion or a leap, but not over a final tone, staccato or otherwise. 21
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31. Embellishments are not easily introduced into the bass unless they are expressly called for. Nevertheless the trilled turn may be interpolated when opportunities such as those of Figure 136 present themselves.
20 Der geschnellter Doppelschlag. 21 It will be seen from the illustration that Bach is discussing the full turn, which is pressed into service by performers and editors far more frequently than it should be. T h e indication used here was not widely adopted. It appears, for example, in some of Haydn's early sonatas. In fact, Bach's heroic attempt to indícate by symbol or notation all of the fine variants of the turn went for naught. Most of his contemporaries and later composers used the same sign (~ or tr.) for all types indiscriminately or they wrote out the ornament in both small and large notation. Such practices make the entire section with its many examples all the more important, for it should serve to sharpen our sensitivity to the kind and amount of refinement that reside in the turn.
126
E MBELLI
S H MEN
EMBELLISHMENTS
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It should be noted that aside from the keyboard the snapped turn is indicated by the sign of a t r i l l and, even i n keyboard pieces, often by the simple sign of the turn. I t may be introduced over the second of a pair of slurred notes i n stepwise ascent, as i n Example d. I n such a situation it replaces the ascending t r i l l or the ascending t u r n . Example e shows the snapped turn over the first of a pair of slurred notes i n stepwise descent. This use is justified by the preceding detached notes. When these are also slurred, as they may be in a slow tempo, a simple turn or the compound appoggiatura is better, as i n the asterisked example.
37. Finally, the turn may be preceded by two small thirtyseconds. These small notes are incorporated i n the ornament and joined to it as rapidly as possible. The threefold beam is unvariable. This variant, discussed here for the first time, represents a miniature ascending t r i l l for which i t may be substituted over short notes. I t might be called an ascending t u r n . Its indication and execution are illustrated i n Figure 139. When it is used instead of an ascending t r i l l over the second of two slurred notes, a better effect can be achieved by tying the preceding note to the first note of the turn as illustrated i n Example a.
Figure 137 a. „ A
Figure 139,2S
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1. The mordent is an essential ornament which connects notes, filis them out, and makes them brilliant. I t may be either long or short. The symbol of the long mordent is shown i n Figure 140. Its execution may be lengthened (a) if necessary, but the symbol remains the same. The short mordent and its execution are illustrated i n Example b.
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24
26
27
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35. This embellishment cannot be performed, or at least i t is not easy to play with its essential briskness, when i t appears over a note which must be taken by the thumb or by the fourth or the little finger. The other fingers are much more adept at executing it. 36. The snapped turn should not be confused with the simple turn after a note. They differ from each other i n that the latter is performed appreciably after the principal tone and is found after slurred and sustained notes. I n order to differentiate the two more clearly their execution is illustrated i n Figure 138. Figure 138
m 22 Remainder of paragraph from ed. of 1787. Cf. % 37-* Cf. C h . I I , " T h e Compound Appoggiatura." 25 Example d to end from ed. of 1787. 3 3
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2. Although it is customary to play the long mordent only over long notes and the short over short notes, the symbol of the long ornament is often found over quarters or eighths, depending on the tempo, and that of the short mordent over notes of all valúes and lengths. 3. Example c of Figure 140 illustrates an unusual manner of performing a very short mordent. Of the two tones struck simultaneously, only the upper one is held, the lower one being released immediately. There is nothing wrong i n this execution, provided 1
26 Der Doppelschlag von unten. 27 Remainder of paragraph from ed. of 1787. 28 Example a from ed. of 1787. 1 Usually called the acciaccatura, but not by Bach. He reserves the term for auxiliary tones that are introduced into arpeggios. Cf. C h . I I I , ^ 26, C h . V I I , f 13.
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that it is employed less liequently than the other mordents. I t is used abruptly only, that is, i n unslurred passages. 4. The mordent is especially good in a stepwise or leaping ascent. I t seldom appears i n descending leaps and never i n descending seconds. I t may be found at the beginning, middle, or end of a composition. 5. I t conneets slurred notes i n conjunct or disjunct motion, with and without an appoggiatura (Figure 141). I n such passages i t is employed most frequently over ascending steps and also occasionally after an appoggiatura, as i n the asterisked examples. When the mordent is applied to an appoggiatura which is joined to its principal tone by an ascending leap, the principal tone must be long so that it can lend enough of its valué to make the mordent full and impressive (a). This use of the mordent serves both to connect and to fill out notes. I t appears occasionally i n recitatives.
Figure 14 2
Figure 141
peated, and performed generally as illustrated i n the second set of examples under the same lettering. This liberty must be indulged circumspectly and out of necessity only. The expedient is wrong when it distorts the composer's intentions. T o lessen the possibility of such an error, strike a tone with due pressure and hold it. I n so doing, one realizes that our instrument sustains tones longer than generally believed. I n using mordents the performer must be careful not to destroy the beauty of a sustained tone. Henee, as with other ornaments, he must not apply them to every long note ñor overextend them. When mordents serve to fill out a note, a small fraction of the original length must remain free of decoration, for the most perfectly introduced moident sounds miserable when, like the t r i l l , i t speeds directly into the following tone. 9. Mordents, chiefly the short ones, add brilliance to leaping, detached notes. They are found over tones which i n relation to the harmony are called definitive (Figure 143, Example a), over certain broken chords (b), and i n the middle parts of f u l l chords (c), although the long mordent may also be employed when the notes are long; further, they appear over detached dotted notes where the dot is not held (d), and over notes followed by rests (é). They also oceur over longer notes preceded by short ones which rise by a step (/) or a leap (g).
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6. When i t follows an appoggiatura, a mordent is played lightly in accordance with the rule covering the performance of appoggiaturas. 7. The mordent is used to fill out sustained tones. Thus, as i l lustrated i n Figure 142, i t is found over tied (a), dotted (b), and syncopated notes. Syncopations may be fashioned out of a single tone (c) or various tones (d). I n the case of the latter the mordent is best used over the second tone of a single repetition (e). I t filis out syncopated notes and, i n addition, makes them brilliant. 8. W i t h reference to Examples a and b of Figure 142, it should be noted that when the tempo is so slow that even a long mordent w i l l not fill out the notes adequately, they may be shortened, re-
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EMBELLISHMENTS
EMBELLISHMENTS
190
10. Of all the embellishments, the mordent is most frequently interpolated i n the bass by the performer, particularly over apex notes reached by a step (h) or a leap (i), at cadenees and elsewhere, especially when the following note lies an octave below (y). Figure 143 - a.
12. Occasionally an unusual fingering must be taken i n order to keep the best fingers free and ready to perform a mordent preceded by a short note as indicated i n Figure 144. Such a fingering may be used only i n a modérate tempo. I t is justified by the detached performance of the dotted note, owing to which the fourth finger can strike the following tone i n order to leave both the thumb and second finger i n good position to perform the embellishment. After the third finger has struck its note i t suífices to shift the hand slightly to the right. Undotted passages or faster dotted ones should be played with a normal fingering. 13. The mordent, which, as we have already learned, is often used to fill out long sustained tones, may be interpolated after a t r i l l . However, it must be separated from the latter by dividing the long note into two parts. Without this precaution i t would be wrong to play the two embellishments i n direct succession, for ornaments must never be crowded against each other. These remarks are heeded i n the illustrated execution of Figure 145. The length of such a mordent is determined by the tempo, which must not be rapid, for if it is there w i l l be no need for such an expedient. 3
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11. I n the matter of accidentáis this ornament adjusts itself to circumstances i n the same manner as the t r i l l . Its brilliance is often increased by raising the lower tone, as i n Figure 144. Fieure 144
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14. I t should be observed that the mordent is the opposite of the short t r i l l . The latter may be used only over a descending step, precisely the situation which is unsuited to the mordent. The one element which they have i n common is that both may be applied to the interval of a second; ascending i n the case of the mordent and descending i n the case of the short t r i l l . Both employments are clearly illustrated i n Figure 146. Figure 146
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M E N T S
E M RELEI
15. Wliilc discussing inordents, I must make mention of an arl)itrary dccoration often performed by singers in slovv movements al the beginning and before fermat.e and rests. Characteristic passages and their execution are illustrated i n Figure 147. Since the tones are identical with those of the mordent and the situation is one that favors its use (except that as usually performed the ornament would be completed too soon) it may be regarded as a slow mordent, which, however, has no use aside from these few cases.
149
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4. A dot often appears after the first small note of the second type, but the first type is unvariable and appears only in more delibérate tempos when two notes are separated by an ascending leap. A few characteristic passages are illustrated i n Figure 150. THE
COMPOUND APPOGGIATURA
1
1. The compound appoggiatura may be applied to a note i n two ways: First, the preceding tone is repeated and succeeded by the step above the principal note; second, the tone below and then the tone above are prefixed to i t . 2. Both types are clearly recognizable i n the illustrations of Figure 148.
Figure 150
Figure 148
3. The first type is less rapid than the second, but both are played more softly than the principal tone (Figure 149). Melodies grow i n attractiveness through the use of this ornament, which serves to connect notes and, to a degree, ful them out. 2
1 Der Anschlag. T h e Bibliothek der schónen Wissenschaften says; "Marpurg calis the Anschlag the Doppelvorschlag, which was its more appropriate earlier ñame, for it arises out of two Vorschlage." "Compound appoggiatura" is closer to Marpurg's term than to Bach's. However, cf. ^1 3 and Note 2. 2 T h i s difference in dynamics between the Anschlag and the Vorschlag ("always louder than the principal tone") may have been Bach's reason for differentiating the ñames of the two ornaments by means of prefixes. Only one sub-type of Anschlag agrees with the usual manner of performing the appoggiatura (cf. f 10). Another reason, however, is that Anschlag indicates unmistakably that the ornament is played on the beat rather than ahead of it. Remember Bach's difficulties with the Vorschlag! (Cf. C h . I I , " T h e Appoggiatura," Notes 12, 13).
5. Because the notes of the second type are performed rapidly it is employed i n fast as well as slow tempos. Figure 151 illustrates a context especially suited to the compound appoggiatura, for no other ornament can be successfully applied to the passage. This example with its decoration is good so long as it is played no slower than andante, although its speed may be considerably increased. 6. I n addition to the preceding example, this second type with Figure 151
' Andante example from ed. of
1787.
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S H MEN
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EMBELLISHMENTS
its Icap of a third may be used in all of the illustrations of Figure 150. As shown in Figure 152, it is also found before notes isolated by rests (a) and on the repetition of a tone followed by a descending second (b). I n such a case it is better than the turn, just as the turn is better before an ascending second, as i n the asterisked example. I n fact, our decoration may not be used i n this latter context (h). Further, the compound appoggiatura is better than the turn when, in a slow tempo, it is placed between tones which stand an augmented second apart, for it softens the dissonant character of the interval (c). I t may also be placed within an ascending second (b), or seventh (e), and before a descending appoggiatura (/). Thus, i n general, this ornament is better fitted to a melody that descends subsequently rather than one that ascends. Exceptions occur only when the decorated note is repeated and when the tempo is slow (g). 4
Figure 152
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execution notation 9. I t is easy to avoid errors i n performing this dotted ornament once its origin is known. When a note stands one step above a preceding variable appoggiatura (Figure 154, Example a) and a short appoggiatura is inserted between them (b), the first appoggiatura acquires a dot and our embellishment is complete (c), on condition that there is a subsequent descent of one or more notes. Figure 154
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7. The dotted compound appoggiatura is notated either as an ascending appoggiatura or i n the manner of Figure 153. Its divisions 5
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135 being variable, they have all been caref ully expressed in the Lessons. The following note loses as much of its valué as is needed for the performance of the decoration. Example d illustrates its correct and incorrect notation. 8. I t never appears i n rapid movements but is well used i n affettuoso passages. Correct uses of i t occur before the repetition of a tone (Figure 153, Example a), or i n an ascending step (b), both of which must be followed by a descent, comprising an appoggiatura (b) or some other note (a). Example a often appears as a caesura i n adagio movements. The asterisked example of Figure 79 is better with this ornament than with an appoggiatura, owing to the long /. Its execution is illustrated i n Example c of the present figure.
b.
v 10. I n performing this kind of compound appoggiatura observe that although the dotted tone is emphasized, the others are played softly. The second note is connected as rapidly as possible with the principal tone and all three are slurred. • T h i s sentence from ed. of 1787. T Example d from ed. of 1787. I n the original of the example marked " r i g h t " the ornament is notated . T h i s differs from its notation in E x . a and b and in Figs. 420-425, thus suggesting a most unfortunate misprint.
/ 76
E M li E E El Sil
MEN
EMBELLISHMEN
T S
TS
11. Figure 155 contains several examples with their execution. In order to help the performer recognize the usual indication of this ornament I have purposely retained its inadequate notation as a simple appoggiatura. The slower the tempo and the more expressive the melody, the longer the dot must be held, as illustrated in the example marked N.B.
'37 Occasionally the slide is indicated in the manner of Example a, and frequently it will be found i n large notation (b). 4. The two-toned slide is distinguished from the three-toned in that (1) it is always used i n a leap which i t helps to fill i n , as i n Figure 156; the three-toned slide, as we shall see presently, performs other duties i n addition to this one; (2) the two-toned slide is always played rapidly (b), the three-toned is not.
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5. Figure 157 illustrates the execution of the three-toned type. Its pace is determined by the character of a movement and the tempo. Inasmuch as there is no generally accepted symbol for this ornament and, also, because its pattern is an exact inversión of the t u r n , 1 find it more convenient to use the symbol of Example b than to follow the occasionalpractice of writing out the notes i n small notation. The eyes can more easily assimilate our indication of the ornament, and it takes up less space. 2
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1. The slide appears both with and without a dot. Its execution is suggested by its ñame. Melodies are made flowing through its use. 2. The undotted slide consists of either two or three small notes which are struck before a principal tone. 3. When i t consists of two notes they are notated as small thirtyseconds i n the manner of Figure 156. I n an alia breve they may also appear i n the form of sixteenths, as i n the asterisked example. 1 Der
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6. The three-toned slide is equally at home i n very rapid and very slow tempos, i n flowing as well as highly expressive movements. Henee i t has two quite opposite employments. I n rapid pieces it filis out notes and adds sheen. Further, it takes the place of an unsuffixed, ascending t r i l l which cannot be used because of the short note valúes. Here it is always performed rapidly and, as illustrated i n Figure 158, the following note may stand i n either leaping or stepwise relation to it. 2 T h e Bibliothek der Schónen Wissenschaften remarks: "Marpurg divides the turn more correctly into descending and ascending turns, the latter of which Bach seems to consider more as a kind of slide. For the rest, however, Bach discusses this ornament with exceptional care." I n fact, Bach's ascending turn is discussed in the section on that ornament. It is differentiated from the three-toned slide by its symbol and its greater number of tones. Cf. Ch. I I , " T h e T u r n , " f 37, and in the present section, f 93 T h i s symbol was not widely adopted. Usually the ornament appears fully written out in small and large notation.
E M
'38 rigure O H
EMBELLISHMENTS
B E L L I S II M E N T S I J i
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7. I n its other use it is well fitted for the expression of sadness in languid, adagio movements. Halting and subdued i n nature, its performance should be highly expressive, and freed from slavish dependence on note valúes. Its most usual position is over a repeated tone as shown i n Figure 159, Example a-. I n addition i t may appear after an ascending step or leap (b). I t can be seen that the three-toned slide resembles a slow compound appoggiatura with its interval of a third filled i n . Long notes may be expressively divided and decorated by it in the manner of Example c.
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9. The slide teaches us two things. First, in certain passages the performer must aim more at an unarfected, subdued expressiveness than at filling out notes. Therefore he should not always feel obliged to select only profuse ornaments when decorating slow notes, for if it were correct to do so, the slide would have to be replaced by the ascending turn, which resembles it. Secondly, and conversely, it must not be concluded that the fewer the notes i n an ornament the greater its expressiveness, for then it would follow that the compound appoggiatura consisting of only two tones is more expressive than the slide or its equivalent, the filled-in compound appoggiatura. 10. While the three-toned slide is effective i n portraying sadness, the dotted two-toned slide is equally effective i n awakening more pleasurable feelings. 11. Its notation appears i n Figure 160. No other ornament is so variable as this one i n its execution, which is determined by the affect. Therefore, as with the dotted compound appoggiatura, I have notated it and at times even specified its execution as clearly as possible i n the Lessons. 4
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8. Because the emotions are more stirred by dissonance than consonance the slide is most frequently found over the former. I n such cases, it appears over slow notes whose valúes are incompletely filled out on purpose, or completely filled out i n a halting manner. It appears under similar circumstances i n allegro movements especially where there is a change from major to minor. The chords which go particularly well with this ornament are the diminished seventh, the augmented sixth when it contains a fifth, the sixth with an augmented fourth and minor third, and other similar constructions. Since the behavior of all ornaments is determined largely by their relation to the accompanying bass, it is easy to conclude, that this one tends to move downward.
12. Several examples with their various executions appear i n Figure 161. The asterisked división of the slide is better than the following one because of the bass. Most of the examples present contexts that are especially fitted to this ornament alone. Certainly, as an unembellished performance w i l l readily disclose, there is a need for additional tones, due i n some cases to the harshness of the dissonances, i n others to the emptiness of the octave. Yet no other ornament can be inserted as well as the slide. The following tone usually descends, although, as illustrated i n Example x, the melody may continué by repeating the final tone of the embellishment. 13. Remaining details of performance are illustrated i n Examples 1 and 2 of Figure 161. These show that although the dotted tone i n the ornament is emphasized, the two succeeding tones are * Bach provides helpful information on the normal and extended execution of this ornament in C h . V I , " T h e Dotted Slide," f 4. .
L 1 S ll MEN
EMBEL
142
TS
played softly. The dot under the principal tone, e, i n Example 1 informs us that the finger should be released before the termination of that note's written length; consequently, i n Example 2 this dot has been changed to a rest after the corresponding c. THE
SNAP
1
1. Figure 162 illustrates my unvariable notation of the short mordent i n inversión, the upper tone of which is snapped, the other tones being played with a stiff finger. Its execution suggests that this ornament, not mentioned by other writers, might be called the snap. I n its employment as well as its shape i t is the opposite of the mordent, but its tones are identical with those of the short trill.
EMBELLISH
MENTS
H3 descent. Undoubtedly this is because its second tone and the principal tont resemble an inverted suffix. Nevertheless it is different from all trills i n that i t is never enclosed and never appears under a slur. 4. I t must be assiduously practiced before it can be made to sound as i t should. Because only the strongest, most dexterous fingers execute it effectively, i t is often necessary to play the following tones with a finger that w i l l not interfere with the staccato character of the ornament, as illustrated i n Figure 163, Example a. I t is often used at caesurae (b).
2
Figure 163 a.
Figure 162
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2. The snap is always played rapidly and appears only before quick, detached notes, to which it imparts brilliance while serving to fill them out. 3. I t is i n effect a miniature unsuffixed t r i l l . Unlike the sufnxed t r i l l , which is best followed by an ascent, the snap is better before a Der Schneller. Bach's term was not generally adopted. It is doubtful that universal agreement will ever be reached on the execution and meaning of the English term inverted mordent, a ñame sometimes given to the ornament under discussion (cf. Elson's Music Dictionary, "Mordent"). It is often played ahead of the beat when it should be played on the beat, certainly in music of the eighteenth century. Further, it is just as often made to consist erroneously of the lower auxiliary, its identity being exchanged with the mordent. Unaccented inverted mordents can be found among the examples of Figure 161, although they are recognizable as such neither by their notation ñor by their ñame (dotted slide). T h e Germans are just as badly off in their attempt to find a ñame, as revealed in the following remarle from the Bibliothek der Schónen Wissenschaften (1763!): " I t seems more correct to us that Marpurg should regard Bach's snap (Schneller) as a short trill (Pralltriller). But we would not care to say that both are correct in stating that this brilliantly played ornament is a kind of short mordent in inversión. T h i s opinión appears quite dubious upon closer consideration of the nature of the trill and the mordent. Therefore, we consider Marpurg's criticism well grounded when he condemns those keyboardists who cali the Schneller a mordent." Bach's Pralltriller and Schneller are far from identical (cf. C h . I I , " T h e T r i l l , " 1¡ 30). Because terminology is so completely confused, it seemed advisable to take a neutral position and transíate Schneller as directly as possible. 1
2 Remainder of paragraph from ed. of
1787.
ELABORATION
OF
FERMATE
1. Although I have nu desire to discuss embellishments more elabórate than those already treated, I find i t advisable to say something about them i n connection with fermate. 2. Fermate are often employed with good effect, for they awaken unusual attentiveness. Their sign is a slur with a dot under it, which denotes that a tone is to be held as long as required generally by the nature of the composition. 3. A t times a note without the sign may be held for expressive reasons. Aside from this, there are three places at which the fermata appears: over the next to the last, the last, or the rest after the last bass note. T o be used correctly the sign should be written at the beginning and again at the end of an elaborated fermata. 4. Fermate over rests occur most frequently i n allegro movements and are not embellished. The two other kinds are usually found i n slow, affettuoso movements and must be embellished if only to avoid artlessness. I n any event elabórate decoration is more necessary here than i n other parts of movements. 1
1 P. F . TOSÍ puts it as follows in the English translation (Observations on the Florid Song, 1743) of his Opinioni: "Every A i r has (at least) three Cadenees, that are all three final. Generally speaklng, the Study of the Singers of the present Times consists in terminating the Cadenee of the first part with an overflowing of Passages and Divisions at Pleasure, and the Orchestre waits; in that of the second the Dose is en-
144
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EE E
1
S II M EN
E M li E L L I SU MEN
T S
T S
'45
5. W i t h tliis in mind I have illustrated both types of fermate with their elaborations i n Figure 164. A l l of the examples require a slow or at most a modérate tempo. Since such elaborations must be related to the affect of a movement, they can be successfully employed only when cióse attention is paid to a composition's expressive aim. Other similar cases can be surmised through the figured bass signatures. Figure 1 6 4 ^
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creased, and the Orchestre grows tired; but on the last Cadenee, the Throat is set a going, like a Weathercock in a Whirlwind, and the Orchestre yawns."
6. Those who lack the ability to introduce elaborations may apply a long ascending t r i l l when necessary to an appoggiatura which stands a step above a final tone (Figure 165, Example a).
I
E M li E L L I SU MEN
T S
When the appoggiatura lies a step below, it should be played simply and the final tone trilled (6). The same applies to a fermata without an appoggiatura (c). Figure 165
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CHAPTER
I
T H R E E
PERFORMANCE
m r
K
i
EYBOARDISTS whose chief asset is mere technique are clearly at a disadvantage. A performer may have the most agile fingers, be competent at single and double trills, master the art of fingering, read skillfully at sight regardless of the key, and transpose extemporaneously without the slightest difficulty; play tenths, even twelfths, or runs, cross the hands i n every conceivable manner, and excel i n other related matters; and yet he may be something less than a clear, pleasing, or stirring keyboardist. More often than not, one meets technicians, nimble keyboardists by profession, who possess all of these qualifications and indeed astound us with their prowess without ever touching our sensibilities. They overwhelm our hearing without satisfying i t and stun the mind without moving i t . I n writing this, I do not wish to discredit the praiseworthy skill of reading at sight. A commendable ability, I urge its practice on everyone. A mere technician, however, can lay no claim to the rewards of those who sway i n gentle undulation the ear rather than the eye, the heart rather than the ear, and lead it where they w i l l . Of course i t is only rarely possible to reveal the true content and affect of a piece on its first reading. Even the most practiced orchestras often require more than one rehearsal of certain pieces which, to judge from the notes, are very easy. Most technicians do nothing more than play the notes. A n d how the continuity and flow of the melody suffer, even when the harmony remains unmolested! I t is to the advantage of the keyboard that dexterity can be developed beyond the limits of other instruments. But finger velocity must never be misused. I t should be reserved for those passages that cali for it, without advancing the tempo of the piece as a whole. As proof that I do not disparage »47
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/ ' E liF O RMAN
CE
P E R F O ¡IMAN
speed, ñor scorn its uselulness and indispcnsability, 1 p o i n t to the Lessons i n G a n d F m i n o r and the runs ín the C m i n o r Fantasía, all of w h i c h must be played as r a p i d l y , b u t at the same t i m e as dist i n c t l y as possible. I n certain other countries there is a m a r k e d tendeney to play adagios too fast a n d allegros too slow. T h e contradictions of such f a u l t y p l a y i n g need n o t be systematically stated. A t the same t i m e i t must n o t be assumed that I condone those whose u n w i e l d y fingers give us no choice b u t to slumber, whose cantabile is a pretense w h i c h hides t h e i r i n a b i l i t y to e n l i v e n the i n s t r u m e n t , whose performance, thanks to their lazy fingers, deserves far greater censure t h a n that addressed to shallow fleetness. A t least the technicians are subject to i m p r o v e m e n t ; their fire can be d a m p e d by expressly checking t h e i r speed. T h e opposite remedy is either n o t at all or o n l y p a r t i a l l y applicable to the hypochondriac disposition w h i c h is disclosed, to o u r greater misery, by flabby fingers. B o t h , however, p e r f o r m only mechanically; b u t a s t i r r i n g performance depends o n an alert m i n d w h i c h is w i l l i n g to f o l l o w reasonable precepts i n order to reveal the content of compositions. 1
3
2. W h a t comprises good performance? T h e a b i l i t y t h r o u g h singi n g or p l a y i n g to make the ear conscious of the t r u e content a n d affect of a c o m p o s i t i o n . A n y passage can be so radically changed by m o d i f y i n g its performance that i t w i l l be scarcely recognizable. 3. T h e subject matter of performance is the loudness a n d softness of tones, touch, the snap, legato a n d staccato execution, the v i b r a t o , arpeggiation, the h o l d i n g of tones, the r e t a r d a n d aco d e r a n d o . Lack of these elements or i n e p t use of t h e m makes a poor performance. 3
4. G o o d performance, then, oceurs w h e n one hears a l l notes and their embellishments played i n correct t i m e w i t h fitting v o l ume produced by a touch w h i c h is related to the t r u e content of a piece. H e r e i n lies the r o u n d e d , puré, flowing manner of p l a y i n g w h i c h makes f o r c l a r i t y a n d expressiveness. W i t h these points i n m i n d , however, i t is u r g e n t that the p e r f o r m e r test his i n s t r u m e n t i n advance so that he may a v o i d either too heavy or too l i g h t an at1 Sonata I I , third movement, and Sonata V I , first movement. Cf. Pt. I , Introduction, Note 17. 2 Sonata V I , third movement. Cf. Pt. I , Introduction, Note 17, and C h . I I I , Note 11.
' Starcke und Schwache der Tone, ihr Druck, Schnellen, Ziehen, Stossen, Beben, Brechen, Hallen, Schleppen und Fortgehen.
C E
i
4
9
tack. M a n y instrumenta do not produce a perfect, puré tone unless a strong touch is ernployed; others must be played l i g h t l y or the volI I I I I C w i l l be excessive. I repeat these remarks, first made i n the I n t r o d u c t i o n , i n order to encourage a more musical way of portraying rage, anger, a n d other passions by means of h a r m o n i o a n d melodic devices rather than by an exaggerated, heavy attack. I n r a p i d passages every tone must be played w i t h a fitting pressure or the effect w i l l be t u r g i d and chaotic. T h e snap, w h i c h was i n t r o duced d u r i n g the discussion of the t r i l l , is usually ernployed i n these contexts. A w e l l - r o u n d e d manner of performance can be most readily discerned f r o m the p l a y i n g of r a p i d pieces w h i c h c o n t a i n alternating l i g h t and heavy runs of equal speed. Keyboardists are often f o u n d whose ready fingers serve t h e m w e l l i n l o u d runs, b u t desert t h e m t h r o u g h lack of c o n t r o l i n the soft ones, thereby maki n g f o r indistinetness. T h e y grow nervous, speed o n w a r d , a n d lose c o n t r o l . I n the E-flat Lesson the broken chords must be played as distinctly as the runs f o r b o t h hands. I n p e r f o r m i n g bars 24 to 3.4 of this piece observe the remarks of Paragraph 16 i n the chapter o n fingering. T h u s , to facilitate the altérnate use of hands, employ every slightest pause to b r i n g t h e m to the keys w h i c h are to be struck i m m e d i a t e l y thereafter. 4
5
5. I n general the briskness of allegros is expressed by detached notes a n d the tenderness of adagios by broad, slurred notes. T h e p e r f o r m e r must keep i n m i n d that these characteristic features of allegros and adagios are to be given consideration even w h e n a composition is n o t so m a r k e d , as w e l l as w h e n the p e r f o r m e r has n o t yet gained an adequate understanding of the affect of a w o r k . I use the expression, " i n general," advisedly, f o r I am w e l l aware that a l l kinds of execution may appear i n any tempo. 6. T h e r e are many w h o play stickily, as i f they had glue between their fingers. T h e i r touch is lethargic; they h o l d notes too l o n g . Others, i n an attempt to correct this, leave the keys too soon, as i f they b u r n e d . B o t h are w r o n g . M i d w a y between these extremes is best. H e r e again I speak i n general, for every k i n d of touch has its use. 7. T h e keyboard lacks the power to sustain l o n g notes and to decrease or increase the v o l u m e of a tone or, to b o r r o w an apt ex* Remainder of paragraph from ed. of 1787. 5 Sonata V, first movement. Cf. Pt. I , Introduction, Note 17.
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PERFORMANCE
prenion Erom painting, to shade. These conditions make it no small task to give a singing performance of an adagio w i t l i o u t creating too m u c h empty space and a consequent m o n o t o n y due to a lack of sonority; or w i t h o u t m a k i n g a silJy caricature of i t t h r o u g h an excessive use of r a p i d notes. However, singers a n d performers o n instruments w h i c h are n o t defective i n this respect also do n o t daré to deliver an undecorated l o n g note for fear of e l i c i t i n g o n l y bored yawns. Moreover, the deficiencies of the keyboard can be concealed under various expedients such as b r o k e n chords. Also, the ear accepts more movement f r o m the keyboard t h a n f r o m other instruments. Henee, satisfactory a n d successful examples of the art of performance can be presented to all b u t those w h o bear a strong prejudice against keyboard instruments. A golden mean is difficult but n o t impossible to discover, p a r t i c u l a r l y i n view of the fact that our most usual sustaining devices, such as the t r i l l a n d the m o r d e n t , are also well k n o w n to other instruments a n d the voice. Such embellishments must be f u l l and so p e r f o r m e d that the listener w i l l believe that he is hearing only the o r i g i n a l note. T h i s requires a freedom of performance that rules o u t everything slavish a n d mechanical. Play f r o m the soul, n o t l i k e a t r a i n e d b i r d ! A keyboardist of such stamp deserves more praise than other musiciañs. A n d these latter should be more censured t h a n keyboardists for bizarre performance. 8. I n order to arrive at an understanding of the t r u e content and affect of a piece, and, i n the absence of indications, to decide on the correct manner of performance, be i t slurred, detached or w h a t not, a h d f u r t h e r , to learn the precautions that must be heeded i n i n t r o d u c i n g ornaments, i t is advisable that every o p p o r t u n i t y be seized to listen to soloists and ensembles; the more so because these details of beauty often depend o n extraneous factors. T h e v o l u m e and t i m e valué of ornaments must be d e t e r m i n e d by the affect. I n order to avoid vagueness, rests as w e l l as notes must be given their exact valué except at fermate a n d cadenees. Yet certain purposeful violations of the beat are often exceptionally b e a u t i f u l . However, a d i s t i n c t i o n i n t h e i r use must be observed: I n solo performance a n d i n ensembles made u p of o n l y a few understanding players, m a n i p u l a t i o n s are permissible w h i c h affect the tempo itself; here, the g r o u p w i l l be less apt to go astray t h a n to become attentive to and adopt the change; b u t i n large ensembles made u p of
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motley players the m a n i p u l a t i o n s must be addressed to the bar alone w i t h o u t t o u c h i n g o n the broader pace. W h e n a composer ends a movement i n a foreign key he usually wants the f o l l o w i n g movement to begin f o r t h w i t h . O t h e r reasons as w e l l may r e q u i r e an u n i n t e r r u p t e d attack. I t is customary to indícate such a proced u r e by placing only one instead of the usual two-bar Unes at the end of the movement. 6
9. A l l difficulties i n passage w o r k should be mastered t h r o u g h repeated practice. Far more troublesome, i n fact, is a good performance of simple notes. These b r i n g f r e t f u l moments to many who believe that keyboard instruments are easy to play. Regardless of finger d e x t e r i t y , never undertake more t h a n can be kept u n d e r c o n t r o l i n p u b l i c performance, where i t is seldom possible to relax properly or even to m a i n t a i n a fitting disposition. A b i l i t y a n d disposition should be gauged by the most r a p i d and difficult parts i n order to avoid an overexertion, w h i c h w i l l surely result i n a breakd o w n of the performance. Those passages w h i c h are troublesome i n prívate and come off w e l l o n l y occasionally should be o m i t t e d f r o m p u b l i c performance unless the performer finds himself i n a p a r t i c u l a r l y favorable frame of m i n d . Also, the i n s t r u m e n t should be tested beforehand w i t h t r i l l s a n d other ornaments. T h e r e are two reasons for these several precautions: they w i l l assure an agreeable, flowing performance; they w i l l help to remove the anxious m i e n w h i c h , far f r o m e n l i s t i n g the listener's sympathy, w i l l o n l y annoy h i m . 10. T h e pace of a composition, w h i c h is usually indicated by several w e l l - k n o w n I t a l i a n expressions, is based o n its general content as w e l l as o n the fastest notes a n d passages contained i n i t . D u e consideration of these factors w i l l prevent an allegro f r o m bei n g rushed a n d an adagio f r o m b e i n g dragged. 11. Every step must be taken to remove accompanying parts f r o m the h a n d that performs the p r i n c i p a l melody so that i t may be played w i t h a free, unhampered expression. 12. As a means of l e a r n i n g the essentials of good performance i t is advisable to listen to accomplished musiciañs, as stated i n Paragraph 8. A b o v e a l l , lose n o o p p o r t u n i t y to hear artistic singing. I n so d o i n g , the keyboardist w i l l learn to t h i n k i n terms of song. I n deed, i t is a good practice to sing i n s t r u m e n t a l melodies i n order 6
Remainder of paragraph from ed. of
1787.
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/' E R E O R M A N C E to rcach an understanding oí their correct performance. T h i s way of learning is of lar greater valué t h a n the reading of v o l u m i n o u s tomes or listening to learned discourses. I n these one meets such terms as N a t u r e , Taste, Song, a n d M e l o d y , although their authors are often incapable of p u t t i n g together as many as t w o n a t u r a l , tasteful, singing, melodic tones, f o r they dispense t h e i r alms a n d endowments w i t h a completely unhappy arbitrariness. 7
13. A musician cannot move others unless he too is moved. H e must of necessity feel a l l of the affeets that he hopes to arouse i n his audience, f o r the revealing of his o w n h u m o r w i l l stimulate a l i k e h u m o r i n the listener. I n languishing, sad passages, the performer must languish and grow sad. T h u s w i l l the expression of the piece be more clearly perceived by the audience. H e r e , however, the error of a sluggish, dragging performance must be avoided, caused by an excess of affect a n d melancholy. S i m i l a r l y , i n lively, joyous passages, the executant must again p u t himself i n t o the appropriate m o o d . A n d so, constantly v a r y i n g the passions he w i l l barely q u i e t one before he rouses another. A b o v e a l l , he must discharge this office i n a piece w h i c h is h i g h l y expressive by nature, whether i t be by h i m or someone else. I n the latter case he must make certain that he assumes the e m o t i o n w h i c h the composer i n t e n d e d i n w r i t i n g i t . I t is p r i n c i p a l l y i n improvisations or fantasías that the keyboardist can best master the feelings of his audience. Those w h o m a i n t a i n that a l l of this can be accomplished w i t h o u t gesture w i l l retract their words w h e n , o w i n g to t h e i r o w n insensibility, they find themselves obliged to sit l i k e a statue before t h e i r i n s t r u m e n t . U g l y grimaces are, of course, i n a p p r o p r i a t e a n d h a r m f u l ; b u t fitting expressions help the listener t o understand o u r meaning. Those opposed to this stand are often incapable of d o i n g justice, despite their technique, to t h e i r o w n otherwise w o r t h y compositions. U n a b l e to b r i n g o u t the content of their works, they r e m a i n i g n o r a n t of i t . B u t let someone else play these, a person of delicate, 8
9
7 T w o specimens appeared serially in Marpurg's Der Critischer Musicus an der Spree. Both were translations from the French. T h e first, Grandvall's Essay on Good Taste in Music, started on June 3, 1749. Later, starting December 2, 1749, an Essay on the Decline of Good Taste in Music by Bollioud de Mermet began. Both contain terms similar to those mentioned here and are marked by " a completely unhappy arbitrariness." T h i s sentence appeared as a footnote in the ed. of 1787. Marpurg (op. cit., Sept. 9, 1749) i n covering similar material writes, " I know a great composer [Bach?] on whose face one can see depicted everything that his music expresses as he plays it at the keyboard." 8
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sensitive insighl w h o knows the meaning of good performance, a n d the composer. w i l l learn to his astonishment that there is more i n his music than he had ever k n o w n or believed. G o o d performance can, i n fact, i m p r o v e and gain praise for even an average composition. 14. I t can be seen f r o m the many affeets w h i c h music portrays, that the accomplished musician must have special endowments a n d be capable of e m p l o y i n g t h e m wisely. H e must carefully appraise his audience, their a t t i t u d e t o w a r d the expressive content of his p r o g r a m , the place itself, a n d other a d d i t i o n a l factors. N a t u r e has wisely p r o v i d e d music w i t h every k i n d of appeal so that a l l m i g h t share i n its enjoyment. I t thus becomes the d u t y of the performer to satisfy to the best of his a b i l i t y every last k i n d of listener. 15. As stated earlier, i t is especially i n fantasías, those expressive n o t of memorized or plagiarized passages, b u t rather of true, musical creativeness, that the keyboardist more than any other executant can practice the declamatory style, and move audaciously f r o m one affect to a n o t h e r . A short example is sketched i n the final Lesson. As usually notated, c o m m o n t i m e is indicated b u t n o t prescribed for the divisions of the entire piece. For this reason, bar lines are always o m i t t e d . N o t e lengths are d e t e r m i n e d by the usual superscribed moderato, a n d by the s u r r o u n d i n g valúes. T r i p l e t s can be recognized simply by t h e i r beam. U n b a r r e d free fantasías seems especially adept at the expression of affeets, f o r each meter carries a k i n d of compulsión w i t h i n itself. A t least i t can be seen i n accompanied recitatives that tempo a n d meter must be f r e q u e n t l y changed i n order to rouse a n d s t i l l the r a p i d l y a l t e r n a t i n g affeets. Henee, the metric signature is i n many such cases more a c o n v e n t i o n of n o t a t i o n than a b i n d i n g factor i n performance. I t is a distinct m e r i t of the fantasía that, u n h a m p e r e d by such trappings, i t can accomplish the aims of the recitative at the keyboard w i t h complete, unmeasured freedom. 10
11
16. Performers, as we have already learned, must t r y to capture the true content of a composition and express its appropriate affeets. Composers, therefore, act wisely w h o i n n o t a t i n g t h e i r works i n 10 For a more extended discussion of the free fantasía cf. C h . V I I . 11 T h i s sentence is from the ed. of 1787. T h e Lesson mentioned is the third movement of Sonata V I (cf. Pt. I , Introduction, Note 17). For a score set with a double text that was added later by the poet and Bach admirer, Heinrich Wilhelm von Gerstenberg, see F. Chrysander i n Vierteljahrschrift für Musikwissenschaft, No. 7, 1891.
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elude terms, in a d d i l i o n to tempo indications, which lielp to elarify the meaning oí a piete. However, as w o r t h y as their intentions m i g l i t be, they w o u l d n o t succeed i n p r e v e n t i n g a garbled performance i f they d i d not also add to the notes the usual signs and marks relative to execution. W i t h regard to the first p o i n t , I hope that I shall be f o r g i v e n for using a few unusual terms w h i c h , however, fitted the m e a n i n g that I wanted to express i n the Lessons. I have attended to signs and marks w i t h lavish care, for I k n o w that they are as m u c h needed by keyboardists as by other executants. W h e n one voice is to be b r o u g h t o u t above the others i t carries p e r t i n e n t markings. I n other cases such signs refer to a l l parts played by a given h a n d . T h e appearance of these signs being better k n o w n than t h e i r m e a n i n g and execution, I shall illustrate and e x p l a i n the more usual of t h e m i n the f o l l o w i n g paragraphs. 17. Attack and touch are one and the same t h i n g . E v e r y t h i n g depends o n their forcé and d u r a t i o n . W h e n notes are to be detached f r o m each other strokes or dots are placed above t h e m , as illustrated i n Figure 166. T h e latter i n d i c a t i o n has been used i n the Lessons i n order to avoid a confusión of the strokes w i t h fingering numeráis. Notes are detached w i t h r e l a t i o n to: (1) t h e i r notated length, that is, a half, quarter, or eighth of a bar; (2) the tempo, fast or slow; and (3) the v o l u m e , forte or piano. Such tones are always h e l d for a l i t t l e less than half of their notated l e n g t h . I n general, detached notes appear mostly i n leaping passages a n d r a p i d tempos. Figure
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self-evident that all of the tones are to be played s i m i l a r l y u n t i l another k i n d of m a r k intervenes. T h e slurred tones of b r o k e n chords are h e l d i n the manner of Figure 168. T h i s applies to the E major Lesson, where, i n a d d i t i o n to the fine effect of such an execut i o n , the advantages of this k i n d of i n d i c a t i o n are clearly evident. I n the A-flat Lesson the same execution has been notated i n the French manner, w h e r e i n each tone of a chord stands for a sepárate voice. I have w r i t t e n i t this way so that the student m i g h t have an o p p o r t u n i t y to become f a m i l i a r w i t h b o t h kinds of n o t a t i o n . Generally speaking, slurred notes appear mostly i n stepwise passages and i n the slower or more modérate tempos. Passages i n w h i c h passing notes or appoggiaturas are struck against a bass are played legato i n a l l tempos even i n the absence of a slur (168 a). As illustrated i n the example marked N . B . , the same remark applies to basses w h i c h are s i m i l a r l y devised. Note-against-note successions may be either slurred or detached and therefore r e q u i r e express i n dications. Successions of thirds l i k e those i n Example b w o u l d be almost impossible to p e r f o r m i n a fast tempo. A t least, a r a p i d execut i o n m i g h t very easily cause stammering or a detaching of the notes contrary to the composer's intentions. However, played i n the manner of the asterisked example w i t h the quarters h e l d for their f u l l valué, the desired effect can be easily produced on the clavichord as w e l l as the harpsichord. Likewise the succession i n Example c may be played r a p i d l y i n the manner of Example d. 12
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21. T h e notes of Figure 170 are played i n such a manner that the first of each slur is slightly accented. Figure 171 is played similarly except that the last note of each slur is detached. T h e finger must be raised immediately after i t has struck the key. T h e portato and v i b r a t o of Figure 169 apply only to the clavichord; Figures 170 and 171 may be played o n b o t h the harpsichord and the clavichord, b u t more effectively o n the latter. T h e execution of Figures 170 and 171 must n o t be c o r r u p t e d i n t o that of Figure 171, Example a, an error frequently c o m m i t t e d by beginners.
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19. T h e notes of Figure 169 are played legato, b u t each tone is noticeably accented. T h e t e r m w h i c h refers to the performance of notes that are b o t h slurred and d o t t e d is portato. 20. A long, affettuoso tone is p e r f o r m e d w i t h a v i b r a t o . T h e finger that depresses and holds the key is gently shaken. T h e sign of a v i b r a t o appears i n Example a. T h e best effect is achieved w h e n the finger w i t h h o l d s its shake u n t i l half the valué of the note has passed. 16
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22. Tones w h i c h are neither detached, connected, ñor f u l l y held are sounded for half their valué, unless the abbreviation Ten. (hold) is w r i t t e n over t h e m , i n w h i c h case they must be h e l d f u l l y . Quarters and eighths i n modérate and slow tempos are usually p e r f o r m e d i n this semidetached manner. T h e y must not be played weakly, b u t w i t h fire and á slight accentuation. 23. Short notes w h i c h f o l l o w dotted ones are always shorter i n execution than their notated l e n g t h . Henee i t is superfluous to place strokes or dots over t h e m . Figure 172 illustrates their execut i o n . T h e asterisked example shows us that occasionally the división must agree w i t h the notated valúes. Dots after l o n g notes or after short ones i n slow tempos, and isolated dots, are a l l h e l d . However, i n r a p i d tempos prolonged successions of dots are p e r f o r m e d as rests, the apparent opposite demand of the n o t a t i o n n o t w i t h s t a n d i n g . A more aecurate n o t a t i o n w o u l d remove such a discrepaney. L a c k i n g this, however, the content of a piece w i l l shed l i g h t o n the details of its performance. Dots after short notes f o l l o w e d by groups of shorter ones are h e l d f u l l y (Figure 173). W h e n four or more short notes f o l l o w a dot they are played w i t h dispatch, there being so many of t h e m . T h e same applies to Example a and, w h e n the tempo is n o t too slow, to Example b. Short notes, w h e n they precede d o t t e d ones, are also played more r a p i d l y than t h e i r 21
is Das Tragen der Tone. 17 Die Bebung. T h i s and the preceding Tragen der Tone are clostly related. For one thing, the true and only keyboard home of both is the clavichord. For another, they are executed in the same manner, the difference being solely in the number of times the key is pressed after the finger stroke. T h i s difference is indicated roughly by the number of dots over each note. Franz Rigler (Anleitung zum Clavier, Vienna, 1779) explains the distinction by saying that the portato arises "when the key is rather slowly rocked," and the vibrato, "when the tone is quite clearly rocked (herausgewieget) according to the number of dots, and without repeating the finger stroke." Daniel Gottlob Türk (Clavierschule, 1789) explains the portato as " a joining of tones in such a manner that in progressing from one to another no break occurs. At the clavichord [Claviere] this so-called Tragen is easy to express, for after striking the key an additional pressure is exerted." is Dr. Charles Burney in The Present State of Music in Germany, Vol. I I , p. 268, describes Bach's vibrato (Bebung) as follows: " I n the pathetic and slow movements, whenever he had a long note to express, he absolutely contrived to produce, from his instrument, a cry of sorrow and complaint, such as can only be effected upon the clavichord; and perhaps by himself." is T h i s sentence from ed. of
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2» Remainder of sentence from ed. of 1787, footnote. 21 However, cf. C h . V I , "Performance," f 15. 22 Remainder of paragraph from ed. of 1787.
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n o t a t i o n indicates. A l l of the short notes of Example c, even the sixteenths, when the tempo is n o t too slow, f o l l o w this r u l e . I t w o u l d be a better practice to add a beam to a l l of the notes. I t is only generally t r u e that the short notes described here should be played r a p i d l y , for there are exceptions. T h e melodies i n w h i c h they appear should be carefully examined. Should ornaments of length, such as the t r i l l or t u r n , appear over them, t h e i r performance must be broader t h a n that of undecorated short notes. Likewise, i n sad or expressive passages and i n slow tempos the exception is less accelerated t h a n i n other cases.
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26. T h e usual signs of arpeggiation a n d t h e i r execution appear i n Figure 176. T h e asterisked example represents an arpeggio w i t h an acciaccatura. T h e w o r d " a r p e g g i o " w r i t t e n over a l o n g note calis f o r a c h o r d b r o k e n u p w a r d and d o w n w a r d several times. Remainder of paragraph from ed. of 2" Kxamplcs a, b, c from ed. of 1787. , ¿ i
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where a melody i n octaves is transposed three times against r a p i d notes i n the left hand. Each transposition can be effectively períormed by gradually and gently accelerating and immediately thereafter r e t a r d i n g . I n affettuoso playing, the performer must avoid frequent and excessive retards, w h i c h tend to make the tempo drag. T h e affect itself readily leads to this fault. Henee every effort must be made despite the beauty of detail to keep the tempo at the end of a piece exactly the same as at the b e g i n n i n g , an extremely difficult assignment. T h e r e are many excellent musicians, b u t only a few of w h o m i t can be said t r u t h f u l l y that i n the narrowest sense they end a piece as they began i t . Passages i n a piece i n the major mode w h i c h are repeated i n the m i n o r may be broadened somewhat on their r e p e t i t i o n i n order to heighten the affect. O n entering a jermata expressive of languidness, tenderness, or sadness, i t is customary to broaden slightly. T h i s brings us to the tempo r u b a t o . Its i n d i c a t i o n is simply the presence of more or fewer notes than are contained i n the n o r m a l división of the bar. A whole bar, p a r t of one, or several bars may be, so to speak, distorted i n this manner. T h e most difficult b u t most i m p o r t a n t task is to give a l l notes of the same valué exactly the same d u r a t i o n . W h e n the execution is such that one h a n d seems to play against the bar and the other strictly w i t h i t , i t may be said that the performer is d o i n g everything that can be r e q u i r e d of h i m . I t is only rarely that a l l parts are struck simultaneously. T h e b e g i n n i n g of a caesura w h i c h terminates a tempo r u b a t o may be d r a w n i n t o the m a n i p u l a t i o n , b u t the end, as i n a l l endings of this tempo, must f i n d all parts together over the bass. Slow notes and caressing or sad melodies are the best, and dissonant chords are better than consonant ones. Proper execution of this tempo demands great c r i t i c a l faculties and a h i g h order of sensibility. H e w h o possesses these w i l l n o t find i t difficult to fashion a performance whose complete freedom w i l l show n o trace of coerción, and he w i l l be able to manipúlate any k i n d of passage. However, practice alone w i l l be of no help here, for w i t h o u t a fitting sensitivity, no a m o u n t of pains w i l l succeed i n c o n t r i v i n g a correct rubato. As soon as the upper part begins slavishly to f o l l o w the bar, the essence of the r u b a t o is lost, for then a l l other parts must be played i n t i m e . Other instrumentalists and singers, w h e n they are accompanied, can i n t r o d u c e the tempo m u c h more easily t h a n 2 9
27. W i t h the advent of an increased use of triplets i n c o m m o n or 4/4 t i m e , as w e l l as i n 2/4 and 3/4, many pieces have appeared w h i c h m i g h t be more conveniently w r i t t e n i n 12/8, 9/8, or 6/8. T h e performance of other lengths against these notes is shown i n Figure 177. T h e unaccented appoggiatura, w h i c h is often disagreeable and always difficult, can be avoided i n the ways i l l u s t r a t e d i n these examples. 26
27
Figure 177
28. Figure 178 contains several examples i n w h i c h certain notes and rests should be extended beyond t h e i r w r i t t e n l e n g t h , f o r affective reasons. I n places, I have w r i t t e n o u t these broadened valúes; elsewhere they are indicated by a small cross. Example a shows how a r e t a r d may be a p p l i e d o p p o r t u n e l y to a melody w i t h t w o different accompaniments. I n general the r e t a r d fits slow or m o r e modérate tempos better t h a n very fast ones. T h e r e are m o r e examples i n the opening allegro a n d the f o l l o w i n g adagio of the B M i n o r Sonata, N o . 6, of m y second engraved w o r k ; especially i n the adagio, 2 8
26 T h i s discrepant practice of eighteenth-century notation offers many problems to the modern performer. See, for example, J . S. Bach's E minor Partita, Tempo di Gavotta, and the E minor Fugue, Bk. I I , The Well-tempered Clavier. 27 Cf. C h . I I , " T h e Appoggiatura," ^ 25 and Note 12. 28 T h e Württemberg Sonatas (Nagels Archiv, Nos. 21, 22). T h e y were preceded by the first published works, the Prussian Sonatas, two years earlier, in 1742 (Nagels Archiv Nos. 6, 15).
161
29 Remainder of paragraph from ed. of 1787.
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the solo kcyboardist. T h e reason for this is the one just stated. I f necessary, the solo keyboardist may alter the bass, b u t not the harmony. Most keyboard pieces contain r u b a t o passages. T h e división and i n d i c a t i o n of these is about as satisfactory as can be expected. H e w h o has mastered the tempo r u b a t o need n o t be fettered by the numeráis w h i c h d i v i d e notes i n t o groups of 5, 7, 11, etc. A c c o r d i n g to his disposition b u t always w i t h appropriate freedom he may add or o m i t notes. 80
R l< O I{ M A N C E
163
hand there must not be too m u c h restraint. I t is not possible to describe the contexts appropriate to the forte or piano because for every case covered by even the best r u l e there w i l l be an exception. T h e p a r t i c u l a r effect of these shadings depends o n the passage, its context, and the composer, w h o may i n t r o d u c e either a forte or a piano at a given place for equally c o n v i n c i n g reasons. I n fact, complete passages, i n c l u d i n g t h e i r consonances and dissonances, may be m a r k e d first forte and, later, piano. T h i s is a customary procedure w i t h b o t h repetitions and sequences, particularly w h e n the accompaniment is m o d i f i e d . B u t i n general i t can be said that dissonances are played l o u d l y and consonances softly, since the f o r m e r rouse o u r emotions and the latter q u i e t them (Figure 179, Example a). A n exceptional t u r n of a melody w h i c h is designed to créate a v i o l e n t affect must be played l o u d l y . So-called deceptive progressions are also b r o u g h t o u t markedly to complement t h e i r f u n c t i o n (b). A n o t e w o r t h y r u l e w h i c h is n o t w i t h o u t f o u n d a t i o n is that a l l tones of a melody w h i c h lie outside the key may w e l l be emphasized regardless of whether they f o r m consonances or dissonances and those w h i c h lie w i t h i n the key may be effectively p e r f o r m e d piano, again regardless of t h e i r consonance or dissonance (c). Because of the brevity of E x a m p l e c, I have been obliged to crowd the forte a n d piano indications. I k n o w that this constant changing f r o m l i g h t to dark shadings is of n o valué, f o r i t leads to obscurity rather t h a n clarity and i n the end turns a s t r i k i n g relationship i n t o an o r d i n a r y one. A l t h o u g h each forte and piano i n the Lessons has been carefully marked, i t is i m p o r t a n t to keep i n m i n d that certain ornaments as discussed i n the chapter on embellishments are very m u c h charac3 2
29. P. means piano or soft; t w o or more of the letters standing together denote greater softness. M . F . means mezzo forte or half l o u d . F. means f o r t e ; to denote greater loudness t w o or m o r e of the letters are placed together. I n order to c o n t r o l a l l shades f r o m pianissimo to fortissimo the keys must be g r i p p e d firmly a n d w i t h s t r e n g t h . However, they must n o t be flogged; b u t o n the other 31
so Le., it is easier for two performers to play in contrived disagreement than it is for the two hands of a single performer. 31 Throughout this paragraph Bach is speaking of graded as well as terraced dy-
namics. T h e terms crescendo and diminuendo appear in his later compositions, but only sparingly. Modern signs for graded changes were only evolving in his time. Cf. R . E . M. Harding, Origins of Musical Time and Expression, Oxford Press, 19558, C h . I V , and Harvard Dictionary of Music, Cambridge, Mass., 1945, "Expression," I I I . Bach's older practice is the use of successive abbreviations, such as ff, f, p, pp, or a more widely spaced ff., pp. 32 Bach writes here with reference to an elabórate theory of shading advanced by Quantz (Versuch einer Anweisung die Flote traversiere zu spielen, 1752). It appears in translation in Arnold, Art of Accompaniment from a Thoroue;h-Bass, pp. 407 ff. T h e leading point of the theory is that the dynamic level at which chords are to be 6 played is determined by the kind of dissonances that they express. For example, 4* 6 6 2 is played mezzo-forte; 4f , forte;4v; fortissimo. Bach has many reservations; so many, that he accepts the theory only in its broadest sense, relieved of all particulars. I n this broadest sense it represents a common practice of the eighteenth century.
V E li /' O l\ A N C E
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PERFORMANCE
terized l)y dynanik: shadings. I I (lie Lessons are played on a harpsic h o r d w i t h two manuals, only one manual should be used t o play detailed changes of forte and piano. I t is only when entire passages are differentiated by contrasting shades that a transfer may be made. T h i s p r o b l e m does n o t exist at the clavichord, for o n i t a l l varieties of l o u d and soft can be expressed w i t h an almost u n r i v a l e d clarity a n d p u r i t y . A l o u d , boisterous accompaniment must always be balanced by a stronger melodic t o u c h . 33
34
Figure 179
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the general pace a n d diífcrentiation of notes. T h e r e is always a slight pause between statements i n two- and three-voice cadenzas before a new voice enters. I n the Eessons I have indicated these held endings w i t h whole notes instead of the more usual ties. T h e w h i t e notes serve n o other purpose a n d are t o be h e l d u n t i l relieved by another note i n the same voice. Observe that i f another note is assigned to the key oceupied by one of the whole notes, the key must be r e l i n q u i s h e d , b u t reoecupied by the o r i g i n a l note after the i n t e r v e n i n g voice has left. Should b o t h hands be engaged i n this procedure, the o r i g i n a l hand must retake the key before i t has been released finally by the other. I n this way c o n t i n u i t y of sound w i l l be achieved w i t h o u t an a d d i t i o n a l attack. W i t h regard t o the l e n g t h of the pauses indicated by w h i t e notes, imagine t w o or three persons i n conversation, each one of w h o m waits for the other to complete his statement before r e j o i n i n g w i t h his o w n . Played any other way, the cadenza loses its distinguishing character and sounds more l i k e a clearly measured and barred piece w i t h tied notes. A t t h e same t i m e the pause is n o t observed w h e n the r e s o l u t i o n of a c h o r d preceding the w h i t e note must be played by the other voices d i r e c t l y on the w h i t e note's entrance. 3 6
37
31. T h e F m a j o r Lesson is an i l l u s t r a t i o n of the present practice of varying extemporaneously the two reprises of an allegro. T h e concept is excellent b u t m u c h abused. M y feelings are these: N o t everything should be varied, for i f i t is the reprise w i l l become a new piece. M a n y things, p a r t i c u l a r l y affettuoso or declamatory passages, cannot be readily varied. Also, galant n o t a t i o n is so replete w i t h new expressions and twists that i t is seldom possible even to comprehend i t immediately. A l l variations must relate to the piece's affect, and they must always be at least as good as, i f n o t better than, the o r i g i n a l . For e x a m p l e , many variants of melodies i n t r o d u c e d by executants i n the belief that they h o n o r a piece, actually oceurred t o the composer, w h o , however, selected a n d wrote d o w n the o r i g i n a l because he considered i t the best of its k i n d . Simple melodies can o f t e n be made i n t o elabórate ones a n d 3 8
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30. Elaborated cadenees [cadenzas] are l i k e improvisations. I n keeping w i t h the substance of a piece they are p e r f o r m e d freely i n an unmeasured manner. T h e notated lengths, therefore, at such cadenees i n the Lessons are only approximate and represent merely 3 5
33 Johann F r . Cramer, in his Magazin der Musik (Vol. I , p. 1217), wrote, " A l l who have heard Bach play the Clavichord must have been struck by the endless nuances of shadow and light that he casts over his performance." T h i s material is discussed at length i n C h . V I , "Performance," f f 5-1335 T h e common eighteenth-century term was "cadenee," which had several meanings, all but one of which have dropped out óf use. T h e Italian word "cadenza," which carne to acquire a specific, and henee clearer, meaning, has been adopted here. I n defense, a quotation from Quantz (op. cit., C h . X V , f i) revealing the varied meanings of "cadenee" i n his own day, should suffice: " B y the word 'cadenee' I understand here neither the end ñor the interruption of a melody, much less the trill which is called 'cadenee' by some Frenchmen. I shall treat only those elabórate embellishments which are furnished by a concertizing part out of free will and pleasure at the conclusión of a piece over the penultimate bass note, namely the fifth of the key of the piece." Bach's discussion of such cadenzas from the point of view of the accompanist appears in C h . V I , "Closing Cadenees." T h e soloist's cadenzas are treated in the last section of C h . I I .
39
38 Sonata I V , second movement, and Sonata V I , second movement. Cf. Pt. I , I n troduction, Note 17. A similar dialogue cadenza appears in J . S. Bach's Werke, 36.4, p. 31, where, in the D major Toccata, the section marked con discrezione begins. Quantz gives many examples (op. cit. X V . Haupstück, f f 19-31). 37 Cf. f 25 of the present chapter. 38 Sonata V , third movement. Cf. Pt. I , Introduction, Note 17. 3» T h i s sentence from ed. of 1787, footnote.
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vice versa. A l l this musí be clone w i l h no sinall deliberación. Consumí attention musí be given to preceding and succeeding parts; (here must be a visión of the whole piece so that the v a r i a t i o n w i l l retain the o r i g i n a l contrasts of the b r i l l i a n t a n d the simple, the fiery and the l a n g u i d , the sad and the j o y f u l , the vocal and the i n strumental. I n keyboard pieces the bass too may be m o d i f i e d so l o n g as the h a r m o n y remains unchanged. Despite the present p o p u l a r i t y of elabórate variations, i t is of first importance always to make cert a i n that the lineaments of a piece, by w h i c h its affect is recognized, remain unobscured. 40
4" Of interest in this connection is Bach's Foreword to the first collection of Sonatas with Varied Reprises (1760). H e writes: "Today varied reprises are indispensable, being expected of every performer. A friend of mine takes every last pain to play pieces as written, purely and in accord with the rules of good performance. C a n applause be rightfully denied him? Another, often driven by necessity, hides under bold variations his inability to express the notes as written. Nevertheless, the public holds him above the former. Performers want to vary every detail without stopping to ask whether such variation is permitted by their ability and the construction of the piece. "Often it is simply the varying, especially when it is allied with long and much too singularly decorated cadenzas, that elicits the loudest acclaim from the audience. And what abuses of these two refinements arise! No longer is there patience enough to play the first part of the piece as written; the long delay of the Bravos would be unendurable. Often these untimely variations are contrary to the construction, the affect, and the inner relationship of the ideas—an unpleasant matter for many composers. Assuming that the performer is capable of varying properly, is he always in the proper mood? Do not many new problems arise with unfamiliar works? Is not the most important consideration in varying, that the performer do honor to the piece? Must not the ideas that he introduces into the repetition be as good as the original ones? Yet, regardless of these difficulties and abuses, good variation always retains its valué." T w o later sets of pieces with varied reprises from 1766 and 1768 were published in 1914 by Universal Edition (No. 5395) under the title Klavierstücke.
FOREWORD TO PART úbcr
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H A S finally become m y pleasure to present the second part of this Essay to m y friends a n d admirers. M y o r i g i n a l i n t e n t i o n
was to engrave the musical examples o n copper plates, a n d I made a start w i t h a fantasia w h i c h has been appended to the last pages. However, I changed m y m i n d later a n d chose the excellent i n v e n t i o n of music p r i n t i n g so that illustrative matter m i g h t appear i n the text, thus e l i m i n a t i n g the tedious search for examples 1
in rocfclxm í>ie &í)re t>on bem 3lccompaánemmt uní)
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in sepárate tables. T h e most notable feature of this book is the a t t e n t i o n given to artistic accompaniment, and i n this respect it differs f r o m a l l previous manuals o n t h o r o u g h bass. T h e observations are n o t speculative b u t rest o n experience and w i s d o m . W i t h no desire to boast, i t may be said that this experience can h a r d l y be
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r i v a l e d , for i t has g r o w n o u t of many years of association w i t h good taste i n a musical e n v i r o n m e n t w h i c h c o u l d n o t be i m p r o v e d . 3
Cf. Figure 480. 2 T h e examples and Lessons to Part I were engraved and bound under sepárate cover. Bach's similar plans for Part I I were happily altered by the perfection of a method of music printing by Johann Gottlob Breitkopf in 1755, consisting in the use of minute fragments of type which were assembled to form musical characters. T h e process was an improvement over sixteenth-century methods of type printing, which had been abandoned. T h e new method proved eminently successful and led to mass production of musical scores. Today, because of the troublesome nature of the process, its use is limited mostly to short illustrations in books. The friendly relations between Bach and J . G . Breitkopf are traced by H . von Hase in the Bach Jahrbuch of 1911. Breitkopf, son Of Bernard Christoph Breitkopf, founder of the firm of music publishers (Leipzig, 1719) ran the establishment successfully for many years. T h e additional ñame by which the modern firm is known was added in 1795, when Gottfried Christof Hártel joined it. 3 T h e Bibliothek der Schónen Wissenschaften observes: "Those who remember that the author was first instructed by the greatest master in this element of practical music; developed under him and already in Leipzig distinguished himself in the happiest way; how later he became a member of the royal court at Berlin, where the finest taste flourished under the direction of Graun, who died too early for the good of music; where the art was practiced with extraordinary delicacy and true sensitivity, especially because a monarch himself, a great conrioisseur of the art, par169 1
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T i t l e page of the first edition of Essay on the True Art of Keyboard Instruments, Part I I
Playing
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I have w r i t t e n the examples on one system only, i n order to keep the size and cost of the w o r k w i t h i n reasonable bounds. T h e reader must always f i n d the reason u n d e r l y i n g each example and must n o t restrict his performance of i t to the notated register. W i t h regard to the d i s t r i b u t i o n of tones, a l l necessary observations w i l l be f o u n d i n the text. For purposes of i n s t r u c t i o n the niceties of accompaniment and the second part of each section should be treated last. These should be preceded by the first principies of t h o r o u g h bass. T h e short sections have no subdivisión. T h e three-part examples are figured t h r o u g h o u t w i t h T e l e m a n n bows, a sign w h i c h c o u l d well be used by a l l figurists who^wish to indícate a three-voiced construction. I use a special sign, 4 3 , for the six-four w i t h a suspended t h i r d w h i c h has a d o u b l e d sixth i n four-part construction, i n order to differentiate i t f r o m the six-four whose f o u r t h part duplicates the bass. I e x p l a i n these signs i n advance so that those w h o merely leaf t h r o u g h m y book w i l l n o t grow c r i t i c a l or become dismayed by them, b u t rather w i l l understand immediately that their a i m is clarification. T h e r e are t w o examples w h i c h seem to contradict the r u l e w h i c h is stated i n Paragraph 4 of the first section on the c h o r d of the major seventh. T h e first is the second example of Figure 301, and the second is Figure 357, Example /. I n b o t h cases an ascending seventh is accompanied by the figure 9 rather t h a n 2.1 have purposely i n c l u d e d these just as I have f o u n d them, so that the performer m i g h t be apprised of t h e m . For, although the i n d i c a t i o n is n o t as clear as m i n e , i t is used by some figurists. 4
5
I f I had restricted the illustrations i n the first chapter to the matter at hand, I w o u l d have been obliged to o m i t certain essential observations or at least strip t h e m of their context, and many harm o n i c changes based o n preparation and resolution c o u l d n o t have been treated. A n e x a m i n a t i o n of various i n t r o d u c t i o n s to t h o r o u g h ticipated in it; those who remember all this will understand that only a virtuoso like Bach could transform a stiff thorough bass into a fine accompaniment and show the world of music how it must be played sensitively after the nature of the piece." * Telemannschen Bogen. A sign, 5, which indicated that the diminished triad was to contain in realization only its three original tones without the sixth which was customarily included. (cf. Chapter V, " T h e Diminished T r i a d , " f 3). I n its more general sense it indicates a three-part accompaniment. As suggested by its ñame, the sign is said to have been introduced by the prolific composer, Georg Philip Telemann, C . P . E . Bach's godfather and his predecessor at the Johanneum in Hamburg. 5 Cf. C h . V, " T h e Six-four Chord," I , f 9.
E O R E W O R i)
T O
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JI 7
bass w i l l reveal the inadvisability of w i t h h o l d i n g new progressions u n t i l they have been exhaustively discussed. I have avoided this a n d placed a greater trust i n the instructor. Various reasons have led me to repeat certain examples a n d basic principies. For this, I beg the reader's forbearance. Such excesses can do n o h a r m , for the i m portance of the matter justifies its r e p e t i t i o n , and the reader w i l l gain the advantage of finding a l l things i n their proper order o n l o o k i n g u p a passage. I hope that this w o r k w i l l be as w a r m l y received as the first part, and trust that i t w i l l prove as practicable f o r the student. A l t h o u g h my various duties leave l i t t l e t i m e for w r i t i n g , i t is m y desire to b r i n g o u t a few supplements, p a r t i c u l a r l y to the last chapter. I have w i t h h e l d several examples and useful observations on improvisat i o n i n order to check the m o u n t i n g expenses of p u b l i c a t i o n . Perhaps these supplements w i l l appear w i t h those to the first book.
INTRODUCTION
INTRODUCTION
TO PART TWO
i ' H E O R G A N , harpsichord, pianoforte, and clavichord are the keyboard instruments most c o m m o n l y used for accompaniment. 2. I t is u n f o r t u n a t e that the bowed clavier, H o h l f e l d ' s fine i n v e n t i o n , has n o t yet come i n t o general use. U n t i l i t does, its characteristics cannot be described i n detail. Certainly, i t w i l l prove a useful accompanying i n s t r u m e n t . 3. T h e organ is indispensable i n c h u r c h music w i t h its fugues, large choruses, a n d sustained style. I t provides splendor a n d m a i n tains order. 4. However, i n a l l recitatives a n d arias i n this style, especially those i n w h i c h a simple accompaniment permits free v a r i a t i o n o n the part of the singer, a harpsichord must be used. T h e emptiness of a performance w i t h o u t this accompanying i n s t r u m e n t is, unfortunately, made apparent to us far too o f t e n . 1
5.
I t is also used for arias a n d recitatives i n chamber and theatri-
cal music. 6. T h e pianoforte a n d clavichord provide the best accompaniments i n performances that r e q u i r e the most elegant taste. Some singers, however, prefer the support of the clavichord o r harpsic h o r d to the p i a n o f o r t e . i j o h a n n Hohlfeld (1711-1771), originally an apprentice passementier, invented a machine for the recording of improvisations and a Bogenklavier whose strings were bowed rather than struck or plucked. T h i s was one of a long series of attempts, reaching as far back as sketches by Leonardo da Vinci, to produce a sustained tone and graded dynamic changes at the keyboard. It was demonstratéd at the Royal Court in 1753, on which occasion Bach played on it and praised it highly, as did Marpurg. Bach wrote a sonata for the instrument and a song to its inventor on his death (Wotquenne, No. 65, Andantino, Hamburg, 1783, and No. 202c). Cf. C h . V I , "Performance,"
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7. T h u s , no piece can be w e l l p e r f o r m e d w i t h o u t some l'orm of keyboard accompaniment. Even i n heavily scored works, such as operas p e r f o r m e d o u t of doors, where n o one w o u l d t h i n k that the harpsichord c o u l d be heard, its absence can certainly be felt. A n d f r o m a position above the performers a l l of its tones are clearly perceptible. I base these observations o n experiences w h i c h may be d u p l i c a t e d by anyone. 8. Some soloists take only a viola or even a v i o l i n f o r accompanim e n t . T h i s can be condoned only i n cases of necessity, where good keyboardists are n o t available, even t h o u g h i t creates many discrepancies. I f the bass is w e l l constructed, the solo becomes a duet; i f i t is not, h o w d u l l i t sounds w i t h o u t h a r m o n y ! A certain I t a l i a n master had n o reason t o i n t r o d u c e this k i n d of accompaniment. W h a t confusión w h e n the parts cross! O r w h e n the melody is dist o r t e d i n order to a v o i d a crossing! As w r i t t e n by the composer, the t w o parts r e m a i n cióse to each other. H o w feeble the f u l l chords of the p r i n c i p a l p a r t sound, u n s u p p o r t e d b y a real bass! A l l harm o n i c beauty is lost; and a great loss i t is i n affettuoso pieces. 2
9. T h e best accompaniment, one w h i c h is free of c r i t i c i s m , is a keyboard i n s t r u m e n t and a cello. 10. As regards performers of t h o r o u g h bass, we are worse off n o w t h a n we used t o be. T h e cause of this is the refinement of m o d e r n music. N o one can be content any longer w i t h a n accompanist w h o merely reads a n d plays figures i n the manner of a b o r n pedant, one w h o memorizes a l l of the rules a n d follows t h e m mechanically. Something m o r e is r e q u i r e d . 11. T h e " s o m e t h i n g m o r e " provides the reason f o r this cont i n u a t i o n of m y Essay, and i t shall f u r n i s h the p r i n c i p a l m a t e r i a l of its teachings. I a i m t o instruct those accompanists w h o , i n add i t i o n to l e a r n i n g rules, desire to f o l l o w the precepts of good taste. 12. I n order t o become a skilled p e r f o r m e r of t h o r o u g h bass, due t i m e must first be given to the p l a y i n g of good solos. 13. G o o d solos are those that have well-constructed melodies and correct h a r m o n y , a n d provide sufficient exercise for b o t h hands. 3
2 Bach is obviously not inveighing against unaccompanied duets, at which he himself tried his hand (cf. Nagels-Archiv No. 35) ás early as 1752 (Wotquenne No. 141). Rather, it is something like the Opus 4 of Emanuele Barbella (1704-1773), Six Solos for a Violin and Bass or T w o Violins, published by R . Brenner. T h e score contains a prefatory "Scale for teaching to play the Bass part on the V i o l i n , " 3 Handsachen. Cf. Pt. I , Foreword, Note 2.
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14. I n p l a y i n g these the ear grows accustomed to good melody, an i m p o r t a n t factor i n accompaniment, as we shall see presently. 15. T h e p e r f o r m e r also becomes f a m i l i a r w i t h a l l types of meter and tempo along w i t h their characteristic passages. H e forms a q u i t e useful acquaintance w i t h most of the problems of t h o r o u g h bass, a n d acquires finger facility a n d practice i n sight reading. I n brief, solos provide exercise f o r the eyes, ears, and fingers. 16. Especially recommended are constant listening to good music and careful observing of good accompanists. T h i s w i l l cultívate the ear and teach i t to become attentive. 17. Such attentiveness w i l l p e r m i t no nuance to pass u n n o t i c e d . Observe how musicians always listen to each other a n d m o d i f y their performance so that the ensemble may reach the desired goal. A l e r t ness is r e q u i r e d of a l l performers, i n c l u d i n g the accompanist, regardless of how exact the figures may be. 18. O u r present taste has b r o u g h t about an entirely new use of h a r m o n y . O u r melodies, embellishments, and manner of performance o f t e n cali for unusual chords. A t times they must be played i n few parts, again, i n many. T h u s , the range of the accompanist's duties has greatly increased a n d the recognized rules of t h o r o u g h bass, w h i c h must o f t e n be m o d i f i e d , are no longer sufficient. 19. A n accompanist must fit to each piece a correct performance of its h a r m o n y i n the proper v o l u m e w i t h a suitable d i s t r i b u t i o n of tones. H e must t r y to f o l l o w exactly the composer's intentions, and to this end pay u n r e l e n t i n g a t t e n t i o n to the r i p i e n o parts. W h e n there are n o m i d d l e parts to fill o u t the harmony, as i n solos and trios, the keyboard accompaniment by itself must be constructed i n accord w i t h the affect of the piece and the performance of the other players so that the desires of b o t h the composer a n d the executants w i l l be satisfied. 4
20. As i n r e a d i n g at sight, the accompanist must always l o o k ahead to the approaching notes. 21. I n p u r s u i t of the observations of paragraph 19, I shall give * ". . . In der gehorigen Starke und Weite." T h i s is one of the essential, guiding principies of Part I I , to which Bach refers repeatedly. A discussion of the means to be used in achieving proper volume, i.e., by reducing or adding parts, by changing from one manual to another, etc., will be found in C h . V I , "Performance," f f 5-13. I n fact, the entire section is an extended treatment of each of the factors mentioned in f 19 here.
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as clear and brief an exposition as possible of the usual rules and their modifications, and make many observations o n accompanim e n t i n general, as w e l l as o n each progression. I shall be attentive to means by w h i c h the various progressions may be recognized. L u r k i n g errors a n d ways of overcoming t h e m w i l l be correctly shown. I shall indicate the best d i s t r i b u t i o n of tones f o r certain progressions a n d shall differentiate the essential, less essential, and inessential intervals a n d t h e i r doublings. 22. T h i s latter is necessary because sometimes chords must be t h i n , sometimes f u l l , and, w i t h reference to the n u m b e r of parts, there are pieces that r e q u i r e a l l kinds of accompaniment. 23. A c c o m p a n i m e n t may be i n one, t w o , three, f o u r , or more parts. 24. A u n i f o r m four- or more-voiced accompaniment is used i n heavily scored music, pieces i n the learned style w h i c h feature c o u n t e r p o i n t , figures, etc., a n d p r i n c i p a l l y i n works that consist of music alone, i n w h i c h taste plays a m i n o r r o l e . 25. I n t r e a t i n g four-part accompaniment I shall discuss good construction as w e l l as smooth progression of intervals. M a n y examples w i l l demónstrate that i n order to r e t a i n a good d i s t r i b u t i o n of tones i t is better to allow t w o voices to take a unisón t h a n to m a i n t a i n f o u r sepárate, stiff parts w i t h t h e i r needless leaps a n d a w k w a r d progressions. T h e r e w i l l also be examples to ¿Ilústrate the ways i n w h i c h the left h a n d must help the r i g h t to a v o i d these defects, w h i c h are sometimes ascribed to accompanists' four-part progressions. 5
8
26. Three- a n d fewer-voiced accompaniments are used i n delicate works where the taste, performance, or affect of a piece requires a husbanding of harmonic resources. W e shall see presently that such pieces often allow for delicate accompaniment o n l y . T
s Marpurg (Der critische Musicus an der Spree, p. 216) writes, "Most Symphonies, Fugues, and Trios are played in a manner that might be called the most usual kind of musical expression. I include those Symphonies, etc., in which nothing magnificent, noisy, playful, or very impassioned is sought. Neither the heart ñor the understanding is touched to any great degree." «Telemann (Singe-Spiel- und Generalbass Übungen, 1734, p. 9) writes: " W e have not given place to the unisón, another consonance, because through its use one of the four voices which we are using here is lost." T h i s expresses the view of the older school, from which Bach departs, at least in this respect (cf. C h . V, " T h e Chord of the Seventh," I , f 18, par ex.). 7 T h e learned style of f 24 and that described here, and identified elsewhere as the galant style, are the two chief objects of Bach's discussion of thorough bass. T h e
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27. I n the case of poor and a w k w a r d compositions i n w h i c h there is often no clear m i d d l e voice at a l l , o w i n g to the ineptness of the bass (out of w h i c h m i d d l e parts should flow) the keyboardist must hide the errors as best he can i n a t h i n accompaniment. H e must use chords sparingly and i n cases of necessity realize only one figure. H e must seek refuge i n pauses, d i v i d e d beats, etc. W h e n his accompaniment is n o t d u p l i c a t e d by other instruments and the piece allows i t , the accompanist may m o d i f y the bass extemporaneously as a means of w i n n i n g correct, f l o w i n g m i d d l e parts, just as he w o u l d change incorrect figures. A n d h o w often must this be done! 8
28. One-part accompaniment consists of the notated bass alone or its d u p l i c a t i o n by the r i g h t h a n d . 29. I n the first case, í. s., tasto, or tasto solo appears over the notes; i n the second, all' unisono or unisont* Since the indications are often lacking, I shall describe t h r o u g h examples and observations those places where such accompaniments are employed. 30. T h e p r i n c i p a l p a r t is that w h i c h performs the leading melody of a piece i n w h i c h a l l other parts play a s u p p o r t i n g role, as i n solos, concertos, arias, etc. 31. T h e upper part is the highest played by the accompanist. 32. T h e student, i n receiving i n s t r u c t i o n , must first play each example and then w r i t e i t o u t i n t w o staves. T h e ear and eye w i l l thereby learn to distinguish clearly between the good and the bad. 33. However, n o t h i n g must be taken f o r granted; b o t h w r i t t e n and played versions must be j u d g e d . Every note must be j u s t i f i e d . Objections should be raised w h i c h the student must answer by givi n g reasons why, for example, this or that note and no other must be used. 34. I t is best to begin w i t h four-part accompaniment and es9
10
11
distinction is maintained throughout, as it was by most writers of the time, for these were the two prevailing styles of the period. T h e distinction is elaborated by Arnold in The Art of Accompaniment from a Thorough-Bass, p. 359, note 11, where the terms "strict style" and "free style" are used in the same sense as our "learned" and "galant" styles. *Nachschldge. Cf. C h . I I , " T h e T r i l l , " Note 2. » Cf. C h . V I , "One-Part Accompaniment for the Left H a n d . " 10 Cf. C h . V I , " T h e Unisón." " For a description of the manner of playing thorough-bass exercises see C h . V I , "Performance," \.
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tablish its foundations. Those w h o learn this style t h o r o u g h l y w i l l find it easy to go o n to others. 35. Progressions must be practiced i n a l l d i s t r i b u t i o n s of t o n e s so that they w i l l become k n o w n to the student. I n d o i n g this, i t is clear that a w k w a r d progressions and poor d i s t r i b u t i o n s w i l l arise. I n m e e t i n g these the student w i l l learn to differentiate the good progressions and d i s t r i b u t i o n s f r o m the poor. However, whenever i t is possible, the remedy for a w k w a r d voice leading must be shown i m m e d i a t e l y . 36. A l t h o u g h the voice leading may prove a w k w a r d , i t must n o t be incorrect. Proper preparation and resolution must be attended to, and f o r b i d d e n fifths and octaves must be strictly avoided. 37. I n studying the three tonal d i s t r i b u t i o n s of four-part chords the student, as suggested i n paragraphs 25 and 35, should also learn the use of f o u r expedients: first, the p l a y i n g of a m i d d l e voice by the left h a n d ; second, the b r i n g i n g together of t w o voices o n the unisón; t h i r d , the momentary a d d i n g of a fifth part to the r i g h t h a n d as a means of averting fifths w h i l e a v o i d i n g a r e t u r n to a previous dist r i b u t i o n ; f o u r t h , the changing of a tonal d i s t r i b u t i o n by the repetit i o n of a c h o r d over a single bass note, as a means of r e g a i n i n g a higher register w h e n the accompaniment goes too l o w . A l l f o u r expedients are n o t only allowed i n t h o r o u g h bass, b u t are often req u i r e d , as we shall soon learn. 38. Unavoidable a w k w a r d progressions, h i d d e n fifths and octaves, and certain permissible fifths against the bass must be placed i n the m i d d l e parts. T h e upper p a r t must always sing and m a i n t a i n a puré relationship w i t h the bass. 39. I n s t r u c t i o n should commence w i t h the easy progressions a n d proceed systematically t h r o u g h the remainder. A b r i e f exercise must illustrate every progression. Brevity does n o t t r y patience. T h i s is an i m p o r t a n t consideration, for the student must n o t take u p a new example u n t i l the oíd has been w e l l c o m m i t t e d to the m i n d and hands. C o n t r a r i l y , n o t h i n g is gained by h o l d i n g u p the progress of a student w i t h unnecessarily l o n g illustrations, for, f o l l o w i n g his mastery of the progressions, he should d i l i g e n t l y practice the accompaniment of various, complete pieces. As preparation for such study, short examples sufnce. T h r o u g h the practice of these 12
12 "In alien Lagen"; i.e., with each tone of the chord taking its turn in the upper part. See f 37 of this section.
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and the gradual e l i m i n a t i o n of errors, a satisfactory competence w i l l eventual.ly be w o n . 40. T h e teacher should transpose these short examples i n a l l tonal d i s t r i b u t i o n s to a l l keys, major and m i n o r , so that the student w i l l become f a m i l i a r w i t h t h e m and their n o t a t i o n . Later, this task should be carried o u t by the student alone. 41. I consider i t better, i n transposing, to take keys at r a n d o m rather than move stepwise f r o m one to another, for some students l i k e to play and copy f r o m the untransposed example, depending on their memory to make the necessary changes w i t h o u t g i v i n g the matter any real t h o u g h t . T h e loss here is considerable. O n the other hand, by t a k i n g keys at r a n d o m a student soon acquires facility i n reading figures and simultaneously m a i n t a i n i n g a good d i s t r i b u t i o n of parts. T h i s last factor assumes many forms and constantly offers o p p o r t u n i t i e s to make use of acceptable expedients as a means of r e m a i n i n g i n a good register. I n a w o r d , he eventually masters a l l intervals, regardless of where they l i e . 42. W h i l e studying transposition, the teacher must e x p l a i n key signatures to his student and familiarize h i m w i t h t h e m . Nótate the C major and A m i n o r scales and let h i m , using these as models, w r i t e o u t a l l major and m i n o r scales. I t is hardly necessary for me to p o i n t o u t that i t is customary to construct each scale i n stepwise descent (c, b, a, g, f, etc.) and to correct w i t h accidentáis those steps that are too large or too small compared w i t h the m o d e l . By this procedure, he w i l l soon memorize the n u m b e r and position of accidentáis i n each scale, such as, for example, the n u m b e r of fíats i n D-flat, or sharps i n C-sharp. I f the keys are related by fifths and fourths the gradual increase i n the n u m b e r of accidentáis w i l l be made apparent to h i m . 43. Such knowledge w i l l prove b o t h useful and indispensable. Inescapable situations can very easily arise: T h e performer is suddenly r e q u i r e d to provide an accompaniment and is allowed to give his part n o t h i n g more than a cursory e x a m i n a t i o n ; he is n o t given t i m e enough to determine the key f r o m the final note; he can glance only hastily at the key signature. W h a t an unhappy p o s i t i o n for anyoné w h o is aware of the rare services and heavy obligations of ripienists, w h o knows a l l too w e l l that by rights a l l r i p i e n o parts should be carefully studied i n advance to ensure a good p e r f o r m ance! Aside f r o m this matter of execution the part may c o n t a i n
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copyist's errors or, at least, i l l e g i b l e , ambiguous notes, unexpected changes of meter, tempo, figures, keys, etc., w h i c h w o u l d r e q u i r e preparation f r o m even the most experienced executant. 44. However, should there be suíficient t i m e to look t h r o u g h the part, examine first the key signature, w h i c h can be w r i t t e n i n more than the one correct way described above. I n the past the signature of D m i n o r rarely contained 6-flat, or C m i n o r , a-flat. Some composers still w r i t e this way f r o m habit, love of the obsolete, or perhaps, for other reasons. Others correctly h o l d to o n l y one signature or none at a l l , especially i n h i g h l y chromatic works, freely m o d u l a t i n g recitatives, etc., i n order to avoid frequent changes, w h i c h m i g h t prove confusing to the performer. I n such cases, many of the accidentáis are n o t even i n c l u d e d i n the figured bass, i t being assumed that the executant is conversant w i t h every key.
C H A P T E R
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1 4 L L composers who desire good accompaniments to their works / \t make certain that the bass is correctly and fully figj¿ V ured. The rules which pertain to unfigured basses are often wrong and, in addition, leave many questions unanswered. 2. When the upper part of solos is written in over the bass, or, in larger pieces, when all parts are scored, the keyboardist can, of course, fashion his accompaniment from an unfigured bass, provided he has had experience in composition. If, in addition, an exact figuring is included, the accompaniment may prove to be good. By good accompaniment, I mean only the very best. But aside from this, I know that unfigured basses are often given to a certain keyboardist who is not always able to disentangle himself from the accompaniment. 3. With this in mind I shall discuss means by which an experienced accompanist will find it much easier to make a satisfactory realization of unfigured basses. However, my principal concern will be figured basses. 4. Pupils must learn the figures with dispatch. For this reason, I am no defender of great masses of numeráis. I oppose everything that makes for unnecessary trouble and destroys incentive. At the same time, no one can gain a comprehensive knowledge of thorough bass ñor learn to accompany properly who does not have an exhaustive vocabulary of figures. Once the executant has triumphed over his fear of signatures, he will be ready to direct his attention to the refinements of accompaniment. These refinements require morefiguresthan were formerly needed for the usual realization of 180
basses./ Can present-day disclose hisTintentions all N 7 the E R V A L S composer AND SIGNA U R E S at 181 WÍthout recourse to figures? 5. Teachers should let their students accompany pieces with chromatic basses, for these require an ampie use of figures. With this purpose in mind, I have assigned many of my father's basses to students, without endangering their lives. Also, they do no harm to thefingers.It' is good practice to use the correctly figured works of many composers, so that the student may grow familiar with the various types of signatures and chromatic changes. These should be analyzed, once the student's understanding is adequate, for the insight which is gained hereby will later prove very useful. Such an undertaking increases his knowledge offiguresby making it an indispensable part of the study. 6. Thorough bass would be an easier and move agreeable study, if there were general agreement on the matter of figuring. The main contribution to this cause must be made by accomplished keyboardists who themselves can fashion a good accompaniment. There are many excellent composers and musicians who, while appreciative of a good accompaniment, might find it difficult to indicate their intentions with regard to the keyboard in an idiomatic and requisite manner. The followirig are among the principal points on which all should agree: Everything essential must be indicated exactly; neither too many ñor too few figures should be written; figures must be chosen with an eye to performance; they must be correctly placed; where there are no figures, it must be made known by some sign; all styles of accompaniment, especially the three-, two-, and one-part, must be specified at the point where each is to be used, etc. 7. The relationship of one tone to another is called an interval. 8. All signs in thorough bass that pertain to accompaniment are called signatures. 9. All intervals are measured upward by steps from the bass and are identified by the resultant numeral. 10. The most usual intervals are those in Figure 18o. 11. An interval retains its ñame as long as its step is not changed, regardless of changes in accidentáis. Thus, all seconds are on the second step, all thirds on the third, etc. 12. Differences in the size of intervals of the same step, whether
182
INTERVALS
AND
SIGNATURES
Figure 18JL—•
Thirds
Seconds
minor
major
#
augmented diminished
J |[J II J
minor
BF=I—B— 1
dimin ished per íect
y i
1 —R—¡r —II—J 1 s II IN1—H— —i—f—i— 1
^-
4*
.
1
diminished
g IiJ
J
H II
Sevenths
major
II J
m e n
t e d diminished minor
II J
i
IIJ
H—. B-| perfect
major
11 i
J
N i i uhs
Octaves
1J
1
augm ented
augme nted dimin ished perfect
minor
i
IIJ
Fifths
Sixths
diminished
major
I J
U11J
Fourths
H-i
INTERVALS
1\—im H—^
=F=fc • H
augmented
minor
— 1 r
i
ii
major
1 JiügiJi
brought about by accidentáis or without them, are denoted by certain adjectives. 13. In order to recognize such variation, observe that the rela-
AND
SIGNATURES
183
tionship of adjacent keys is called a half tone. Two half tones make a whole tone. 14. The minor second comprises a half tone, the major, a whole tone, and the augmented, a tone and a half. 15. The diminished third comprises a whole tone, the minor, a tone and a half, and the major, two whole tones. 16. The diminished fourth contains two whole tones; the perfect lies a half tone above the major third; the augmented comprises a whole tone more than the major third. 17. The diminished fifth lies a half tone above the perfect fourth; the perfect comprises a whole tone more than the perfect fourth; the augmented lies a half tone above the perfect. 18. The diminished sixth contains the same number of tones as the perfect fifth; the minor sixth lies a half tone above the perfect fifth; the major sixth lies a whole tone, and the augmented sixth a tone and a half above the perfect fifth. 19. The diminished seventh contains a half tone more than the minor sixth; the minor seventh lies one tone below the octave; the major, a half tone below. 20. The diminished octave is a half tone lower than the perfect; the perfect contains five whole and two half tones; the augmented lies a half tone above the perfect. 21. In practice the minor ninth and the minor second, the major ninth and major second express the same tones. Actually an octave separates each ninth from its parallel second. 22. Primes, tenths, elevenths, and twelfths are nothing more than octaves, thirds, fourths, and fifths. They are denoted by the numeráis, 1, 10, 11, and 12, and appear often in galant notation and three-part accompaniment. Suchfiguresare used to specify the exact progression of voices, as in Figure 181. It can be seen that the succession 1-2 or 2-1 is more natural and easier to read than 8-2 or 2-8 (Example a). The same applies to 10, 11, and 12 (b). Successions of these numeráis are written as a general rule only before or after a simple 7-8-9 (c). Also, by this means it is possible clearly to determine whether two voices should progress in thirds or sixths (d), a point not always to be decided on arbitrarily in a fine accompaniment. 23. The unisón in its narrow sense occurs when two or more voices occupy the same key. Henee, it cannot very well be called an
184
INTE
li V A L S AND
S I (', N A T ü R E S
Figure 181
8 4 « 1 2
5 3
10 11 11) 9 8
9 8 7 7 6 5»f
b. 8
- 21
Í' *=r-—1 ,—f_^jH — lf
-^r-
J
1
6 !>7 C. 4 5
8,9 6W
-
1
"
I
10 11 ,12 5 6 7 56 ka'. 3 4 2
12 11 10 10 9 8
i 9 8 1,7 1,7
6 5
1f= 8 9 10 111211 - 10 3 4 5 6 7 - - 8
r r r r ' r r r r *r ? T T interval. Very often it denotes an octave, a meaning which we shall later discuss in detail. Some use the term "unisón" instead of "prime," designating it also with the numeral i . 24. Intervals express the same tones and retain their ñames in all octaves. 25. The second and ninth express the same tones but otherwise differ greatly from each other, as we shall soon learn. 26. With regard to quality, intervals follow the construction of the staff. They are thus affected by key signatures without any further indication in the figured bass. For example, if the key signature contains an /-sharp, the sixth above a is not f, but /-sharp, and this is indicated simply by 6 over the a. 27. However, all chromatic alterations, aside from those included in the key signature, must be expressly indicated. 28. An interval is said to be naturally major, etc., when it agrees with the key signature, and artificially major, etc., when it is altered by an interpolated accidental. 29. A stroke through a figure or a sharp next to it raises an interval a half tone, as in Figure 182. 1
INTERVALS
AND
SIGNATURES
185
The use of strokes is generally known to Germans and customary with them. The Italians also use them; it is only the French who cause confusión by departing from the practice. In Leclair's figured basses one finds both natural major and artificial minor intervals indicated by a stroke. 30. A fíat sign before a figure or after it lowers an interval a half tone, as in Figure 183. Figure 183
JJ
J J
-¿—f—w—1
r
1 1-6
If 6V-4
r
31. A natural sign before a figure or after it restores an interval to its natural size. It is hardly necessary for me to remark that a natural sign lowers intervals in sharp keys and raises them in fíat keys, as in Figure 184. Figure 184
32. Two strokes, two sharps, or a single sharp drawn before a figure or after it raise an interval a whole tone, as in Figure 185. Figure 185
|
$,7
Üfi
Figure 182 5
V
8 • #8
r
1 Cf. C h . V , " T h e Chord of the N i n t h , " f 5, and " T h e Chord of the Major Seventh"
The use of two sharps is rare and not clear. 33. Two fíats or one large fíat before a figure or after it lower an interval a whole tone, as in Figure 186.
iS6
INTERVALO
Figure 186
J r
AND
SIGNA
INTE
T U R ES
The large flat, despite its convenience, is not yet widely used. 34. The combinations of natural-flat and natural-sharp which follow a double alteration and restore an interval to its normal size are not as frequently met as would be required by an exact notation. But since they do appear occasionally I mention them here i n order to forestall the performer's alarm on meeting them. 35. I t should not be considered strange that some write fíats or strokes where naturals should appear. T h e double meaning of the natural sign, which raises and also lowers tones, is responsible for this practice, as i n Figure 187. Figure
187 \instead o f t)
m r t
instead o f 1)7
& instead of 5 t)
iW'-
T& instead of 6l)
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R V A L S A NI)
SIGN
AT
U RE S
187
37. Strokes, and fíats and naturals which are drawn before the figures, are the easiest to read and, when figures appear i n cióse succession, elimínate all uncertainty over the figures to which they pertain. 38. Unless an accidental is canceled i t continúes to be effective. 39. This rule also applies to figures which appear over repeated tones each one of which expresses a chord. The first figure is effective until another appears, as i n Figure 189. Figure 189 6
^ rr r r r r i 1
I n this example the sixth is struck on each of the first four notes, after which i t is replaced by the fifth. 40. Figures that are placed directly over a note are realized immediately; but when they are placed to the right they are realized after the note has been struck, although they pertain to i t and are measured from it, as i n Figure 190. Figure 190
-4L
&\instead o f 6tj
I t is customary to indícate the diminished fifth and minor and diminished sevenths by means of a flat. 36. The third may be indicated simply through the accidentáis that alter or restore its normal size, as i n Figure 188. 2
Figure 188
1
T
i
r
2 Even when it is naturally diminished, a common practice of thorough bass.
41. I t is not good to place figures under the notes, tor this position should be reserved for piano and forte signs. But at times i t is not possible to write them elsewhere; for example, when two voices, one for the cello, the other for the keyboard, are written on one staff. 42. When the subject of a fugue is given to the bass, play the notes as written, omitting chords until figures appear. The same rule applies to short passages where the right hand plays an obbligato accompaniment, which is usually written i n small notation, as i n Figure 191. 43. Figures that appear over the dots that lengthen notes are realized at the point where the dot takes effect, although they pertain to the preceding note.
iSS
INTER
VALS
A N I) SI (¡N
ATURES
Figure 191 7
7
f
5
5
INTER
u
Figure 193
1
5
r
U RE S
189
V
3
2
f
47. If two successivefiguresappear over a note of triple length or two unequal lengths, which is the same thing, the first figure receives two-thirds or the larger part of the valué and the second the remaining third or smaller part, as in Figure 197. Figure 197
4
ir
6
5
6
t.
SE
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3
5
t
A trained musician can very easily determine which of these two cases applies to a given rest by examining its context. 46. Figures that are placed after a note are realized on divided beats according to its length. If it is duple, the figure or figures are played on the second half of its length, as in Figure 194. Figure 194
MUÍ
r
SI GNAT
i
6
45. Figures over long rests are also played on the rest, but pertain to the preceding note, as in Figure 193.
S AND
If three successive figures appear over such a note, the first figure, directly over the note, is given half of its length and the others take ecpial parts of the remaining half, as in Figure 196. Figure 196
44. Figures that appear over short rests are played on the rest but pertain to the following note, as in Figure 192. Figure 192
VAL
If two successive figures appear over a bass note of duple length, eachfigureis given half of the note's valué, as in Figure 195. Figure 195
If there are three successive figures, each is given a third of the valué, as in Figure 198. Figure 198 ¿V
1
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6
'7
ül
48. These are the usual divisions; any departure from them must be expressly indicated, as in Figure 199. Figure 199
r i- V <2
3
-
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6 -
7 6
In both examples the appoggiatura calis for a modificatíon of the rules. The dash which often serves to indícate the prolonging of a
io 9
INTERVALS
AND
SIGNATURES
figure clearly expresses the desired división. Some omit the dash and sepárate the last figure from the others. This is not a reliable practice, for it may prove ambiguous. Often the performer cannot be certain whether the composer or the copyist made the grouping, as in Figure 200. Figure 200
6
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II 9
1 ,1
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5
In this particular case another sign is lacking, as we shall see presently. 49. In the following examples the figures are realized in equal lengths, as in Figure 201. Figure 201 6 4
SIGNATURES
a degree, that they are never allowed to be played in succession. Out of this arises the well-known first principal rule of harmony: Two octaves or perfect fifths in a pair of voices may never be played in parallel motion, either by leap or by step. Violations are called simply "fifths" or "octaves," as in Figure 202.
1 [7
AND
Figure 202
y
I
INTERVALS
Í
6
I
41
6
4
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6
4
r
Parallel motion occurs when two or more parts move in the same direction upward or downward (Figure 203, Example a), and contrary motion, when they move in opposite directions by leap or step (b): Figure 203
4
II
50. Because the position of figures is so important, the composer as well as the copyist must be careful to leave enough space in the score to be able to write them in their proper place, especially when there are a great many slurs and other signs relative to performance. 51. Intervals are either consonant or dissonant. 52. A consonant interval is one that may be played without preparation (that is, without being present in the preceding chord), that may be doubled, and quitted by ascending or descending leap or step. 53. This may be done with minor and major thirds, perfect ñfths, minor and major sixths and perfect octaves. Consequently, these are the consonant intervals. 54. In this connection, observe that the octave and fifth are called perfect, first, because they cannot be altered and remain consonant (as soon as they are made smaller or larger they become dissonant); second, because, struck once, they satisfy the ear to such
55. It is obvious that the parallel octaves rule .does not apply to those places where good reason prompts a composer to lead two voices in unisón. It does apply to chord progressions. 56. Thirds and sixths are called imperfect consonances, because both forms of them, major and minor, sound well; the ear will accept successions of both intervals. 57. Basically the remaining intervals can not be treated in the manner of consonances as described in paragraph 52. Henee, they are dissonant. 58. The basic characteristics of dissonances are suggested by their ñame, which expresses the fact that they sound bad. From this it follows that they may be used only under certain conditions. Their natural harshness must be mollified by preparation and resolution; that is, the dissonant tone must be played, previously, as a consonance and it must succeed to a consonance. By itself, a 3
« T h u s the perfect fourth, which has shifted its allegiance from consonance to dissonance many times in theoretical writings, becomes a dissonance here. Cf. C h . V , "The Six-Four Chord," I , f 7.
i2 9
INTERVALS
AND
INTERVALS
SIGNATURES
dissonant tone is sufficiently disagreeable; henee it is wrong to double it; moreover, because it must be resolved, doubling would induce forbidden octaves. 59. As a means of gaining a clear understanding of the use of dissonances, observe the preparation in the first bar of each of the examples of Figure 204 and, in the second bar, the resolution, which calis for descending or ascending stepwise motion.
Figure 206 "• 1
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AND
4 4
7
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7
SI GN AT 6
UR E S 6
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Figure 204
Such a relationship is called a delayed resolution (retardatio). 65. Occasionally, the right hand does not wait for the arrival of the bass that resolves its dissonance but expresses its resolution prematurely (Figure 207, Example a); the bass also does this at times (b). 6
Vi
60. Resolution is a constant requirement of all dissonances, but not preparation. Later, however, we shall discuss two cases where even resolution may be omitted.* 61. All dissonances may be struck unprepared over a stationary or repeated bass. The lack of motion in the bass precludes preparation, but at the same time compensates for it. 62. There are many other ways of introducing unprepared dissonances. 63. An accidental which lowers a dissonance does not disrupt its preparation (Figure 205). This follows from the discussion of paragraph 11.
Figure 207 (5
a.
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64. A moving bass often causes dissonances to resol ve to dissonances (Figure 206, Example a) or to remain stationary (b). Eventually, however, there must be a resolution to a consonance. * Cf. f 77-79.
4
b.
b.2
3 6
7
Figure 208 4+
. » 11 11 r l r f,
"4pm
Both are known as an anticipated resolution (anticipatió). 66. When a tone in the bass is interchanged with one in the right hand prior to the resolution of a dissonance, a transfer of chordal tones is said to oceur, as in Figure 208. 6
Figure 205
a.3
-6» 4 3
67. When the bass strikes the tone to which a dissonance in the right hand should resolve, a transferred resolution is said to oc8
5 Eine Aufhaltung der Auflíisung. 8 Eine Vorausnahme der Harmonie. T h u s , if the chord arrives before its bass or the bass before its chord, regardless of rhythmic position, an anticipation takes place. T h i s gives the term a broader meaning than it has today, when anticipations and suspensions are distinguished by rhythmic position. T h u s only the examples under b are analyzed as anticipations today, while those under a are analyzed as bass suspensions or appoggiaturas. T h i s point comes up repeatedly when Bach discusses the rhythmic dislocation of chordal tones. i Eine Verwechselung der 6 Eine Verwechselung der
Harmonie. Auflósung.
i
9 4
INTERVALS
AND
SIGNATURES
INTERVALS
AND
SIGNATURES
ip
5
cur. The dissonant tone is freed by this action of the bass, which satisñes the need for resolution, as in Figure 209.
70. In the case of an extended succession of passing tones the chord may be repeated, as in Figure 211.
Figure 209
Figure 211 6
6
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Our aim here is merely to introduce the accompanist to these liberties; we leave it to the composer to employ them with discrimination. 68. It is rare that each tone of a succession of rapid notes takes a sepárate chord. Such unaccompanied notes are said to pass. 69. A single passing tone is not indicated by a sign, but several in succession are denoted by a dash which extends to the point where the right hand resumes. Passing tones appear in all styles, meters, and tempos. Sometimes half of the notes are passing (Figure 210, Example a); sometirrjes fewer (b); but often in rapid tempos with short notes most of them are passing (c). 9
•i-
71. In certain cases which will be treated later, the intervals may be said to pass. This happens in three ways: (1) Over a stationary bass (Figure 212). Figure 212 8 \fl
(2) Over a moving bass with a stationary right hand (Figure 213). Figure 213
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Figure 210
(3) When both hands move (Figure 214). Figure 214
• Sie gehen durch; later, f 69, die durchgehende Noten. These terms are general in meaning and apply to all types of connecting or ñlling tones regardless of whether they proceed by step, leap, or simply repetition (cf. % 72). T h e passing tone in its narrow meaning is Der Durchgang, standing for a stepwise transition from one tone to another (cf. f 73). It can be seen that the terms overlap, since both are concerned with stepwise motion, the first partially, the second exclusively. We have no ready English equivalent for the broader concept unless we extend the connotation of our term passing tone. T h i s proved to be the most advisable thing to do here, especially since Bach uses both terms loosely. For the accompanist, it is important to distinguish between principal tones that require chords, passing tones which are not accompanied,
72. In rapid drum basses the playing of which may cause a stiffening of the wrist, notes are occasionally passed over, or omitted. An extended discussion of this expedient will be found in the Introduction to Part I , Paragraph 9a. and those over which chords are played. T h i s matter is discussed in C h . V I , "Passing Tones" (cf. f 3) and "Changing Notes." Chordal by-products of horizontal motion are called passing chords. Cf. Arnold, The Art of Accompaniment from a ThoroughBass, C h . X V I I I .
i6
INTERV
9
AL S A N I) S I G N A T U R £ S
/ N T E R V ALS
73. The term "passing tone" (transitus), refers in its narrow sense to a stepwise bass. 74. When the accompaniment is played with its proper bass on the long part of a bar, the passing tone is called regular (transitus regularis). With notes of equal valué, the first, third, etc., are long according to the meter and the second, fourth, etc., short (Figure Figure 215 7 5
9
6
SI GNAT
UR E S
197
Figure 218
r r 1i r r ' ^gf 79. The same freedom of treatment applies to dissonances which become consonances through an enharmonic change as in Figure 219. Figure 219 i>7
75. When the accompaniment is played on the long pulse ahead of its proper bass, which falls on the short pulse, the passing tone is irregular (transitus irregularis) and is known as a changing note (Figure 216).
AND
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7b %
80. On the other hand, we shall learn later that consonances sometimes lose their freedom and require the same preparation and resolution as dissonances. 10
Figure 216 7 5 2
7 4 2
76. When the composer prefers not to figure changing notes he may set figures over only the succeeding tones, or place over the changing notes an oblique stroke, a circle, a semicircle, or an m , which, on occasion, may be lengthened (Figure 217). Figure 217 L
6
5 " / 2
6
/
5
3- ° 6 ° 5 " 4
6 ~ 5
5
-
5
The oblique stroke under Example 2 is the best. 77. Changing notes also occur as anticipations, illustrations of which appear in Figure 207, Example a. 78. The dissonances which result from the introduction of both types of passing tone do not always require resolution, even when they are prepared (Figure 218).
10 T h i s is a reference to an o í d dilemma of thorough bass. A l l intervals were computed solely from the bass, and their consonance or dissonance was determined by this relationship. T h u s , in the six-five chord, the second formed by the fifth against the sixth is not mentioned as an interval. Instead Bach writes: "Die Quint wird wie eine Dissonanz gebraucht; sie lásst sich . . . von der sexte binden und gehet allezeit herunter." (The fifth is treated as a dissonance; it is restricted by the sixth and always progresses by stepwise descent). T h u s does a consonance lose its freedom. T h i s statement recurs in all cases where chords contain a tone which is consonant with the bass, but dissonant in its relation to another upper part. Cf. in C h . V : " T h e Four-Three Chord," I , f 4; " T h e Six-Five Chord," I , f 4; " T h e Seven-Six Chord," f 5; " T h e Chord of the Major Seventh," I I , f 2; " T h e Five-Four Chord," f 4. T h e fourth in this last chord is a dissonance, but a mild one, and is not always obliged to descend in other contexts.
THOROUGH
CHAPTER
FIVE
THOROUGH BASS
TRIAD,
1
I
1 HE most perfect consonant chord, that with which most works begin and all end, is the triad. 2. It consists of a ground tone, fifth, and third. 3. When the octave is added it becomes the common chord, the fifth of which must be perfect. It is only the third that is variable, appearing as either major or minor. 4. The chord is major when its third is major, and minor when its third its minor. 5. The unnatural triad contains either a diminished or an augmented fifth. 6. In the first case it is called the diminished triad, in the second, the augmented. 7. These chords, which contain dissonances, will be discussed on the completion of our study of consonant chords. 8. The tones of the common chord may be distributed in three ways: with either the fifth, octave, or third in the upper voice (Figure 220).
T
Figure 220
i
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1
i Cf. Arnold, Art of Accompaniment
from a Thorough-Bass, 198
pp. 498-505.
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9. The common chord is played when there appears over a bass which is not passing, either nothing at all, an isolated accidental, or 8, 5, 3, each by itself, or combined with one or both of the other numeráis. 10. Since the fifth is always perfect, it is played as such without any indication (Figure 221). Figure 221
# THE
BASS
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Vr B r 11. According to circumstances, the octave of the bass may be omitted and either the third or the fifth doubled. 12. However, when the third becomes major by chromatic alteration it is not doubled. 13. In three-part accompaniment the octave of the bass is omitted, although a resolution or the melody of the principal part may require that the fifth be omitted instead. 14. In two-part accompaniment, other things being equal, only the third is played. 15. In order to recognize the common chord from its notation, observe that its tones fall on adjacent lines or adjacent spaces. 16. When I strike two notes which are separated by three keys, I play the major third; but separated by two keys, the minor third. 17. Contrary motion makes the best and safest accompaniments, especially when triads are employed. With it, open and hidden fifths and octaves can be avoided. 18. Hidden fifths and octaves become apparent when two voices which move in similar motion are filled in, thereby creating open fifths and octaves (Figure 222). 2
2 Throughout, Bach distinguishes between a doubling by the right hand of the bass note and a doubling within the right hand. T h e first has been translated as "duplication" or "the octave of the bass" (Bach writes simply die Octave) and the other as "doubling" (Bach, die Verdoppelung).
T II O R o u C¡ II
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Figure 222
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19. These are more permissible between inner voices or an inner voice and the bass than between the upper voice and the bass, for these parts must always be constructed with a view to absolute purity and good melody. Since such progressions créate impure relationships, they are bad. 20. Nevertheless, the following hidden fifths may appear in the outer as well as inner parts (Figure 223). Figure 223
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21. Two open fifths of different quality may be played in succession. 22. In any pair of voices a perfect fifth may descend to a diminished fifth (Figure 224). Figure 224
li A s s
201
fifth to a perfect (b) because of the descending tendency of the diminished fifth. Figure 226
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Both progressions belong to inner parts. 24. The right hand should not play above the two-lined f, unless the bass is written very high, or the bass clef is replaced by a higher one; or unless a special effect is intended, as, for example, when a passage is varied on its repetition by a change of register, etc. 25. The right hand should not play below the upper half of the unlined octave, unless conditions the reverse of those mentioned in the preceding paragraph are present. 26. For purposes of instruction, students may exceed this range in order to practice successions in various distributions and thereby become familiar with all registers. 27. At first, however, it is customary to restrict the right hand to the confines of the descant clef, and the bass to the bass clef. 28. The foundations of accompaniment can be best established when students are required to learn thoroughly all twenty-four common chords. This should occur gradually. The chords in their three distributions should be played up and down the entire keyboard. At first it is sufficient to let this be done slowly, but later the speed must be regularly increased so that finally the hands will develop the ability to strike any common chord without hesitancy. 29. To begin with, only a few chords should be assigned and reassigned until the requisite knowledge and facility have been acquired. 30. All lessons must be related to each other so that oíd material will be constantly reviewed and not forgotten. 3
4
6
But a diminished fifth may succeed to a perfect fifth only out of necessity, and preferably not in the outer parts (Figure 225). Figure 225
s Known as Bassetto or, in Germán, Bassett, Bassetgen. Cf. Arnold, op. cit., pp.
23. In ascending motion the progression of a perfect fifth to a diminished fifth (Figure 226, Example a) is better than a diminished
373 ff* T h a t is, the C-clef on the first line. 5 Le., major and minor triads on each degree of the chromatic scale.
THORO U G H li A S S 31. Here, as in other exercises, the student must be asked numberless questións about intervals so that he will develop the ability to recognize them automatically without reflection. This suggestion is based"&T*experience. There are many who by virtue of long practice and a good ear realize chords and figures, and even accompany entire pieces without any knowledge, intervals as well as rules being little known to them. Useful and essential as a good ear is, it will prove undependable and harmful when the executant depends on it alone without exercising his mind. 32. Chords succeed to each other in the most direct manner. This should be observed in all accompaniments. 33. Henee, when the bass rises a third, retain the intervals common to both tones and take anew only the fifth over the second tone (Figure 227). 202
6
Figure 227
THOROUGH
35. When the bass ascends a half step and both chords have major thirds, the fifth and third of the first chord move to either an octave or unisón. Henee, the second chord has a doubled third and no octave (Figure 230). Figure 230
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And when the bass falls a third, only the octave of the second tone must be sought (Figure 228). Figure 228
BA S S
Figure 229
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Played in reverse, the first chord must have a doubled third and no octave (Figure 231). Figure 231
34. But when the bass rises or falls a second, all upper voices must move contrary to it (Figure 229). • Cf. C h . V I , "Accompaniment," f 14.
If this precaution is not taken, one of the voices will express an augmented second, which is to be avoided (Figure 232).
T
II O R
O U G II li A S S
Figure 232
T 11 O R O U G II
li A SS
205
eney lo ascend unless it is hindered from doing so by a prepared dissonance or a poor doubling (Figure 234).
36. In a final cadenee the fifth must never appear in the upper voice. The octave is the best interval when it can be reached; next best is the third; but the closing note of the principal part must not lie below this third. 37. When the hands come too cióse to each other, or the right hand moves too low, the chord may be shifted to a higher register by repeating it over a single bass note, provided there is sufficient time; if there is not, a new voice máy be added on top, and the lowest one over the bass relinquished. These expedients may be used, first, only in an emergeney, for I believe that under normal conditions the accompanist should restrict himself to four parts and not increase their number; second, only with consonances, for dissonances impose limitations on the accompaniment. THE
TRIAD,
4. Because of this tendeney, the major third of the upper voice in the first chord of Figure 235 must not descend in contrary motion to the fifth of the second chord. Figure 235
II
1. The student should be urged to use contrary motion even when it is not required. In his exercises all kinds of treacherous progressions should be introduced so that he may learn clearly how to avoid them. For this purpose it is good practice to write out realizations. 2. But when it becomes apparent that he is fully aware of lurking errors, he may be shown those successions in which parallel motion is sometimes preferable to contrary, as in Figure 233. Figure 233
A lesser evil, hidden octaves (Figure 236), should be chosen at a cadenee in preference to the unnatural progression of Figure 235. Figure 236
m 3. It can be seen in Figure 233 that it is good to lead the upper voice in parallel thirds with the bass. The major third has a tend-
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5. Most disposed to an ascent is the chromatic major third (Figure 237, Example a). Therefore when the octave of such a chord
THOROUGH
2C)6
T H0 R 0 VGH BASS
BASS
moves to the seventh, a voice must be added to the next chord so that it will be complete (b). If, however, the fifth of the major chord leaps to the seventh, the expedient is not needed (c). Figure 237 a.
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207
8. Normally, the common chord does not require a signature. There are times, however, when it is necessary to write the numeral or numeráis which denote its intervals. The reasons are: dissonances struck and resolved into our chord over a stationary tone (Figure 240, Example a); a dissonance which follows our chord, the bass being held (&); a chordal change over a single tone (c); a tone in the bass which might otherwise be considered passing (d). In all of these cases the entire chord is played. Figure 240 9 8
9 8 43
4 3
8 7 5 4 3 2
6. In four-part accompaniment the major third in an inner part does not require such cióse attention. It may progress by a descending leap (Figure 238).
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Figure 238 5
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9. But there are times when a series of threes is written over a rapid passing bass as a means of informing the accompanist that the right hand is to play only parallel thirds with the bass (Figure 7
241). Figure 241 3
3
3
3
3
3
3
3
3
3
'7. In three-part accompaniment, however, the major third in the middle part ascends, regardless of the resultant incomplete triad (Figure 239). 10. Exercises on common chords must not go beyond simple modulations. Otherwise the ear will grow confused in its attempt to take in all twenty-four keys at a time. It is far better to hold extravagances in reserve and concéntrate on natural chord successions. Besides, when short studies are transposed to the various keys, all chords put in an appearance anyway. Further, in transposing, the
Figure 239
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t Cf. C h . V I , "Some Refinements of Accompaniment," f | 6-8, thirds without indication is discussed.
where the use of
908
T 11 O R O 11 G U
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Student leams why some iones are w r i t t e n w i t l i sharps or fíats and yet retain the same relative sound (Figure 242). Figure 242
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11. The following short examples will perhaps suffice to illustrate the meaning of Paragraph 10. The numeráis denote the best intervals for the upper voice (Figure 243). Figure 243 3 8 5 8
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Divided accoinpaniment is used either out of necessity or to
9
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achieve elegance. Everything that the accompanist must know about this technique will be illustrated at a later time. Divided accompaniment occurs when the left hand realizes some of thefigureswithout increasing the normal number of parts. Chords are spread out and often made more attractive by this means. Occasionally the resolution of a dissonance requires it. 13. Our earlier discussion of primes, tenths, and twelfths applies to divided accompaniment also.
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CHORD
OF T H E SIXTH,
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1. The chord of the sixth that contains a major or minor sixth consists entirely of consonances, namely, the sixth, third, and octave. 2. The usual signature of the chord is 6 alone, but at times the other intervals are specified for various reasons. 3. In figuring the bass, required accidentáis must not be overlooked. 4. The third below the bass note becomes the sixth above it, and the triad that is built from this third or sixth provides the tones of the chord of the sixth. 5. The chord of the sixth containing the octave of the bass is rare, being used on single bass notes marked 6, or out of necessity, when required by dissonances, etc. More frequently, the third or sixth is doubled and the octave of the bass omitted. 6. In these doublings, which may be in the unisón as well as the octave, none of the figures is unrealized. The tones of the common chord (Figure 244, Example a) which comprises the position of the sixth are present in all of its doublings. Figure 244
0—1
3
=N= I
¿y rTTTTf But by means of this position many errors can be circumvented and good voice leading maintained, as we shall see later. »Cf. C h . I V , | f 22-23. 1 Cf. Arnold, op. cit., pp. 516-533.
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7. The following rules of doubling should be observed: ( i ) When a diatonic sixth ?.nd third are major, either interval may be doubled (Figure 245). Figure 245 6
6
y f i 1 (2) When a diatonic or chromatically raised sixth is major, but the third is minor, the sixth is not doubled (Figure 246).
T H0 R0
li A S S 111 oceurs when the principal part moves piano in notes that lie a sixth above the bass while the accompanist plays thirds (Figure 249). U (' 11
2
Figure 249
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10. When the bass of the position of the sixth moves through successive steps or thirds, the doubling must be alternated with a duplicated bass in order to avoid octaves (Figure 250).
Figure 246 6
y r 1J 1 (3) When a chromatically raised sixth and third are major, either may be doubled. Also when only the third of this chord is raised chromatically, it may be doubled (Figure 247). Figure 247 ...
t,
8 (4) When the bass is raised chromatically it is not duplicated (Figure 248, Example a) unless the sixth is similarly raised (b): Figure 248 a. 6
8. Three-part accompaniment comprises only the third and sixth. 9. In two-part accompaniment one of the intervals must be omitted; henee the position cannot be used readily. A typical case
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6
6
6
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6 6
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6 6 6 6
6 6 6 6
6 6 6 6
6 6 6 6
Although it is more urgent to attend to the doubling when the bass moves by step, when it moves by leaps an alternated doubling helps to créate a better upper part. 11. When the tempo is rapid, such successions are best expressed in three voices, in which case only one distribution of tones is possible, for in the other the fourths become fifths. In short, the sixth should always lie in the upper voice. Even in four-part accompaniment this is the safest and, for melodic purposes, the best distribution. 12. When the octave of the bass is taken, it is best not to place it in the upper voice. 2 However, see C h . V I , "One-part accompaniment for the left hand,"
3, 4.
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13.
O R O II C, II
T h e unmelodic progressions marked with an asterisk can be
avoided by d o u b l i n g " (Figure 251). Figure 251
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14. W h e n 6 succeeds to 5, the part that expresses the s i x t h progresses to the fifth w h i l e the other parts are h e l d . T h i s progression often appears i n succession. A l l three dispositions of the posit i o n of the s i x t h may be employed here, p r o v i d e d that the rules of d o u b l i n g are heeded. O n r e d i s t r i b u t i n g the tones of the f o l l o w i n g examples, i t w i l l be f o u n d that a u n i s ó n d o u b l i n g must be used occasionally. I n a few cases where the t h i r d is d o u b l e d , one of the d o u b l e d tones progresses to the fifth w h i l e the sixth is held. By this means leaps, otherwise unavoidable o n single appearances of the Figure 252
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setting. 16. W h e n the accompaniment is i n four parts, errors are easily avoided by d o u b l i n g , since the progression consists entirely of consonances. Best are the examples i n w h i c h the two kinds of d o u b l i n g are alternated. A n exception to such a u n i f o r m procedure occurs o n the appearance of the d i m i n i s h e d fifth (Figure 253, Example a). Further, the leap of an augmented f o u r t h should be avoided (b). A leaping accompaniment w i t h or w i t h o u t a d o u b l i n g i n the r i g h t hand is acceptable, b u t not always attractive (c). Example d illustrates a d i v i d e d accompaniment. Figure 253
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piogrcssion, can be e l i m i n a t e d maintaitied (Figure 252). 15. W h e n 5 6 appears over a bass note, the c o m m o n c h o r d is slruck and its fifth moves to the sixth w h i l e the other voices are held. W h e n this progression appears i n succession, a three-part accompaniment is the easiest. Also i t is the best fitted for the accompaniment of r a p i d notes i n pieces w h i c h do not cali for a f u l l
r 6 5
21
T 11 o 11 o u
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3 I.e., instead of a duplication of the bass. Cf. C h . V, " T h e T r i a d , " Note 1.
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T H O ¡i O VGII
BASS
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2/5
ful to distinguís!) the one sctting from the other. A sign of differcntiation would be helpful here, for the indication by itself is ofi.cn ambiguous. The figures are found over basses which, if not sel in three parts, might take for the fourth part a third (Figure 255, Example a) or a fourth (b); and at times any additional interval would sound extremely harsh.
18. In four-part settings, the signature 6 often indicates the resolution of a preceding dissonance (Figure 256, Example a) and also specifies the exact course of a part (b). But inasmuch as this latter use applies also to three-part realizations, and no sign of differentiation is émployed, the best advice that can be given to an accompanist is to listen and judge. Figure 256 6 5 a.
The diminished fifth seems to abandon its descending tendency in Figure 253, Examples a, c, and d. But a closer examination of the voice leading discloses its resolution (Figure 254). Figure 254
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6
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< 17. Occasionally, 6 will be found in the galant style, where it calis for a three-part realization. Since the same signature is also émployed in four-part accompaniment, the performer must be care-
m
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19. The presence of compound signatures before and after 6 is usually a sign of three-part accompaniment. If a Telemann bow
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T
were placed abo ve the signature ( 6 ), chord and context would be immediately recognizable as three-part. 20. When the sixth appears with a diminished octave, no additional interval is played. The octave descends and can most frequently be regarded as a retardation of the next tone. The examples ' 7
of Figure 257 are noteworthy. In the last one, 5 precedes an embel\
lishing 6.
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Figure 257
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T H E CHORD O F T H E S I X T H , II
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5
6 5 *
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1. T h e accompanist must remember that i t is most necessary to look ahead i n the case of those chords that p e r m i t more than one k i n d of realization. H e w i l l n o t always enjoy a free choice b u t must k n o w how to adjust his c h o r d to those that follow. 2. W h e n the m i n o r sixth and chromatic major t h i r d app^ar at 65 cadenees instead of í , i t is best to take the octave of the bass w i t h tlie sixth (Figure 260, Example a). Moreover, the octave is r e q u i r e d when i t prepares (b) or resolves (c) a dissonance. I n the last example the octave serves to e l i m i n a t e a leap. H e r e again the signature should i n c l u d e a T e l e m a n n bow ( 6 ) as a w a r n i n g . 4
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7 5
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21. T h e augmented sixth is a dissonance w h i c h appears w i t h preparation (Figure 258, Example a) or w i t h o u t i t (b) and always ascends. T h e r e q u i r e d accidental is i n c l u d e d i n the signature. I f n o other figure appears, the t h i r d is added i n three-part accompanim e n t and d o u b l e d i n four. Figure 258 TÉ
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22. T h e d i m i n i s h e d sixth, a dissonance, is rare. I t demands a distinct type of admirer. Those w h o use i t , prepare i t a n d resolve i t by stepwise descent. I t sounds passably w e l l w h e n accompanied solely by the m i n o r t h i r d . T h e r e q u i r e d accidental must n o t be o m i t t e d f r o m its signature (Figure 259). Figure 259
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3. W h e n a bass note m a r k e d 6 ascends a step to one m a r k e d 5 i t is best, w h e n possible, to add the octave of the bass to the s i x t h , for i t makes the smoothest voice leading (Figure 261, E x a m p l e a). I f the t h i r d is d o u b l e d , one of the voices must leap (b). Composers may have v a l i d reasons for i n t r o d u c i n g leaps i n t o inner parts, b u t accompanists avoid them for equally v a l i d ones. A d o u b l e d sixth i n o u r progression can easily cause fifths (c). T w o parts must leap i n order to avoid them (d). I repeat, add the octave of the bass when possible, for there are times w h e n only the sixth or t h i r d can be doubled. A chromatically raised bass (which is n o t to be duplicated) may necessitate a d o u b l i n g of the t h i r d (e). Correct r e s o l u t i o n of dissonances may r e q u i r e a d o u b l e d sixth, as i n the case of the seventh and augmented fifth of Example / .
/ non o v c, ti n A
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BASS
Figure 264
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4. W h e n a bass expresses several sixths, m o v i n g by stepwise ascent or descent interspersed w i t h unaccompanied tones, cióse att e n t i o n must s t i l l be given to d o u b l i n g i n four-part realizations (Figure 262).
5. I n certain d i s t r i b u t i o n s even contrary m o t i o n cannot be counted u p o n to avoid fifths, as illustrated i n Figure 263. Such errors can be corrected t h r o u g h d o u b l i n g (a). B u t i n b, contrary m o t i o n is good i n a l l d i s t r i b u t i o n s of tones except the case illustrated i n c. Figure 263
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6. D o u b l i n g i n the u n i s ó n is often preferable to that i n the octave, for i t helps m a i n t a i n cióse position and makes a better upper voice, as i l l u s t r a t e d i n F i g u r e 264.
6
7. I f the accompanist does n o t look ahead as he should, errors w i l l be avoided only by good fortune. I n the first of the f o l l o w i n g ixamples, the octave of the bass must be retaken over the unaccompanied note i n order to prepare the f o l l o w i n g seventh (Figure 2 (¡5, Example a). Such basses are convenient to the accompanist, for ihey give h i m an o p p o r t u n i t y to decide beforehand how each c h o r d shall be realized. A t the same t i m e the expedient of Example a never adds to the attractiveness of a setting. I n Example b the t h i r d of the chord of the major sixth must be d o u b l e d unless recourse is taken to a d i v i d e d accompaniment f o l l o w i n g a d u p l i c a t i o n of the bass. T h e reason is that the f o u r t h i n the second c h o r d must r e m a i n stationary. For a similar reason the sixth of the six-four c h o r d i n the asterisked example must be d o u b l e d or, as an alternative (c), the tone a must enter as an eighth note i n order to prepare the followi n g seventh.
6
6
6 6
7 6
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8. I n the first of the examples of Figure 266 we see the use of a varied d o u b l i n g as a means of a v o i d i n g octaves. I n the second example the same means must be more extensively employed for the same reason. A consistent d i s t r i b u t i o n of tones is thereby m a i n tained and unnecessary leaps are avoided.
2 20
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11. W h e n Figure 250 is reali/.cd in lliree parts, the r i g h t hand iniisl. not be widely separated froni the bass or the í o u r t h s w i l l become too pronounced. B u t beyond this the accompanist need n o t l'ccl uneasy about them. T h e y may ascend and descend by step or leap, for the i n t e r v a l is created by upper parts and does n o t p e r t a i n lo the bass. T h e only caution that must be heeded is to see that they do not become fifths by i n v e r s i ó n . 121 W h e n the t h i r d or sixth of a chord is chromatically altered by a s h ó r t note i n the p r i n c i p a l part over an u n f i g u f éd bass, the accompanist may ignore the change and r e t a i n the chord he has already realized, even w h e n the tempo is slow (Figure 269).
9. T h e major sixth accompanied by the m i n o r t h i r d tends to ascend. For this reason the second of the f o l l o w i n g realizations is preferable to the first. T h i s precaution is most essential w h e n the sixth lies i n the upper part. 6
^
7
6
6
6
Figure 267 18. A t times a succeeding chord or progression necessitates a five-part realization of the c h o r d of the sixth (Figure 270). Figuré 270 6
6
10. T h e u n i s ó n d o u b l i n g may be employed more freely t h a n octave doublings. I t may be used o n a chromatic tone as a means, for example, of a v o i d i n g a leap (Figure 268). Inasmuch as composers w r i t e inner parts i n this manner, even t h o u g h b o t h tones of the u n i s ó n d o u b l i n g can be heard, the keyboardist is certainly justified i n availing himself of the resource, for o n o u r i n s t r u m e n t we strike and hear only one tone i n such a d o u b l i n g .
r 14. I t has been stated repeatedly that the augmented second must n o t be used i n an accompaniment. Yet, since this progression, w h i c h is as good as the d i m i n i s h e d t h i r d , is often used as a melodic refinement, there are times w h e n the accompanist cannot be taken to task for e m p l o y i n g i t . I n fact, i n such cases, an attempt to e l i m í nate i t w o u l d distort the setting (Figure 271, E x a m p l e a). B u t aside f r o m such a s i t u a t i o n i t is correctly avoided. 4
Figure 268
w 7 5
*". . . Which is as good as the diminished third" inserted in ed. of 1797. Since the accompanying Figure 270 included, in the original, examples of the diminished third, it would seem reasonable to conclude that the clause had been overlooked.
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4. T h e d i m i n i s h e d fifth is a dissonance which is i n t r o d u c e d w i t h preparation (Figure 272, Example a) or w i t h o u t i t (fe). I t resolves by stepwise descent. Figure 272 a.
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T H E DIMINISHED T R I A D
1.
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1
T h e d i m i n i s h e d t r i a d contains a m i n o r t h i r d and an octave
i n a d d i t i o n to the d i m i n i s h e d fifth. I n three-part accompaniment the octave is o m i t t e d . 2.
I t is denoted by either n o figure or the usual signature of the
d i m i n i s h e d fifth (5b). I n sharp keys a n a t u r a l sign (5^) sometimes replaces the flat. Occasionally the r e m a i n i n g figures are i n c l u d e d i n the signature. 3. For the sake of convenience the sign of the d i m i n i s h e d fifth is often placed over a bass w h i c h is to be realized as a six-five chord. Henee, voice leading alone must be the judge of whether the d i m i n ished t r i a d or the six-five c h o r d is intended. For the first m e a n i n g Kapellmeister T e l e m a n n wisely places a bow over the 5 ('5 ). W h e n necessary the accidental is i n c l u d e d (5^ ) . By this means confusión is ended, and novices w h o lack a penetrating knowledge of voice leading are spared embarrassment.
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5. T h e d i m i n i s h e d fifth appears more often w i t h other figures than i t does w i t h the octave and t h i r d , as we shall see later. Its t r i a d sounds w e l l i n three parts b u t rather empty i n four. W h e n the t h i r d is d o u b l e d i n place of a d u p l i c a t e d bass, a l l of the upper parts f o r m consonances w i t h each other, thus m a k i n g the c h o r d more acceptable. I t sounds poorest w h e n the octave of the bass is i n the upper part. T h e p r i n c i p a l responsibility of the cautious accompanist is the disposition of the chord rather than its d o u b l i n g , for a choice of the latter is occasionally restricted by the r e q u i r e d resolution of a dissonance (Figure 273). Figure 273 6 5
9 8
2
1 Cf. Arnold, op. cit., pp. 506-510. 2 Cf. Pt. II, Foreword, Note 4.
6. W h e n the bass of this c h o r d is chromatically raised, the octave is o m i t t e d and the t h i r d d o u b l e d (Figure 274, Example a). T h e same d o u b l i n g is often used i n order to m a i n t a i n good voice leading and to avoid a w k w a r d leaps (fe).
2 2./
T II O R O U C II
T I I O R O II C U
li A S S
Figure 274
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Figure 276
wrong 5
225
limes use it as a melodic relinement i n place of the perfect fifth (Figure 276, Example a). More often i t appears before a retarded sixth (b). O n occasion a chromatic change calis for its e m p l o y m e n t w i t h o u t its being indicated (c).
1
a.
BASS
*
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7. I n the m i n o r mode, the chord on the second step contains a d i m i n i s h e d fifth regardless of whether the octave or the major sixth is also present. I n Figure 275, w h e n the bass is unfigured b u t the p r i n c i p a l voice is w r i t t e n i n , the figures w h i c h have been placed under the bass are best because of the succession. A leap may be m á d e to an unprepared d i m i n i s h e d fifth (a). As part of a t r i a d this dissonance is treated more freely than i n other relationships.
,
4. I t does n o h a r m to the t r i a d to o m i t the octave and double the t h i r d , for this establishes consonant relationships among the upper parts (Figure 277). Figure 277
Figure 275 Adagio
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T H E A U G M E N T E D TRIAD
1
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1
1
1. I n four-part accompaniment, the augmented t r i a d consists of a major t h i r d , an octave, and the augmented fifth. I n three-part accompaniment the octave is o m i t t e d . 2. Its bass carries the i n d i c a t i o n of the augmented fifth ( 5 , 510; or the altered fifth and the appropriate r e m a i n i n g intervals. 3. T h e augmented fifth is a dissonance w h i c h is n o t easily i n t r o duced unprepared. I t resolves by stepwise ascent. Composers some1 Cf. Arnold, op. cit., pp. 512-513.
6
b
5. Inasmuch as the augmented fifth is most frequently used as a refinement, i t is better fitted to three- than to four-part accompaniment. T h e latter is n o r m a l l y used w h e n the signature includes additional figures. 6. A slow chromatic progression that features the augmented fifth is accompanied i n three parts. Such half steps i n the p r i n c i p a l part are n o t easily adaptable to r a p i d tempos; b u t w h e n they oceur the accompanist omits them (Figure 278). Figure 278
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16
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T H E SIX-FOUR C H O R D ,
1
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I
1.
I n four-part accompaniment the six-four chord contains an octave i n a d d i t i o n to the intervals w h i c h give i t its ñ a m e . I n three parts the octave is o m i t t e d . 2. T h e signature, 4, is a l l that is r e q u i r e d to denote the chord. 3. T h e m i n o r and major sixth and a l l three kinds of f o u r t h may be expressed by i t . Henee i t contains only one dissonance, the f o u r t h . T h e qualities of the intervals are recognizable f r o m the key signature and the a c c i d e n t á i s added to the signature of the chord. 4. T h e d i m i n i s h e d f o u r t h requires preparation (Figure 279, Example a), b u t the perfect and augmented fourths may be i n t r o duced either w i t h or w i t h o u t i t (b). Because the six-four chord w i t h the augmented f o u r t h offers the fewest useful examples, I have had to cali o n the chord of the second, w i t h w h i c h this interval is most frequently used, i n order to illustrate its characteristic behavior. T h e d i m i n i s h e d and perfect fourths resolve by stepwise descent, b u t the augmented f o u r t h by stepwise ascent over a descending bass.
Figure 280 g 6 4
ucu
227
IÍASS
6
m i n i r r r i p r Ém U 3
6 4
ir 6
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2
Figure 279
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43
6 4 3
46 2
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8. T h e perfect f o u r t h may be accompanied by either the major or m i n o r sixth. I t may resolve directly to a five-three c h o r d (Figure 281, Example a), although i t is n o t always r e q u i r e d to do so. T h e bass may r e m a i n stationary or progress, for the succeeding figures are often different from the expected ones, and this sometimes retards b u t never disrupts the resolution (b). Figure 281 65 a 4 3 ¿Y
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6 4 6 2
6 4 b. 4 2 II H H
6 t>7 4 5
65 4 - 3
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6t 5 4 3
5. Those w h o k n o w the t r i a d that is b u i l t o n the f o u r t h above the bass w i l l recognize the tones of the six-four chord. 6. W e shall learn soon that the sixth, a consonance, may be d o u b l e d w h e n there is good reason to do so. Even though the octave of the bass is o m i t t e d w h e n this takes place, n o tone of the chord is thereby lost. 7. O f the three kinds of f o u r t h , the perfect is the least dissonant i n this chord. Nevertheless i t must be resolved, unless i t is used as a passing interval. I n this latter case i t may be d o u b l e d i f necessary and i f p e r m i t t e d by the preceding signatures. T h e examples of Figure 280 illustrate the passing f o u r t h . 1 Cf. Arnold, op. cit., pp. 536-540. 2 This sentence appears in the original ed. as a footnote.
A/ *• /
8 7 6 5 4 - 3
6 7 4 - 3 1 2 1
8 7 1>7 6 5 4 - 3
5 6 3 4
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11
^6
5
9. W h e n the t h i r d of a chord of the sixth is retarded by a f o u r t h , the progression, a delicate one, is best expressed i n three parts. I f a four-part accompaniment is r e q u i r e d , the octave is o m i t t e d and the sixth d o u b l e d . Examples a and c of Figure 282 illustrate the occurrence of this chord before a six-five c h o r d w i t h a d i m i n i s h e d
2
Í; //
2
T II o no u li A ss l i l t h . A l l three kinds Of Eourth and the two consonani sixtlis may be employed, provided that the fourths are prepared and move by Stepwise descent. T h e progression is m u c h used i n our present, agreeable style, b u t i t never contains the octave. H o w essential therefore is some i n d i c a t i o n that m i g h t make i t recognizable to the 6 u n i n i t i a t e d ! W e shall choose the sign 4. 10. W h e n the f o u r t h is d i m i n i s h e d , the sixth is m i n o r (Figure 282, Example a); w h e n i t is augmented, the sixth is major (b); b u t when i t is perfect, the sixth may be either q u a l i t y (c) as we have already learned. W i t h regard to the asterisked example, i t does n o t occur freely unless the bass first ascends and then descends. I n the 4 6 last t w o examples the best d i s t r i b u t i o n is that w h i c h follows 3 and 5 i n open p o s i t i o n . A A Figure 282 6 5 \ 6 a. 43 4 3 3
m
43
5 l>
6 4
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4 3
44
5i> 3
4 3
É
4-
4 3
5
44 3
O RO
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HASS
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A
6
6 5i> 4
5b 3
A
7
6 51» 4
5 3
5t>
3
G
1
6
6 5 b 5i» 4 S G
T h e 4 i n the examples of F i g u r e 283 is a passing chord. T h e underl y i n g relationships are those of Figure 284. Figure 284 6
b7
-fe 12.
5 \> -
6
7 6
5 \>
5 \-
—1
•
r| — s
6
5
L=—i—*
1 • -.
W h e n the sixth is major i n this six-four c h o r d and the re6
tarded t h i r d is m i n o r , the four-part accompaniment is 4 (Figure
4-
6 43 5
285).
1—
Figure 285 9
r ir
h
é
44 3
m
11. W h e n this k i n d of six-four chord follows a d i m i n i s h e d fifth over a stationary bass, a three-part accompaniment is best. I f a f o u r t h part is r e q u i r e d , the sixth is d o u b l e d and the octave of the bass o m i t t e d (Figure 283). Perhaps because the initial chord sounds more sonorous when the upper parts lie a seventh rather than a second apart. At least, neither disposition presentó any challenging problems of voice leading. 3
Figure 283 A l> 7 6 5t> 4
w A
m
TU
•#• /
s
n
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m m r 4
m r
rn
s ~ m m r m r 5
KI
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1
3
13. W h e n the augmented f o u r t h is used i n a passing relationship, the bass is not always r e q u i r e d to progress by stepwise descent (Figure 286, Example a). T h e second example takes only a threepart setting. I n b the augmented f o u r t h over / anticipates its n o r m a l entrance, w h i c h is o n the f o l l o w i n g e i g h t h , c, where i t functions as a passing tone m o v i n g to a major sixth. I n the last example tlie sixth above / may be d o u b l e d w h e n the t h i r d above b lies o n top. T h i s is the best disposition here.
r no
R
o v c u aA ss
¿ ¿ i j > i y ,H;.J i
8 7 - 6 6 5 - 4 +
1
- 7 5
144 2 6 4
1. I n the examples of Figure 289, i t is perhaps better to transfer the resolution of the d i m i n i s h e d fifth to the bass of the six-four c h o r d and double the s i x t h t h a n lead the voices i n a strictly correct manner w i t h the d i m i n i s h e d fifth resolving to the octave of the second note i n the bass. T h e latter progression always makes the six-four c h o r d sound ugly. For this reason the figuring of Example b is better than that of a. Figure 289 1>7
a. 5b
r r rr
' r
6 4
44
63 -4
^
Figure 287
6
6 5 4 3
6
4, 3
1
5 4 *
6 4
5 3
15. W h e n the bass of a six-three chord ascends a step to a sixfour chord, the bass may be duplicated or the other intervals d o u b l e d unless the t h i r d lies o n top. W h e n i t does lie o n top, this t h i r d should be d o u b l e d i n either the octave or u n i s ó n (Figure 288, Example a). I f this is not done, even opposite m o t i o n cannot prevent fifths (b). W h e n the sixth is major and the t h i r d m i n o r i n this progression, the octave of the bass may be taken, provided that the sixth, i f possible, b u t not the t h i r d , is placed i n the upper part (c).
7
a.
5b
9 8
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6 4
8
a.
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a.
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5
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7
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2. I n Figure 290 the d o u b l e d sixth of the six-four c h o r d i n a four-part setting must be released immediately o n the entrance of the d i m i n i s h e d t r i a d : Figure 290
éééüá 3. T h e augmented f o u r t h i n the six-four c h o r d sounds rather empty i n four-part settings b u t is i m p r o v e d by the a d d i t i o n of a second or a t h i r d . T h i s chord, the signature of w h i c h must i n c l u d e the s i x t h along w i t h the f o u r t h , may have a duplicated bass or a d o u b l e d sixth. T h e latter construction is used n o t o n l y because i t sounds w e l l w i t h its upper parts consonant w i t h each other, b u t also Figure 291
Wrong
Figure 288
16
A
1
14. W h e n the bass of a c o m m o n chord or the six-three c h o r d descends one step to a six-four chord, the d o u b l i n g of the first c h o r d must be such as w i l l avoid octaves (Figure 287).
S S
T H E SIX-FOUR CHORD, I I
Figure 286
15 6 3 4 4
li A
T H O R O If C, H
éM 6 4
N
better
7
6 6
6
5
4
5
T u o n o u r,
2 ?2
II
ti A ss
T I I O li O U (1 I I
because i t is sometimes required (aside from those cases where 4 is specified) i n order to n i a i n t a i n flowing parts and avoid errors (Figure 291.) 4.
T h e six-four c h o r d w i t h a perfect f o u r t h sometimes arises o u t
1
.
SS
Figure 294
r
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.
THE FOUR-THREE CHORD/
1.
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7
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A six-four c h o r d w h i c h is created by the action of an ascend'IT
i n g changing note after6, is realized only i n three parts (Figure 293). Figure 293
33 ?6 6 4
6.
I n Figure 294 i t is w r o n g to denote the c h o r d of the s i x t h o n
the second note as either 4 3 or 4. T h e f o u r t h o n the last sixteenth 2 serves only as a refinement w h i c h passes decoratively to the appoggiatura before the final note. T h e u n d e r l y i n g progression is illus-
2??
trated under a. I n passing, observe that the octave above /-sharp rather than the fifth should be taken as a f o u r t h part because of the preceding c.
of a retardation of b 5, i n w h i c h case i t is realized i n three parts. T h e perfect and augmented fourths must n o t be confused w i t h each other, especial ly w h e n the former is indicated by a c c i d e n t á i s w h i c h n o r m a l l y p e r t a i n to the augmented f o u r t h , as i n the f o l l o w i n g examples (Figure 292). Figure 292
li A
I
T h i s c h o r d consists of a t h i r d , f o u r t h , and sixth. 4
2.
Its signature is 3. T h e eye is more accustomed to this indica3 d o n than i t is to the occasional 4. T h e sixth is i n c l u d e d i n the signature w h e n i t is chromatically altered (Figure 295, Example a), resolves a dissonance (b), or moves to a passing tone over a h e l d bass (c). 7 6l? 6 7 Figure 295 5b4 4 6 -' 6 3 5 6. 3 - 6 22 g
c
6
3
3. T h e intervals that appear i n the c h o r d are the m i n o r , major, and augmented sixth, the perfect and augmented f o u r t h , and the m i n o r and major t h i r d . 4. T h e exceptional features of the c h o r d are that the t h i r d is treated as a dissonance and the f o u r t h enjoys more freedom than usual. T h e former is usually restricted by the latter, and always resolves by stepwise descent. T h e f o u r t h remains stationary or ascends. These progressions w i l l be clearly i l l u s t r a t e d and discussed i n detail w h e n we examine a l l types of four-three chords, an undert a k i n g w h i c h is necessitated by the great v a r i a t i o n i n the behavior of b o t h fourths, the stationary and the ascending. 2
5.
W h e n the c h o r d consists of a major sixth, perfect f o u r t h , and
1 Cf. Arnold, op. ext., pp. 628-646. Le., except when the fourth is omitted (cf. \, par ex.). 2
2^4
T 11 ORO U G 11
liASS
T
m i n o r t h i r d , either the f o u r t h or the t h i r d must be prepared. Most frequently i t is the t h i r d , w h i c h then moves by stepwise descent. T h e f o u r t h remains stationary. T h i s progression also appears over a 4
tied bass, and i t is sometimes denoted by a simple 6 rather than 3. T h e bass progresses by stepwise ascent or descent. I n ascent i t proceeds to a c h o r d of the sixth, i n descent to a c o m m o n chord. Those w h o k n o w the tones of the six-four c h o r d can easily find the fourthree chord by o m i t t i n g the octave of the bass and replacing i t w i t h the t h i r d (Figure 296). Figure 296 4 6, ^
-
¡-
|-1
!
1
É 6.
1
1 r
i
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-6. 4
3
J
i
4 3
P
4
nature 3 expressly. I n the second example the chord of the sixth is 4
35
2
7. I n three-part accompaniment one tone of the chord is lost. Yet certain relinements are met o n occasion w h i c h are n o t suitable to four parts. For example, the expression may r e q u i r e a soft performance w h i c h an accompanist m i g h t not be able to achieve o n a resonant i n s t r u m e n t unless he used a t h i n setting, etc. I n such a case one interval must be o m i t t e d . I n Figure 296 the f o u r t h may be left out, b u t i n Figure 297 a four-part realization is presupposed. 8. W h e n the c h o r d consists of a major sixth, augmented f o u r t h , and major t h i r d , either the f o u r t h or the t h i r d must be prepared. T h e latter descends afterwards w h i l e the f o u r t h remains stationary or ascends. T h e bass may be tied or not, and i t progresses by step4
4f
6
T h e rather unusual examples of Figure 297 r e q u i r e the sig-
clearly better than 3: Figure 297
O R O (7 G 11 li A SS
wise ascent or descent. H e r e the signature 3 or 3 is r e q u i r e d more
-6-
6
II
than i n Figure 296, for a simple 6 or 4 as the signature can easily cause c o n f u s i ó n . T h e disposition w h i c h sounds best is that i n w h i c h the f o u r t h and t h i r d are separated from each other. Example a of Figure 298 may express fifths i f the t h i r d of the preceding c h o r d of the sixth is d o u b l e d . Such b e i n g the case, they can be avoided by placing the f o u r t h on top (b). I n three-part accompaniment the sixth of the four-three chord may be o m i t t e d except i n Example a. T h e figures that stand below the notes have n o bearing o n those w h i c h stand above. 6 Figure 298 44 44 4 6 3 3
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1 I~=*J
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4
44 3
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6
|p* | |4 | 1 1
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4
—
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1
11
6
6 4 JL
'
6
6 5 4
t
a.
4 3
9. * W h e n the c h o r d contains a m i n o r sixth, perfect f o u r t h , and m i n o r t h i r d , either the f o u r t h or the t h i r d must be prepared. T h e 3
5
This sentence appeared in the original ecl. as a footnote. * In all eighteenth-century editions this paragraph was misnumbered 8. In correcting it, all following paragraph numbers have had to be increased by one. 8
2}6
T II O R O U G II
/* A
SS
T II O R OUC,
{QUrth remains státionary and the t h i r d descends. M í e piogression may be i n t r o d u c e d over a tied or u n t i e d bass which descends afterwards. Example a of Figure 299 w i l l be f o u n d occasionally, alt h o u g h i t is n o t especially good. T h e major sixth makes a better
Figure 300 6
Figure 299
4
3
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237
É pp
3
3
44 7 6 3 -5- 6
44 3
a.
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6
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bass may r e m a i n o n a single tone as i n the organ poíní, or i t may progress. T h i s c h o r d sounds best w h e n the t h i r d a n d f o u r t h are
4 b7 6
5,
b7 6b
li A
4-1
44
4
progression (b). T h e signature of the c h o r d is 3, b u t w h e n the s i x t h is lowered i t is i n c l u d e d w i t h its accidental. I n the second a n d t h i r d examples there is only one good disposition. T h e sixth must l i e o n top, because of the succeeding six-five c h o r d . O t h e r realizations cont a i n fifths. I n three parts the f o u r t h is o m i t t e d f r o m a a n d b:
II
5b-
1—S — i
4
separated f r o m each other. Its signature is 3. W h e n the bass is held, the c h o r d is realized i n f o u r parts; otherwise the f o u r t h is o m i t t e d . A c h q r d o f the sixth is better t h a n the four-three c h o r d i n the last t w o examples of F i g u r e 301. Figure 301 6
6
7
10 9
8
4 - 3 3 2 3
6 7 4 -
4
J J
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I
3
3
3
6
4 3
I
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10. W h e n the c h o r d contains a major s i x t h , augmented f o u r t h , and m i n o r t h i r d , the f o u r t h or the t h i r d is usually prepared. I n Example a of F i g u r e 300 b o t h enter freely over a passing note whose i n i t i a t i n g tone has been elidéd (b). T h e t h i r d resolves b y stepwise descent, the f o u r t h "by ascent. T h e bass may, b u t need n o t be, t i e d ; . 4 + 4
J
4t-
subsequently i t descends by a step. T h e signature is s' j>3, or \¡3 Those w h o k n o w the tonés of the c h o r d of the second w i t h a raised f o u r t h can lócate this four-three c h o r d q u i t e easily by t a k i n g a t h i r d above the bass instead of the second. Except i n the asterisked example, the sixth is o m i t t e d f r o m three-part realizations. 11. W h e n the chórd contains a m a j o r sixth, perfect f o u r t h , a n d major t h i r d , either the f o u r t h or the t h i r d is prepared. T h e t h i r d resolves by stepwise descent; the f o u r t h remains státionary. T h e
¿v
6.
J
4 3 = =
-fr5b
4 ^ =
^ ^ >J
6 6
= = :
=F-m
m-yt
tri 3
l
II
t 3
12. W h e n the c h o r d contains an augmented s i x t h , augmented f o u r t h , a n d m a j o r t h i r d , p r e p a r a t i o n of the sixth is o p t i o n a l , b u t i t is r e q u i r e d of either the f o u r t h or t h i r d . T h e t h i r d progresses subseq u e n t l y by stepwise descent. T h e f o u r t h remains státionary or ascends. T h e bass may, b u t need n o t be, tied. I n either case its subsequent m o t i o n is stepwise descent i n parallel m o t i o n w i t h the t h i r d . M a n y denote this c h o r d ambiguously w i t h only a s i x t h a n d
2fS
T II O Ii()
UGH
T H O H O U (i II
BASS
its accidental. The beit signature expreSSM all of the intervals. I n threc-part accompaniment the f o u r t h is o m i t t e d (Figure 30a).
Figure 302 * &
A 3 ^
|
#
—w—[ • — p —
~64 3
6
6
* 8
6 5 4 #
K r.
A 44 6 3 —. n—(•—• w 1 i t U
-4
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4 f}
3 » — 11— F
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t
6 8 4 7.
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1
5 tt
6 4
y J r r r r^nTT
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11
1
Figure 3<34
R
y 8
4
-41
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m
P
7 8 5 6 3 3
w rong
} ni f t •'tr' i
¡6
s 11 - f M i — • \: .
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44 9 3
7
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5
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rr
r rr
1 5
6
6 4
|6 5
6
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wr ong
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11 !
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6
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8 6 443
le
1
8
a.
II
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wrong
a.
4#
ture. I n Example a, *enters prematurely as the result of an elisión. A c t u a l l y , the n i n t h , seventh, and f o u r t h should be resolved first, as i n Example c. O u r c h o r d thus turns o u t to be merely a passing Figure 303
FOUR-THREE CHORD,
1. T o the chord of the m a j o r sixth and m i n o r t h i r d , the perfect f o u r t h is sometimes added w i t h o u t express i n d i c a t i o n (Figure 304, Example á) i n order to a v o i d the errors of aa, to gain a u n i f o r m disposition (b) w i t h o u t the leaps of c, or to créate a good u p p e r part (d).
13. Occasionally an octave must be taken i n a d d i t i o n to the other intervals, n o t merely f o r the sake of a f u l l setting, b u t more i n order to resolve a preceding dissonance (Figure 303, Example a), or to prepare a succeeding one (b). T h i s b e i n g the case, i t is best to place a l l f o u r intervals i n the signature a n d thus preclude conjec-
8 y -6. 5 44 4 3
239
chord, w h i c h accounts for the lcaping rather than stepwise movem e n t of the bass. THE
78
liASS
11
:, 1
IB
r r
5
6
L
-
II II
* -
2
6
1 i-
l
T I TT w
l
5
2. I n Example a of Figure 305 the six-four-three c h o r d sounds very w e l l against the l o n g appoggiatura. T h e succeeding figures are i n most cases already present i n the first c h o r d . T h e upper voice
240
T 11 O R O U G H
li A S S
THORO
continúes m e l o d u ally i n thirds w i t h the bass. Kxample b, set simply, suffers neitlier a d o u b l e d t h i r d above d, ñor an ascent of the t h i r d to g, for this t h i r d , f, is also the seventh above the second eighth, g, and must therefore be p r o p e r l y resolved (c). T h e dissonances of Example d are conveniently prepared by the four-three chord: ^ poor Figure 305
^ — '
6
'6 6
|7
6
~"
'—-*s^
'6 5
17
UGH
liASS
241
t h o r o u g h bass that a l l o w for variants and yet cannot always be realized o p t i o n a l l y make i t a l l the more necessary to look ahead and listen carefully. Figure 306
2 e
-
6
-
4
2
6
.
/ -
r 1 ¡ m -i 3.
I n the examples of Figure 306 the c h o r d of the s i x t h is taken
over each d. T h e four-three c h o r d sounds ugly against the repeated 6
5
f
J
6
6
cjjr »
4. Some consider i t sufficient to signify 4 after 5 i n the f o l l o w i n g example, since this specifies the progressing parts (Figure 307, Example a). However, an inexperienced accompanist m i g h t add the octave of the bass to the six-four ch ord according to the r u l e of cons t r u c t i o n of this c h o r d rather t h a n h o l d the t h i r d . T h e figuring of b is clearer a n d m o r e correct, despite the fact that the eye must sean an a d d i t i o n a l figure.
a (a). A chromatic a l t e r a t i o n sometimes prevenís the t a k i n g of 4
3
(b). A g a i n , passing notes may r e q u i r e the simple c h o r d of the s i x t h , as i l l u s t r a t e d here by the / (c). O t h e r factors w h i c h oblige the ac6
companist to play an i n d i c a t e d c h o r d of the s i x t h rather t h a n 4 are: the succeeding figures, w h i c h may be m o r e easily realized by h o l d i n g or repeating the c h o r d of the sixth (d); the succeeding notes, w h i c h may prevent a proper r e s o l u t i o n of the t h i r d of 4 (e); errors
3 4
of voice leading w h i c h are caused by 3 (/). Those progressions i n
5.
F i g u r e 308 is exceptional, a n d its accompaniment can give 4
nse to several errors. T h e t h i r d of the first 3 does n o t resolve b u t remains státionary to become a f o u r t h , f o r the c h o r d is to be re-
242
THOROUGH
IÍASS
TH
garded as passing. T h e augmented f o u r t h , however, ascends charac4
teristically. T h e second s bchaves n o r m a l l y . I n order to realize the first signature completely a n d make i t possible for the augmented f o u r t h to ascend, the second of the chord should be d o u b l e d .
6.
3
I n F i g u r e 309 a unisón d o u b l i n g of the sixth (a) makes a
better progression than a d o u b l e d t h i r d
(b):
ASS presupposes
an
ac-
Figure 311
LL ' C
9. A l t h o u g h the earlier statements concerning the three-part realization of o u r c h o r d are generally applicable, the accompanist must be attentive to the p r i n c i p a l part, for at times the tones perf o r m e d by i t may be o m i t t e d f r o m a l i g h t accompaniment (Figure 312). Figure 312 piano
Figure 309
44*^
¡i
ccled i n the 3 , for the augmented f o u r t h companying major s i x t h .
Pe'
3
O R O V C, II
4+
6
gilí 44
J'„
1
g j .
1
61
, J .
J
rr T í
6
Figure 310 6
pal
*r, r f r r f r
m 6
7. O n e of the best uses of the augmented f o u r t h w i t h the augm e n t e d s i x t h is the f o l l o w i n g . I n other cases this latter i n t e r v a l usually sounds better w i t h the fifth or a d o u b l e d t h i r d . T h e b, t h r o u g h its presence i n most of the chords, provides an i n t e n d e d í . obstinacy w h i c h heightens the effectiveness of 4 (Figure 310).
= |J •
J
1
. J
r r 1f
J
J
;
r
4
3
g JJJi nf ifrnrrnf r r r
r r
8. I n Figure 311 the melody of the p r i n c i p a l part, a n d to a greater degree the preparation of the t h i r d , necessitates a v i o l a t i o n of the r u l e p r o h i b i t i n g the progression of a d i m i n i s h e d t h i r d . T h e preceding chromatic a l t e r a t i o n of the s i x t h is automatically can5
5 Changed in ed. of 1797 from the earlier "augmented second."
THE
i.
SIX-FIVE
CHORD,
1
I
T h i s c h o r d consists of a s i x t h , f i f t h , a n d t h i r d .
2. Its signature is 5 , o r 5b alone w h e n the fifth is d i m i n i s h e d . T h e t h i r d , w h e n i t is chromatically altered, is i n c l u d e d w i t h its accidental. Also, accidentáis w h i c h p e r t a i n to the s i x t h a n d fifth must n o t be o m i t t e d f r o m the signature. 3.
I n this c h o r d there are three sixths, augmented, m a j o r , a n d
i Cf. Arnold, op. cit.¡ pp. 602-626.
244
T II O RO
U G II
Ii A S S
T II O R () V Í; //
m i n o r ; two fifths, the d i m i n i s h e d and perfect; and t w o thirds, the major and m i n o r . 4. T h e fifth is treated as a dissonance. I t is usually restricted by the sixth, and always progresses by stepwise descent. 5. T h e perfect fifth does n o t readily occur w i t h o u t preparation (Figure 313, Example a); b u t the d i m i n i s h e d fifth may l i e i n the preceding c h o r d or enter freely (fe). However, w h e n this latter interval is taken unprepared, the sixth is usually present i n the precedi n g c h o r d . As the fifth, especially the d i m i n i s h e d fifth, resolves, the bass n o r m a l l y ascends one step. Example c shows us that o n occasion the bass may r e m a i n státionary or leap u p w a r d and d o w n w a r d , i n w h i c h event the resolution of the fifth is often retarded. I n the last example under c there is an interchange of chordal tones and an elisión, as i l l u s t r a t e d i n d.
6 5
2
Figure 313 6 5 a. 6 -f— «V: m—
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7. A t times the octave of the bass must be taken as a fifth part because of the resolution (a) or preparation (fe) of a dissonance (Figure 314). Figure 314
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7
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6. Those w h o k n o w the progression 6 5 or 5 6 can easily lócate the tones of o u r c h o r d by o m i t t i n g the octave of the bass, p l a y i n g the adjacent figures simultaneously alóng w i t h the t h i r d , a n d att e n d i n g to preparation.
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2 I.e., except when the sixth is omitted, when the fifth is diminished (in which case it is already a dissonance, henee, restricted anyway), or when the chord is a "passing chord" (cf. f 10 here).
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8. W h e n the signature 5 4 appears over a státionary bass, the t h i r d is o m i t t e d and the octave of the bass taken as a f o u r t h part, for
G
2JÓ
TII O R O U II ¡i A S S the u n d e r l y i n g construction is simply a six-four c h o r d w i t h its f o u r t h retarded by a fifth. I n such a case the fifth is perfect a n d prepared (Figure 315, Example a). B u t should the fifth succeed n o t to T b u t to some other signature (b) or should the bass move s i m u l -
0
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9. W h e n the c h o r d contains an augmented sixth i t always takes a perfect fifth a n d a major t h i r d as its r e m a i n i n g intervals. T h e fifth is usually prepared (Figure 316, Example a); b u t i t a n d the sixth too may be taken freely w h e n the bass is státionary (b). N o r mally, the sixth should enter one eighth later, as illustrated i n c. Subsequently the sixth progresses by stepwise ascent, and the fifth, m o m e n t a r i l y státionary, by stepwise descent:
5
b.
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1
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Figure 316 a. -
87
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taneously w i t h the fifth (c), the usual 5 accompaniment is to be taken. For the benefit of the inexperienced accompanist, the first of these six-five chords (they of ten appear over organ points) should be distinguished f r o m the n o r m a l construction by means of a Telem a n n b o w . T h e last example u n d e r a is n o t e w o r t h y because of the d i v i d e d accompaniment and the d o u b l e d s i x t h :
c>i
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8 5
1
H
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L
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h 1
7
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4
•
3
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II
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10. Since three-part accompaniment necessitates the omission of one interval, i t should n o t be employed w i t h o u t good reason. B u t
2./.V
T II O R O II G II
HA
T II O H O (I (, II
SS
when i t is r e q u i r e d , t h e o m i l l c d intctval musí be dccided u p u n caref u l l y . T h e t h i r d , the perfect fifth, or the sixth, especially w h e n the last-mentioned is accompanied by the d i m i n i s h e d fifth, may be o m i t t e d according to circumstances. W h e n the chord is used as a passing construction, the fifth does n o t resolve. I n such a case the t h i r d serves n o good end and may be o m i t t e d i n favor of the sixth
SS
Figure 318
^
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5b
«*• 6
5b
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6
and fifth. I n the examples of Figure 317, the chords that preceed 5 and provide its státionary fifth are set u n i f o r m l y i n three parts. Inasm u c h * as we have made use of the T e l e m a n n bow i n other situations i n order to distinguish a three- f r o m a four-part realization, i t may be i n c l u d e d here i n the signature of a six-five c h o r d whose t h i r d is to be o m i t t e d .
li A
•—1 V
6 5
5b
6
*
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*
• — i
•
6 * 6 9
~~6- — 3 5b 6
6 5b
2. Those w h o set Example a oí Figure 319 w i t h its unprepared perfect fifths (an occasional b u t undesirable progression) must defend i t as an elisión of the succession 6 5 (b) or as a m a n i p u l a t i o n of 8 7 (c). Over the bass g of bar one, and /, bar t w o , the sixth must be separated f r o m its preparation as a means of avoiding fifths (d). T h e fifths by contrary m o t i o n over a and c i n the first bar cannot be, ñor indeed need they be, circumvented. Example e is even worse than a: Figure 319 a.
H 1ií J
5
5 c 8 7
THE
SIX-FIVE
CHORD,
II
1. T h e examples of F i g u r e 318 show us h o w the sixth, as w e l l as its accompanying d i m i n i s h e d fifth, may enter unprepared (a). T h e u n d e r l y i n g progression w i t h o u t elisions is illustrated i n b. T h e fifth of the first bass note must n o t be placed o n t o p , for the d i m i n i s h e d fifth progression belongs' i n the i n n e r parts. * T h i s sentence appeared in the original ed. as a footnote. For Telemann bow, cf. Part I I , Foreword, Note 4.
I J J 5
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6 5
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3. T h e d i m i n i s h e d f i f t h may enter freely; and even w h e n i t can be prepared, i t may be separated f r o m its preparatory interval for certain justifiable reasons. T h e y are: the r e s o l u t i o n of a dissonance (Figure 320, Example a); the r e t e n t i o n of a convenient spacing a n d the c o n t i n u a t i o n of a good melody (b); the avoidance of a poor relationship between the outer parts (c). I n the absence of these
250
TU
O R O V C, II
li A
SS
TU
O R O II C II
li A
SS
25/
factors, howevcr, strict observance must be made of the rules w h i c h cali for the preparation and resolution of a dissonance i n the voice i n w h i c h the dissonance appears. Figure 320
m 7
6 5b
¥ 5b
5b
poor
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4. A t times i t is better to o m i t the sixth and double the t h i r d i n a chord c o n t a i n i n g a d i m i n i s h e d fifth, even t h o u g h the sixth w o u l d n o t clash w i t h chromatic changes. T h e reasons are: T h e sixth, taken freely, may add a discordant element to the resolution of a preceding dissonance (Figure 321, Example a); the d o u b l e d t h i r d may help to m a i n t a i n a good melody (b) or to avoid errors. (c). Figure 321
'6
not good
9
u 4
6 5
3
poor
9 4
'6 5b
5. As a r u l e , all chromatic changes that p e r t a i n to the t h i r d must appear i n the signature, as i n the case of a l l figures. Nevertheless there are times when the accidental is o m i t t e d , under the assumpt i o n that the q u a l i t y of the t h i r d w i l l be k n o w n f r o m its context. I n Figure 322, i f a d i m i n i s h e d t h i r d is to be played i t must be expressly specified by a fíat over the bass: Figure 3 22 g
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a . — = — = —
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9
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1
Figure 323 should please the devotees of strange chords. I t , X 6 6 gives passing expression i n a slow tempo to 5 , 4 , and 4+ , 6.
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6
tne latter t w o i n open position.
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SS
THORÓUGR
Figure 323
U 9
9 5
6 4 3_
6 44 3
6 4
5
5 * *
7. I n a slow tempo w h i c h requires a soft performance the sixth may be o m i t t e d f r o m the six-five chord i n the first example of Figure 324 a n d the t h i r d f r o m the same chord i n the second example. I n the t h i r d example the t h i r d may be o m i t t e d f r o m b o t h the six-five and seven-five chords i n order to provide the p r i n c i p a l part w i t h sufficient freedom a n d q u i e t to express its slow notes i n accord w i t h the desired affect.
n A
ss
4. T h e dissonance is i n the bass and may enter as either a tiecT note (Figure 325, Example a) or a passing tone (b), b u t i t always resolves by stepwise descent. Henee, the octave of the bass is never taken by the r i g h t hand, even i n an inner part, a l t l i o u g h i t may be by the left for re-enforcement. T h e second itself is treated as a consonance; i t may enter freely, r e m a i n státionary, or leap; a n d i t may be d o u b l e d . Figure 325 a.
5. W h e n the chord contains a major second, major sixth, a n d perfect f o u r t h , the last-named interval may subsequently ascend, descend, r e m a i n státionary, or leap d o w n w a r d (Figure 326, Example a). I t enjoys the same freedom w h e n i t is associated w i t h tire major second a n d m i n o r sixth (b); or the m i n o r second and m i n o r sixth (c): Figure 326 a.
tí
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5 THE
1. 2.
CHORD
OF
5
T H E SECOND,
jt
4
1
I
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T h i s chord consists of a second, f o u r t h , a n d sixth. Its signatures are: 2, 4+-, 4!) ( i n those cases where the n a t u r a l
b,
6
sign raises a tone), f , a n d 4. ¿
3. T h e chord may c o n t a i n the major or m i n o r sixth, the augmented or perfect f o u r t h , the major, m i n o r , or augmented second. 1 Cf. Arnold, op. cit., pp. 648-672.
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BASS
6. W h e n the augmented f o u r t h is associated w i t h the m a j o r second a n d major s i x t h , i t may r e m a i n státionary, or ascend (Figure 327, Example a); this also holds w h e n i t appears w i t h the augmented second and m a j o r sixth (b). A l t h o u g h i t descends m o m e n t a r i l y i n a passing r e l a t i o n s h i p i n the last example, i t ascends i m m e diately thereafter:
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256
T II O R O U V, II
li A S S
T II O R O U ('. II
li A SS
257
8. T h e chord of tlic second is easy to íind. Its Iones íorm the t r i a d that lies a second above the bass. 9. Since this c h o r d is f o u n d e d o n a t r i a d , the accompanist must be careful to avoid fifths w h e n i t is preceded by a t r i a d or b y a c h o r d w h i c h comprises one (Figure 329). Figure 329 I wrong I Iwrongl
i
"4 b 2
3
5
44-3
7. I n order to w i n f o u r i n d i v i d u a l tones i n f o u r - p a r t accompaniment, the augmented f o u r t h must sometimes leap d o w n w a r d . I n fact, I see n o other means of a t t a i n i n g such an end, should this progression be p r o h i b i t e d . A t the same t i m e , the parts progress m u c h more smoothly a n d this i n t e r v a l behaves m u c h more characteristically w h e n i t progresses by stepwise ascent w h i l e unisón a n d octave doublings are alternated. F u r t h e r , by this means a l l dispositions of the c h o r d may be employed, whereas i n the other case the leap f r o m the augmented f o u r t h must be assigned to an i n n e r part i f the progression is to be acceptable (Figure 328).
10. For purposes of re-enforcement, a fifth part may be taken at times w h i c h doubles the major or m i n o r second. Moreover, this provides a means of disguising the poor d o w n w a r d leap f r o m the augmented f o u r t h . Such a d o u b l i n g may n o t be a p p l i e d to the augmented second ñ o r to the major second w h e n i t is associated w i t h the m i n o r s i x t h . (Figure 330). Figure 330
'44
not good
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wrong
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1 i \yj 1 i1 t better
44-
11. I n a three-part accompaniment the chord loses an i n t e r v a l . Henee i t should n o t be used freely unless there is sufficient reason, i n w h i c h case the s i x t h is o m i t t e d . 12. So that the eye w i l l n o t be overwhelmed by a mass of numeráis, certain intervals are to be taken f o r granted i n the absence of specific indications: T h e major sixth accompanies a specified augmented f o u r t h (Figure 331, Example a); the m i n o r sixth accompanies a specified m i n o r second (£>); the augmented f o u r t h accompanies the augmented second (c); a n d the major second a n d major sixth accompany a f o u r t h w h i c h is augmented by means of a d o u b l e sharp (d):
2 5
TIIOROUCll
5
liASS
T II O R O II ('. II
li A SS
259
polatcd over the second tone. The chord is created by accompanied
Figure 331 a. 4 4
a.
b.
44
b.
2b
6
2»
ytí'i.J i»» r S i r B
appoggiaturasr henee its bass does n o t descend, f o r 4 is only a decora-
2
J
t i o n of the u n d e r l y i n g t r i a d . T h e second and f o u r t h move to a t h i r d and the sixth moves to a fifth. I n a l i g h t accompaniment the f o u r t h (a) or at times the sixth (b) may be o m i t t e d (Figure 333). 2
c. Í
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Figure 333
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13. I n Figure 332, however, the raised sixth must be expressly indicated. I f i t is not, an accompanist inexperienced i n the ways of chromaticism, far f r o m b e i n g provided w i t h a convenient reduct i o n i n the n u m b e r of figures, w i l l be caused no end of difficulty and embarrassment. I n the last example the sixth may be replaced by a d o u b l e d second i n a n t i c i p a t i o n of the approaching t r i a d . Figure 332
1
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6
6
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15. Occasionally 2 w i l l be f o u n d over a státionary or a repeated bass. I t is to be realized i n three parts w i t h o u t any a d d i t i o n a l tones. T h e intervals are n o m o r e i n need of r e s o l u t i o n t h a n the bass, for, as passing notes, they may ascend or descend. T h e preceding and f o l l o w i n g signatures are also realized i n three parts most of the t i m e . Such an accompaniment usually duplicates other perf o r m i n g parts. Once i n a w h i l e , however, one of these parts sustains the octave or fifth of the u n d e r l y i n g c h o r d . I f i t is the fifth, a major 4
seventh may be added to 2 (Figure 334, Example a). As a w a r n i n g , a 4
T e l e m a n n b o w may be placed over 2 . 8
14.
Occasionally w h e n the bass of 5 ascends one step to become 4
J
the bass of a m i n o r t r i a d , the figures,
2
6
or 4 w i l l be f o u n d inter-
2 T h e sixth is present in both examples under b. Evidently, "sixth" is a misprint 6 for "second," since this interval is omitted from the illustrations. Bach's 4 signature verifies this assumption. s Cf. Pt. I I , Foreword, Note 4.
2ÓO
r ¡i o n o 11 c, II
n A
T 11 O li O II C 11
ss
li A
SS
261
Figure 336
wrong
wrong
frf r '6
THE
CHORD
O F T H E SECOND,
II
1. T h e second of the successive 2 chords i n the f o l l o w i n g example arrives one eighth too soon as the result of an elisión w h i c h is illustrated i n Example a of Figure 335. A perfect f o u r t h may precede the augmented f o u r t h i n the same k i n d of progression (b).
ir c r ^+"^T 4 ir r 2. I t is w r o n g to w r i t e the signature of an augmented f o u r t h alone i n the f o l l o w i n g examples. T h e c h o r d of the second, w h i c h is specified by this i n d i c a t i o n , cannot be realized i n the first example of Figure 336 because of the preceding g-sharp, ñor i n the second because of the necessity of resolving the preceding dissonances. T h e six-four must be taken i n b o t h cases. I n the n o t a t i n g of parts i t is sometimes forgotten i n haste that the signature M- is an abbreviated sign of an entire six-four-two chord rather than the six-four.
1-17
9 7
8 6 41,
t r T ^
1
9
4t|
r , l
€
3. W h e n the fifth and t h i r d of 5b are retarded by a slow twopart appoggiatura and this rather discordant embellishment must 4
5b
be played by the accompanist, 2 and 3 are indicated over the bass, the sixth of the f o u r - t w o chord being o m i t t e d f r o m the accompanim e n t as w e l l as the signature (Figure 337, Example a). W h e n the second of the c h o r d of the second is retarded by a slow appoggiatura o n the augmented octave, the accompanist takes the f o u r t h alone i n a l i g h t accompaniment and does n o t add the second and sixth u n t i l the second enters i n the p r i n c i p a l part. However, since the augmented octave is more f e a r f u l to the eye t h a n to the ear (which is n o t unpleasantly deceived by its resolution i n a slow tempo accompanied by the f o u r t h ) , i t may be i n c l u d e d i n the signature and played by the accompanist (b). Also, the execution under c does not sound bad w i t h the t h i r d , as an appoggiatura, m o v i n g to the f o u r t h . Those whose ears are oversensitive can w i t h h o l d the r i g h t hand's accompaniment f r o m the appoggiatura i n b o t h cases. I n any event, w h e n the accompaniment is to be very l i g h t , the performance of these refinements should be left to the p r i n c i p a l part. T h e augmented octave is a dissonance that resolves u p w a r d , a n d i t is used only as an appoggiatura.
262
T II O R O V (', II
Figure 337 a.
6):
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li/ÍSS Figure 339
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T II O R O 11 C II fí A S S
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.2
6 4
4. Figure 339 shows clearly that 2 results f r o m the premature entrance of the tones of the f o l l o w i n g c h o r d of the s i x t h . W h e n the second of the c h o r d is d o u b l e d the c h o r d of the s i x t h becomes S 6 6, a n d w h e n the fifth is d o u b l e d , 3.
6
3
• ^|| 6
I n order to avoid octaves, the t h i r d or fifth of the last c h o r d
6
5. T h e five-two c h o r d always sounds empty regardless of whether i t is realized i n three or f o u r parts. I t is made sonorous by its resolution. Rare i n the galant style, i t is more f r e q u e n t i n learned works and i n company w i t h syncopations. Consequently i t is realized i n f o u r parts. 6. Inasmuch as one of the tones, b u t n o t the bass, must be d o u b l e d , care must be taken to avoid octaves w h e n a preceding c h o r d also contains a d o u b l i n g . D o u b l i n g s must be alternated i n such a case (Figure 340). 2
must be d o u b l e d i n F i g u r e 338. Figure 338
-^4
1 í hju
1 r 1 i m i J j ij THE
FIVE-TWO
CHORD.
2 7. T h e five-two c h o r d w i t h an augmented fifth sometimes results f r o m the action of an i r r e g u l a r passing tone or changing note
1
1. T h i s c h o r d consists of a second and a fifth. For a f o u r t h part either of the intervals may be d o u b l e d .
(Figure 341). Figure 341
2. Its signature is 2 . T h e second is m a j o r a n d the fifth perfect. 3. As i n a l l chords of the second, the bass is dissonant; i t must be prepared, a n d i t resolves by stepwise descent (Figure 339). 1 Cf. Arnold, op. cit., pp. 708-709.
,
&
tus Í Ü i
5
2
1
I.e., octave and unisón doublings in the right hand.
1. 2.
n i
o n o
THE
FIVE-FOUR-TWO
IIASS
l i a n
CHORD
T n o n o n a 11
265
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1
T h e c h o r d consists of the intervals w h i c h give i t its ñame. T
.
S
Its signature is 4. T h e second is major, a n d the f i f t h a n d 2 f o u r t h are perfect. 3. Here too, the bass is tied a n d resolves by stepwise descent, for i t is the bass that is dissonant. T h e fifth or the f o u r t h must also lie i n the preceding chord. By means of this chord the upper parts of the six-five c h o r d w i t h a d i m i n i s h e d fifth are anticipated (Figure
34?)-
4 2
3
4
4 2
4. Because i t appears o n l y i n works that requiré a f u l l accompaniment, i t is always realized i n f o u r parts; a l l the more so, because none of the intervals may be o m i t t e d . 5. T h e c h o r d can be located by p l a y i n g the six-five c h o r d o n the tone that lies one step below the w r i t t e n bass note.
THE
THREE-TWO
CHORD
4. T h e three-two chord is always realized i n f o u r parts, since i t is expressly indicated i n order that n o i n t e r v a l w i l l be o m i t t e d . T h e tones of this c h o r d can be located by p l a y i n g a t r i a d a n d replacing the octave of the bass w i t h a second. 5. T h r o u g h the action of an irregular passing tone this c h o r d anticipates the upper parts of a four-three chord w i t h a major second (a) or a m i n o r t h i r d (b) (Figure 344).
2
1. T h i s c h o r d consists of a m i n o r second, major t h i r d , a n d perfect fifth. 3
2. Its signature is 2 w i t h 2 lowered by an accidental; a n d w h e n the t h i r d is chromatically raised i t is represented i n the signature solely by an accidental. 3. Once again, the bass is dissonant; i t is tied, a n d resolves by stepwise descent (Figure 343).
THE
CHORD
OF T H E SEVENTH,
1
7
2
1 Cf. Arnold, op. cit., pp. 711-712. T h i s chord is not to be confused with the FiveFour Chord, to which a sepárate section is devoted. 2 Cf. Arnold, op. cit., pp. 713-714.
I
1. T h e chord of the seventh exists i n three forms, consisting of: a seventh, fifth, a n d t h i r d ; a seventh, t h i r d , a n d octave; a seventh and a d o u b l e d t h i r d . 2. T h e signatures are 7 and 5 . Accidentáis must n o t be forgotten, especially w h e n the t h i r d becomes major or m i n o r t h r o u g h chromatic alteration. 3. C o m p r i s i n g this chord are: D i m i n i s h e d , m i n o r , a n d major sevenths; augmented, perfect, a n d d i m i n i s h e d fifths; major a n d m i n o r thirds; the octave. 4. T h e seventh is a dissonance w h i c h appears w i t h preparation (Figure 345, Example a) and w i t h o u t i t (b). I t progresses by stepwise descent. T h e ascending major seventh w i l l be given sepárate treatm e n t later. I n o u r present study this seventh, l i k e the others, resolves d o w n w a r d . T h e passing seventh alone may r e m a i n sta1 Cf. Arnold, op. cit., pp. 542-599. 2 Or, more accurately, the seventh formed by a passing bass.
T II O R O II (l II
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tionary on occasion (<:). But w l i c n i t enters altor the bass i t too desc:ends (oí). Figure 345
b.
6 4
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7
6
2
6
7
6
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5. T h e seventh is the same as the second below the bass, and the chord of the seventh w i t h a fifth contains the t r i a d o n the t h i r d above the bass. 6. T h e fifth and octave are o m i t t e d i n three-part accompaniment, b u t the t h i r d must always be represented except i n the galant style. 7. Use of one or another of the three forms of the chord is n o t always o p t i o n a l . C e r t a i n great difhculties arise i n connection w i t h their employment, as we shall see later. I t w o u l d be a simple task b u t of great benefit to practiced as w e l l as inexperienced accompanists i f the fifth and octave were i n c l u d e d i n the signature whenever they were to be played. T h e i r presence w o u l d offer n o t h i n g new to the eyes, for they are of ten f o u n d i n the signature anyway. T h e most essential consideration w i t h regard to the construction of the chord is that the seventh must appear a n d resolve i n the voice i n w h i c h i t is prepared.
R 0
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267
chromatically, even the augmented fifth may be taken i n a 7 6 progression, and w i t h o u t being indicated, p a r t i c u l a r l y w h e n i t stems f r o m a preceding unresolved augmented f o u r t h . T h e d i m i n i s h e d fifth appears occasionally i n this progression a n d may also be taken w i t h o u t i n d i c a t i o n o n c o n d i t i o n that i t resolve properly. Examples of a l l of these variants w i l l illustrate m y meaning. 11. I n Example a of Figure 346 the octave of the bass may be taken as w e l l as the d o u b l e d t h i r d . I n the case of the f o r m e r , the t h i r d i n the r i g h t h a n d moves against the left. T h e disposition w i t h the f i f t h of the first c h o r d o n top is the poorest; the octave o n t o p is the best. Should the t h i r d be d o u b l e d i n the octave, b o t h hands progress i n parallel m o t i o n . I n Example b o n l y the d o u b l e d t h i r d is possible because of the r u l e against the augmented second. N e i t h e r Example a ñor b can be realized w i t h the fifth because the aseen t of the first tone i n the bass w o u l d créate fifths. I n c, the fifth being perfect, i t may be played i f necessary, a l t h o u g h the other accompaniments are preferable. I n d the fifth cannot be i n c l u d e d because i t disagrees chromatically w i t h the augmented s i x t h over the f o l l o w i n g tone. T h e octave must be taken, since, according to Paragraph 8, a d o u b l e d t h i r d is n o t permissible i n this c h o r d . I n e the Figure 346 *
b.
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8. T h e major t h i r d must n o t be d o u b l e d w h e n i t appears w i t h the m i n o r seventh, regardless of whether i t comes by its q u a l i t y n a t u r a l l y or chromatically. 9. T h e seventh may resolve o n either its o w n bass or a di fferent one. B o t h resolutions appear singly a n d also i n succession. 10. A single appearance of 7 6 is better realized w i t h a d o u b l e d t h i r d , or the octave, than w i t h a fifth. B u t w h e n the latter is perfect and n o t contrary to a chromatic context, i t too may be taken, prov i d e d that care is exercised to avoid fifths. I n fact, w h e n i t fits
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fifth is d i m i n i s h e d , but cannot be resolved. T h i s is a p o i n t which must be carelully observed, for i t mak.es the reali/.ation of the fifth dangerous. Henee, either of the two r e m a i n i n g forms of the chord must be employed. Successions of sixths must be placed i n the upper part i n order to avoid errors or a w k w a r d voice leading. I n f, only the octave of the bass is good, for the other constructions introduce a w k w a r d and bad progressions.
thein." Consequently the Other two Corma of the chord are safer here (b). Example c is n o t e w o r t h y : T h e d o u b l e d t h i r d is not to be used here according to Paragraph 8, and the octave of the bass does not go well w i t h the f o l l o w i n g g-sharp. T h e r e f o r e only the f i f t h is possible. I n d the easiest accompaniment is the octave of the bass, b u t the f i f t h may also be used. A d o u b l e d t h i r d is r u l e d o u t . A unisón d o u b l i n g may be used to good ends i n this example.
12. I n Figure 347, Example a, a l l three forms of the chord may be used. T h e d i m i n i s h e d fifth is allowed i n this progression because i t can move to a f o u r t h o n the entrance of the raised sixth. I n b the fifth must be augmented, i f i t is to be taken at a l l , a n d i t moves to a unisón d o u b l i n g on the sixth. Since this f i f t h is indicated as i n f r e q u e n t l y as the d i m i n i s h e d fifth, w h o can tell whether a composer wants i t to be used? O r d i n a r i l y , a dissonant interval w h i c h clashes w i t h an already dissonant chord is n o t realized w i t h o u t its being indicated. O f course i t is another.matter w h e n the fifths are expressly called for. B u t u n b i d d e n fifths steal i n t h r o u g h the use of accompaniments that r e q u i r e the maintenance of f o u r sepárate parts. Henee, a unisón d o u b l i n g removes any necessity of realizing
13. I n Figure 348, Example a, the perfect (first example) and augmented (second example) fifths are r e q u i r e d because of the preceding augmented f o u r t h . T h e r e s o l u t i o n of the f o u r t h causes b o t h fifths to ascend. W h e n the f o u r t h of a c h o r d of the second is perfect, i t is customary to indícate the d i m i n i s h e d fifth i n a succeeding c h o r d of the seventh (b). I f the sixth w h i c h accompanies the f o u r t h Figure 348 7 6 44 5b 76
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is m i n o r i t is usually followed by a d i m i n i s h e d seventh w i t h a d i m i n i s h e d fifth (c). I n d the octave must be taken because of the preceding signature. Example e calis for a three-part accompaniment. T h e chromatic course of the p r i n c i p a l voice does n o t allow readily for a f u l l realization. T h e resolutions must take place neither sooner ñor later t h a n reqúired. I n order to prepare the seventh i n Example f, a fifth voice must be taken over the first tone.
3
8
T h e c h o r d of the seventh may be ^- or L, a n d the seventh and
3
3
augmented f i f t h resolve i n t o a unisón. 14. Successive bass tones i n ascent or descent, each expressing a 7 6 progression, are frequent oceurrences. I n descent, a three-part accompaniment is easiest, a n d i t is preferable i n passages w h i c h d o n o t need f u l l chords. A four-part setting is preserved f r o m errors by a voice leading w h i c h employs alternately a l l forms of the chords of the sixth and seventh w i t h a n d w i t h o u t d o u b l i n g . " Everyt h i n g that has been previously discussed a n d need n o t be repeated here must be g i v e n constant consideration. I n so many words, preparation, resolution, a n d d o u b l i n g must agrée w i t h the rules. 15. Figure 349 may be accompanied i n several ways. T h e best are those i n w h i c h the d o u b l i n g is constantly varied (a). W h e r e i t is too u n i f o r m , that is, where the bass is d u p l i c a t e d , a n d the t h i r d or sixth are constantly d o u b l e d , errors can be c o m m i t t e d easily and the octaves or fifths may become too p r o m i n e n t . T h u s , Example b is poor because there are too many fifths. Moreover, n o t a l l are perfect; the d i m i n i s h e d fifth is n o t resolved. T h e octaves i n the u p per voice of c make the accompaniment ugly; a n d the thirds are dangerous, for they can easily lead to a v i o l a t i o n of the r u l e of Paragraph 8. T h e realization i n d is poor because of b o t h the thirds and the fifths. Example e is worthless o n several counts: T h e d i m i n ished fifth is unresolved; worse, the fifths lie i n the upper p a r t ; eventually the realization must lead to an incorrect d o u b l i n g . I n short, i t is w h o l l y bad. Example / is acceptable so l o n g as the m i n o r t h i r d does n o t appear w i t h a major sixth. Example g is poor o n account of the unresolved d i m i n i s h e d fifth a n d the octaves i n the u p per p a r t :
16. Ascending basses w h i c h express cannot be easily accompanied i n other h a n d moves against the left. T h e octave the seventh and the sixth. Example a is than b (Figure 350). Figure 350
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T h e examples from b to the end appeared originally in the text in the form of signatures. I have realized them in order to make them more immediately comprehensible. 5
* T h a t is, a doubling within the right hand in alternation with the octave of the bass.
successive 7 6 progressions than four parts. T h e r i g h t and t h i r d accompany b o t h the best, a n d more n a t u r a l
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17. Isolated sevenths w h i c h resolve as the bass progresses are realized i n most cases w i t h a f u l l accompaniment w h i c h includes the fifth. Special cases of this type of progression w i l l be treated i n the second section. W h e n the f i f t h is d i m i n i s h e d , i t too must resolve (Figure 351). Figure 351
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20. A passing seventh w h i c h enters after its bass is best w h e n i t comes f r o m the octave (Figure 354, Example a). However, since the o r i g i n a t i n g c h o r d is consonant, i t is n o t incorrect to leap to the seventh i n order to change the disposition of tones (b). B u t this freedom is w i t h h e l d w h e n 8 7 is f o l l o w e d by other signatures over the same bass (c). A l t h o u g h this is n o t its proper place, o u r discussion suggests a case where the octave, f o l l o w e d by a seventh, is accompanied by other dissonances and must itself be prepared a n d resolved. O f course the octave here moves to the seventh (d):
6
7
b:
a.
4 » —
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1-
||
4 3
3
alternated. T h i s makes the safest a n d best accompaniment. D o u b l e d thirds can easily lead to a v i o l a t i o n of the d o u b l i n g r u l e . Nevertheless, I have constructed an example (b) i n w h i c h this d o u b l i n g is acceptable (Figure 352). Figure 352 a.
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18. Successive bass tones w h i c h express sevenths that resolve o n the f o l l o w i n g c h o r d progress by ascending fourths or descending fifths. W h e n a three-part accompaniment is r e q u i r e d , only the t h i r d
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I!). T h e lifth is no! easily included w i t h the passing seventh i n Figure 353. Moreover, a d o u b l e d t h i r d or an octave sounds better (
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THE
CHORD
OF T H E SEVENTH,
m
II
1. A t cadenees, and also elsewhere, i f the bass ascends a step or a f o u r t h or descends a fifth, a chord of the seventh may be taken over the first note w i t h o u t i n d i c a t i o n , p r o v i d e d that the f o l l o w i n g c h o r d is a t r i a d . T h e fifth is also taken w i t h the seventh here (Fig355» Example a), and i f the r i g h t hand threatens to go too l o w the octave should be h e l d w h i l e the fifth moves to the seventh (b). By this means a good upper part can be retained and the final c h o r d w i l l be complete. W h e n the bass ascends a step, the t h i r d of the second chord must be d o u b l e d occasionally (c). u
r
e
Figure 355 a.
a.
r" rr y — 2. T h e examples of Figure 356 r e q u i r e the octave of the bass w i t h the seventh. I n a, fifths are created by the fifth w h e n i t is i n cluded w i t h a seventh that lies i n the upper part. Henee the octave replaces i t i n this disposition of the c h o r d . I n the other dispositions the fifth may be used. T h e fifths of Example b caused by the
11 o v c, 11 HASS
275
m o t i o n of the p r i n c i p a l part, a to g, against a m i d d l e voice, d to c, are avoided by h o l d i n g the octave over f r o m the six-four chord and leading the sixth to the seventh, thus o m i t t i n g the fifth. Perhaps this observation seems far-fetched; yet, i n a slow tempo, delicately performed, such fifths can be heard. Moreover, w h e n the p r i n c i p a l part is w r i t t e n i n over the bass, the accompanist is obliged to avoid them. I n c. the d i m i n i s h e d f i f t h must be prepared by the octave of the c h o r d of the seventh. T h e r e is o n l y one disposition for this progression. I n d, b o t h the s i x t h and the d i m i n i s h e d fifth are prepared w h e n the octave is taken over g. T h e major t h i r d above this tone moves nicely u p w a r d i n thirds w i t h the bass. I n e f o r b i d den fifths are e l i m i n a t e d by t a k i n g the octave of the bass over e. I n f, where the retardation of a resolution (as explained i n ff) creates successive sevenths, the first seventh must be accompanied by the octave; i f i t is n o t there w i l l be fifths. I n g, the preparation of the second seventh requires the octave w i t h the first one. I n h, there w o u l d be no place for the t h i r d over c i f the f i f t h were taken i n the preceding chord of the seventh. I n i the chromatic major t h i r d over a can move u p w a r d naturally, and the sixth of the succeeding chord of the second w i l l be prepared, i f the octave is taken over a. I n /, i f the fifth is played i t w i l l créate octaves. I n k, the tones of a chord are interchanged, as illustrated i n kk. T h e second seventh seems to be a resolution of the first, b u t i n fact i t is n o t h i n g more than a decorative detail of the upper voice, rendered negligible by the interchange of parts. T h e octave is taken w i t h the first seventh i n order n o t to obstruct this figuration and also to prepare the second of the c h o r d o n c. I n / the d i m i n i s h e d seventh must resolve to the octave of the f o l l o w i n g tone. I n m the octave is taken w i t h the seventh i n order to avoid fifths, and to prepare the tones of the n i n t h c h o r d over e. I n n the octave again eliminates a f a u l t y progression and places i n the hand the tones of the four-three c h o r d
7 over b. I n o, i f 5 is expressly called for, the octave must be taken as a f i f t h voice over / i n order to prepare the f o l l o w i n g d i m i n i s h e d seventh. I n p, the octave is r e q u i r e d w i t h the seventh i n order to prepare the f o l l o w i n g fifth. I n q the octave is better t h a n the fifth, for i t eliminates octaves against the d i v i d e d beats i n the bass by creating contrary m o t i o n . I n r the octave eliminates an u n m e l o d i c progression w h i c h w o u l d be i n t r o d u c e d by the fifth.
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3. T h e examples of Figure 357 r e q u i r e a fifth w i t h the seventh. I n Example a i t must be taken because of the f o l l o w i n g six-five Figure 357
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chord. I n b the d i m i n i s h e d fifth accompanies both the m i n o r and d i m i n i s h e d sevenths w i t h o u t i n d i c a t i o n . T h e disposition w i t h the fifth of the first chord o n top is worthless. I n c octaves are created if the octave is taken over the first c, since the octave must be taken over the f o l l o w i n g c i n order to prepare the ensuing seventh. I t is this last factor that causes the error unless the g-sharp leaps to c (ce) w h i l e the resolution of the first seventh is transferred to the bass. I t is better to take the fifth and lead i t u p to c. T h e disposition w i t h the seventh over e i n the upper voice is n o t to be used. I n d, the fifth is r e q u i r e d i n order to prepare the f o u r t h and thus b r i n g to complet i o n the tones that appear over the f o l l o w i n g tone. I n e, the seventh over c must be prepared by the fifth of the preceding chord. Over the last chord the t h i r d is played as a fifth part. I t may enter as the octave of the preceding e. I n /, preparation of the n i n t h over the final tone is p r o v i d e d by the fifth of the preceding c h o r d of the seventh. I n the first i l l u s t r a t i o n under / an octave may be taken over e as a fifth part i n order subsequently to w i n a complete t r i a d over a. Finally, the second and f o u r t h examples of Figure 355 show us that the fifth is better than the octave w h e n the bass of the chord of the seventh ascends one step to a t r i a d . 4. T h e examples of Figure 358 are n o t e w o r t h y for t h e i r signatures as w e l l as their realizations. I n a, a fifth part enters i n the second bar. As soon as i t has p e r f o r m e d its office i t may be dropped, a t t e n t i o n being directed solely to a n o r m a l preparation and resolut i o n . I n b, care must be taken to avoid octaves and fifths against the passing notes i n the bass. T h e a d d i t i o n a l illustrations show how easily they can be e l i m i n a t e d by an alternation of octave and unisón doublings. I n c, the seventh over the changing note / ascends, for this first seven-five chord is only an a n t i c i p a t i o n of the six-four c h o r d that belongs to the f o l l o w i n g e. I n d the fifth of the seventh c h o r d cannot be taken i n an u n d i v i d e d accompaniment w i t h o u t causing an error. Since the major t h i r d may n o t be d o u b l e d , the octave of the bass must be taken. Otherwise o n l y a three-part realizat i o n or a d i v i d e d accompaniment can be employed. N o r m a l l y , the n i n t h should resolve over c, thus p r e p a r i n g the f o l l o w i n g seventh. T h e nature of the retardation is made apparent i n Example dd. T h e realization of Example d i n an u n d i v i d e d accompaniment is best when the n i n t h lies i n the upper part, and m u c h easier w h e n a seventh accompanies the n i n t h . I n e a l l forms of the c h o r d of the
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seventh may be used, provided that the fifth over e does not progress to the fifth over / as illustrated i n the first realization of this example. T h e correct accompaniment of Example / is shown i n the first of each pair of illustrations. I n short, the octave is taken w i t h the first seventh, and the fifth w i t h the second i n order to prepare the last one. Should this preparation be overlooked u n t i l the c h o r d has changed, the r i g h t h a n d may play t w o chords over the second seventh i f its length, as here, allows, and take the proper accompaniment o n the second c h o r d . I n using this acceptable expedient care must be taken n o t to d i s r u p t any preparation. I n g the first seventh takes a d o u b l e d t h i r d and the second a t h i r d and a f o u r t h . These latter intervals are played so that the four-three c h o r d w i l l be complete o n the r e s o l u t i o n of the seventh to the major sixth. T h e fifth cannot be taken w i t h the first seventh because of the f o l l o w i n g sixth, c-sharp. Ñor can the octave be taken, since i t w o u l d cause fifths i n the other parts (gg). T h e progression is illustrated i n x w i t h o u t the retarded resolution. I n h the t h i r d of the seventh must be d o u b l e d , for the chromatically raised bass may not be d u p l i c a t e d ; ñor can the fifth be taken. Example i contains t w o extraordinary examples w h i c h I have come u p o n . I n t r u t h , they should be figured i n the manner of ii. As they stand i n i, errors cannot be avoided w i t h o u t resorting to a fifth part or the illustrated d i v i d e d accompaniment. I n / care must be taken to avoid unmelodic and i n correct progressions. T h e illustrated dispositions are good; i n the r e m a i n i n g one, fifths are struck over the second and t h i r d bass notes. I n k, too, only t w o dispositions may be used; the t h i r d w i t h the octave on top over c leads to errors. I n l, an alternated d o u b l i n g is r e q u i r e d . I n m, the chromatic m i n o r t h i r d is taken w i t h o u t indicat i o n i n a four-part realization. A n unaltered d i m i n i s h e d t h i r d above an altered bass must be indicated. T h i s i n t e r v a l is n o t unsuited to chromatic contexts. 8 Figure 358
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1. T h i s c h o r d exists i n two forms, consisting of a seventh, sixth, and t h i r d , or a seventh, sixth, and f o u r t h . 2
5. I n delicate accompaniments the t h i r d is o m i t t e d f r o m m i n o r and d i m i n i s h e d sevenths, especially w h e n i t must be chromatically raised (Figure 359, Example a). I n such a case, some composers prefer to double the d i m i n i s h e d f i f t h i n the belief that i t is better than the chromatic m i n o r t h i r d . T h e r e m a i n i n g signatures i n these examples are also realized i n three parts. Figure 359
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6. W h e n a cadential bass note, expressing 5 b, is raised and ascends a half step, the t h i r d of the last c h o r d is d o u b l e d and the octave o m i t t e d i n the interests of a more melodic part w r i t i n g (Figure 360).
2. Its signature i n the first case is 6 5. T h e t h i r d is indicated only w h e n i t is chromatically altered. Chromatic alterations of the r e m a i n i n g intervals must n o t be o m i t t e d f r o m the signature. 3. W h e n the f o u r t h is present instead of the t h i r d i t must be i n dicated. Usually i t is f o l l o w e d by a three under the succeeding five ( 6 5 ) . 43
4. C o m p r i s i n g the chord are the m i n o r seventh, the major or m i n o r sixth, and the major t h i r d , w h i c h may be replaced by the perfect f o u r t h . 5. T h e seventh may enter freely, and i t remains stationary; the sixth is restricted i n the manner of a dissonance by the seventh and is therefore present i n the preceding chord. I t resolves d o w n w a r d to the fifth. W h e n the f o u r t h is present i t too must lie i n the preceding chord; i t resolves to a t h i r d w i t h the s i x t h . T h e bass may be held or enter freely (Figure 361). 6. I t can be seen i n Figure 361 that the u n d e r l y i n g relationship is a chord of the seventh whose fifth and t h i r d are retarded by a sixth and f o u r t h . T h e best disposition is that w i t h the sixth o n top and the seventh i n the lower m i d d l e part. However, the accompanist is notalways free to take this d i s t r i b u t i o n , for its realization is dependent o n the requisite preparation. 1 Cf. Arnold, op. cit., pp. 701-703. 2 T h i s chord will be recognized as that which has come to be known as the dominant thirteenth. Thorough-bass writers knew that the sixth was merely a replacement of the fifth. Later the sixth simply graced the fifth, both intervals being present simultaneously. Harmonic theorists explained the chord by accumulating enough thirds to reach to the thirteenth. And having erected this exegetic skyscraper, they promptly forbade their students to use it unless the fifth, ninth, and eleventh stories were first demolished. T h e chord is still known by the ñame of this perilously unsound structure.
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other q u i t f l f a m i l i a r intervals (b), which have never been criticized. I ara l i t t l e i n favor of strnngc intervals; yet, study of various w r i t i n g s on accompaniment has convinced me that ugliness often
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7. Three-part accompaniment of the chord is rare. I t is n o t easily realized i n the galant style, b u t w h e n i t does appear, f o u r parts should be employed unless a l i g h t performance necessitates omission of the t h i r d . 8. Instead of a d d i n g a second section, we shall conclude o u r discussion here w i t h f o u r noteworthy examples (Figure 362). I n the first, an accessory second replaces the f o u r t h i n the seven-six chord and moves to a t h i r d . T h i s progression, l i k e others that occur over organ points, is best understood w h e n separated f r o m the bass. T h e essential relationship is i l l u s t r a t e d i n a. I n b the d i m i n i s h e d sevenths appear i n company w i t h a m i n o r sixth and m i n o r t h i r d . T h e u n d e r l y i n g relationship is i l l u s t r a t e d i n c, where we find that the m a n i p u l a t i o n consists of a fifth retarded by a sixth. T h e progression sounds ugly i n a l l dispositions. Even w h e n the sixth is placed o n top i t is n o t m u c h i m p r o v e d . Henee I prefer the progression i n Example d. I t is interesting that the d i m i n i s h e d octave, once r o u n d l y denounced, should be so clearly better here (d) t h a n these
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results p r i m a r i l y f r o m iiniisual combinaliuns oí usual sounds. I n the t h i r d example (e) the d i m i n i s h e d seventh appears i n company w i t h the d i m i n i s h e d sixth and m i n o r t h i r d . T h e u n d e r l y i n g progression is i l l u s t r a t e d i n f, and shows us that the íifth is retarded by a s i x t h . W h e n this i n t e r v a l is o n top, the progression (e) is not too bad. B u t other distributions r e q u i r e ears w h i c h are as extraordinary as the example. A three-part accompaniment (g) is more acceptable. I n the t h i r d bar of the final example (h) the resolution of the f o u r t h is retarded u n t i l the fifth has descended a chromatic half step. T h i s progression is good w h e n the bass is h e l d before and after, w h e n the tempo is rather broad, and the major t h i r d , g-sharp, does n o t appear immediately p r i o r to the entrance of the retarded f o u r t h , as i t does i n the last i l l u s t r a t i o n of Figure 361. T h e last example (Figure 362, Example h) makes use of the organ p o i n t , w h i c h w i l l be treated separately later. B u t i n order to restore the confidence of those who are overwhelmed by the mass of numeráis, we state that o r d i n a r i l y the r i g h t hand does n o t play such passages. T h e signatures are therefore o m i t t e d , and tasto solo is w r i t t e n over the bass. I n our present study they serve to indicate the voice leading and chord changes.
THE
SEVEN-FOUR CHORD
1
1. T h i s c h o r d really belongs i n the discussion of appoggiaturas, still ahead of us. However, since i t can be f o u n d i n pieces i n w h i c h appoggiaturas are n o t represented i n other signatures, we shall give i t special consideration here. 2. I t appears over bass tones that are n o r m a l l y accompanied by the chord of the seventh or the six-four c h o r d . 3. W h e n this chord replaces the c h o r d of the seventh i t takes either of t w o forms, consisting of a seventh, fifth, and f o u r t h , or a 2
7
seventh, octave, and f o u r t h . I n b o t h cases its signature is 4. Here, as elsewhere, i t w o u l d be b u t a small task to i n c l u d e the t h i r d figure. T h i s w o u l d make i t easier for the beginner and eliminate its confusión w i t h the chord of the major seventh, w h i c h , as we shall see, is similarly indicated at times. 1 Cf. Arnold, op. cit., pp. 703-708. 2 T h e seven-four chord as a manipulated chord of the seventh is discussed in ^ _ the final f ^ 14-15 being directed to the seven-four chord as a manipulated six-four chord. 3
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4. Compt ising this chord are major, m i n o r , and d i m i n i s h e d sevenths; augmentcd, p e r l c t t , and d i m i n i s h e d fifths; d i m i n i s h e d , perfect, and augmented fourths. 5. As we have already learned, the u n d e r l y i n g relationship is the chord of the seventh. T h e only difference is that the t h i r d is retarded by the f o u r t h . B o t h the seventh a n d the f o u r t h , or at least one of these intervals, should be prepared. B o t h resolve by stepwise descent; even the augmented f o u r t h , for i t appears only as an inessential appoggiatura rather t h a n a d e f i n i t i v e chord tone. T h e seventh and f o u r t h seldom resolve simultaneously; usually one follows.the other. T h e bass behaves as i n the chord of the seventh. 6. Inclusión of the fifth or the octave hangs on the same considerations that govern their appearance i n the u n d e r l y i n g chord of the seventh. 7. T h e seven-four chord is o n l y rarely used w h e n the seventh resolves to a s i x t h over a stationary bass; and even more rarely, here, do the seventh and f o u r t h resolve simultaneously. For one t h i n g , i t sounds bad, and f o r another i t can be dangerous, dependent o n the d i s t r i b u t i o n of tones, to have appoggiaturas i n t w o voices a f o u r t h apart. I use the expression appoggiaturas advisedly, f o r dissonances, p a r t i c u l a r l y those that resolve over a stationary bass, are i n essence n o t h i n g more than decorations. I n Figure 363 the seventh and f o u r t h resolve simultaneously. 7 Example bb is preferable to b; 4 may always be taken w h e n the 8.
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seventh moves to a major sixth, and the f o u r t h , i f i t progressed, w o u l d move to a m i n o r t h i r d (bb). I n c and ce the augmented fifth must be expressly indicated. Example d is best i n three-part accompaniment, and e is not p a r t i c u l a r l y good inasmuch as the best disposition, w i t h the augmented f o u r t h a n d m a j o r t h i r d widely separated, cannot be played because of fifths.
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9. I n Figure 364, where the f o u r t h resolves before the seventh (a) and the seventh before the f o u r t h (b), three-part accompaniments should be used. A f o u r t h part is rather forced i n a and i m possible w i t h o u t errors i n b. Figure 364 a.
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sion w i t h contrary m o t i o n (5) is better than its cxecution w i t h similar m o t i o n (6). Except i n the galant style, only 1 and 2 should be used. 11. W h e n the seventh is prepared, choice of a f o u r t h part is m u c h more l i m i t e d . I n Figure 366 there are b u t few examples where the fifth or the octave is o p t i o n a l . T h e progression i n the asterisked example sounds best i n the notated d i s t r i b u t i o n of parts.
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12. W h e n successive sevenths appear over a bass that leaps by fourths and fifths, altérnate sevenths are often accompanied by 4 3. T h e progression may be realized i n f o u r parts i f necessary (a). B u t , should 4 3 appear w i t h a l l of the sevenths, the accompanist may w i t h clear conscience l i m i t the setting to three parts. T h i s succession occurs i n the galant style only. Its realization is shown i n b and its bass, figured, i n bb. I n fact, the seven-four chord is usually given a three-part setting, for the c h o r d does not readily appear i n the learned style (Figure 367).
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14. W h e n o u r chord appears i n place of the six-four chord, i t is because the s i x t h is retarded by the seventh. T h i s latter i n t e r v a l w i t h the f o u r t h and octave f o r m the contení of the chord. T h e
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seventh is usually m i n o r , b u t the f o u r t h is always p i r l e c t . Both i n tervals resolve d o w n w a r d , the seventh before the íourth. The signa. . . . . 76 ture of this progression is 4 . 15. Figure 369 provides more detailed i n f o r m a t i o n about this progression. I n a the bass remains stationary, a n d neither the seventh ñor the f o u r t h is prepared. I n b the seventh is prepared b u t 7 8 not the f o u r t h . Over the first note, 5 or 7 may be taken. I n c, b o t h 6 intervals are prepared. 3 should be taken over the first note. A 6 d o u b l e d t h i r d w i t h the s i x t h (ce) creates h i d d e n octaves, and 8 direct 3
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of the chord of the sixth lies o n t o p , fifths are unavoidable. I n g, b o t h dissonances are prepared. However, i n order to prepare the seventh, a n octave must be taken as a fifth p a r t over the first bass note. T h e f o u r t h a n d seventh are also prepared i n h. T h e fifth is taken w i t h 7 6 over the second bass note. I n a d i v i d e d accompanim e n t the d o u b l e d t h i r d may be played, as illustrated i n the final example. T h e octave cannot be taken wiyh this 7 6 progression w i t h o u t causing errors. Figure 369 a,
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1 Cf. Arnold, op. cit., pp. 674-682.
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T II O R O ÜV. II
w i t h accidentáis as r c q u i r c d . Confusión is caused by those who expect a four-part realization b u t o m i t 2 f r o m the signature or specify only 7. 3. T h i s c h o r d appears as a passing relationship over a stationary bass, and also as the retardation of a t r i a d f o l l o w i n g a m o v i n g bass. I n the first instance, a l l three intervals are taken freely and ascend (Figure 370, Example a). I n the second, the seventh and second must lie i n the preceding c h o r d ; the f o u r t h may (b), b u t need n o t (c), be prepared. T h e second and seventh ascend; the f o u r t h descends. W h e n the f o u r t h i n Example a lies o n top, i t too descends. Figure 370 a.
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8 3
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r 7 5
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T h e signature 7 is often used instead of our 4 . I n the course 4 2 of o u r study we shall see that certain forms of the c h o r d may be i n dicated by either one. T h e d i s t i n c t i o n to be observed here is that the major seventh w h e n accompanied by a n i n t h always resolves by stepwise descent, b u t i n o u r c h o r d the seventh and the second always resolve by stepwise ascent. T h e second, appearing as i t does over a stationary bass, and being used consequently as a passing tone or a retardation, enjoys the same r i g h t here as i t does i n similar cases; namely, the r i g h t to ascend. 7 5. T o lócate 4 , play the t r i a d o n the seventh above the bass. 2 6. I n three-part accompaniment the second or the f o u r t h is o m i t t e d . W h e n i t is necessary to specify one of these settings the . 78 78 signature is 2 3 or 4 3. Care must be taken to observe the indicated resolution of the seventh i n the latter signature i n order to avoid a realization of the seven-four c h o r d instead of the i n t e n d e d threepart seven-four-two c h o r d . 7. O u r chord is occasionally realized i n five parts. T h e addi4.
li A SS
295
tional i n t c r v a l is either a sixth, major or m i n o r , or a perfect fifth. T h e bass may r e m a i n stationary or move. 8. Either sixth may, b u t need not, be prepared. B o t h progress d o w n w a r d to the fifth, thereby m a k i n g a complete t r i a d o n the resolution of the c h o r d . T h e second is sometimes o m i t t e d i f f o u r parts are preferred. T h i s is most frequent w h e n a bass note w i t h the 4 signature 6 or 3 descends stepwise to the tone over w h i c h our c h o r d appears. Should the s i x t h over the first bass note be augmented, the i n t e r v a l of the second cannot be taken w i t h the next chord, for i t lacks preparation. 9. T h e examples i n Figure 371 w i l l make my meaning clearer. A n exact i n d i c a t i o n of the intervals is especially needed here. I n a the second may, b u t need not, be played, depending on its being specified. I n the t h i r d and f o u r t h illustrations under a the sixth moves to a fifth w h i l e the seventh and f o u r t h r e m a i n stationary. T h e first and t h i r d examples, i l l u s t r a t i n g the major sixth, sound good o n l y i n the notated d i s t r i b u t i o n of parts. I n b and c five-part Figure 371
a.
T II O II O U G II
II A S S
T II O li O II C, II
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10. W h e n the fifth is taken as an a d d i t i o n a l part, i t remains stationary. I t may, b u t need not, be present i n the preceding c h o r d . By means of this i n t e r v a l the f o l l o w i n g t r i a d is made complete and, even w h e n the second is o m i t t e d , f o u r correct parts are retained, as i l l u s t r a t e d i n the last three examples of Figure 372. H e r e again cióse a t t e n t i o n must be given to the r e s o l u t i o n of the seventh i n order to forestall confusión w i t h the seven-four c h o r d , whose signature is the same as ours. T h e f o u r t h a n d fifth examples are sometimes indicated w i t h 9 instead of 2. Figure 372
5 3
te
1.
settings of o u r c h o r d are c o n t i n u e d f r o m the o p e n i n g c h o r d . I n b a l l of the tones of o u r chord lie i n the preceding c h o r d ; i n c o n l y the s i x t h must be sought out. I n i and 2 the second joins the t h r o n g as a detail of decorative motions i n the m i d d l e parts; henee i t s h o u l d be o m i t t e d i n i t i a l l y . I n 3 the second is o p t i o n a l . T h e raised seventh resolves before the entrance of the six-four c h o r d . I n 4, 5, a n d 6 the second is o m i t t e d for the reason stated i n the preceding paragraph.
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S E V E N T H , II
T h e ascending major seventh may n o t be prepared as the
octave of the preceding bass note. Henee Figure 373 is incorrect: Figure 373
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r
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2. W h e n the seventh is retarded by an octave the other parts are not affected b u t enter w i t h the bass note. T h e octave becomes a dissonance, b e i n g restricted by the second above the bass. Henee i t resolves by stepwise descent to the seventh. I n the signature of this relationship 8 a n d 7 stand adjacent to each other, and the remaini n g figures that enter w i t h 8 are placed below i t . I n Figure 374, Example a, the second as w e l l as the seventh is retarded, b u t by a
T II O R O
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GH
II
ASS
t h i r d . Henee, this latter interval, like the octave, assumcs the characteristics of a dissonance. I n b only the second is retarded, again by a t h i r d . T h i s t h i r d may be d o u b l e d i n the preceding t r i a d (c). T h e notated d i s t r i b u t i o n of parts is the best i n a l l of the examples. 3. W h e n the f o u r t h , l y i n g i n the p r i n c i p a l part, is retarded by a 7 fifth, the accompanist plays, o n the entrance of the bass note, ¡j, 4, 7 2 or simply 2, according to the need for a f u l l or t h i n accompanim e n t (Figure 375).
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Figure 375
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4. Figure 376 is best accompanied i n three parts. I f a f o u r t h part should or must be added, the fifth rather t h a n the f o u r t h is taken. T h e setting w o u l d be made ugly by a d d i n g the f o u r t h to the several appoggiaturas already present. T h e fifth, on the other hand, throws the notated appoggiaturas of the p r i n c i p a l part i n t o bolder relief and makes the succeeding t r i a d complete. A fifth part cannot be used to attain completeness, for the progression does n o t assimiláte f o u r parts very w e l l , let alone five.
2
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5. T h e apparent d o w n w a r d m o t i o n of the major seventh i n Example a of Figure 377 is the result of an ellipsis. T h e complete 9 relationship is i l l u s t r a t e d i n b. I n Example c the resolution of 7 is 7 differentiated f r o m that of 2. A l t h o u g h no detail of resolution 98 w o u l d be lacking i f i n the last bar 7 8 were taken instead of o u r 43 c h o r d , n o one cart deny that the i l l u s t r a t e d progression is closer to the sense of the passage. Figure 377
b. -
H OROUGH
T
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f
7 3
7 4 2
1
8 3 3
Figure 376 THE
CHORD
OF THE NINTH,
1
I
1. T h i s chord consists of a n i n t h , fifth, a n d t h i r d . 2. Its signature is 9 8 w h e n the n i n t h resolves o n a stationary bass, b u t simply 9 w h e n the bass progresses. Accidentáis are n o m o r e to be overlooked here t h a n i n other signatures. 2
8 3
5
8 3
5
5 4
t
1 Cf. Arnold, op. cit., pp. 693-694. 2 Henee this chord is not to be confused with the present-day " n i n t h chord," which Bach discusses later as the nine-seven chord.
T II O It O U (¡ II
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li A S S
3. C o m p r i s i n g the chord of the n i n t h are major and m i n o r nintlis, augmented, peíTect, and d i m i n i s h e d fifths, major and m i n o r thirds. 4. T h e n i n t h is a dissonance w h i c h must always be prepared. I t resolves by stepwise descent (Figure 378).
T I I O It O II (', 11 Figure 379 6 - 5 a
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r e m a i n u g l y . W h e n the best disposition cannot be taken i t i? better to o m i t the sixth f r o m the six-five c h o r d a n d d o u b l e the t h i r d i n 3
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(g). 8. I n Figure 380 w i t h its a l t e r n a t i n g n i n t h a n d six-five chords the only disposition free of errors is that i n w h i c h the n i n t h is placed i n the lower m i d d l e part. T h e fifths that oceur i n the other two dispositions, n o matter how ardently they may be defended, are a n d
6
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3
3
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6. T o realize the chord of the n i n t h , take the t r i a d above the bass b u t strike the n i n t h instead of the octave. Those w h o k n o w the 2 chord k n o w the c h o r d of the n i n t h . 7. T h e m a j o r n i n t h may be accompanied by either the perfect or the augmented fifth. W i t h the perfect h f t h the t h i r d may be major (Figure 379, Example a) or m i n o r (b); w i t h the augmented f i f t h i t is always major. T h i s latter fifth lies i n the preceding c h o r d and resolves w i t h the n i n t h or by itself (c). T h e m i n o r n i n t h may be accompanied by either the perfect or the d i m i n i s h e d fifth. W i t h the perfect fifth there may be either a major (d) or a m i n o r t h i r d (e). I n the latter case the fifth sometimes ascends to the sixth o n the resolution of the n i n t h (e). A l t h o u g h the d i m i n i s h e d fifth may be taken freely (/), i t is better w h e n i t lies i n the preceding chord
J
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5. T h e n i n t h has the same position o n the staff as the second b u t is clearly distinguishable f r o m i t i n its accompaniment, preparat i o n , a n d resolution. I n the case of the second, the dissonance lies i n the bass, w h i c h must be prepared and resolved; b u t i n the n i n t h the dissonance lies i n the upper tone, w h i c h must be prepared and resolved. Differences i n the accompaniment of these t w o dissonances have already been noted and w i l l be enlarged u p o n i n this a n d the next section.
t
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T h e object of this remark is Marpurg (Cf. Arnold, op. cit., pp. 401 ff.), and possibly Cari Heinrich Graun, whose support of greater tolerance i n these matters is cited by Marpurg. 3
T II O R O U (, H BASS
T ¡I O R O U G H li A S S
o2
3
stead (a). Otherwise the realization i n b, e m p l o y i n g a d i v i d c d accompaniment, should be noted and used whenever possible. 9. T h e fifth is o m i t t e d f r o m three-part realizations. Because one i n t e r v a l is thus lost, the accompanist must exercise the same care i n using this k i n d of accompaniment as we have f o u n d necessary i n other s i m i l a r cases. THE
CHORD O F T H E NINTH, II
1. T h e n i n t h is and remains a n i n t h even w h e n i t is placed directly adjacent to the bass. T h i s relationship is often unavoidable. For example, composers f r e q u e n t l y meet i t w h o w r i t e obbligato parts for bass instruments. A double bass is best fitted here t o give the lowest voice its proper gravity. O f course, aside f r o m such a case Figure 381 d
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3. T h e n i n t h may n o t be prepared as a n octave over the preceding bass. Henee Figure 382, Example a, is w r o n g . R e s o l u t i o n of the n i n t h t o the octave is the cause of this r u l e . Henee, w h e n the resolution is n o t t o an octave, the r u l e may be ignored. Formerly, musicians wrote thoughtlessly i n the manner of Example b. These octaves o n the after beat sound n o better than the octave preparat i o n and resolution of the n i n t h . Proof that this r u l e was introduced because of the resolution rather than the preparation is provided by the fact that other dissonances may be prepared o n the octave (c). Despite this, octave preparation of the n i n t h is never attractive. I t must be avoided: (1) i n the outer parts; (2) i n t h i n settings; (3) except for c o n t r a p u n t a l reasons. T h e bass must always be changed o n the resolution, i f this use of the n i n t h is t o be allowed. I believe that the direct fifths of Example d (which some defend by c l a i m i n g that they are covered, i n the notated d i s t r i b u t i o n ) sound worse than the after-beat octaves of Example a. However, b o t h are poor. 5
a. and b.
d.
as this, i t is always better to place the n i n t h nine degrees above the bass. 2. Examples a and b of Figure 381 cali for a d i v i d e d accompaniment w h e n tney are realized i n f o u r parts. I n the first the n i n t h , as a passing i n t e r v a l , is n o t resolved (a) and i n the second its resolut i o n is retarded (¿>). W h e n the accompaniment is n o t d i v i d e d the t h i r d chord is realized i n three parts (c). I n d a d o u b l e d t h i r d or sixth i n the c h o r d of the s i x t h is the best setting, for i t eliminates large leaps and prepares the d i m i n i s h e d fifth i n the c h o r d of the n i n t h . I n e three parts are safest. Should a f o u r t h p a r t be used, the sixth must appear o n top over the first note (/). T h e r e m a i n i n g t w o dispositions créate fifths. 4
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3
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9
8 b.
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* Remainder of paragraph from ed. of 1797. His father must be included i n this stricture. Cf. J . S. Bach, Choralgesange 5
(Br. u. H.) No. 209, Jesús Meine Zuversicht, bar 1, bass and tenor. « Cf. Arnold, op. cit., pp. 397-406. 7 Examples from b to end from ed. of 1797.
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5b THE
1.
f r
3
CHORD
3 1
T h i s c h o r d consists of a n i n t h , sixth, and t h i r d . 9
2. Its signature is 6 w i t h appropriate accidentáis. T h e resolut i o n of the n i n t h leads to a chord of the s i x t h w i t h the bass d u p l i cated. Henee, those f a m i l i a r w i t h this latter c h o r d can easily find the nine-six. 3. T h e three intervals that comprise the chord may be major or m i n o r , as i l l u s t r a t e d i n Figure 383. T h e disposition w i t h the n i n t h on top is generally best. T h e three examples that bear the letter a sound rather poor even i n this disposition. A n i m p r o v e d progression follows each example. Figure
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1
9
6
8
1
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9 6
8
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a.
7
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8 6
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better
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1
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384
a. Gf.
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8 3
7 5
9
4
-
3
3
6 5
9 4
8 8 - b7 3
5b
4. T h e n i n t h may be major or m i n o r ; the fifth, augmented, perfect, or d i m i n i s h e d ; b u t the f o u r t h , as we shall see i n the f o l l o w i n g examples, is always perfect. I t is better to prepare the d i m i n i s h e d f i f t h than strike i t freely. T h e augmented fifth, too, must lie i n the preceding chord (Figure 385). Figure
385 9 8 6 5
8
r
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better
a
1
9
Figure
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9 5
C:HORD
Its signature is 4 , w i t h accidentáis w h e n necessary. W h e n g b o t h dissonances resolve over the o r i g i n a l bass note, 3 is placed to the r i g h t of the signature. 3. Since b o t h the n i n t h and the f o u r t h must be prepared, i t is only the r e m a i n i n g interval that must be located. I n order easily to i d e n t i f y the tones, take the six-five c h o r d on the second below the bass note, for i t contains the same tones as our c h o r d and often precedes i t . I t w i l l also be recognized by those w h o k n o w the five-fourtwo chord. B o t h dissonances resolve simultaneously i n most cases (a); b u t on occasion successively (b) (Figure 384).
» j 1 —e 1 •
6
ss
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T h i s cliord consists of a n i n t h , fifth, and f o u r t h .
8
0 9 5
NINE-FOUR
THE
1. 2.
4
NINE-SIX
i
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9 8 7 4
3
5
98
6
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9
T h e sixth must be i n c l u d e d i n the signature ( 6
4
) i f i t is to be
taken i n place of the fifth. I t may be major or m i n o r . T h e tones of this c h o r d may be i d e n t i f i e d by p l a y i n g the c h o r d of the second o n 1 C f . A r n o l d , op. cit., p p . 6 9 8 - 6 9 9 .
1 C f . A r n o l d , op. cit., p p . 6 9 7 - 6 9 8 .
o6
T II O R O U G H tí A S S
3
TU
the g i v c n bass note. O l t e n the sixth nioves to the fifth w h i l e the n i n t h and f o u r t h resolve. Such being the tase, only two d i s t r i b u tions of the tones are practicable, for the r e m a i n i n g one creates fifths. T h e last three examples of Figure 386 illustrate this progression: Figure 386 b7
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8 - TS
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6. I n the galant style the f o u r t h is sometimes played w i t h o u t preparation (Figure 387, Example a). T h i s unprepared f o u r t h may even be augmented (b). Such fourths are b r o u g h t about by the i n t r o d u c t i o n of appoggiaturas that are p r o v i d e d w i t h a three-part accompaniment. T h e first example is better t h a n the second.
4
6 5 66 5
9 8
6
5
4 3
4 4!
3
r '5
3
4
T H E
NINE-SEVEN
CHORD
1
1. . T h i s c h o r d consists of a n i n t h , seventh, a n d t h i r d . 9
2.
Its signature is 7, w i t h accidentáis as r e q u i r e d . W h e n b o t h 8
dissonances resolve over the o r i g i n a l bass note, 6 follows the o r i g i n a l signature. 3. T h e n i n t h as w e l l as the seventh must be prepared. B o t h dissonances resolve by stepwise descent, simultaneously i n most cases (a), b u t at times successively (b) (Figure 389). Figure 389
Figure 387
a.
a.
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a,
5 7 5
n o
Figure 388
distribution 9 6
o
f
r r '6 5 '6 5 4 3
9 9
4
8 8
3
f |6
7. T h e examples of Figure 388 are also realized i n three parts. I n the second i l l u s t r a t i o n u n d e r a the n i n t h as w e l l as the f o u r t h seems to lack preparation. I n b, however, i t can be seen that the opposite is true, as soon as the appoggiaturas are removed. T h e accompaniment to b o t h of these illustrations is the same as the realization i n a.
m
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i
i
9 7
8 6
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,
9 7
b.
8 7
b7 5b
7
9
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4. As illustrated i n Figure 390, the three intervals that comprise the c h o r d may be major or m i n o r . 5. Occasionally the octave of the preceding c h o r d must be taken as a fifth part i n order to prepare the seventh. Such being the case, the fifth of o u r c h o r d should also be played, for i t too w i l l lie i n the 1 T h e e q u i v a l e n t of t h e p r e s e n t - d a y " n i n t h c h o r d . " I t s h o u l d be n o t e d t h a t B a c h ' s c h o r d resolves u n i f o r m l y o n a s t a t i o n a r y bass. C f . A r n o l d , op. cit.,
pp. 699-701.
T I I O li O II C, I I n g u r e 3 90
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7
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preparatory c h o r d . I t may be d i m i n i s h e d , perfect, or augmented (Figure 391).
O It O II C. I I
li A SS
309
the seventh, as illustratcd i n the last lour examples. I n the first t w o examples of Figure 39a the tones of the íirst chord should be dist r i b u t e d i n such a manner as to avoid the seventh i n the upper part. 7. Example a of Figure 393, similar to several others w h i c h have already been illustrated, is realized i n three parts. T h e f o u r t h part is regained on the chord of the second. A three-part setting is also used i n b and c, where the suspended seventh and n i n t h move upw a r d before resolving. I n d the chord of the. seventh enters prematurely, as explained i n e. I n / o u r c h o r d , unresolved, results f r o m the m o t i o n of a passing bass. T h i s k i n d of passage w i t h varied figuration can be f o u n d i n heavily scored, noisy pieces, such as symphonies, etc. (g). Figure :>93
a.
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r tf
4
tf
3
6. I f the f o u r t h is to be taken instead of the t h i r d of this chord, i t must be expressly indicated i n the signature. Since this tone, too, w i l l be present i n the preceding c h o r d , the entire construction, i n c l u d i n g the fifth as an a d d i t i o n a l part, w i l l lie under the fingers. T h e f o u r t h may be perfect, d i m i n i s h e d , or augmented; and as stated above, i t is prepared. A fifth part is also taken i n order to prepare Figure 392 b7,
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T I I O H o u r. I I
3 io
T H E
1.
FIVE-FOUR
If A
CHORD
ss
T I I O H () II (, I I
1
T h e five-four chord consists of a f o u r t h , lililí, and octave. 5
2. Its signature is 4 3 or 4 3 w h e n the f o u r t h resolves to the t h i r d over a c o m m o n bass note. B u t w h e n the resolution occurs over a 5
m o v i n g bass, 4 or 4 is sufficient. I n the first case, 3 is often replaced by an accidental w h i c h specifies the size of the t h i r d . T h e accidental must be separated f r o m the preceding 4 i n order to i n dícate clearly that i t refers, n o t to this n u m e r a l , b u t to 3. 3. T h e perfect and d i m i n i s h e d fifth, the perfect f o u r t h , and the octave are the intervals w h i c h may appear i n the five-four chord. 4. T h e f o u r t h is always prepared and resolves by stepwise descent. T h e fifth, w h i c h restricts this dissonance, is n o t always present i n the preceding chord, being struck freely at times, even w h e n i t is d i m i n i s h e d (Figure 394). Figure 394
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5
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11
5. I n order to lócate the chord, play the t r i a d o n any bass note, b u t substitute a f o u r t h for the t h i r d . T h i s procedure makes i t easy to learn the d i s t r i b u t i o n of tones and the resolution of the f o u r t h . 6. T o avoid fifths i n Example a of Figure 395, the octave of the five-four chord must be o m i t t e d and the fifth d o u b l e d instead. N o interval is thereby lost. T h i s step is n o t necessary af ter the r e m a i n i n g dispositions of the preceding chord of the seventh. I n b the t h i r d
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4
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3
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4
BASS
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times enters unprepared (along w i t h the fifth) i n the f o r m of an appoggiatura w h i c h cannot be o m i t t e d f r o m the accompaniment unless i t is replaced by a rest. I n Example a, Figure 396, the perfect f o u r t h may enter by stepwise or leaping m o t i o n . B u t i n b the aug2
5
mented f o u r t h is approached o n l y by step, and 4 must be expressly called for. T h e notated d i s t r i b u t i o n of tones is the most acceptable. I n other cases the augmented f o u r t h may be o m i t t e d f r o m the acc o m p a n i m e n t and replaced by a quarter rest (c). I n d a l l forms of the chord of the s i x t h may be used, and the perfect f o u r t h w h i c h follows may be approached by step or leap. B u t the realizations of dd must be avoided. Figure 396 b.
i 6
5 4
dd'
3
6
wrong
11
tí
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4
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1
3
wrong
5
of the chord that precedes 4 must be d o u b l e d . I f this cannot be done, the accompaniment must be d i v i d e d (bb). 7. I n the galant style the perfect or augmented f o u r t h some1 C f . A r n o l d , op.
cit.,
pp. 694-698.
8. I f for adequate reasons a three-part realization is r e q u i r e d , the octave can be most readily o m i t t e d . 2 F o r a n e x t e n d e d d i s c u s s i o n of t h e a c c o m p a n i m e n t to a p p o g g i a t u r a s , cf. C h . V I , "Appoggiaturas."
C H A P T E R
A
S I X
CCOMPAMIMEMT
T H E
UNISON
1
1 H E octave is i n c l u d e d i n the meaning of the t e r m unisón. T h u s w h e n parts progress either i n real unisons or i n octaves, they are said to move i n unisón (aW unisono), even w h e n the figuration of one of the parts is different f r o m that of the other (Figure 397).
T
Figure 397
T
xn m
4
2. T h e r e is no need to c o m m e n d this technique, w h i c h attains its beauty t h r o u g h the omission of harmony, for the many examples of i t to be f o u n d i n the works of good composers provide a dependable testimony. 3. Yet i t is surprising that some composers do n o t always specify a unisón accompaniment i n scoring the bass. Figures w i l l be f o u n d where they are n o t to be realized. T h e results can only be u n h a p p y . I m a g i n e a s i t u a t i o n : A composer works industriously over a piece, lavishing o n i t every last resource of melody and harmony. A t a certain p o i n t he feels that his audience must be roused w i t h somet h i n g different. H e searches enthusiastically f o r a passage whose splendor and majesty shall be pronounced and s t r i k i n g . H e decides to discard the beauty of h a r m o n y for a w h i l e ; the passage shall be played i n unisón; i t alone is to occupy the thoughts and actions of 1
C f . A r n o l d , The
Art
of Accompaniment
from 313
a Thorough-Bass,
C h . I I I , Sect. 12.
3
i
A
4
C C O M PA N 1 M E N T
the períormers. T h i s is i o l l o w e d by a rcsumpüon of liarmony, etc. H e completes the work and i t is p e r f o r m e d . His pleasant expectations of the i n t e n d e d execution of the passage are shattered by the accompanist w h o , at the keyboard, prepares and resolves the i n d i cated intervals as carefully and regularly as possible. A t another t i m e this w o u l d be m u c h to his credit, b u t n o w i t is only a source of annoyance. Fortunately, for h i m , the composer realizes that he overlooked something i n w r i t i n g o u t the bass part a n d is overjoyed w h e n the accompanist, displeased at his i n a p p r o p r i a t e accompaniment, abandons chords and reinforces the passage i n accordance w i t h the first r u l e of accompaniment as stated i n Paragraph 19 of the I n t r o d u c t i o n : A n accompanist must fit to each piece a correct performance of its h a r m o n y i n the proper v o l u m e . 4. I n order to clarify this r u l e , we shall discuss t w o cases i n w h i c h the accompanist is obliged to play i n unisón. Accompanim e n t i n the unisón occurs w h e n the bass is played i n octaves w i t h b o t h hands. 5. T h e first case relates to passages w h i c h are w r i t t e n for one part. W h e n a l l performers play i n unisón i t is only n a t u r a l that the accompanist too should f o l l o w the unisons and give u p his chords. Such passages usually carry the i n d i c a t i o n , unisoni or all'unisono. 6. T h e r e is a special case w h i c h departs somewhat f r o m the preceding. I t occurs w h e n the r i p i e n o parts are i n unisón w i t h the bass w h i l e the p r i n c i p a l part has a l o n g held note or a different melody. T h e r i p i e n o parts must be observed carefully to learn whether their b r o k e n chords give expression to the essential intervals, especially the dissonances and resolutions of the u n d e r l y i n g h a r m o n y . I f they do, the accompanist also should play i n unisón (Figure 398, Example a). B u t i f the accompaniment to the p r i n c i p a l part is simple a n d n o t only calis for harmony, b u t attains its affect t h r o u g h the use of i t , a chordal setting must be chosen (b). Especially needed here is an exact i n d i c a t i o n of the r e q u i r e d accompaniment, f o r free choice demands an insight w h i c h is capable of decidi n g whether a chordal accompaniment helps or hinders the p r i n c i pal part. F u r t h e r m o r e , according to circumstances the case discussed here m i g h t take either type of accompaniment. 2
3
2 I.e., o n e n o t e for e a c h h a n d . s W i t h r e g a r d to t h e t r e a t m e n t of d i s s o n a n c e s i n a unisón a c c o m p a n i m e n t , see C h . V I , " S o m e P r e c a u t i o n s " o f A c c o m p a n i m e n t , " f 3 , w h e r e B a c h takes a freer v i e w of t h e n e e d for r e s o l u t i o n s .
// C C O M I ' A N
1 M E NT
375
Figure 398 Adagio
unís.
6
5
\
5
7. For special reasons, composers sometimes place a melody i n the bass and accompany i t i n unisons i n the n a r r o w sense—that is, w i t h o u t any octave d o u b l i n g either above or below. W h e n the bass is thus to be played o n l y i n the notated register, the accompanist, his r i g h t h a n d silent, plays such misleading unisons i n one part alone w i t h the left hand. T o be played i n a similar manner are those melodies w h i c h , w h i l e n o t always b r i l l i a n t , are of s t r i k i n g expressiveness and appear o n occasion i n the lowest part alone. T h e y should n o t be h i d d e n beneath a harmonic accompaniment ñor raised i n register by octave doublings. T h e composer who contrives such a studied effect must desígnate i t w i t h great accuracy or his plans may fall short of f u l l realization i n performance. 4
8. T h e second case that calis for unisón accompaniment concerns a l l b r i l l i a n t passages for the lowest part i n the setting of w h i c h the composer has a special purpose i n m i n d . T h e y may be fashioned o u t of leaps, runs, b r o k e n chords, successive trills, and countless other figures. F r o m our p o i n t of view, such passages must stand o u t clearly, and this is achieved less by a chordal t h a n a unisón accompaniment. I t is n o t yet a general practice to desígnate this case, unisoni or all'unisono; henee, the manner of support is left to the discretion of an understanding accompanist. Experience has proved to me the effectiveness of a unisón accompaniment i n such passages. 9. B r i l l i a n t basses are usually p r o v i d e d w i t h a chordal acc o m p a n i m e n t only i n two-part pieces such as a solo or solo aria. 10. T e r m i n a t i o n of a unisón accompaniment is indicated by figures placed over the bass at the p o i n t where a chordal setting is resumed. S hould the first note express a t r i a d that is indicated o r d i n a r i l y w i t h o u t any figures, at least one of its intervals must be designated. * O n e of the m o s t s t r i k i n g l y e x p r e s s i v e e x a m p l e s , w r i t t e n l a t e r b y B a c h , is t h e o p e n i n g of Die Auferstehung und Himmelfahrt Jesu ( W o t q u e n n e N o . 240).
ji6
A C C O M TA ONE-PART
ACCOMPANIMENT
N
1M E N T F O R
T H E
L E F T
A 11AND
1
1. I n this k i n d of accompaniment, w h i c h is indicated by t.s., tasto, or tasto solo, the left h a n d alone plays the bass w i t h o u t octave d u p l i c a t i o n . I n certain passages i t is as m u c h needed as the unisón accompaniment w h i c h we have just discussed; and performance w i l l suffer as m u c h f r o m an incorrect i n d i c a t i o n of i t as w i l l the unisón accompaniment. 2. Italians do n o t use either of these accompaniments. Perhaps they believe that only chords can be played o n our instruments and consider i t u n f i t t e d for the accompaniment of the most b e a u t i f u l , affettuoso passages. T h e y do n o t care to have the t i n k l i n g sounds of their keyboardists i n such places; the more so because i t is k n o w n that they can play scarcely any c h o r d w i t h o u t r o l l i n g i t . Henee i n I t a l i a n works, delicate passages usually carry the d i r e c t i o n sema cémbalo over the bass as a k i n d of w a r n i n g . W h o l e arias sometimes have this i n d i c a t i o n , w h i c h is laughable to the singers of that country w h e n they are shown the words i n their o w n scores. 3. W e use the tasto solo to great advantage i n suitable passages; for example, w h e n the bass and p r i n c i p a l part move i n thirds and sixths w i t h n o a d d i t i o n a l voices. T h e piece may be for t w o or more parts. Should the bass be m a r k e d piano, and the thirds or sixths lie cióse together, thus p r e c l u d i n g octave d u p l i c a t i o n , n o other acc o m p a n i m e n t is as n a t u r a l as ours. T h e double basses are silent
C C 0 MPA
NIM
E N
T
317
while the other bass instrumenta play softly i n the notated register along w i t h tire keyboard. The examples of Figure 399 are typical. 4. O n the other hand, w h e n such passages are d o u b l e d and the thirds or sixths are widely separated, the accompaniment i n unisón or all'unisono may be used, the bass being d o u b l e d . I f this p a r t does not go too low, the d o u b l i n g should be i n the lower rather than the upper octave. Such settings can be f o u n d i n symphonies and concertos. T h e first and second v i o l i n s play together w h i l e the violas and basses move i n unisón (Figure 400). Figure 400 Allegro
, j m m n mn,
rgn^
5. A t half and whole cadenees where the p r i n c i p a l p a r t has an appoggiatura whose reléase is piano, as discussed i n the first p a r t of this Essay, an accompanist at the harpsichord plays o n l y the bass; at the clavichord or pianoforte, however, b o t h the appoggiatura and the reléase may be played, b u t execution must be adj usted to the v o l u m e and l e n g t h of the ornament i n the p r i n c i p a l part, so that i t w i l l r e t a i n the freedom to p e r f o r m its notes i n accordance w i t h the affect. O n the pianoforte an alternative is to p e r f o r m o n l y the bass under the appoggiatura as l o u d l y as necessary and then the reléase q u i t e softly w i t h the r i g h t hand. 2
6. Tasto solo is also used on a bass over w h i c h a melody is set i n a low register w i t h n o accompaniment above i t . B u t w h e n there is an accompaniment by several instruments, also l o w , figures may be placed over the bass, w h i c h an understanding accompanist w h o is aware of the construction of the piece w i l l p e r f o r m o n l y i n the low register. However, because the j u d g m e n t of thorough-bass players, many of w h o m are dilettantes, is n o t always t r u s t w o r t h y , i t is better and safer i n this case also to indícate í.5. over the bass and dispense w i t h the h a r m o n y of the keyboard than to endure an accompaniment w h i c h cries o u t above the other instruments and i C f . A r n o l d , op.
cit.,
C h . I I I , § 12. 2
C f . C h a p t e r I I , " T h e A p p o g g i a t u r a , " f 7.
7./.V
A
A
C C O M P A N 1 M I: N T
r u i n s the passage. T h i s k i n d o i setting occurs in concertos for lowpitched instrumenta, arias for low voices, etc. 7. T h e f o l l o w i n g a d d i t i o n a l instantes oí tlüs k i n d of accomp a n i m e n t should be noted (Figure 401). I n a, where the p r i n c i p a l voice starts i n actual unisón w i t h the bass, the first note should be played t.s. I n b, the r i g h t hand is silent at those places where t.s. appears, even w h e n there are figures. Performance i n a slow tempo w o u l d suffer here were the accompanist to anticipate the change of harmony of the p r i n c i p a l part.
C C 0 M P A N 1M E N T
319
weak that only in this manner can a proper balance be reached. B u t i t is always better and more appropriate to the nature of tasto solo w h e n such an expedient is not employed, for i t is i n respect to d o u b l i n g that tasto solo is distinguished f r o m unisono. 9. T h e r e s u m p t i o n of a chordal accompaniment after t.s. is i n dicated by the reappearance of figures, just as i n the case of unisono.
T H E
ORGAN
POINT
1
1. T h e organ p o i n t or point d'orgue occurs w h e n various harm o n i c changes, orten i n v o l v i n g tied notes, are made over a h e l d or repeated bass note. 2. I t appears generally i n learned things, especially fugues, near the end over the d o m i n a n t or over the final note. Occasionally i t w i l l be f o u n d i n the course of a piece over the d o m i n a n t or tonic of a key reached by m o d u l a t i o n . I n the first case, composers often introduce a l l manner of contrapuntal devices i n stretto. 3. T h e organ p o i n t may be i n three or more parts. T h e harm o n y is usually complete even w i t h o u t the bass, w h i c h however, adds a final, appropriate gravity. I n order to comprehend or e x p l a i n the chords and the unusual combinations of intervals the bass should be disregarded. W h e n this is done, the strange signatures t u r n o u t to be indications of n o t h i n g more than the ordinary progressions of t h o r o u g h bass. 4. I t is not easy to figure organ points, so they are usually set tasto solo. Those w h o do figure t h e m must accept the fact that they w i l l be played tasto solo anyway. T h e reason for this can be ascribed not only to a justifiable simplification of the accompanist's tasks b u t often to the impossibility of reading the figures. Assumi n g that the r i g h t hand could accompany all organ points, gratitude w o u l d never compénsate for the expended anxiety and t r o u b l e .
8. T h e bass i n tasto solo must never be d o u b l e d i n the octave by the left hand, unless the passage is so l o u d and the i n s t r u m e n t so
5. T o play the organ p o i n t tasto solo removes the necessity of scanning unusual signatures and successions of t o w e r i n g figures. Parts are often constructed i n such a manner that one crosses the other. T h i s m i g h t oblige the accompanist to cross parts, w h i c h is n o t allowed i n t h o r o u g h bass, since many errors m i g h t be thereby excused w i t h o u t satisfying the ear. I n such a case, therefore, the entire organ p o i n t must be played i n d i v i d e d accompaniment to en1 C f . A r n o l d , op.
cit.,
Ch. X X .
jao
A C C O M ¡> A N ¡ M E N I
A C C O M
1' A N I M E N T
321
sure correct preparation and resolution, and pievenl the r i g h t hand f r o m descending too far. T h i s is an excessive demand. Sometimes the chord changes are so r a p i d that they can scarcely be b r o u g h t out even when the accompanist tries to realize them. 6. T h e examples of Figure 402 w i l l suffice to illustrate these remarks. Figures have been i n c l u d e d i n order to provide an understanding of the chords. A setting w i t h o u t the organ p o i n t follows each example. Figure 402
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ACCOM
P A N I APPOGGIATURAS
MENT
ACCOMPANIMEN F.gure 403
3. Appoggiaturas r e t a r d the chords w h i c h are called for by the bass. I t is c o m m o n knowledge that, according to the rules of good performance, the ornament is emphasized and its reléase played l i g h t l y . Consequently, i t is d o u b l y w r o n g to o m i t i n d i c a t i o n of t h e m f r o m the signature, for w i t h o u t some clue the accompaniment i n most cases can only be poor. T h e chord retarded by an appoggiatura takes o n a q u i t e different appearance t h r o u g h an exact i n d i c a t i o n . B u t , although knowledge of the usual signatures w i l l n o t suffice and the accompanist must learn to recognize strange combinations of numeráis, he w i l l soon grow accustomed to t h e m . I n scores where the p r i n c i p a l part is n o t notated i n the c o n t i n u o part these signatures are indispensable, for the presence of an appoggiatura can n o t be guessed. A n d even w h e n the p r i n c i p a l p a n w i t h its ornaments is present, how can the numeráis be m o d i f i e d i n performance i f the figures contain no reference to the appoggiaturas? H o w can m i d d l e parts, i f they are r e q u i r e d , be realized? 4. I n Chapter V m u c h material was covered relative to appoggiaturas. T h i s w i l l not be repeated here. O u r present discussion begins w i t h the long, variable appoggiatura. T h e shortest of these is never more r a p i d than an eighth note i n an allegretto. 5. W h e n a bass note is figured w i t h o u t reference to an accompanying appoggiatura, and this appoggiatura w i t h its reléase complements the given numeráis or is identical w i t h one of t h e m , the accompaniment need n o t be m o d i f i e d even i f i t is i n f o u r parts. T h e examples of Figure 403 are constructed i n this manner. p p . 422 ff.
323
~
*
1
1. I t w o u l d be superfluous to repeat the discussion of the appoggiatura w h i c h is contained i n the ñrst part of this Essay. I assume that the reader has read this material carefully, for i t is inseparable f r o m the present remarks. 2. I t is rare that an accompaniment can be constructed w i t h o u t reference to appoggiaturas, for they are i n most cases an integral part of i t . T h e y appear most f r e q u e n t l y i n pieces where taste rules, for they are one of its outstanding refinements. Such pieces r e q u i r e a delicate accompaniment w h i c h aims to b r i n g the appoggiatura i n t o relief rather than to obscure or destroy i t .
1 C f . A r n o l d , op. cit.,
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6. B u t i f the appoggiatura is n o t related to the harmony of the reléase and therefore uitters f r o m the intervals of the bass note over w h i c h i t appears, the accompanist should play the o r n a m e n t a n d as many intervals f r o m the indicated signature as r e q u i r e d by its l o u d ness and its suggested harmony. W h e n i t is played softly a n d w i t h great affect, its length dependent o n the caprice of the p r i n c i p a l part, the accompanist should o m i t the ornament and play one or at most t w o s u p p o r t i n g parts. T h i s occurs most f r e q u e n t l y w i t h chromatically raised appoggiaturas. T w o - p a r t appoggiaturas are played i n the accompaniment, m a k i n g a total of three parts. Some appoggiaturas suffer n o accompaniment at a l l . As a corollary to these remarks i t should be observed that the greater the affect of a piece, the more delicate must its accompaniment be. Such delicacy is concerned w i t h the selection, entrance, r e d u c t i o n , a n d omission of chords. M y m e a n i n g w i l l be illustrated by examples of a l l characteristic situations. 1? I n Figure 404 the illustrated delicate accompaniment is better t h a n the complete c h o r d of the n i n t h . Figure 404 \>1 6
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8. Figure 405 illustrates the three kinds of second, used as ascending appoggiaturas. Even t h o u g h they are n o t always played by the accompanist they must be indicated i n the signature. Unless they are reckoned as n i n t h s , t h e i r signature is usually 2 3. A p p r o priate accidentáis a n d the r e m a i n i n g figures must be i n c l u d e d . O n e n u m e r a l above the 2 indicates a three-part accompaniment. I n the examples that f o l l o w t h r o u g h o u t this section, the first i l l u s t r a t i o n is figured w i t h o u t reference to the appoggiatura; b u t i n the second, 4
w h i c h is the accompaniment t o the first, the signatures are com5
p u t e d correctly. I n a, 3 may be taken i n the second bar, b u t i n the f o u r t h bar, accompaniment of the augmented second is momentarily replaced by an eighth rest after w h i c h only the fifth is taken. 2 F r o m t h e e d . o f 1797. » F r o m t h e e d . o f 1797. * T h a t i s , m a j o r , m i n o r , a n d a u g m e n t e d seconds m e a s u r e d f r o m t h e bass.
325
I n b, only the seventh is rcali/.cd, b u t i n the two-part appoggiatura of bb the second as well as the seventh is played. I n c, the seventh or b o t h the seventh and the second may be taken, since b o t h tones appear i n the preceding c h o r d . T h e same applies to d, where either 6 or 2 may be realized. I n e, the second is treated as a n i n t h , that is, i t moves to an octave. I n a slow tempo the appoggiatura i n / may, of course, be realized; b u t elsewhere i t is replaced by a quarter rest and the seventh alone is played. T h e appoggiaturas a n d their re4
leases are accompanied i n g. A slur must be placed over ^ t o i n d i cate omission of the sixth. I n h, a n eighth rest w o u l d be too short, were the accompanist to o m i t the ornament; henee i t should be played, especially since i t is present i n the preceding c h o r d . I n i, the second cannot be treated as a n i n t h because of the f o l l o w i n g /-sharp 5
i n the bass; however, the i n t e r v a l may be o m i t t e d a n d 3 alone played. T o avoid fifths, the sixth must be o m i t t e d f r o m the first /-sharp. For reasons of affect, the p r i n c i p a l part i n a slow tempo freq u e n t l y retards o n the a, carrying i t over to the next bar. T h e accompanist should n o t do likewise b u t continué to play i n strict tempo. I n j , the second may be treated as a n i n t h i n a slow tempo; b u t elsewhere i t should be o m i t t e d and the t r i a d played directly o n each bass note. W h e r e many chromatic appoggiaturas appear, as i n k and kk, the h a r m o n y must be t h i n and interspersed w i t h rests i n order to b r i n g the ornaments i n t o relief and avoid ugly chords. I n l the appoggiatura is played, since i t appears i n the preceding chord, and the fifth is added to i t . A l t h o u g h the seconds i n m may be realized, the illustrated accompaniment is better f o r a soft performance. Moreover, the rests w i l l help to clarify the appoggiaturas and remove any b l u r r i n g of t h e i r o u t l i n e . I n n, where the c h r o m a t i cally raised o r n a m e n t concurs w i t h a change of bass, the sixth alone should be taken. A n y of three accompaniments may be used f o r o, comprising: (1) the fifth alone; (2) the fifth a n d augmented second; (3) these t w o intervals a n d the octave. Choice is governed by the r e q u i r e d loudness or softness of the accompaniment. I n p, the first second is treated as a n i n t h , b u t the f o l l o w i n g one is accompanied by the sixth alone, the t h i r d b e i n g struck later. Over the bass note c o n l y the fifth a n d n i n t h are realized, a n d over the f o l l o w i n g /-sharp, the d i m i n i s h e d fifth a n d t h i r d . T h e f o u r t h over c a n d its resolution are o m i t t e d , so that the p r i n c i p a l part may p e r f o r m t h e
)26
C C O M PA NIM
A
E N T
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resolution w i t h complete íreedom. This detail is one of the refinements that are reserved for the p r i n c i p a l part. I t should be observed here that accompaniments must be so contrived that they clarify or at least do not obscure the various refinements of melodies whether these consist of chromatic intervals, retarded and anticipated resolutions, or, above a l l , syncopations, especially i n slow pieces of an affective nature. C l a r i t y is attained t h r o u g h rests, and obscurity can be avoided by t h i n n i n g the chords. W e r e all refinements realized o n the keyboard, listeners w o u l d n o t be able to t e l l whether i t was being played as an accompanying or a solo i n s t r u m e n t . I n q, the t r i a d is retarded by a c h o r d of the major seventh w h i c h expresses a descending appoggiatura o n the second above the bass. W e have already seen several such examples. T h i s retardation is o n l y occasionally good, b u t bad taste makes constant use of i t . Figure 405
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9. Other appoggiaturas, i n a d d i t i o n to those o n the second, cali for consideration. I n the examples of Figure 406 the c h o r d of the seventh is retarded by this ornament. I n a, the appoggiatura may be i n c l u d e d i n the accompaniment as indicated by the figures above the staff, w h i c h refer to the bass notes. B u t the setting that follows may also be used. T h i s accompaniment, w h i c h holds the d i m i n i s h e d fifth and t h i r d t h r o u g h o u t the bar, provides the p r i n c i p a l part w i t h freedom to p e r f o r m its appoggiatura w i t h the appropriate affect. 6
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bass note and 5 over the second, or the appoggiatura and reléase may be o m i t t e d and, i f necessary, o n l y 4 3 played. T h e two-part appoggiaturas of c are accompanied as illustrated. I n a delicate setting the 7
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appoggiaturas are replaced by a quarter rest and 5 b is played afterwards. Examples d and dd are alike, the difference between t h e m b e i n g o n l y that dd contains a two-part appoggiatura. T h e accompaniments to b o t h are almost i d e n t i c a l . Rests are n o t used i n the accompaniment to dd, because the notes of the o r i g i n a l are slow and legato; b u t i n the more r a p i d tempo of d they are effective. Example e and its accompaniment are i d e n t i c a l . 10. I n the examples of Figure 407 the c h o r d of the second is 4
retarded by appoggiaturas. I n a the 3 is played over the e i g h t h rest
A C C O M P A N
33" Figure 406 Andante 6
1 M li N T
ACCOMPANIMENT
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s i x t h and second r e m a i n stationary. I n c, % is played, after w h i c h the 7
t h i r d moves t o a second w h i l e the other tones are h e l d . I n d, 4 is 2 played, f o l l o w e d by a sixth over the h e l d f o u r t h and second. I f the seventh lies i n an inner part, the appoggiatura must be replaced by a q u a r t e r rest. I n e only the seventh and fifth are taken and succeeded by the c h o r d of the second. T o indicate omission of the
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lower t h i r d to the f o u r t h of the succeeding 3 . I n i the c o m m o n c h o r d or t r i a d i n three parts is played because of the preceding three-part setting. Example / m i g h t very weíl be accompanied i n four parts by p l a y i n g the appoggiatura; b u t i n a delicate accompaniment, the p r i n c i p a l part must n o t be hampered at a fermata f r o m resolving the ornament freely, according to the affect. Furthermore, the accompanist i n p l a y i n g the ornament exposes himself to the risk of p e r f o r m i n g the reléase before or after the p r i n c i p a l part. W e have already seen i n the first part of this Essay that the affect at fermate calis for great l i b e r t y of execution and that, consequently, appoggiaturas are often shortened t h r o u g h the i n t r o d u c t i o n of elaborations and decorations or lengthened and h e l d w i t h o u t f u r t h e r m a n i p u l a t i o n . I n b o t h events the accompanist, as a precautionary measure, should l i m i t himself to a three-part accomp a n i m e n t or strike the bass note alone and play the c h o r d of the second afterwards. I n k, where the same example appears w i t h twopart appoggiaturas, the bass alone is taken and f o l l o w e d by a slow u p w a r d arpeggiation of the c h o r d of the second. I n l, the example 6
and its accompaniment are identical, b u t 5 may be taken as an accompaniment to the appoggiatura. 11. I n the examples of Figure 408 the c h o r d of the sixth is retarded by appoggiaturas. I n a, a f o u r - p a r t realization may duplicate
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the bass of the t r i a d over e or, better, double its t h i r d . I n a threepart setting o n l y the fifth and t h i r d are taken; b u t i f only one p a r t is played by the r i g h t h a n d i t should be the t h i r d , subsequently held. I n aa w i t h its allegretto a n d p i a n o indications, the accompanist may employ either of the illustrated settings. I f the passage is to be played l o u d l y , the appoggiatura a n d its reléase may be i n cluded i n the first accompaniment. I n b only three parts at most should be employed, f o r the undecorated chords r e q u i r e n o more. I f the accompaniment must be soft the bass should be accompanied by thirds alone; b u t the register of the upper p a r t must be watched carefully i n order to prevent the fourths w h i c h i t forms against the p r i n c i p a l p a r t f r o m becoming fifths. As indicated i n Example c a n d its illustrated accompaniment, i t is a matter of opinión whether a m í n i m u m of three parts or f o u r are to be employed. T h r e e parts are correct for d; b u t i f a delicate accompaniment is decided u p o n for reasons similar to those addressed to Example j , Figure 407, the t h i r d alone, subsequently held, should be realized over g-sharp. T h e accompaniments to e and / are identical w i t h the origináis. A very
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l o u d accompaniment must be r e q u i r e d bclore a [ o u r t l i part is taken. I n g the illustrated accompaniment may be taken i f the accompanist
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i n b only 2 is realized, f o l l o w e d by 3 . Either of the illustrated accompaniments to c may be realized. B o t h have been discussed w i t h their signatures i n Chapter V . T h e r e are five accompaniments to d, of w h i c h the last t w o are the most delicate. T h e y have been p u r posely assembled here, even t h o u g h each one has already appeared separately. N o t h i n g should be struck against the chromatic appoggiatura of Example e; henee the r i g h t hand, its parts replaced by a quarter rest, does n o t play. 5
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sixth taken according to circunistanccs. T h e appoggiatura in b is best replaced by a rest. I n c selection of an accompaniment is dictated by the required loudness or softness of the setting. T h e first of the illustrated accompaniments is best in the natated distribution of tones. T h e accompaniment to d is identical with the example itself.
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14. I n the examples of Figure 411 the chord of the major seventh is retarded by appoggiaturas. A desire for orderliness has 8
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13. I n the examples of Figure 410 the six-five chord is retarded by appoggiaturas. I n a, the ornament may be played or only the Figure 410 a.
realized and followed by the seventh while the fourth and second are retained. If it is decided not to play the appoggiatura (since it Figure 411
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forms an eirlpty octave), 2, but nothing less, must be taken. I n b, 7
4 alone may be played and held; but if the ornament is included it must lie on top. A three- or four-part accompaniment may be taken in c. If the latter is chosen, the notated distribution of tones is best. T h e most appropriate accompaniment to all of the examples under d is the appended one with its quarter rest. 15. I n the examples of Figure 412 the six-four chord is retarded by appoggiaturas. I n a the accompanist may play the fourth and fifth together or the fifth and the sixth and, in the latter case, resolve the fifth by stepwise descent. If he takes the fourth and fifth the fifth must lie on top. T h e fourth alone is realized in a soft accompaniment. Example b and its accompaniment are identical. If the chromatic appoggiatura i n c is played, it can be supported quite well by the fourth. Example d and its accompaniment are identical. I n e a triad accompanies the appoggiatura and is succeeded by a chord of the sixth. T h e same accompaniment is applied to the twopart appoggiaturas of ee. I n / a complete chord of the seventh may 7
be played against the appoggiatura; also 3 or even the seventh alone. Considerations of execution and affect should govern the choice of a complete or incomplete setting. W h e n this example appears with two-part appoggiaturas (ff), the realization should be similar to the example itself or to the appended accompaniment. Examples g and h are similar to / and ff. Figure 412
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16. T h e examples of Figure 413, excepting the last, illustrate the four-three c h o r d retarded by appoggiaturas. I n a the accompanist may choose three or f o u r parts. I n the first of the i l l u s t r a t e d accompaniments, the notated d i s t r i b u t i o n of tones is best. T h e sixfive chord should be retained i n b, after w h i c h the fifth succeeds to the f o u r t h . B u t the appoggiatura may be o m i t t e d as i l l u s t r a t e d i n the slightly varied example (bb). I n c the c h o r d of the seventh is taken and its t h i r d h e l d w h i l e the seventh a n d fifth descend to the sixth and raised f o u r t h . I n d, the accompanist may select the req u i r e d realization f r o m those i l l u s t r a t e d i n f o u r , three, and t w o parts. A nine-four c h o r d is retarded by an appoggiatura i n e. Since the ornament disagrees completely w i t h the figures i t is replaced by a rest.
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17. W h e n the p r i n c i p a l part of solos or other pieces r e q u i r i n g a delicate accompaniment has many appoggiaturas i n a slow tempo, the accompanist, i n order to avoid an obscuring of the melody, should n o t play a l l of the ornaments. Those that cannot be readily o m i t t e d should be m o d i f i e d by the i n t r o d u c t i o n of p a r d a l rests as a means of d i f f e r e n t i a t i n g the accompaniment f r o m the solo. A m o m e n t a r y w i t h h o l d i n g of the accompaniment gives the soloist an o p p o r t u n i t y to i n t r o d u c e the appoggiaturas alone. T h i s m o d i f i cation, b r o u g h t about by rests, is increased i n effectiveness w h e n the bass maintains a u n i f o r m pattern t h r o u g h o u t the passage. T h e beauty and charm of appoggiaturas are most clearly perceptible w h e n p e r f o r m e d i n this manner. Composers are w e l l aware of the effectiveness of such an execution and often place rests i n the bass at the entrance of appoggiaturas. B u t even w h e n they do n o t appear
A C C O M VA
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in the left h a n d tlu-y may I)e interpolated
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18. I n the examples undcr a (Figure 415), w h i c l i are met occ a s i o n a l l y , the lirst oí each p a i r ol eighth notes i n the bass should be lengthened by the a d d i t i o n of a dot, as shown i n the illustrations w h i c h f o l l o w each passage. A literal performance of the appoggiaturas w o u l d prove that the example is w r o n g , its errors being caused by ignorance or absent-mindedness o n the part of the composer. I f the ornaments were w r i t t e n o u t i n their correct valúes, such errors w o u l d never arise. Performed as notated, the ornaments clash i n t o l e r a b l y w i t h the bass and i n so d o i n g lose their essential charm. Even rests f o r the d u r a t i o n of the appoggiatura are i n the m a i n n o t very h e l p f u l , for the r i g h t hand must re-enter o n the dissonant reléase, since b o t h appoggiatura and reléase disagree w i t h the m o v i n g bass. T h e examples suggest no m i d d l e parts or, at most, no n a t u r a l or good m i d d l e parts. T h i s is an unmistakable sign of a poor or poorly conceived piece. Those w h o wish to t h i n k correctly about composition must give simultaneous consideration to melody and harmo ny. I t w o u l d be difficult to find examples that present so many ready opportunities to w r i t e fifths. However, the a d d i t i o n of dots to the bass makes the signatures and the accompaniment n a t u r a l and simple. I n those cases where only one acceptable accomp a n i m e n t can be realized i t has been appended, b u t i t must never lie above the p r i n c i p a l part. A t times the accompanist w i l l find himself i n a situation where n o t h i n g may be altered. I f i n such a situation he finds i t impossible to fashion an accompaniment, he must resort to tasto solo. I n b, i f an accompaniment were realized f r o m the figures, w h i c h u n f o r t u n a t e l y are f o u n d far too often, i t w o u l d sound exceedingly ugly. I n the appended accompaniment the correct figures are given. I n the bass of c the first eighth note of each bar can be easily replaced by a rest as a means of a v o i d i n g the miserable accented fifths." Passages l i k e this can be f o u n d i n l i g h t , present-day I t a l i a n works. Experienced accompanists w h o can and daré make m i n o r extemporaneous corrections i n a composition should receive f u l l credit for their deeds, b u t this should n o t lessen the composer's responsibility for such blemishes. I n o u r example i t is advisable that b o t h hands pause for the d u r a t i o n of the appoggiatura. I n d the acc o m p a n i m e n t is similar to the o r i g i n a l . T h e dissonances are passing and the r i g h t h a n d should be an exact d u p l i c a t i o n of the m o t i o n > Perhaps Bach's o w n direct fifths of similar type are misprints! Cf. Prussian Sonatas, no. i , last movt., bars « 5 - 8 8 , 75-76 (Nagels A r c h i v ho. 6).
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NOTES
1
1. C h o r d a l tones are either anticipated or retarded by syncopations. 2. Slow syncopations w h i c h anticipate chordal tones r e q u i r e n o modification i n the accompaniment. T h e accompanist strikes the indicated c h o r d over its proper bass note (Figure 417, Example a). But w h e n a chordal tone is retarded by syncopation the accompaniment is fashioned i n the manner discussed i n connection w i t h appoggiaturas. T h e r e t a r d i n g tone may be played or o m i t t e d , the harmony may be reduced to those figures w h i c h agree w i t h the ret a r d i n g and retarded tones (b), rests may be inserted (c), or the syncopations may be played i n t h e i r entirety (d). I n c the r i g h t h a n d must leave the keys i m m e d i a t e l y on the entrance of d-sharp i n the p r i n c i p a l part. I f Example d is slow a n d supported by thirds (dd) the three-part accompaniment is identical w i t h dd. B u t i n other than a slow or, at most, modérate tempo i t is accompanied tasto 2
1 Cf. A r n o l d , op. cit., p p . 431 ff. 2 Die Rückungen. T h e term has no unequivocal English parallel. Syncopations is satisfactory provided that the term is stripped of the narrow meaning that i t derives f r o m its use i n strict counterpoint, and understood only i n the sense of r h y t h m i c a l l y shifted notes. Arnold's translation, " D r i v i n g Notes," is an oíd English term. Cf. A r n o l d , op. cit., p p . 127 ff., Note g.
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A C C O M I' A N 1 M /<, N T
A C C O M I' A N I M E N T
of wliether they lie i n the p r i n c i p a l part or iti the bass, the accompanist plays i n an even r h y t h m as, for example, i n Figui e.418, where each of his chords has the valué of a quarter note. T h u s w h e n the bass is syncopated the r i g h t h a n d holds to the r h y t h m of the bar (a). Figure
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4. T h e accompaniment to chromatic syncopations must be delicate i n order to b r i n g t h e m i n t o relief and avoid ugly clashes. I n Figure 419, Example a, the t r i a d w i t h o u t the octave d u p l i c a t i o n is taken. I n b the accompaniment consists of a nice i m i t a t i o n of the chromatic tones (bb). Should a f u l l e r setting be r e q u i r e d , the intervals of the p r i n c i p a l part may be i n c l u d e d as indicated i n the signatures of bb. A l l of these examples presuppose a slow or, at most, a modérate tempo. Figure 419 k
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DOTTIil) COMI'OUNI) AIM'OGCIATURA
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1. T h i s section cannot be read proíitably unless the reader is f a m i l i a r w i t h the earlier discussion w h i c h appears i n Part I of this Essay. I f he is not, m u c h of the present treatment w i l l be incomprehensible and most of i t incorrectly understood. Once the nature of the ornament is k n o w n i t can be seen that i t has an i m p o r t a n t bearing o n h a r m o n y . 2
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2. T h e d o t t e d c o m p o u n d appoggiatura appears only i n pieces that are dependent o n taste and affect, i n w h i c h the accompaniment must be especially delicate. T h e proper chord of a bass note is more retarded by this ornament than by the appoggiatura, for i n execut i o n the p r i n c i p a l tone of the p r i n c i p a l part does n o t enter u n t i l the last short note of the ornament has been played. W i t h respect to loudness and softness, the performance of o u r embellishment is the same as that of the simple appoggiatura; the retarded p r i n c i p a l tone is played softly and the r e t a r d i n g tone l o u d l y . I t w o u l d seem that these factors w o u l d certainly lead to an exact figuring of this o r i g i n a l l y vocal embellishment. B u t u n f o r t u n a t e l y the same comp l a i n t must be raised here as i n the case of the appoggiatura. U p to now, figurists have n o t treated the ornament w i t h due cáre. 3. I n accompanying a bass note over w h i c h a dotted c o m p o u n d appoggiatura appears, the same expedients are necessary as were illustrated i n connection w i t h the appoggiatura. T h e indicated harmony may be changed, reduced, or at times even o m i t t e d . W h e n the ornament appears i n succession w i t h only a few chords, rests are n o t always good except i n the slowest tempo, for the numerous d i v i d e d beats of the r i g h t h a n d can easily d i s t u r b the sustained melody. 4. Chords that are struck o n d i v i d e d beats usually enter o n the second half of the bass note. B u t i f the latter is of great length, its second half is subdivided and the delayed c h o r d enters o n the last quarter of its total length. 5. I n the examples of Figure 420 a second above the bass is retarded by o u r ornament. A g a i n i n this section the usual figures w h i c h appear w i t h each example have been c o m p u t e d w i t h o u t reference to the ornament; b u t the correct signatures appear i n the illustrations of the accompaniments. I n a the r i g h t hand pauses o n 1 Cf. A r n o l d , op. cit., p p . 433 ff. 2 Cf. Ch. I I , " T h e Compound Appoggiatura," f 7 ff.
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the nrst quarter over b, and the six-live chord eniets later. T h e correct división or the o r n a m e n t can be seen i n a and its usual notat i o n i n x. Example b has the same accompaniment. I n c the seventh alone is played o n the entrance of b i n tñe bass, and the t h i r d comes i n later. I n d the seventh and d i m i n i s h e d fifth are played first and the six-five chord is taken afterwards. I n e, i f a t h i n accompanim e n t is called for, the seventh alone is played first and the t n i r d afterwards. B u t i f a f u l l e r c h o r d is r e q u i r e d , the second is struck w i t h the seventh. These remarks apply to a l l similar cases. I n f, the d i m i n i s h e d f i f t h is played alone, the second being i n c l u d e d i f necessary; the s i x t h is o m i t t e d . I n g the r i g h t h a n d pauses and then plays the c h o r d of the s i x t h . I n h the sixth is played and, i f necessary, the second. I n i the chord of the n i n t h and ii the nine-four c h o r d are struck and f o l l o w e d by their usual resolutions. I n a l i g h t accomp a n i m e n t b o t h chords may be o m i t t e d and triads played o n the second quarter. I n / and k the fifth, alone or i n company w i t h the second, may be taken. I n a d d i t i o n , k may be accompanied by a passi n g c h o r d of the second f o l l o w e d by a t r i a d i n three or f o u r parts, whichever is appropriate (x). I n after an eighth rest, the fifth enters alone f o l l o w e d by the t h i r d . I n m there are three possible accompaniments: T h e seventh may be played alone and succeeded by the augmented s i x t h and the t h i r d ; or the second may be struck w i t h the seventh; or 3 may be taken after an eighth rest. A l l three are good depending o n the r e q u i r e d v o l u m e of the performance and 6
the affect. I n n i t is best to pause and then play 3. I n o the s i x t h and the augmented f o u r t h are taken and the t h i r d is o m i t t e d . I n p rests i n the upper part clarify the ornament. T h e seventh may enter immediately. I n q the fifth, alone or w i t h the t h i r d , may be struck, depending o n circumstances. I n r the seventh and f o u r t h are played a n d succeeded by their resolutions.
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6. T h e r e are other retardations i n a d d i t i o n to those o n the second. I n the examples of Figure 421 the chord of the seventh is delayed by o u r ornament. E i t h e r one of the t w o accompaniments under a may be selected. T h e first may be realized i n f o u r parts. Example aa, w h i c h consists of r a p i d notes and does n o t portray any affect, may be accompanied i n f o u r parts. I n Example b the openi n g tone of the ornament increases the harshness of a simultaneously realized d i m i n i s h e d seventh. Henee, i t is better to i n t r o d u c e an b7
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f o l l o w e d by 5 b w i t h o u t the t h i r d . T h e last t w o examples u n d e r d sound ugly, a l t h o u g h they w i l l be encountered. O u r ornament, here, defeats its purpose, w h i c h is to p rovi de a pleasant, caressing q u a l i t y . T h e passage sounds better w i t h o u t i t , and i f there is need for an embellishment at a l l i t should be the r a p i d c o m p o u n d appoggiatura. I t is best to accompany our o r n a m e n t w i t h an eighth b7
rest f o l l o w e d by 5 \¡ i n three parts. As for the first example (d), the t r i a d may also be played i n three parts. Example e is not good, for the ornament makes the passage sound l i k e a d u l l succession of sixths and almost obliterates the seventh f r o m w h i c h the progression gains its attractiveness. T h e t h i r d should be taken on the entrance of the ornament, and succeeded by the sixth and t h i r d o n the last quarter. Example /, w i t h its preceding d i m i n i s h e d fifth, is better. A three-part five-three chord is played on the first quarter and f o l l o w e d by the six-five chord. Either one of the accompani-
A C Í; O M /* A N I M /< N 7
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57
ments to g may be useil; or as an altcrnative, pause on the lirst 7
7
eighth and on the second take r> or ;i i n three parts. T h e reason for the omission of an i n t e r v a l f r o m the chord of the seventh is the l i g h t manner i n w h i c h the last note of the ornament and the p r i n c i p a l tone are p e r f o r m e d . 7. I n Figure 422, Example a, the c h o r d of the second is retarded by o u r ornament, w h i c h o w i n g to its length makes the passage rather unattractive. A shorter c o m p o u n d appoggiatura w o u l d be better. T h e t r i a d is taken o n the / and f o l l o w e d by the chord of the second, b o t h preferably i n three parts. I n b, c, and d the chord of the s i x t h is retarded. I n b the t r i a d is played and f o l l o w e d by the c h o r d of the s i x t h . O r the t h i r d alone may be taken over f, followed by the sixth. I n c i f the accompanist does not wish to use an eighth rest, he may play either of the illustrated accompaniments. T h e accomp a n i m e n t to d is l i k e that to b. T h e examples under dd, i n w h i c h a three-part eight-six c h o r d is retarded, are a l l accompanied i n the manner of the appended i l l u s t r a t i o n . I n the r e m a i n i n g examples 7 8
the t r i a d is retarded. I n e the accompaniment may be 2 3 i n three parts, or an eighth rest f o l l o w e d by a t r i a d . I n / the accompanist 7 8.
takes 4 3 i n three parts, or pauses for an eighth before p l a y i n g the t r i a d . I n g the chord of the n i n t h and its resolution are played. B u t i n h the nine-four c h o r d is r e q u i r e d , f o l l o w e d by its resolution. I n i, T
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5 and then 3 are played. Figure 422
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tended relationships. 1 he accompaninients to d and e are i d e n t i c a l : they may be i n three or f o u r parts. I n / the four-part chord of the major seventh is taken o n the entrance of the ornament. I n order to sepárate the sixth f r o m the seventh, the p r i n c i p a l part must lie above the accompaniment. I n g and h the r a p i d c o m p o u n d appoggiatura w o u l d be better than o u r dotted k i n d . I n g the ear demands a c h o r d directly o n the entrance of the ornament, b u t i n h a quarter rest is i n order. 9. I n the examples of Figure 424 the six-four chord is retarded by o u r ornament. I n a the accompanist may choose any of three accompaniments. T h e first t w o may be realized i n three or f o u r parts, but the t h i r d , w h i c h is the lightest, should be left i n t w o . T h e first cannot be used readily i n any b u t the illustrated disposition. I f an Figure 424
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o p t i o n a l ; over the note c, 4 or 4 may be taken. T h e same applies to c. I n b and c the nine-four c h o r d and i n d the nine-seven are retarded. T h e accompaniment to the final example may be i n three or f o u r parts. A n eighth rest is i n t r o d u c e d w i t h the ornament, a n d succeeded by nine-seven. 425
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10. I n Figure 425, Examples a and b, the five-four c h o r d is retarded. Example a is n o t good, for o u r l o n g ornament destroys the beauty of the i n t e n d e d dissonance. A short c o m p o u n d appoggiatura w o u l d be better. T h e accompaniment must r e m a i n i n the notated disposition; otherwise an eighth rest must be i n t r o d u c e d over g, f o l l o w e d by a complete five-four chord. I n b the accompaniment is
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eighth rest over the second r; of Kxample b is not used, the appended accompaniment should be taken. The rest is r e q u i r e d i n c. T h e acc o m p a n i m e n t to d must r e m a i n i n the notated disposition; otherwise, an eighth rest accompanies the entrance of the ornament. A rest is r e q u i r e d i n e and /. B u t i f i n d, e, and / the t r i a d on c replaces the i n i t i a l c h o r d on /-sharp, the illustrated accompaniments are to be retained.
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1. A l l that has been said i n the first t w o paragraphs of the preceding section about p r i o r knowledge of the d o t t e d c o m p o u n d appoggiatura as discussed i n the first part of this Essay, the i m p o r t a n t bearing that the ornament has o n harmony, a n d the consequent need f o r a clear i n d i c a t i o n of its presence, applies equally to the dotted slide. 2
2. A l t h o u g h the d o t t e d slide does n o t appear as o f t e n as the t w o ornaments that have already been discussed, chords are sometimes more retarded by i t t h a n by the others. T h e affect w i t h w h i c h the slide is sometimes p e r f o r m e d requires that the i n i t i a l tone be h e l d beyond its usual d u r a t i o n , w i t h the result that the entrance of the succeeding c h o r d must be delayed by half its notated l e n g t h a n d the preceding c h o r d correspondingly p r o l o n g e d . I n F i g u r e 161 there are several examples that have various executions. I n the f o l l o w i n g examples, the bearing of these variants o n the accompanim e n t w i l l be illustrated. 3. I n the f o l l o w i n g cases the accompanist realizes the prescribed signatures, even t h o u g h they are c o m p u t e d w i t h o u t reference to the ornament. B u t certain executions of the o r n a m e n t r e q u i r e slight changes i n the accompaniment. These have been noted i n the examples. I n F i g u r e 426, Example a, the accompaniment is n o t changed regardless of the l e n g t h of the slide. B u t i n b the accomp a n i m e n t w h i c h is appended to each example should be f o l l o w e d i f the first note of the ornament is h e l d t h r o u g h part of the succeeding bass note. A l t h o u g h b(x) w i l l be encountered occasionally, the prolonged f o u r t h i n the slide does n o t sound w e l l . I f o r n a m e n t and p r i n c i p a l tone together have a valué no greater t h a n a quarter note, or i f the d o t t e d d is retained over the last bass note i n the bar, the effect may be acceptable. B u t i t is n o t good w h e n the división is such that the / i n the bass a n d p r i n c i p a l part are played s i m u l taneously. T h e empty octave after an i n s i p i d f o u r t h makes an awkw a r d progression. Regardless of the execution of this example, the accompanist takes the sixth a n d t h i r d i n three parts or the f o u r t h and t h i r d similarly, as illustrated. T o do justice to b(y) the e m p t y octave should n o t be h e l d too l o n g ; b u t i f i t is, a n d the / enters over c i n the bass, 4 3 is played instead of the t r i a d . 1 Cf. Ch. V I , " T h e D o t t e d C o m p o u n d A p p o g g i a t u r a , " N o t e 1. 2 Cf. Ch. I I , " T h e Slide," 10 ff.
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played, because of the sixth 011 which the slide commences. B u t , since only the t r i a d and no other chord íits the bass, the accompanist must take the one i n l e i v a l , aside f r o m the octave, w h i c h the c h o r d of the sixth and the t r i a d have i n c o m m o n , namely, the t h i r d ; or he may play the bass alone. W h e n a piece begins i n this manner, i t is best n o t to play the bass to the ornament. I f the slide i n e is of n o r m a l l e n g t h , that is, i f g i n the p r i n c i p a l part enters o n the last b i n the bass, the complete six-five chord should be repeated o n the last quarter. B u t i f the i n i t i a l tone of the o r n a m e n t is retained over this b, the accompaniment must be fashioned i n the manner of the appended i l l u s t r a t i o n . B o t h examples under / take the accompanim e n t w h i c h has been placed between t h e m . I n g the six-four c h o r d must enter o n the second quarter of b o t h examples. I n h, the fourthree c h o r d is played and i n i, a three-part 4 3 . I f , i n this last example, the first note of the slide is h e l d beyond its n o r m a l l e n g t h , the t h i r d should be played o n the last eighth and the sixth repeated at the same p o i n t . T h i s is shown i n the final i l l u s t r a t i o n . Figure 427
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4. I n the examples of F i g u r e 427 the accompaniment w o u l d sound ugly i f i t were constructed i n agreement w i t h the usual signatures; henee the figures must be changed as i n d i c a t e d i n the illustrations appended to each example. T h e usual signatures appear w i t h the examples. A d d i t i o n a l modifications, w h i c h are made necessary by an e x t r a o r d i n a r i l y slow performance of the ornament, are shown i n the last of each series of i l l u s t r a t i o n s . I n b the slide mollifies the harshnesá of a simultaneously realized seventh. Even t h o u g h this tone appears i n the preceding c h o r d , i t is w e l l to o m i t i t f r o m the accompaniment to the o r n a m e n t a n d to play only the d i m i n i s h e d fifth a n d the t h i r d t h r o u g h o u t the bar. T h e examples under c have i d e n t i c a l accompaniments. I n d the t r i a d cannot be
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an accompaniment. This l a t t t i lias inore eletnents w h i c h are concerned w i t h the rules o! good performance t h a n solos have, for an accompanist is responsible for more than a correct realization of a bass; he must make i n t e l l i g e n t adjustments w i t h respect to the v o l u m e and register of chords. As stated i n Paragraph 1 9 of the I n t r o d u c t i o n to Part T w o , i t is r e q u i r e d of the accompanist that he fit to each piece a correct performance of its h a r m o n y i n the proper v o l u m e a n d w i t h a suitable d i s t r i b u t i o n of tones.
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2. T h e fewer the parts i n a piece, the finer must be its accomp a n i m e n t . Henee, a solo or an aria provides the best o p p o r t u n i t y to judge an accompanist. H e must take great pains to catch i n his acc o m p a n i m e n t a l l of the nuances of the p r i n c i p a l part. Indeed, i t is difficult to say whether accompanist or soloist deserves greater credit. T h e latter may have taken a l o n g t i m e to prepare his piece, w h i c h , after the present fashion, he himself must compose. Nevertheless, he cannot c o u n t o n the applause of his audience, f o r i t is o n l y t h r o u g h a good accompaniment that his performance w i l l be b r o u g h t to l i f e . O n the other hand, the accompanist is usually given m u c h less t i m e ; he is a l l o w e d only a cursory e x a m i n a t i o n of the piece, b u t must nevertheless support a n d enhance extemporaneously a l l the beauty o n w h i c h so m u c h t i m e and care have been expended by the p r i n c i p a l p e r f o r m e r . Yet the soloist takes a l l bravos to himself and gives n o credit to his accompanist. B u t he is r i g h t , f o r he knows that i g n o r a n t custom direets these bravos to h i m alone. 2
3. G r a t u i t o u s passage w o r k and b u s t l i n g noise do n o t constitute the beauties of accompaniment. I n fact, they can easily do h a r m to the p r i n c i p a l p a r t by r o b b i n g i t of its freedom to i n t r o d u c e variations i n t o repetitions a n d elsewhere. T h e accompanist w i l l achieve eminence a n d attract the a t t e n t i o n of i n t e l l i g e n t listeners by lett i n g t h e m hear an u n a d o r n e d steadiness and noble simplicity i n a f l o w i n g accompaniment w h i c h does n o t interfere w i t h the b r i l l i a n c e PERFORMANCE
1. I t is w r o n g t o believe that the rules of good performance p e r t a i n o n l y to the p l a y i n g of solos. T h e m a t e r i a l o n performance w h i c h is contained i n the first p a r t of this Essay (to w h i c h the reader is referred) must also be observed i n certain respects i n fashioning 1
i Handsachen.
Cf. Pt. I , Foreword, Note 2.
2 Franrois Couperin i n L'Art de toucher le clavecín (pp. 44-45) expresses himself just as b i t t e r l y . " I f i t were a question of choosing to b r i n g to perfection either the p l a y i n g of pieces or accompaniments, I suspect that vanity w o u l d lead me to prefer pieces. I a d m i t that n o t h i n g is more d i v e r t i n g by itself, ñor brings us more i n t o the company of others t h a n to be a good accompanist. B u t what injustice! W e are the last to be praised at concerts. O n such occasions the accompanist is regarded merely as the f o u n d a t i o n of an edifice w h i c h , a l t h o u g h i t supports everything, is almost never mentioned. O n the other h a n d , those w h o excel i n pieces revel i n the a t t e n t i o n and applause of the audience."
368
ACCOMPANIMENT
of the p r i n c i p a l parí. 1 le need lee 1 no anxiety over 11 is being forgotten i f he is not constanily j o i n i n g i n tlie t u m u l t . N o l A n understandi n g listener does not easily miss a n y t h i n g . I n his soul's perception melody and harmony are inseparable. Yet, should the o p p o r t u n i t y arise and the nature of a piece p e r m i t i t , w h e n the p r i n c i p a l part pauses or performs p l a i n notes the accompanist may open the d r a f t o n his damped fire. B u t this demands great a b i l i t y and an understanding of the t r u e content of a piece. I n t r u t h , i t suffices to realize an accompaniment w h i c h does n o t h i n g more than meet the requirements, whether expressly called for or not, of Paragraph 19 of the I n t r o d u c t i o n to Part I I . T o this end we shall proceed to relate these precepts, along w i t h questions of puré style, to the construct i o n of a fine accompaniment. 4. I t is sometimes necessary and n o t really i m p r o p e r for the accompanist to discuss a piece w i t h the performer of the p r i n c i p a l part before its performance and let h i m decide o n the liberties that are to be taken i n the accompaniment. Some w a n t the accompanist to be greatly restricted; others not. Since opinión varies so greatly and i t is u p to the p r i n c i p a l p a r t to decide, the safest procedure is to seek a p r e l i m i n a r y understanding. 5. W e shall open the subject of performance by discussing v o l u m e . O f a l l the instruments that are used i n the p l a y i n g of t h o r o u g h bass the single-manual harpsichord is the most p e r p l e x i n g w i t h regard to forte and p i a n o . T o make amends for the imperfect i o n of the i n s t r u m e n t i n this respect the n u m b e r of parts must be increased or reduced. B u t care must be exercised to i n c l u d e a l l necessary tones and avoid incorrect doublings. Some resort to a h i g h l y detached touch i n order to express a piano, b u t the performance suffers tremendously by this; and even the most detached staccato performance requires pressure. I t is better to reduce the v o l u m e by using the r i g h t h a n d less f r e q u e n t l y over passing tones. T h e fine i n v e n t i o n of o u r celebrated H o l e f e l d w h i c h makes i t possible to increase or decrease the registration by means of pedáis, w h i l e playing, has made the harpsichord, p a r t i c u l a r l y the singlem a n u a l k i n d , a m u c h - i m p r o v e d i n s t r u m e n t , and, f o r t u n a t e l y , 3
4
s M a r p u r g (Der Critischer Musicus an der Spree, 26 August, 1749) writes, "Clever artists . . . know how to deceive the ear at the harpsichord i n such a manner that we believe that we hear soft and l o u d tones, a l t h o u g h the quills deliver a l l w i t h almost equal forcé." «Si'c for H o h l f e l d . Cf. Part I I , I n t r o d u c t i o n , f 2 a n d Note 1.
A C C O M P A N I M E N T
369
elirninated all dillicullies connecled w i t h the performance of a piano, l í only all harpsichords were s i m i l a r l y constructed as a t r i b u t e to good tastel 6. B u t aside f r o m this i n v e n t i o n , the clavichord and pianoforte enjoy great advantages over the harpsichord and organ because of the many ways i n w h i c h t h e i r v o l u m e can be gradually changed. T h e pedal o n the last-named i n s t r u m e n t does commendable service w h e n the bass is not too r a p i d ; and i t can be made more penetrati n g by means of a sixteen-foot registration. However, rather than mutílate the melody of the bass, the pedal should be o m i t t e d w h e n n o t a l l of its notes can be played by the feet, and the lowest p a r t played solely by the left h a n d . 7. T h e r e are certain general rules that govern the performance of forte and p i a n o o n the organ and the two-manual harpsichord: fortissimo and forte are played o n the louder m a n u a l . Fortissimo may be attained by d u p l i c a t i n g i n the left h a n d a l l tones of consonant chords, and the consonant tones of dissonant chords w h e n the nature of the bass makes i t possible to d o so. T h e l o w register must be avoided, the d o u b l e d tones b e i n g placed cióse to the r i g h t h a n d i n such a manner that the notes of b o t h hands a d j o i n , leaving no i n t e r v e n i n g space. Otherwise, the r u m b l i n g l o w notes w i l l créate a miserable b l u r . A simple octave d o u b l i n g of the bass by the left h a n d also has a penetrating effect; i t is indispensable w h e n the notes are n o t very r a p i d a n d are easily played, b u t yet express a well-defined theme w i t h a f a i r l y w i d e range. These octave doublings are very good for i m i t a t i o n s w h i c h are to be l o u d l y p e r f o r m e d or for the entrance of fugal subjeets. B u t w h e n a subject or any passage of significance contains lively figuration w h i c h cannot be easily executed by one h a n d i n octaves, at least the p r i n c i p a l tones should be d o u b l e d a n d the others played simply (Figure 428). T h e r i g h t h a n d continúes w i t h its chords, w h i c h cannot be readily o m i t t e d f r o m c o n t r a p u n t a l works. I n a mezzo forte the left h a n d may play the bass as w r i t t e n o n the louder m a n u a l w h i l e the r i g h t accompanies o n the softer. I n a piano b o t h hands use the softer m a n u a l . A pianissimo can be expressed o n this m a n u a l , b u t w i t h reduced parts. I n order to practice these precepts the ear must p r o v i d e constant assistance, for indications are n o t always exact; moreover, matters of t o n a l v o l u m e depend o n the desires of the p e r f o r m e r of the p r i n c i p a l part.
A (¡COMPAÑIA!
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8. A n accompanist must be careful to observe whether the h i g h a n d l o w registers oí the singer and instrumentalist w h o m he accompanies are equally l o u d , and whether his tones are just as clear f r o m a distance as near by. I f they are not, he must m o d i f y his playi n g i n order n o t to cover the weak tones w i t h a l o u d accompanim e n t . For example, i t is c o m m o n knowledge that the upper tones of the transverse ñute are b r i l l i a n t , b u t the lower tones not, a l t h o u g h otherwise its tones are u n i f o r m . 9. A forte i n a t u t t i passage is to be differentiated f r o m a forte that accompanies a soloist. T h e latter must be accurately proportioned to the strength of the p r i n c i p a l part, b u t the f o r m e r can, of course, be m u c h louder. 10. M o d u l a t o r y changes are announced by a reinforced accomp a n i m e n t . T h u s , for example, i n a fortissimo, a f u l l c h o r d is taken by b o t h hands and arpeggiated r a p i d l y upwards, the bass w i t h its octave and the tones i n the r i g h t h a n d being retained (Figure 429, Example á). W h e n certain passages are repeated i n transposition, d o u b l e o n l y the p r i n c i p a l bass notes i n the interests of greater clarity (b). B u t i f such passages are so fashioned that they can be played t h r o u g h o u t i n octaves, differentiate the p r i n c i p a l notes t h r o u g h the use of reinforced chords, played, perhaps, by b o t h hands. T h e notes referred to are those i n c over w h i c h a stroke has been placed. Aside f r o m these cases, chords struck d u r i n g short rests achieve a distinct weight and greatly assist the other performers, for i t is generally acknowledged that, except for the keyboard, such rests present considerable difficulties (d). T h i s last suggestion applies to a l l passages i n w h i c h short rests appear. 11. T h e first note after a fermata or general pause is struck l o u d l y . Even i f the note is m a r k e d piano, a certain weight is given to i t by means of a moderately strong attack. Such l i b e r t y is especially needed w h e n the bass alone breaks the silence. I t is better
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to play one note somewhat louder than indicated and thereby ret a i n order i n the ensemble, t h a n to observe a l l indications w i t h exaggerated exactness and f a i l to give an indispensable signal to the others. T h e r e is a possibility that the resultant confusión m i g h t r u i n a considerable p a r t of a composition, i n t o w h i c h the composer may have i n t r o d u c e d especially b e a u t i f u l effects. I n such places the i n s t r u m e n t that first resumes is the leader, even i f i t should be the viola. 12. Notes that i n t r o d u c e closing cadenees are played l o u d l y regardless of whether they carry express indications. By this means the p r i n c i p a l part is i n f o r m e d that an elaborated cadenee is expected, for w h i c h the accompanist w i l l halt. T h i s signal is especially necessary i n allegros, for elaborated cadenees are more usual i n adagios. I n the latter the p r i n c i p a l p a r t o f t e n plays the note before the cadenee w i t h a retarded forte so that the accompanist may k n o w that the cadenee is going to be elaborated. 13. W h e n the p r i n c i p a l p a r t has a l o n g h e l d note w h i c h , accordi n g to the rules of good performance, should commence pianissimo, grow by degrees to a fortissimo, and r e t u r n s i m i l a r l y to a pianissimo, the accompanist must f o l l o w w i t h the greatest exactness. Every means available to h i m must be employed to a t t a i n a forte 6
5 A nuance that was generally callee! messa di
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A C C O M V A N I M E N T
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373
and j)iano. Ili.s inuc.isc and dccrease must coincide w i t h that of the p r i n c i p a l part; n o t h i n g inore, n o t l i i n g less. 14. W i t h regard to staccato a n d legato, i t should be observed that i n p l a y i n g chords over a bass w h i c h is n o t m a r k e d staccato, i t is not obligatory to use a fresh attack on every note. Tones that already lie i n a preceding c h o r d and can be carried over to a followi n g one are h e l d . Such an execution, w h e n associated w i t h ñowing pfogressions i n the best d i s t r i b u t i o n , gives the accompaniment a singing effect. I t is indispensable w i t h legato notes. For these good reasons, most of the examples i n the present book should be taught i n this manner, so that the student w i l l be i n t r o d u c e d early to a sustained delivery and be preserved f r o m the hacked t h o r o u g h bass w h i c h is as f r e q u e n t as i t is ugly. I f the tempo is very slow and the i n s t r u m e n t so unusually poor that h e l d notes do n o t last l o n g enough, a fresh attack is, of course, i n order. B u t this expedient does n o t apply to the organ.
placing them between notes. It is stiange that tlu-y have been overlooked despite the fact that 0111 present elegant taste must make the need for them q u i t e obvious. I l o w m u c h unevenness i n resolutions can be caused by their absence! A n d h o w the performance and character of pieces sufferl H o w ceaselessly attentive must be the ear that w i l l p e r m i t n o error! Figure 431 w i l l illústrate m y meaning.
15. T h e sixteenths i n the examples of Figure 430 sound i n s i p i d i n an adagio i f dots are n o t placed between t h e m . I t is advisable to correct this f a u l t i n performance. Because proper exactness is o f t e n lacking i n the n o t a t i o n of d o t t e d notes, a general r u l e of p e r f o r m ance has been established w h i c h , however, suffers many exceptions. A c c o r d i n g to this r u l e , the notes w h i c h f o l l o w the dots are to be played i n the most r a p i d manner; a n d o f t e n they s h o u l d be. B u t sometimes notes i n other parts, w i t h w h i c h these must enter, are so d i v i d e d that a m o d i f i c a t i o n of the r u l e is r e q u i r e d . A g a i n , a suave affect, w h i c h w i l l n o t survive the essentially defiant character of d o t t e d notes, obliges the p e r f o r m e r slightly to shorten the d o t t e d note. Henee, i f only one k i n d of execution is adopted as the basic p r i n c i p i e of performance, the other k i n d s w i l l be lost.
17. W h e n many repeated s l u r r e d notes appear i n a slow tempo and the lower octave is to be taken w i t h t h e m , the d o u b l i n g s h o u l d oceur o n only the first a n d t h i r d notes, or, i n a t r i p l e t , o n only the first. F u r t h e r m o r e , these tones i n the lower octave should be h e l d (Figure 432, Example a ) . B u t i f such repeated notes are to be played
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A C COMPAÑIA!
E N T
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staccato a n d rapidly so that they sound loudly (l>), the execution i n c may be employed However, the passage nnrsl not last long, for i f i t does the w r k t s w i l l grow stiff and exhausted. Such being the case, i t is better to play the notes i n the manner of other d r u m basses as described i n the I n t r o d u c t i o n to Part I , Paragraph 9 a . 18. I n a concertó or any heavily scored piece, w h e n the bass a n d r i p i e n o parts h o l d a tone w h i l e the p r i n c i p a l p a r t continúes w i t h its o w n m o t i o n , even v a r y i n g i t at times w i t h syncopations, i t is wise f o r the accompanist to m a i n t a i n the beat a n d guide the other performers by p l a y i n g a c h o r d w i t h the r i g h t h a n d o n the divisions of the bar even t h o u g h the h a r m o n y does n o t change. I f the bass alone has the held note, the accompanist may repeat solely the bass note just as i t dies out. B u t this must n o t be done "against the beat," as the expression goes. I n a d u p l e bar the repetitions may oceur at the b e g i n n i n g and i n the m i d d l e , according to its divisions a n d the pace I n a t r i p l e bar only the downbeat is played. B u t i f i n the course of a passage a forte appears after a piano, the accompanist should give u p the prescribed división and, observing closely, play the bass i n the left h a n d a n d the c h o r d i n the r i g h t d i r e c t l y o n the entrance of the forte i n a fortissimo b o t h hands take a f u l l c h o r d . H e r e again, because of a lack of signs, the entrance of l o u d a n d soft cannot be accurately indicated i n the bass or the figures. 7
19. W h e n the bass a n d several other parts p e r f o r m t h e i r notes pizzicato, the accompanist pauses, leaving the passage to the cellos and d o u b l e basses. B u t i f only the bass is pizzicato the accompanist plays staccato, e m p l o y i n g his left hand alone, unless the composer has w i t h good reason placed figures over the notes, i n w h i c h case the r i g h t h a n d adds its chords, w h i c h are also played staccato. W h e n pizzicato a n d coll'arco are interchanged after b u t a few notes, the one must be sharply distinguished f r o m the other, regardless of whether this is achieved by way of a pause, a detached tasto solo or unisoni, or a staccato performance of the chords. I f d u r i n g this req u i r e d detaching the p r i n c i p a l part has appoggiaturas, w h i c h u n d e r n o r m a l c o n d i t i o m w o u l d be played i n the accompaniment, they should be o m i t t e d and only the r e m a i n i n g appropriate figures 7 See also Arnold bp. ctt pp 774 ff., where Heinichen's views are stated and Saint Lambert s mentioned. T h e latter's opinions appear on p. 196 of that book. Bach is in agreement with both
175
realized. A legato appoggiatura and reléase do not go well i n a staccato passage. 20. I n slow or modérate lempos, caesurae are usually extended beyond their n o r m a l l e n g t h , especially when the rests and notes i n the bass are the same as those i n the other parts, or i n the p r i n c i p a l part i n the case of a solo. Great pains must be taken to achieve a u n i f o r m performance and prevent anyone's c o m i n g i n before or after the others. T h i s applies to jermate, cadenees, etc., as w e l l as caesurae. I t is customary to drag a b i t a n d depart somewhat f r o m a strict observance of the bar, for the note before the rest as w e l l as the rest i t self is extended beyond its notated l e n g t h . Aside f r o m the u n i f o r m i t y w h i c h this manner of execution achieves, the passage acquires an impressiveness w h i c h places i t i n relief (Figure 433). Figure 433
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21. Closing t r i l l s are o f t e n extended, regardless of the tempo. B u t i f a piece has reprises, the extensión of t r i l l a n d accompanying bass note takes place only at the end of the final r e p e t i t i o n . By this means weight is added to the conclusión a n d the audience is made to feel that the piece is about over. T h i s k i n d of cióse, however, despite its good uses, cannot be i n t r o d u c e d i n t o a l l contexts. Henee the accompanist must be extremely w a t c h f u l , especially because some closing t r i l l s m u s t be played strictly i n tempo due to either the b r i l l i a n t or the reflective character of a passage (Figure 434, Example a). I t is understood, moreover, that the accompanist does not h o l d back w h e n the t r i l l appears over a m o v i n g bass (b). B u t i f
A C C O MPA
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A C C O M P A N 1M E N T
N I M E N T
the last of these bass notes is the f i l t l i of the key, it should be held u n t i l i t is observed that the p r i n c i p a l part or the other executants are ready to conclude their t r i l l (c). T h e same procedure is to be f o l l o w e d w h e n solely the fifth of the key is repeated i n the upper or lower octave after the entrance o f the t r i l l ( d ) . B u t i f a piece ends w i t h o u t a closing t r i l l , i t should be played i n tempo w i t h o u t h o l d i n g back (e). Figure 434 Andante Allegro
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23. I n accompanying a solo o n a l o w i n s t r u m e n t (i.e. a bassoon, cello, etc.), or an aria f o r a low voice (i.e., a tenor or bass), cióse att e n t i o n must be given to the range of the melody so that the chords w i l l n o t be placed too h i g h above the p r i n c i p a l part. O r d i n a r i l y the r i g h t h a n d should n o t venture above the one-lined octave. I f i t is necessary to take the chords q u i t e l o w , they should be reduced, for f u l l chords played low lose t h e i r clarity. 24. I f a piece for a l o w p r i n c i p a l p a r t has r i p i e n o parts, t h e i r range must be carefully observed a n d the keyboard accompaniment placed i n the same register. T h e melody of the p r i n c i p a l p a r t must not be obscured by m i d d l e parts w h i c h l i e above i t . Henee composers occasionally place the m i d d l e parts first i n the l o w register i n the interests of a good setting and v a r i a t i o n f r o m the n o r m , a n d later, i n the r i t o r n e l l o , restore them t e l l i n g l y to t h e i r usual upper register. T h e accompaniment must be fashioned i n c o n f o r m i t y w i t h such a procedure. I n a f o l l o w i n g section of this Essay a t t e n t i o n w i l l be directed to those cases where different registers are e x p l o i t e d i n the interests of r e f i n e m e n t . A t present i t w i l l suffice to r e m i n d the accompanist of a p o i n t w h i c h we have stressed repeatedly, namely, that care must be taken to construct a good melody i n the u p p e r part. A n d i n connection w i t h this, the best d i s t r i b u t i o n s are to be taken at a l l possible times. Should i t become necessary to ascend above the p r i n c i p a l part, tones must be placed i n the u p p e r part w h i c h move i n thirds or sixths w i t h lower m i d d l e parts (a), the p r i n c i p a l part (b), or the bass (c) (Figure 436). 11
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22.* W h e n the p r i n c i p a l part moves i n tenths w i t h a m i d d l e part, the accompanist plays thirds i n the lower register rather t h a n tenths. T h i s octave d o u b l i n g of the p r i n c i p a l part is better t h a n a similar d o u b l i n g of the m i d d l e p a r t (Figure 435). 9
From the ed. of 1797. » Which would happen if the thirds were played in the higher octave. 8
25. A l t h o u g h i t is poor constantly to duplicate the melody of the p r i n c i p a l part i n the accompaniment, there are times at the beg i n n i n g of r a p i d pieces w h e n i t is necessary a n d henee permissible, 12
10 From the ed. of 1797. 11 Cf. C h . V I , "Some Refinements of Accompaniment," f f 9, 10. 12 Cf. J . S. Bach's correction of a figured bass accompaniment by N . Gerber in Philipp Spitta, J. S. Bach, Vol. I I I , Appendix, beginning of second and third movements. However, the beginning of the last movement, allegro, which is similarly constructed, has a four-part chord.
A C C O M I' A N 1 M E N T
379
bass of a consonant chord leaps an octave the register may be more safely changed t h r o u g h opposite rnotion than i n other leaps (Figure 437, Example a ) . F u r t h e r , progressions w h i c h c o n t a i n dissonances on d i v i d e d beats and unprepared dissonances are also convenient, for they leave the accompanist free to select the register (b). Figure 437 a.
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especially w h e n they are i n t w o parts. B o t h hands thereby pick u p the tempo i n the same m a n n e r , and the audience w i l l n o t miss any part of the b e g i n n i n g , for i t w i l l be u n i f o r m and orderly. T h i s is an expedient w h i c h may be employed by weak musicians, whether accompanists or leaders, at any p o i n t i n a composition as a means of r e t r i e v i n g a u n i f o r m beat, once i t has been lost. ia
26. I f , as a result of many downward-resolving dissonances, the r i g h t h a n d descends too l o w , the accompanist must make use of a l l of the means w h i c h have been described i n this Essay i n order to r e t u r n gradually to a h i g h register. T h e y are to be employed especially over long bass notes, o n the appearance of consonant chords and repetitions of t h e m , over passing tones i n the bass, etc. Sometimes, w h e n the p r i n c i p a l part is n o t notated i n the c o n t i n u o part, this procedure is a r e q u i r e m e n t of good p l a n n i n g , for p r i n c i p a l parts and others too, b u t n o t the c o n t i n u o , may leap a b r u p t l y f r o m the l o w to a h i g h register. I t can be seen f r o m these cases and others (which, a l t h o u g h they defy description, are soon discovered) that the accompanist must practice d i l i g e n t l y i n order finally to achieve mastery of the registers. I mean here m o r e t h a n the mere a b i l i t y to realize intervals f o r t h w i t h i n any register; I refer to the artistry w i t h w h i c h chords can be used i n order to reach a r e q u i r e d register, be i t what i t may. I n this connection, a few situations await illustrat i o n w h i c h expedite a change of register. For example, w h e n the is Presumably they play in unisón.
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27. I n accompaniments, just as m u c h as i n solos, a constant p l a y i n g o n the surface of the keys must be avoided; rather they should be depressed w i t h definite forcé. T h i s w i l l n o t occur unless the hands are raised somewhat. P r o v i d e d this is n o t done i n the manner of a woodchopper, the raised hands are n o t only n o t w r o n g , b u t necessary and good, i n that they p r o v i d e a simple way of i n d i cating the tempo to the other performers a n d make i t possible to strike the keys w i t h proper weight so that the tones w i l l sound clear, i n accord w i t h the rules of good performance. CLOSING
1.
CADENCES
1
M y readers w i l l have learned f r o m Part I of this Essay that
closing cadenees appear b o t h w i t h a n d w i t h o u t elaborations. I n 2
Quantz furnishes a historical note on the cadenza (Versuch einer Anweisung die Fióte traversiere zu spiefon, C h . X V , . ^[ 2): " T h e best Information that can be given on the origin of the cadenza is that some years before the cióse of the last century [the i7th] and during the first ten years of this one, the performer would add a short passage over a moving bass, and append a good trill, at the conclusión of a concertizing part. But between roughly the years 1710 and 1716 tht present type of cadenza, during which the bass pauses, became fashionable. T h e fermata or retard ad libitum in the middle of a piece may well be of earlier origin." T o this it should be added that the cadenza, as discussed both by Bach and by Quantz, is different from the later Mozartean type in that it is not compounded of the thematic material of the main body of the movement which it graces. 2 Cf. C h . I I , " T h e Elaboration of Fermate." 1
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A C C O M VA
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the present sed ion we shall instruct the accompanist i n the treatment of b o t h kinds. 2. O n the entrance of an elaborated cadenee, the accompanist, regardless of whether a fermata appears over the bass, holds the six-four c h o r d for a w h i l e and then pauses u n t i l the p r i n c i p a l part, at the end of its cadenza, plays a t r i l l or some other figure w h i c h requires r e s o l u t i o n of the c h o r d . A t this p o i n t the t r i a d is struck at the keyboard, the seventh being taken as a fifth part. F r o m adagio m o l t o to andante the six-four c h o r d and the succeeding t r i a d are arpeggiated u p w a r d either slowly or rather r a p i d l y acc o r d i n g to the requirements of tempo and affect. 3. W h e n the bass of a piece i n more t h a n t w o parts has a rest after the b e g i n n i n g of an elaborated cadenee, the accompanist strikes the t r i a d o n the d o m i n a n t at the conclusión of the cadenza, regardless of whether i t is announced by a t r i l l , or l a c k i n g this, some other figure, or a pianissimo, and then pauses again i f other rests f o l l o w . 4. A t times the bass enters i m m e d i a t e l y after the conclusión of a cadenza or a cadenee prolonged simply by means of an extended t r i l l . T h e entrance must be made w i t h firmness and an assured res u m p t i o n of the tempo as soon as i t is observed that the t r i l l i n the p r i n c i p a l part has been sufficiently extended and i f c o n t i n u e d may grow weak. T h e tones w h i c h the bass plays must be p e r f o r m e d strongly and l o u d l y , even i n the absence of an i n d i c a t i o n , so that the other performers w i l l grasp the restoration of the n o r m a l tempo. I f such bass notes are m a r k e d piano (a case w h i c h arises o n l y rarely) at least the first of the tones w h i c h precede the approaching bar should be struck l o u d l y , or some m o t i o n of the body should be made as a means of i n d i c a t i n g the división of the bar (Figure 438).
Figure 438
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5. Occasionally the p r i n c i p a l performer feels d i s i n c l i n e d to elabórate a cadenee, despite the presence of a fermata over the bass. Such being the case, he motions w i t h his head or body to i n f o r m his accompanist. T h e latter, h a v i n g observed this, substitutes for
A C C O M V A N 1 M E N T
381
(he long, sustained bass note ,1 series ol short notes similar to the previous ones, as a means oí m a i n t a i n i n g good order and l e t t i n g the other performers hear the u n i n t e n upted c o n t i n u a t i o n of the tempo (Figure 439). Figure 439
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6. W h e n , as i n Figure 440, a composer, u n m i n d f u l of elaborations, allows his bass to continué its m o t i o n t h r o u g h a closing cadenee, the accompanist holds the first g and repeats i t o n the t r i l l , after w h i c h he begins the f o l l o w i n g bar. T h i s case, w h i c h often oceurs i n allegros, requires an attentive ear. 3
Figure 440
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7. I n an a n d a n t i n o and allegretto, the six-four c h o r d and its succeeding t r i a d are arpeggiated u p w a r d q u i c k l y and h e l d . I n allegros, however, the six-four c h o r d and its bass are o f t e n q u i t t e d a b r u p t l y before the cadenza. T h e p r i n c i p a l p e r f o r m e r is thus granted the freedom i n fiery pieces to begin his elaborations after a very short h o l d and to i n t r o d u c e many r a p i d and other notes that are somewhat related to the preceding chord. T h i s need n o t always be the case, a l t h o u g h the six-four c h o r d should be kept as m u c h i n m i n d as possible at the b e g i n n i n g of elaborations. I f too n a r r o w l i m i t s were placed o n the elaborated cadenee, the abuse w o u l d be more unbearable t h a n i t is already, for even n o w we must p a t i e n t l y endure m u c h that cannot be remedied. Aside f r o m this case, i n s T h i s is the earlier type of cadenza described by Quantz (op. ext., Note 1). Bach's suggested modification is a means of bringing it up to date.
3
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ACCOMPANIM
A C C O M I' A N 1 M E N T
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w h i c h the p r i n c i p a l performer commences his elaborations i m mediately after the six-four c h o r d , he usually holds the fermata f o r a w h i l e i n order n o t to be too greatly restricted by the reverberati n g six-four c h o r d , a n d begins his cadenza only after the sound of the keyboard has almost e x p i r e d . T h i s execution is good, f u r t h e r , because the listener w i l l be p r o p e r l y prepared, the preceding sixf o u r c h o r d h a v i n g been w e l l impressed u p o n his ears. 8. I t is m o r e custom t h a n musical law that leads the c o n c l u d i n g t r i l l of cadenzas to be played on the fifth above the bass, or o n the sixth, occasionally, i n the m i n o r mode. Because the accompanist awaits this t r i l l and strikes his t r i a d d i r e c t l y o n its entrance, he must be extremely careful, i n the case of cadenzas that are fashioned out of a series of t r i l l s , to a v o i d c o m i n g i n w i t h his chord o n the entrance of a long t r i l l on the t h i r d . Such a t r i l l is usually a clear sign that the cadenza is n o t at a l l ended, a n d i f he plays the t r i a d p r e m a t u r e l y there is a danger that many subsequent tones w i l l appear that disagree w i t h i t . A competent p r i n c i p a l p e r f o r m e r w i l l make every effort i n such a s i t u a t i o n to shorten and conclude his part so that n o one w i l l hear ugly sounds. B u t accompanists should not provoke such a change. Should i t be a p e r f o r m e r s pleasure to conclude his cadenza w i t h a t r i l l o n the t h i r d , i t must also be his pleasure to w a i t for an accompanist w h o does n o t play his t r i a d immediately, b u t listens to the t r i l l f o r a m o m e n t to make certain that the cadenza is g o i n g t o be ended by i t . Some p r i n c i p a l performers take satisfaction o u t of p l a y i n g a l o n g t r i l l on the fifth, leadi n g the accompanist to enter w i t h his r e s o l u t i o n of the six-four chord, after w h i c h they continué w i t h elaborations w h i c h very often do n o t harmonize w i t h the r e s o l u t i o n . T h e accompanist should c o n t a i n himself i n the face of so b o l d a stroke, i n the assurance that n o justifiable c r i t i c i s m can be directed at h i m . A n d he should gainsay his leader neither his pleasure ñor the credit for an effective v a r i a n t . 9. I n the examples of F i g u r e 441, w h i c h are f o u n d at times, the t r i a d , i n a r a p i d tempo, is struck over the first note and retained u n t i l the last appears, at w h i c h p o i n t the h o l d occurs. T h e intermediate notes are played w i t h o u t any change i n the r i g h t hand, despite the signatures (a). I n a slow tempo the signatures are m o d i fied as indicated i n b a n d the h o l d s.tarts over d.* « T h e reason for the modificador! is that the first b in each example is extended
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10. H a l f cadenees, i n w h i c h there appears over the next to last note of a piece 7 6, or 7 6$, are n o longer as f r e q u e n t as they used to be. T h e chord of the seventh is h e l d u n t i l the p r i n c i p a l performer plays the r e s o l u t i o n , w h i c h is usually a l o n g t r i l l o n the sixth or t h i r d over the bass, o f t e n i n the wake of a few embellishments. T h e accompanist t h e n plays and sustains a c h o r d of the sixth w h i c h may be arpeggiated i n a slow tempo (Figure 442). Figure 442 6
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11. W h e n an aria or other piece i n the m a j o r mode changes to m i n o r i n the second section a n d a da capo follows, the final c h o r d of Figure 443
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beyond itsiwritten length arid thereby delays the entrance of a until the last quarter of the bar. Further, since this is a closing cadenee, the a is trilled beyond its written length, henee the hold starts on the last quarter. Cf. Arnold, op. ext., pp. 289 and 293, where this deviation is related to eighteenth-century practice.
jfy
A CC
O A i PAÑI
A <; C O
M E N T
the second section ai'ter the cadenza must be major even i n the absence oí an i n d i c a t i o n . S i m i l a r l y , care must be excrcised i n pieces i n the m a j o r mode, for composers sometimes approach the cadenza by way of the m i n o r of the o r i g i n a l tonality. A l t h o u g h the m a j o r sixth a n d seventh become m i n o r , the last chord, f o l l o w i n g the cadenza, must be major (Figure 4 4 3 ) . 5
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other ernbellishinenis are I I I I K K I I K <
12. I n F i g u r e 444 the signatures have been constructed w i t h o u t regard to an extended cadenee. T h e accompanist does n o t play the 6 5
prescribed progression, b u t realizes 4 3 over g instead of 4 3, once he has observed that the p r i n c i p a l part w i l l be prolonged, whether w i t h or w i t h o u t elaborations. A l l similar cases should be realized i n this manner, regardless of their signatures. Figure 444
6
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THE
3. W h e n the p r i n c i p a l p a r t broadens before entering a fermata, the accompanist must d o likewise. T h e notes i n question are m a r k e d w i t h crosses i n F i g u r e 446. Should the p r i n c i p a l p e r f o r m e r h o l d the a and t h e n i n t r o d u c e embellishments, the accompanist continúes u p to the /-sharp a n d remains o n i t and its respective c h o r d u n t i l he observes that the appoggiatura over the f o l l o w i n g bass note has appeared, w h e r e u p o n he plays g w i t h the left h a n d alone a n d at the conclusión of the embellishments repeats i t under its arpeggiated t r i a d . Figure 446
FERMATA
mm
1
1. W e k n o w f r o m Part I of this Essay that fermate are perf o r m e d i n various ways. N o t h i n g remains here b u t to show h o w the accompaniments are constructed. 2. T h e p r i n c i p a l p a r t may approach a fermata t h r o u g h a leap or an appoggiatura. I n b o t h cases the accompanist strikes the h e l d bass note w i t h his left h a n d alone and, at the end of the fermata, repeats i t , arpeggiating the appropriate h a r m o n y above i t . T h e p r i n c i p a l p a r t is thereby granted a l l possible freedom to execute the h o l d i n any desired manner. T h u s , i n Example a, F i g u r e 445, an artistic increase and decrease i n the v o l u m e of the t r i l l s or h e l d notes w i l l n o t be obscured by the sound of a chord, a n d i n b there w i l l be n o interference w i t h the execution of the appoggiatura. I f 2
5 I.e., the six-four chord and the seventh of the chord of the seventh on /-sharp. r T h i s is the "retard ad libitum" mentioned by Quantz (cf. C h . V I , "Closing Cadenees," Note 1). T h e present section treatS cadenzas that oceur in the course of a piece and is thereby distinguished from the preceding section, which discusses only final cadenzas. 2 Cf. C h . I I , " T h e Elaboration of Fermate."
4. W i t h regard to h o l d i n g a n d c o n t i n u i n g i n tempo at fermate, the accompanist must f o l l o w exactly the precepts that have been stated i n Part I of this Essay.? T h e p r i m a r y concern is that the p l a i n notes as w e l l as the embellishments of the p r i n c i p a l part, w h i c h precede the fermata, harmonize p r o p e r l y a n d enter simultaneously w i t h the bass a n d its chords. 5. Fermate w i t h o u t appoggiaturas or elaborations, and passages i n w h i c h the h o l d is placed over a succeeding rest, are realized f o r t h w i t h and p l a i n l y . 6. Figure 447, s i m i l a r to F i g u r e 433, is sometimes p e r f o r m e d i n the manner of a fermata, even t h o u g h none is i n d i c a t e d . For s Cf. Note 2 above.
j86
A C C O M I A N I M I: N I
A C C O M I' A N 1 M /<. N T
reasons of affect, (lie pt inc i pal part, d e v i a t i n g from a strict beat, moves q u i t e slowly f r o m the appoggiatura c i n t o b. T h i s note is held, the sixteenth rest is extended, and only therealter is the tempo resumed. T h e accompanist must f o l l o w this closely and, above a l l else, a v o i d a premature resolution of the fifth over the t h i r d f , for this i n t e r v a l is the same as the appoggiatura. T h e resolution appears on the d i v i d e d beat as part of a slowly arpeggiated c h o r d of the second, i m m e d i a t e l y after the p r i n c i p a l p a r t has taken b.
he accompanies to w i n
1
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REFINEMENTS
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1. I t is w o r t h repeating that the refinements of accompaniment need n o t consist of i n a p p r o p r i a t e r a p i d figuration a n d embellishments, w i t h w h i c h some accompanists distort the melody of the bass. W e have already shown q u i t e different ways by w h i c h the accompanist may w i n acclaim, a n d we shall continué here i n a similar vein.
4. T o accompany w i t h discretion means also to make adjustments to others' errors a n d to give way before t h e m . T h i s may oceur out of politeness or necessity, as, for example, i n the usual performance of a large piece whose numerous players are n o t of u n i f o r m a b i l i t y . T h e best leader must give way i n such a s i t u a t i o n , a n d so must the accompanist.
2. M u c h w i l l appear here of w h i c h the accompanist s h o u l d n o t avail himself u n t i l his insight has progressed to the p o i n t where he knows precisely w h e n and where refinements may be i n t r o d u c e d . H e should n o t ascend higher t h a n his wings w i l l carry h i m . 3. T h e most usual expression that is used to describe a' good accompanist is, " H e accompanies w i t h d i s c r e t i o n . " Such praise has an inclusive m e a n i n g ; i t amounts to saying that the accompanist can discrimínate a n d henee fashion his setting according to the nat u r e of a piece, the n u m b e r of its parts, the other performers, especially the p r i n c i p a l performer, the instruments, voices, place, audience, etc. W i t h extreme modesty he tries to assist those w h o m
5. T o accompany w i t h discretion means moreover to make modifications i n accord w i t h certain liberties that are taken at times by the p r i n c i p a l performer, w h o , w i t h o u t "its b e i n g actually r e q u i r e d , may depart somewhat f r o m the w r i t t e n notes i n i n t r o d u c i n g embellishments and variants. A k n o w i n g p r i n c i p a l perf o r m e r w i l l do this w h e n he knows that he has an able accompanist, and thus abandon himself w i t h complete freedom to the affect of a piece. Such liberties spring n o t f r o m f a l t e r i n g u n c e r t a i n t y b u t f r o m a r a t i o n a l sovereignty and p e r t a i n only to details w h i c h exact f r o m the accompanist n o t h i n g b u t attentiveness. I n Figure 448, Example a, the p r i n c i p a l performer i n i n t r o d u c i n g embellishments sometimes substitutes one of the i l l u s t r a t e d series of signatures f o r the other. T h e accompanist must m o d i f y his h a r m o n y accordingly. I n a d d i t i o n to such substitutions, the accompanist must be attentive a n d give way w h e n embellishments, i n t r o d u c e d i n t o the p r i n -
i Von gewissen Zierlichkeiten des Accompagnements. Much valuable supplementary material is contained in C h . I V of Arnold, op. cit. I n addition to generous excerpts from Bach, Arnold includes material from Heirtichen (with whom Bach disagrees in certain respeets), Geminiani, and Mattheson, and a reference to Saint L a m b e n as probably the first to discuss such matters as are here treated.
j88
A
C C O M I> A N I M
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A C C O M I' A N I M 1: N T
cipal part, lead to a latcr entrance of chords than actually denoted by the signatures (b):
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Figure 448
6. O u t s t a n d i n g among the refinements of accompaniment is parallel m o t i o n i n thirds w i t h the bass. T h e r i g h t h a n d here never restriets itself to a u n i f o r m l y f u l l setting. A consistent f o u r - p a r t accompaniment is rare, o c e u r r i n g o n l y i n connection w i t h slow notes (Figure 449, Example a), for thirds i n a f o u r - p a r t setting cann o t be clearly b r o u g h t o u t at a r a p i d tempo. Preferable are threepart and, i n most cases, two-part accompaniments, the latter consisting simply of a bass p a r t d u p l i c a t e d i n the t h i r d above. F r o m the examples of Figure 449, i t can be seen that a stepwise bass and one that leaps i n thirds are most convenient for this k i n d of setting. T h e accompanist often plays t h i r d s i n order to avoid a bad progression. Some transitional passages can also be accompanied by thirds alone (b). T h e second accompaniment under b must be changed w h e n i t appears i n the m i n o r mode (c): 2
Figure 449
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2 T h i s paragraph and those that follow, through *| 8, treat in detail a kind of refinement which is discussed in a textbook used by J . S . Bach, F. E . Niedt's A Í U Í I calische Handleitung, 1700 (cf. Arnold, op. cit., pp. 213 ff., especially pp. 229-230). J . S . Bach's copy of the work is reprinted in The Bach Reader, W . W . Norton and Co., 1945. Examples of thirds used in imitative passages appear in Figuré 458 here.
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A C C O M /' A N I M E N T
ACCOMPANIMENT
391
hand against the bass are best when the p r i n c i p a l part has a held note (Figure 450, Example «), a repeated note (£>), slower notes (c), or notes w h i c h are at least again as last as those i n the bass ( d ) . I n the last case the precautions which are always f o l l o w e d where thirds are used must be d o u b l e d i n order to avoid an ugly clash (e) or forb i d d e n progressions (/).
7. W h e n the bass of a two-part piece is so constructed that i t m i g h t be accompanied i n thirds by the r i g h t hand, b u t the p r i n c i p a l part has these thirds or some other i n t e r v a l w h i c h moves i n the same r h y t h m as the bass, the chords should be played simply a n d the thirds abandoned. I n the first case the accompaniment w o u l d duplícate the notes of the p r i n c i p a l part, a n d i n the second case the melody of b o t h p r i n c i p a l p a r t a n d bass w o u l d be obscured by an i n t e r p o l a t e d new m o t i o n . Consequently, parallel thirds i n the r i g h t Figure 450 a. -o-
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8. Sometimes sixths may intersperse w i t h successions of thirds (Figure 451, E x a m p l e a ) . M a n y errors can be e l i m i n a t e d by such an interchanging of the tones of the m i d d l e voice w i t h those of a passi n g bass (b). I n c w i t h its presto, the first note should n o t be weighted d o w n w i t h a f u l l c h o r d ; rather the accompaniment should be constructed i n the manner of the i l l u s t r a t i o n that succeeds the example. I t is easy to p e r f o r m , a n d its speed makes i t sound f u l l e r t h a n i t really is. T h e same applies to d. I n e, where the bass leaps d o w n a t h i r d f r o m a note w i t h the signature 6, a n d t h e n back again, a l l three bass notes may be set w i t h thirds, or the t h i r d over the first note may be h e l d a n d 6 3 6 taken i n the m i d d l e part. T h e illustrations u n d e r / are n o t e w o r t h y i n that various r h y t h m s , suspensions, and h e l d notes appear i n the p r i n c i p a l part. I n g, a u n i f o r m fourpart setting over the r a p i d bass wOuld be difncult to p e r f o r m ; consequently the setting should agree w i t h the succeeding i l l u s t r a t i o n , w h i c h , moreover, can be conquered by average fingers. I t can be seen f r o m this i l l u s t r a t i o n h o w easy such r a p i d basses can be made by the use of thirds a n d sixths and, above a l l , h e l d tones. These latter are good f o r several reasons; they connect chords, p r o m o t e the singing style and, at the same time, are easier and less of a risk t h a n repeated attacks, w h i c h , i n a four-part setting at a r a p i d pace, are almost impossible a n d ineffective. E x a m p l e h illustrates the use of thirds i n a series of chords of the seventh. Since the accompaniment is i n f o u r parts, the tempo must n o t be very r a p i d . I n i the contrary m o t i o n of the m i d d l e part circumvents octaves; henee i t is unnecessary to leap to the fifth of the second chord. I n j , thirds may be played o n every bass note. Because of the ch'romatic change, m o t i o n i n thirds cannot be used i n k; henee, p l a i n chords are played or use is made of opposite m o t i o n to the bass, starting f r o m the first t h i r d . U n d e r l a n d m a series of illustrations appear i n w h i c h the r i g h t h a n d moves i n a graceful relationship w i t h the bass. Several other examples can be deduced f r o m those cited i n n, i n w h i c h the r i g h t hand plays lower thirds or sixths t h r o u g h o u t , as illustrated. T h i s
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OMPANIMENT
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9. A n elegant accompaniment that is n o t restricted to a u n i f o r m n u m b e r of parts may express certain leaps at times i n the r i g h t hand. These often provide variety. T h e most frequent o p p o r t u n i ties to i n d u l g e this l i b e r t y occur i n passages w h i c h allow for i m i t a t i o n (Figure 452, Example a) or w h i c h c o n t a i n h e l d notes (b) or repeated figuration w i t h (c) and w i t h o u t transposition ( d ) . I n the case of these last t w o examples, the justifiable demand of the ear for v a r i a t i o n , w h i c h is caused by the excessive u n i f o r m i t y of the figurat i o n , can be met very easily and w i t h great freedom by an understanding accompanist. I t can be observed generally that those passages w h i c h contain only slight changes i n themselves are most adaptable to v a r i a t i o n i n the realization of the chords. B u t even though pieces w h i c h contain such passages can be aided by an elegant, free accompaniment, caution must be exercised to avoid excessive and u n t i m e l y employment of such nuances. Figure 452
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10. D i v i d e d accompaniment, w h i c h can be mastered by p l a y i n g good keyboard music, is o f t e n one of the best refinements. I n the preceding chapter a t t e n t i o n was directed to the occasional necessity of using i t . Aside f r o m such cases, i t is w e l l k n o w n that open h a r m o n y is o f t e n extremely effective as a contrast to cióse h a r m o n y . For instance, we can see i n Figure 453, Example a, that the usual construction of the chords sounds disagreeable because of the excessive u n i f o r m i t y of the passage, and, henee, that i t is better to use another d i s t r i b u t i o n of the c h o r d of the second, b u t best to take i t i n a d i v i d e d accompaniment (b). A repeated passage can be made attractive by the a l t e r n a t i o n of u n d i v i d e d a n d d i v i d e d accompaniments (c). I n d the sixths i n the r i g h t h a n d come t h r o u g h better and the melodic progression is made clearer w h e n the l o w e r m i d d l e part, w h i c h expresses n o melody b u t simply completes the setting, is played by the left h a n d i n a r h y t h m s i m i l a r to that of the bass.
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11. T h e filling o u t of slow notes is one of the refinements of accompaniment. W h e n the tempo is slow, turns may be inserted over the dots i n F i g u r e 454, Example a. W e r e this o r n a m e n t played i n the bass also, the effect w o u l d be unclear. Because the tone of a harpsichord does n o t always last l o n g enough, a n d slow or sustained notes usually sound a b i t empty, an accompaniment that filis o u t
4<><>
A C C O AI PANIAÍ
the d o t t e d notes may be ehosen for /; i n a slow lempo. T h i s example illustrates a connecting passage d u r i n g which the p r i n c i p a l part pauses, thus r e q u i r i n g the accompanist to find something that w i l l prevent a feeling of emptiness. B u t w h e n the p r i n c i p a l part leads i n t o the f o l l o w i n g section, p l a y i n g thirds or such against the bass, the accompaniment should r e m a i n simple. Aside f r o m this, howFigure 454
A C (,' O M f A N I Ai E N T
E N I
401
ever, transitional passages ptovide e n l i c i n g challenges to an accompanist's inventiveness. Itui his i n v e n t i o n must be i n accord w i t h the affect and contení oí a piece. So m u c h the better i f part of a preceding phrase can be r e i n t r o d u c e d , even i f this requires a m o d i f i c a t i o n of the bass and a revisión of the transition. R a t i o n a l sovereignty must be granted to the accompanist i n this case, so l o n g as the p r i n c i p a l part is not thereby hampered. I n c either of the appended accompaniments may be employed to fill o u t , b u t the tempo of the second must be slower t h a n that of the first. T h e p r i n cipal part may have a h e l d note or a rest. Should i t be desired to let the p r i n c i p a l part stand o u t i n d (whence the accompanist w o u l d avoid a d u p l i c a t i o n of the tones w h i c h enter after the bass), the acc o m p a n i m e n t may be either of the settings u n d e r 1. B u t i f the p r i n cipal p e r f o r m e r varies this example by h o l d i n g the t h i r d above the bass t h r o u g h o u t the bar (2), w i t h or w i t h o u t a t r i l l , the accompanim e n t u n d e r 3 should be chosen. 3
12. I n conclusión, we shall examine some signatures that are used f o r purposes of i n s t r u c t i o n i n refinements (Figure 455). T h e y are f o u n d singly and at times i n c o m b i n a t i o n . T h e y are realized after the entrance of the bass or o n passing tones and illustrate a decorative progression of one or more parts. T h e passing dissonances that are created by t h e m do n o t r e q u i r e r e s o l u t i o n . T h e r e m a i n i n g tones of the preceding c h o r d are held. A l l of the followi n g examples take a four-part accompaniment except the last four, w h i c h are realized i n three parts. T h e signatures that are based o n the decorative progressions appear below the notes; the usual signatures have been placed above. Great care must be taken i n the use of these h a r m o n i c nuances i n order to avoid a h a m p e r i n g or obscuring of the p r i n c i p a l part. Figure 455 «
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T h i s sentence appeared in the first ed. as a footnote.
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A C C O M r A N 1 M E N
T
IMITATION
1. I m i t a t i o n is often used i n passages w h i c h are varied o n their r e p e t i t i o n . T h e accompanist must participate i n the v a r i a t i o n so
A C C O M I' A N l M E N I
// C C O M r .1 N I M E N T
that his i m i t a d o r ] w i l l remain clear and lose nonc ol its attractiveness. T h e accompaniment must be patterned as closely as possible after the leading part (Figure 456).
he must deny himself the delighls ol variation and play the notes simply. I n Figure \ the bass leads the i m i t a t i o n . 3. I f the accompanist has an incompetent leader w h o precedes h i m w i t h inept or even w r o n g variations, he must choose the safest way o u t and, again, play the notes only as w r i t t e o . H e thus frees himself of c o m p l i c i t y , k n o w i n g w e l l that i t suffices to hear a poor v a r i a t i o n b u t once.
4
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Figure 456 Andante
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2. I n these i m i t a t i o n s leader and f o l l o w e r must stand i n cióse r a p p o r t and be f a m i l i a r w i t h each other's powers and inventiveness. Otherwise m u c h can be spoiled i n performance. Especially i m p o r t a n t is this to an accompanist w h o must lead an i m i t a t i o n , for he must k n o w h o w dependable his f o l l o w e r is i n the ways of v a r i a t i o n . I f he lacks f u l l confidence i n the a b i l i t y of the latter Figure 457 Andante
405
-
4. B u t i f the fellow-performer is sufficiently able and i n t e l l i g e n t , the accompanist may rouse h i m , as always by a "good accompaniment, b u t especially by his varied i m i t a t i o n s . A n d his inventive leading or correct i m i t a t i n g may spark the fire that puts the other i n a disposition w h i c h he may have lacked previously. However, the accompanist w h o leads i n a v a r i a t i o n must a l l o w his f o l l o w e r sufficient freedom afterwards to imítate correctly. T h e b r i l l i a n t and the p l a i n must be j u d i c i o u s l y alternated, the procedure b e i n g i n general as indicated i n the last paragraph of Part I of this Essay. T h e accompanist w h o leads an i m i t a t i o n must pay cióse a t t e n t i o n to the k i n d of notes, i f any, that appear simultaneously i n the p r i n c i p a l part, so that he may fashion a v a r i a t i o n w h i c h is sufficiently d i f ferent f r o m i t . A n d at the conclusión of his v a r i a t i o n he must ret u r n to a simple accompaniment, so that the p r i n c i p a l part's i m i tation, especially i f i t is made of many notes, w i l l be distinct. I t is just as w r o n g for b o t h to be noisy at the same t i m e as i t is for b o t h to f a l l asleep. Henee, they should n o t play o u t of either ignorance or malice. I n the first case they w i l l r u i n each other's p a r t u n i n tentionally; i n the second, i n t e n t i o n a l l y . 5. T h e keyboardist w h o plays i n an ensemble w i t h d u p l i c a t i n g bass instruments must w i t h h o l d his v a r y i n g i f he is u n c e r t a i n that the others w i l l f o l l o w h i m . 6. I n some passages w h i c h may be accompanied i n thirds, i t is possible to have the m i d d l e part particípate i n a varied i m i t a t i o n w h i l e i t moves i n thirds w i t h the bass (Figure 458, Example a ) . W h e n the p r i n c i p a l performer abandons the simple setting of b 1
Note that the preceding paragraphs have dealt exclusively with an imitation specified by the composer, the point of the discussion being the ways in which accompanist and soloist can work hand in hand to vary the prescribed relationships. In «flf 6-7, however, the discussion centers on the ways in which middle and upper parts may be constructed so that they form voluntary imitations of the principal part. Figure 452 provides an additional example. Heinichen's discussion and illustration of such techniques appear in Arnold, op. cit., pp. 383 ff. 1
4o6
ACCOMPANIMENT
i n favor of c, neither the bass ñor the i n n e r part can imítate exactly. I t suffices i n such a case to contrive an i m i t a t i o n whose figuration is r h y t h m i c a l l y . the same as that of the leading part w h i l e the bass retains its o r i g i n a l , or slightly varied, tones.
A C C O M P A N I M E N T
4"7
figure 439"
Figure 458
SOME
7. Those w h o have a good knowledge of voice leading may also substitute f o r the usual accompaniment a m i d d l e part i n decorative i m i t a t i o n of the p r i n c i p a l part. Passages w h i c h express successive chords of the seventh or six-five chords over a leaping bass l e n d themselves best to this purpose. T h e tempo, however, must n o t be very r a p i d , for i f i t is there w i l l be a loss of clarity (Figure 459)-
PRECAUTIONS
OF
ACCOMPANIMENT
1. Because most of this subject matter has already been treated i n various appropriate places, there r e m a i n only a few a d d i t i o n a l observations o n certain cases w h i c h cali for caution o n the part of the accompanist. 2 T h e meaning of these examples is not immédiately apparent. Note that each long slur endoses three identical bass parts, but that each upper part is different from the others. T h e first two bars under each slur represent a bass and principal part as written. T h e next two show the soloist's variation, and the last two the accompanist's imitative accompaniment. I n the last two bars under each slur, the first f in the upper part is the cued-in initial tone of the soloist. Henee it is not to be played by the accompanist. T h e figure was apparently misunderstood by Arnold (cf. Arnold, op. cit., p. 387).
A C CO
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I M li N T
2. W h e n the p r i n c i p a l part i n Figure \(¡o, Example a, lies above the accompaniment, 7 (i should be taken over b instead of 6 alone i n order to avoid fifths. I n b o m i t the sixth above e and play instead
ing t r i l l . T h e accompanist t l i e t c l o i e ceases at the same t i m e as the p r i n c i p a l performer." Figure 460
better
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9 8
9 f o l l o w e d by 8 over the d o t . I n c the sixth over a is also o m i t t e d , a 3
b.
6
d o u b l e d t h i r d and fifth b e i n g taken i n its place. I n b o t h examples, b and c, fifths w o u l d be created i f the accompaniment as d i s t r i b u t e d i n the example f o l l o w e d the signatures. A similar example appears i n F i g u r e 380. A l l progressions that c o n t a i n successive fo urths are dangerous w h e n the d i s t r i b u t i o n of tones is changed. O f course, the best a n d safest d i s t r i b u t i o n should be taken whenever possible; b u t at times this cannot be done. Such b e i n g the case, the accompanist should t r y to remove the danger and reach another d i s t r i b u t i o n . T h i s may be done by d o u b l i n g a consonant tone i n order to créate a fifth part, or by repeating the c h o r d i f the bass note is l o n g or comprises one or more passing tones. B u t i f none of these expedients can be employed, the signature that causes the t r o u b l e must be o m i t t e d . I n d i t is easy to repeat and change the disposition of the c h o r d over the figuration of the bass, i f r e q u i r e d , as a means of averting an error. I n e the second accompaniment is preferable to the first w h e n the tones of the p r i n c i p a l part are n o t d u p l i c a t e d i n the u p p e r part. I f the first accompaniment lies above the p r i n cipal part, w i t h w h i c h i t moves i n parallel m o t i o n , there w i l l be fifths. I n /, where dissonances are resolved by the b r o k e n bass, the accompaniment must be m o d i f i e d i n order to avoid ugly octaves o n the d i v i d e d beats. Henee the dissonances i n the signature may be o m i t t e d w i t h o u t scruple. I n g the extensión is o m i t t e d w h i c h is o f t e n f o u n d i n the bass at the end of pieces after a p r o l o n g e d clos1
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1 It is to be gathered from this statement that the context of these examples is such that the accompanist finds himself obliged to play the opening chords in the notated distribution. T h e Bibliothek der schónen Wissenschaften . . . (1763), unwilling to make this assumption, writes of example b: "Would not this example be just as melodic if the octave of the first bass note were played by the right hand in the uppermost part, to be followed by c, the sixth of the bass e, and then b over g? T h e other two parts which are the upper parts of the example would retain their places as middle parts. T h e harmony would be fuller and more agreeable without an unnecessary doubling of the third [over e]." I n fact the same holds true when the first note in the top part is /. Obviously, Bach knew this. 2 There will also be fifths if the second accompaniment lies above the principal part, for they are caused by the accompanying part that moves from b to a, present in both illustrations. I n any event, J . S. Bach was not quite so fastidious as his son in the matter of superficial fifths. See, for example, the fifths between bass and soprano in the chórale, Jesu, der du selbst so wohl, bar 15, caused by the action of a changing note in the bass.
3. sonus
Resolution of a dissonance can be disregarded w h e n uniis prescribed, since the unisón must be played by b o t h hands.
3 T h i s refers to the arpeggio in sixteenth notes. It is to be assumed that the reason for this abridgment is the omission of the customary trill or other elaboration in the principal part.
io
4
ACCOMPA
A C C O M P A N 1 M E N T
N I M E N T
A practiced ear w i l l replace the suppressed resolution w i t h an imaginary one. 4. I t is rather usual, though not exactly necessary, that the beginnings of pieces should sound confused. I n the interests of orderliness a n d a precise start, i t is customary for even the most experienced performers to show one another the k i n d of notes each has i n the o p e n i n g bars of a piece. B u t because there is o f t e n n o opp o r t u n i t y to examine parts for this purpose, a n d because a single piece may contain many kinds of tempo, i t w o u l d be good to nótate at least the b e g i n n i n g of the p r i n c i p a l p a r t i n small notes over the bass. T h i s precaution m i g h t also be extended to passages w h i c h succeed general rests a n d fermate, especially w h e n the bass does not resume simultaneously w i t h the p r i n c i p a l part. THE
NEED
FOR FIGURED
BASSES
1
1. W e learned i n the I n t r o d u c t i o n to Part I I that even w h e n a bass is figured as i t should be, a good accompaniment comprises many a d d i t i o n a l factors. T h i s alone exposes the ridiculousness of the d e m a n d that accompaniments be realized f r o m u n f i g u r e d basses, and makes evident the i m p o s s i b i l i t y of fashioning even a passable accompaniment. I n recent times there has been a m a r k e d tendency to nótate short, essential ornaments a n d signs that p e r t a i n to good performance. I f o n l y there were a corresponding decrease i n u n figured basses! I f only keyboardists were less w i l l i n g to do everyt h i n g demanded of t h e m ! O t h e r ripienists can c o m p l a i n w h e n they are given an incorrectly w r i t t e n part; b u t accompanists must be satisfied w i t h a part that is either u n f i g u r e d or so sparsely figured that the signatures appear o n l y over those notes whose chords are self-evident. I n short: I t is u n j u s t to expect an accompanist to learn t h o r o u g h bass b o t h w i t h a n d w i t h o u t figures. i T h i s section expresses strong disagreement with attempts by many theorists to formúlate rules for the reading of unfigured basses. Many of these writings were superficial, transitory affairs that were forgotten almost as soon as they appeared, but others carne from the principal theorists of the thorough-bass period, starting with Viadana and continuing later with Francesco Gasparini (L'Armónico pratico al címbalo, 1708), Rameau (Traite de l'harmonie reduite á ses principes naturels, 172a), and Heinichen (Der General Bass, 1728). These are discussed by Arnold in his Art of Accompaniment from a Thorough-Bass, pp. 65 ff. and 265 ff. T o the list may be added the dissident Bach on his own admission (f 2 here) and reluctant promise (Ch. I V , "Intervals and their Signatures," f f 2-3), largely unfulfilled. Marpurg (op. cit., April 29, 1749) reached conclusions similar to Bach's in answering an inquiry from a young lady.
411
2. Some have gone to gtrat t r o u b l e to systematize the realizat i o n of u n f i g u r e d basses, and I cannot deny that I have u n d e r t a k e n s i m i l a r experiments. B u t the more I have t h o u g h t about i t , the richer have I f o u n d harmonic usages. A n d these are increasing to such an extent, what w i t h the fineness of o u r tastes, that i t is impossible to formúlate h a r d and fast rules w h i c h w i l l at once shackle free creations a n d enable one to surmise the o p t i o n a l twists of a composer to w h o m b o u n t i f u l n a t u r e has granted a glimpse of the i n e x h a u s t i b i l i t y of the art. Even g r a n t i n g that some f o r m u l a t i n g is possible, are we to rack o u r memories i n l e a r n i n g rules w h i c h by their nature must be numerous a n d n o t always valid? A n d h a v i n g finally learned the given rules, are we t h e n to squander endless t i m e and energy o n the mastering of exceptions? Even i f we d i d a l l of this, the results w o u l d be of only small valué, f o r the ablest musirían can err w h e n presented w i t h o n l y one alternative, let alone several. 3. A n d so i t remains i r r e f u t a b l e that a correctly figured bass is an indispensable a d j u n c t to the good performance of a piece'. T h e composer w h o wants his works to be played as w e l l as possible must take every step to reach this end. H i s n o t a t i o n must e x p l a i n everyt h i n g w i t h such c l a r i t y that each detail w i l l be understood. T h i s is the very least t h a t can be demanded, f o r we have stated repeatedly that exact i n d i c a t i o n of an accompaniment includes something m o r e t h a n signatures. W e have even shown that there is s t i l l a lack of signs f o r certain situations. H e r e we have clear p r o o f that an acc o m p a n i m e n t made f r o m n o indications at a l l can only be poor. W e already have signatures; let us use t h e m a n d t o r t u r e neither ourselves i n the f o r m u l a t i o n of inadequate rules, ñor o u r students i n the l e a r n i n g of t h e m . Those w h o are too i n d o l e n t or i g n o r a n t to figure their basses as r e q u i r e d f o r a good effect s h o u l d let an able accompanist do i t f o r t h e m . 4. O f course signatures are n o t needed f o r every smallest detail, and a figured bass should n o t be made i n t o a solo. Nevertheless, n o t h i n g that is necessary a n d essential should be overlooked. M a n y are too sparing i n t h e i r use of figures because they w a n t to a v o i d an o v e r t a x i n g of the accompanist's eyes. B u t an experienced accompanist can easily sean basses w h i c h c o n t a i n m o r e indications t h a n are usually given, for, l o n g before his study of accompaniment, he h a d to read i n t w o staves c o n t a i n i n g many notes, accidentáis, a n d
4¡2
A C C O M /' A N l M E N T
ACCOMPANIMENT
other superimposed characters. W h i c h is easici l o read, this latter w i t h its web of attendant difliculties, or three and, at the most, four figures, one over the other, w h i c h he must learn anyway i n studyi n g t h o r o u g h bass, w h i c h arise constantly i n active accompanying, a n d w h i c h , consequently, cannot be as fearf ul as many an i n d o l e n t accompanist seems to believe?
413
8. Passing iones appeai i n slrpwisc and leaping contexts, a n d are often rather r a p i d . W h e n ihcy occur singly they are not i n d i cated. O f the stepwise and leaping notes i n Example a, F i g u r e 463, those o n the d i v i d e d beats are passing. T h i s r u l e is acceptable: Stepwise passing tones may not be f o l l o w e d by a leap, a n d the octave of a disjunct passing tone must lie previously i n the r i g h t h a n d . T h u s , each note i n b is accompanied, f o r these conditions are n o t present. W h e n a bass note, instead of m o v i n g d o w n a second ( c ) , leaps to the seventh above ( d ) , the f o l l o w i n g tone may be passing, even t h o u g h its octave is n o t previously played. Leaps of an octave are n o t regarded here as leaps b u t as repetitions. W h e n passing tones appear i n succession, the use of a dash is j u s t as necessary as w h e n slow notes pass (e). 2
3
PASSING TONES
1
1. I t is as necessary to indícate passing tones i n most cases as i t is to indícate figures. B u t since figurists do n o t proceed w i t h adequate care, the accompanist must learn to pick o u t passing tones (Figure 4 6 1 , Example a) t h r o u g h constant practice and attentive listening. T h e y can be surmised at times f r o m a preceding c h o r d w h i c h contains the bass notes that f o l l o w i t (b), and f r o m a r e q u i r e d preparation a n d r e s o l u t i o n (a a n d c ) . Figure 461 a.
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2. I n d e ed , there are rules f o r the r e c o g n i t i o n of passing tones, b u t they are n o t always dependable. Because these rules d o n o t provide a sol i d f o u n d a t i o n , because passing tones cannot always be surmised, and, finally, because i t is generally acknowledged that there are far more poor t h a n good accompanists, i t w o u l d be safest to provide exact indications; i n fact, too many rather t h a n too few. A good accompanist is n o t confused by an a d d i t i o n a l dash, a n d beginners are m u c h helped by i t . I t is a t r i b u t e to the French to assert that they desígnate passing tones w i t h great diligence. Usually, they employ a diagonal stroke (Figure 462). Figure 462
4
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1 Von durchgehenden Noten. Cf. C h . I V , "Intervals and their Signatures," f f 69 ff. and Note 9. A n exhaustive study of the accompaniment to passing tones in the bass appears in Arnold, op. cit., Chs. X V I I I and X I X . C h , X V I I I is concerned especially with Heinichen's rules to which Bach is alluding at the beginning of f 2 here.
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4. T h e f o l l o w i n g bass notes usually take a c h o r d apiece; half notes i n an alia breve a n d a fast three-two whose most r a p i d notes are e i g h t h ; quarter notes i n a slow three-two, i n the so-called simple meters f r o m allegretto ( w i t h n o t h i n g faster t h a n thirty-seconds) to T h e term "passing tone," i n the general sense in which it is used here, includes the neighboring note, complete and incomplete. T h e incomplete neighbor (échappée) or the incomplete double neighbor would require an extensión of the rule here stated, for it is precisely a "passing tone" that is followed by leap. Examples from Heinichen are quoted by Arnold in the reference given in Note i here. For the rest, it is of interest to note that the neighbor appears only once in the present section (Figure 464, example c) without its being mentioned in the text. However, it is clear that Bach included this element among his "passing tones." For an example see Figure 280, first illustration, and the accompanying text. s I n other words, the leap must be to a tone in the prevailing chord. * Bach included this clause because he had just stated that the octave of a disjunct passing tone must lie previously in the right hand. T h e case under discussion.here is, of course, not to be regarded as a type of disjunct passing tone, but as a special kind of conjunct passing tone. 2
4
i
A C C O M I' A N I M I; N T
ACCOMPANIMENT
4
presto, a n d i n three-four and six-four meters i n r a p i d tempos; eighth notes i n a f o u r - f o u r meter f r o m adagio to allegretto, and i n a slow three-eight, six-eight, nine-eight, twelve-eight, three-four, a n d six-four. W h e n these latter meters appear i n a r a p i d tempo every g r o u p of three eighth or quarter notes has its o w n accompaniment. 5. Notes that seem to take an accompaniment, b u t are i n fact passing, must, of a l l notes, carry a dash. Notes that l o o k l i k e passi n g tones, b u t are i n fact accompanied, must be figured. Añ incorrect i n d i c a t i o n of the f o r m e r is a m u c h greater risk t h a n the latter. 6. T h e use of thirds alone to accompany passing tones has been discussed i n the section "Some Refinements of A c c o m p a n i m e n t . " 7. Various a d d i t i o n a l remarks r e m a i n to be made o n the accomp a n i m e n t to repeated tones. These remarks w i l l be based o n tempos as they are p e r f o r m e d here, where adagio is far slower and allegro far faster t h a n is customary elsewhere. 8. F r o m the slowest tempo to largo, quarter notes a n d greater are played by b o t h hands a n d h e l d f u l l y . E i g h t h notes are played s i m i l a r l y b u t h e l d f o r only half of t h e i r length. A l l sixteenths are played íby the left h a n d and, i n the absence oí a staccato sign, are f u l l y h e l d . T h e r i g h t h a n d accompanies these sixteenths a n d faster notes w i t h eighths w h i c h are h e l d for half of t h e i r l e n g t h , prov i d e d that the expression does n o t r e q u i r e a different execution. W h e n the bass has a c o n t i n u a l flow or, at least, great numbers of thirty-seconds or faster notes, the left h a n d may o m i t one or m o r e notes, p r o v i d e d that there is an accompanying bass i n s t r u m e n t . I f there is none, the keyboardist alone must s u b m i t to the tortures of this t r e m b l i n g m o t i o n . T h e r i g h t h a n d comes i n o n only the first note of every t r i p l e t of one or t w o beams. T h e same procedure holds for each g r o u p of three e i g h t h notes or the equivalent i n threeeight, six-eight, nine-eight, a n d twelve-eight. 5
6
7
9. F r o m larghetto a n d andante to allegro the r i g h t h a n d plays f u l l y h e l d quarters w h e n the bass expresses quarters, eighths, faster notes, a n d triplets. Longer notes are f u l l y h e l d by b o t h hands. 10. I n a siciliana, be i t fast or slow, quarter notes a n d longer are played a n d h e l d by b o t h hands. T h e single eighths w h i c h f o l low the quarters are also accompanied by the r i g h t h a n d . I n a l l M n f f 6-8. • I.e., i n Berlín. i As discussed at length in Pt. I , Introduction, f ga.
i$
4
other cases, regardless of the ( onsiriu t i o n of the bass, the r i g h t hand plays only once for each g r o u p ol l i n c e eighth notes or the equivalent. 11. F r o m allegro assai to prest issimo the r i g h t h a n d plays either f u l l y h e l d half bars or hall-held quarters to an eighth-note bass. Quarters are struck by both hands and h e l d for half their l e n g t h , and longer notes are f u l l y held. For the rest, I refer the reader to Paragraph ga of the I n t r o d u c t i o n to Part I . 12. These remarks h o l d o n l y i n so far as a change is n o t called for by signatures or signs of performance. 13. W h e n t r a n s i t i o n a l passages cannot be accompanied by thirds or other o r n a m e n t a l relationships, as discussed i n the section "Some Refinements of A c c o m p a n i m e n t , " they should be allowed to pass. Extensions at the end of a piece are to be treated s i m i l a r l y . 14. T h e examples of Figure 464 w i l l serve to conclude this sect i o n . I n a, an unusual k i n d of expression (which may be revealed by the content of a piece or the construction of the r i p i e n o parts) sometimes requires a c h o r d o n each note instead of the usual omission of a sepárate c h o r d f r o m the short notes. T h i s oceurs f r e q u e n t l y i n accompanied recitatives. I n b, the composer w h o wants a c h o r d to be struck o n the note e because of the expression, must place the signature 6 over i t . I n c, the passing tones must be accompanied i n order to avoid errors. One p a r t may interchange its tones w i t h those of the bass, or the entire c h o r d may be repeated. I n d, preparat i o n of the seventh above /-sharp requires an accompaniment to the passing e i n the f o r m of a r e d i s t r i b u t e d c h o r d . I n e, the second c h o r d of the bar is repeated over the passing bass as a means of a v o i d i n g too great a descent a n d averting fifths. T h e r e p e t i t i o n i n / accomplishes several ends: i t avoids fifths w h e n the t h i r d of the preceding • a is d o u b l e d ; i t avoids octaves w h e n 3 is taken over this a; a n d i t 6
8
8
helps to r e t a i n the preceding register. I n g, where i t is presupposed that the notated d o u b l i n g of the sixth, or a d o u b l e d t h i r d , is req u i r e d over the first f , the c h o r d of the sixth must be repeated, u n d o u b l e d , over the passing tones. T h i s enables the g-sharp to be accompanied w i t h o u t an i m p u r e or a w k w a r d progression, a n d w i t h out descending to a lower d i s t r i b u t i o n . I n I t a l i a n bel canto, singers * T h e octaves would come from the strong beat progression, a to g, bass and middle voice.
416
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announce the e n d of a h o l d by rising and then l a l l i n g a half or whole step according t o the s i t u a t i o n , w i t h o u t any slightest trace of an i n d i c a t i o n . Example h illustrates the n o t a t i o n , and i the execut i o n of such a h o l d , a l t h o u g h the latter is occasionally w r i t t e n o u t . T h i s refinement is unaccompanied, the ch or d being struck b u t once i n order t o preserve the clarity of the p r i n c i p a l part's rise a n d f a l l . T w o such cases are illustrated i n / w i t h t h e i r accompaniments. T h e figuring of these examples, as i n k, is incorrect. T h e most experienced accompanist is Hable t o err i f the composer does n o t figure w i t h sufficient aecuracy; especially w h e n he fails t o indícate passing tones i n passages w h i c h seem to c o n t a i n a r e s o l u t i o n ('); a n d similarly, w h e n he fails t o figure those notes w h i c h look l i k e passing tones b u t r e q u i r e their o w n chords (m). T h e accompanist i n such cases w i l l be free f r o m blame i f , i n a d d i t i o n , the p r i n c i p a l p a r t is n o t notated over the bass part. T h i s was stated earlier i n Paragraph 5. A good precautionary use of figures over passing tones is illustrated i n n. T h e average accompanist is thereby l e d unmistakably to recognize the necessity of a l t e r i n g his d o u b l i n g i n order to avoid errors. I n o, a dash is needed as a means of i n f o r m i n g the accompanist that instead of repeating the foregoing c h o r d he must play the t r i a d of the f o l l o w i n g tone o n the rest. Figure 464
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A C C O M P A N I M E N T
ACCOMPANIMENT CHORDS
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BASS N O T E S
1
1. I t is often necessary to strike chords over short rests i n advance of their bass notes, as a means of r e t a i n i n g order a n d w i n n i n g variety. 2. Some figurists f o l l o w the commendable practice of i n d i cating such chords by placing over the rest the signature or dash that pertains to the f o l l o w i n g bass note. I t w o u l d be excellent i f everyone adopted such an exact means of i n d i c a t i o n , for i t w o u l d l i g h t e n the tasks of many accompanists. 3. I n the absence of p r o p e r signs, t w o observations can be made: first, the rests discussed i n this section are n o t greater t h a n a sixteenth rest i n an allegretto; second, parts that enter o n the rest must agree w i t h the tones of the anticipated c h o r d . T h e examples that f o l l o w w i l l clarify m y meaning. 4. I n order to catch the beat w i t h certainty, a beginner is allowed to strike the C major t r i a d over the rest i n F i g u r e 465, Example a, b u t an experienced accompanist w i l l let the rest and the first c pass, and wait u n t i l e appears before p l a y i n g a c h o r d of the sixth i n the r i g h t h a n d . I n b, there is no alternative to t a k i n g a c h o r d over the rest, unless half the bar is a l l o w e d to pass unaccompanied. I n a fast tempo this means of establishing the beat is as m u c h needed by the p r i n c i p a l part as by the accompanist. T h e r i g h t h a n d may enter after the rest only w h e n the tempo is n o faster than andante, for otherwise confusión of beats m i g h t be caused by i t . I n c, regardless of the tempo, the c h o r d may n o t be struck before the entrance of the first bass note, since the / i n the p r i n c i p a l part does n o t harmonize w i t h i t . I n d, the chords must be played i n an eighth-note r h y t h m , even i n a slow tempo, i n view of the stationary p r i n c i p a l part and the syncopated bass. B u t the first eighth of the bar may be allowed to pass i n order n o t to obscure the usual soft b e g i n n i n g of h e l d notes. I n e, a c h o r d over the rest is indispensable, especially w h e n this example appears i n a piece f o r a large, heavily d o u b l e d orchestra i n w h i c h a l l instruments enter o n the r a p i d notes. T h i s s i t u a t i o n is c o m m o n l y f o u n d i n operas, where i t occurs i n dramatic, accompanied recitatives, w i t h singers w h o , because of the constant, vigorous action, may be d e c l a i m i n g u p stage, downstage, at the sides, or i n the center, w i t h a d d i t i o n a l 1 Von dem
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419
noises to boot. H e r e the accompanist must take the lead and, o n the short rest, give his ene w i t h as heavy an attack as possible. I n f , where the notes w h i c h follow the rest are n o t as r a p i d as those i n the previous example (although again a l l parts enter i n unisón f o l l o w i n g a general pause), the c h o r d is n o t played. I n g w i t h its d o t t e d notes the accompanist again does n o t play his c h o r d i n advance, f o r there is an appoggiatura i n the p r i n c i p a l part w h i c h resolves o n l y after the first short note i n the bass has been played. A n t i c i p a t o r y chords are n o t employed over bombastic basses i n the French manner, f o r their use w o u l d r o b the passage of its resolute nature (h). Example i illustrates a case i n w h i c h the composer has placed a certain stress on the p r i n c i p a l part, a n d consequently wishes to have this part alone i n t r o d u c e each h a r m o n i c change. T h e accompanim e n t is appended to the example. I n ; the appoggiatura w i l l n o t suffer a t r i a d o n the rest; henee, i t is best to w i t h h o l d the c h o r d u n t i l the second eighth of the bar appears. I n k, chords are played over the dots and t i e d notes. Figure 465 Allej¡retto a.
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A N I M E N T
A C C O M I' A N I M E N T
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progres.sions wcie considercd loo p l a i n . But today, thanks to o u r i n t e l l i g e n l lasic, exc:ej)tioiial liai nionies are i n t r o d u c e d i n t o the recitative only rarely, and tlien w i t h suflicient m o t i v a t i o n . I n sett i n g his chords to this present k i n d , the accompanist need no longer sweat so profusely. Nevertheless, an exact figuring is s t i l l r e q u i r e d , even w h e n the p r i n c i p a l part is notated over the bass. 1
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2. Some recitatives, i n w h i c h the bass and perhaps other instruments express a definite theme or a continuous m o t i o n w h i c h does not particípate i n the singer's pauses, must be p e r f o r m e d strictly i n t i m e for the sake of good order. Others are declaimed now slowly, now r a p i d l y according to the contení, regardless of the meter, even t h o u g h t h e i r n o t a t i o n be barred. I n b o t h cases, especially the latter, an accompanist must be w a t c h f u l . H e must listen constantly t o the p r i n c i p a l performer, and w h e n there is action, watch h i m as w e l l , so that his accompaniment w i l l always be ready; he must never desert the singer.
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1. N o t so l o n g ago, recitatives used to be crammed w i t h endless chords, resolutions, and enharmonic changes. A special k i n d of beauty was sought i n these harmonio extravagances, w i t h o u t there b e i n g the slightest excuse for t h e i r employment. N a t u r a l h a r m o n i o
3. W h e n the declamation is r a p i d , the chords must be ready i n stantly, especially at pauses i n the p r i n c i p a l part where the c h o r d precedes a f o l l o w i n g entrance. A t the t e r m i n a t i o n of a chord, its successor must be struck w i t h dispatch. T h u s the singer w i l l n o t be hampered i n his affects or t h e i r requisite fast execution, for he w i l l always k n o w i n good t i m e the course and construction of the h a r m o n y . W e r e i t necessary to choose between t w o evils, i t w o u l d be preferable to hasten rather than to delay. Indeed, the better is always better. A r p e g g i a t i o n must always be w i t h h e l d f r o m r a p i d declamation, especially w h e n there are f r e q u e n t chordal changes. For one t h i n g , there is no t i m e for i t , and even i f there were, i t m i g h t very easily lead accompanist, singer, and audience i n t o confusión. F u r t h e r m o r e , arpeggiation is n o t r e q u i r e d here, for it finds its n a t u r a l e m p l o y m e n t i n q u i t e different situations, i n slow recitatives and sustained chords. I n such cases i t serves to r e m i n d the singer that he is to r e m a i n i n a given chord, and prevenís h i m f r o m l o s i n g the p i t c h because of the length of the c h o r d , or f r o m assumi n g that the c h o r d has changed. These fiery recitatives o f t e n occur i n operas where the orchestra has a w i d e range w i t h Dasses p l a y i n g divisi, w h i l e the singer declaims upstage, far removed f r o m his ac1 T h i s refers to the type of recitative which is discussed in Heinichen, op. cit., Pt. I I , C h . I I I , pp. 769 ff. He writes: " I t is generally known that the recitative, unlike all other styles, has no regular key, but rather casts its tones quite irregularly, moving abruptly and without order forwards and backwards to the most remote keys."
22
4
A C CO
MPANIM
A C C O MPANIM
/'. N I
companiment. Such being the case, the first harpsichordist, w h e n there are t w o , does n o t await the t e r m i n a l i o n oí the singer's cadenees, b u t strikes o n the final syllable the chord w h i c h should r i g h t l y be played later. T h i s is done so that the r e m a i n i n g basses or other instruments w i l l be prepared to enter o n t i m e . 4. T h e pace w i t h w h i c h a c h o r d is arpeggiated depends o n the t e m p o and content of a recitative. T h e slower and more affettuoso the latter is, the slower the arpeggiation. Recitatives w i t h sustained accompanying instruments are w e l l adapted to arpeggiation. B u t as soon as the accompaniment shifts f r o m sustained to short, detached notes, the accompanist must play detached, resolute chords, u n arpeggiated, and f u l l y grasped by b o t h hands. Even i f the score expresses t i e d w h i t e notes, the sharply detached execution is retained. A heavy attack is most necessary i n the theater w i t h its memorized recitatives, because of distance. O f course, the accompanist must also play q u i t e softly at times i n the theater, b u t more so i n the c h u r c h or the salón, where noisy, f u r i o u s recitatives are not q u i t e at home. I n recitatives, as m u c h as elsewhere, chords must be expressed i n proper v o l u m e . 5. I n recitatives w i t h sustained accompanying instruments, the organ holds only the bass, the chords being q u i t t e d soon after they are struck. Organs are seldom p u r e l y t u n e d , w i t h the result that h e l d chords, w h i c h are often chromatic i n such recitatives, w o u l d sound ugly and disagree w i t h the other accompanying instruments. I t is often difficult i n such a case to make an orchestra—which need n o t be the most wretched—sound i n p i t c h . A r p e g g i a t i o n is not employed at the organ. Other keyboard instruments d o n o t use ornaments or refinements, aside f r o m arpeggiation, i n the accompaniments to recitatives. 6. I n intermezzos and comic operas w i t h m u c h noisy action, and i n other works for the theater where the action often oceurs backstage, constant or f r e q u e n t arpeggiation must be resorted to, so that the singer and accompanist w i l l hear each other clearly at a l l times. W h e n the sense of the words or an i n t e r v e n i n g action delays the entrance of the singer after the preparatory c h o r d has been played, the accompanist must repeat the chord, b r o k e n slowly upw a r d , u n t i l he observes that the d e c l a i m i n g has resumed. Unless i t is urgently r e q u i r e d , neither too l i t t l e ñor too m u c h u n f i l l e d space should be allowed i n the accompaniment. W h e n recitatives are ac-
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companied in detached lashion l>y instruments other than those that p e r f o r m the Iwss part, incidental harmonic modifications, such as 8 [>7 or 6 b>5, must be played softly or o m i t t e d by the keyboardist w h e n they are indicated solely over the bass part and, as is often the case, appear i n succession. T h u s , the p r i n c i p a l part w i l l n o t be overaccompanied and the other instrumentalists w i l l hear the singer more clearly, w i t h the result that they w i l l be able to direct a t t e n t i o n to t h e i r subsequent entrance. T h e harpsichord, w h i c h sounds l o u d to those cióse to i t , especially w h e n i t has a penetrating tone, can easily d i s r u p t orderliness. A n d sometimes this suppression of tones o n the part of the keyboardist adds to the impressiveness of words that the composer wishes the singer to recite w h i l e the instruments, for good reasons, r e m a i n silent. W h e n there is vigorous act i o n upstage, this precaution is even more essential, for the singer's tones w i l l often pass unheard over the orchestra p i t , w h i c h is r i g h t l y constructed o n a lower level t h a n the parterre. 7. W h e n a singer departs f r o m the w r i t t e n notes, i t is better to strike a f u l l c h o r d repeatedly than to play isolated tones. I n recitatives, correct h a r m o n y is the p r i m a r y factor; henee singers should not be expected to sing only the w r i t t e n notes and no others, especially i n i n d i f f e r e n t passages. I t suffices i f they declaim w i t h i n the confines of the proper c h o r d . O f course, a single tone may be struck i n the case of a remote m o d u l a t i o n . I f the singer is of sufficient a b i l i t y , there is no need for a l a r m w h e n he chooses to sing Example a of Figure 466 i n the manner of Example 1 or 2. Causes for such changes may be a desire to f i n d a convenient register, or Figure 466
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simply forgetfulncss. I n m e m o r i z i n g their parts, singers often confuse the many similar patterns of recitatives, for (hey are more i m pressed by the u n d e r l y i n g harmony than by the melody. I w o u l d be less apt to forgive an accompanist w h o hesitated over a modificat i o n of a, t h a n I w o u l d one w h o was startled by b, a case that arises occasionally, where signatures m i g h t be lacking, the tempo m i g h t be r a p i d , a n d half of the passage, perhaps d i r e c t l y after the beginn i n g , m i g h t be w r i t t e n o n a new stave. 8. O n the last arpeggiation of a preparatory c h o r d i t is wise to place i n the upper part the singer's i n i t i a l tone. T h u s placed i t w i l l be most clearly heard and thereby ease the singer's task. Rather t h a n abandon such an expedient, i t w o u l d be better to tolérate cert a i n irregularities w h e n they cannot be avoided, such as d i s r u p t i n g the p r e p a r a t i o n of a dissonance, or placing its r e s o l u t i o n i n the w r o n g part, the a i m b e i n g simply to reach the r e q u i r e d d i s t r i b u t i o n q u i c k l y . However, i t is o f t e n easy to do this by means of a r a p i d arpeggio w i t h o u t i n d u l g i n g i n such liberties. 9. W h e n , i n a recitative w i t h accompanying instruments, the bass enters ahead of the other performers after a cadenee or pause, the keyboardist must strike his c h o r d a n d bass note strictly o n t i m e , w i t h a sure, f u l l attack, especially w h e n the orchestra is large (Figu r e 467, Example á). However, i f a l l the instruments attack simultaneously, the keyboardist does n o t anticípate, b u t signáis w i t h his head or body i n good t i m e so that a l l w i l l enter together (b). I n Example c, a six-four c h o r d is r e q u i r e d over the first bass note,
425
preferably w i t h the octave on l o p . A l (lie rest, the seventh and l i f t h of the same bass note are played. I'inally, 1 refer my reader to Figure 465, Kxample c, and ihe acooiupanying text. M a n y similar examples can be deduced f r o m this one. 2
CHANGING
NOTES
1
1. T h e m e a n i n g of changing notes or i r r e g u l a r passing tones has been stated i n Chapter I V , Paragraphs 73 to 78. T h e i r indicat i o n is most essential, for beginners i n t h o r o u g h bass cannot easily surmise t h e i r presence. 2. Some figurists place signatures over the note against w h i c h the c h o r d is struck; others over the f o l l o w i n g note. T h e first p r o cedure is n o t bad, especially w h e n the signatures are f a m i l i a r ones (Figure 468, E x a m p l e a), and a m b i g u i t y can be thereby avoided (b). B u t aside f r o m these considerations changing notes that are i d e n t i f i e d by means of an o b l i q u e stroke make for simpler signatures, and the accompanist is spared his hesitaney over the unusual successions w h i c h are o f t e n expressed by the other m e t h o d of i n d i cation. Nevertheless, i t is advisable that the student of t h o r o u g h bass become completely f a m i l i a r w i t h the figures, f o r b o t h methods of indication/are s t i l l i n use. Figure 468
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instead o f 3. I r r e g u l a r passing tones are to be regarded as appoggiaturas that have been w r i t t e n o u t a n d g i v e n an exact l e n g t h . Against these appoggiaturas the r i g h t h a n d plays the c h o r d that pertains to the f o l l o w i n g bass note. Henee i f a tone that is n o r m a l l y consonant forms a dissonance against the changing note w i t h w h i c h i t is struck, i t retains its o r i g i n a l freedom and character. I t may be d o u b l e d (Figure 469, E x a m p l e a), a n d i t requires neither p r e p a r a t i o n ñor r e s o l u t i o n (b). S i m i l a r l y , dissonances do n o t forsake t h e i r basic ways w h e n they are m o m e n t a r i l y made i n t o consonances b y the act i o n of a changing note i n the bass (c). 2 Cf., par ex., J . S. Bach's Werke, 11.2, pp. 164 ff. See C h . V I , "Passing Notes," Note 1. 1
426
ACCOMPANIMENT
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4. I n the presence of changing notes a t r i a d cannot be denoted by the absence of a signature; at least one of its figures must be posted (Figure 470, E x a m p l e a). W h e n an o b l i q u e stroke is succeeded by chords w h i c h r e q u i r e d o u b l i n g (b), or may be taken i n more than one way (c), the accompanist must make provisions i n advance f o r correct construction, especially w h e n there is the poss i b i l i t y of c o m m i t t i n g an error (d). Figure 470 . a .
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lent examplcs of such t h r m m which may w e l l serve as perfect models. Such a theme should have a manly bearing w h i c h o n occasion may express tones f r o m other parts of its proper chords, by b r e a k i n g to t h e m or by other means of melodic elaboration; b u t w i t h o u t sacrifice of its essential nature. Its lineaments must n o t be extravagant. Cadenees and caesurae must be basslike; at least, the chords of the latter should sound n a t u r a l . Appoggiaturas should be i n t r o d u c e d i n t o such a bass w i t h great caution, i n order n o t to dist u r b the flow of the harmony. Moreover, these and other melodic complements are better left to the p r i n c i p a l part, for this latter w o u l d be entirely too m u c h restricted, i f the bass were made to share equally i n a l l garnishments. Rather, the bass should be accompanied by chords that express numerous, effective suspensions w h i c h allow for the construction of a singing p r i n c i p a l part. Especially recommended are progressions w h i c h p e r m i t the use of many seventh, five-four, six-five, and n i n t h chords, as i l l u s t r a t e d by the p l a i n basses of Figure 471. Figure
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THEMES
1. Good bass themes, evolving n a t u r a l l y , are among the master touches of composition. T h e famous Kapellrneister T e l e m a n n and G r a u n , along w i t h m y deceased father, have given us m a n y excel1
1 Of the three G r a u n brothers, two, Johann Gottlieb and Cari Heinrich, were active at the court of Frederick the Great. T h e former was Konzertmeister and the
latter, to whom Bach is referring, Kapellrneister. Since Bach refers to him as still alive, or at least since his death in 1759 is not mentioned, it would seem that the present section was written before this year.
428
A C C O M
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1
M E N I
2. Composers c o m i n i t t w o kinds ol error» in < o n s t r u c t i n g bass themes. A t times they want a shower of b e a u t i l u l song, a l t h o u g h i t is i n a p p r o p r i a t e ; they proteed to w r i t e a linc melody, w h i c h , however, is h i g h and lacking i n bass progressions, and w h i c h itself allows for the a d d i t i o n of a good bass. A n experienced accompanist, instead of seeking an upper melody to this k i n d , m i g h t find i t easier to give the theme to the r i g h t h a n d and, i n the left, improvise a bass that provides the proper h a r m o n i z a t i o n . T h e other k i n d of error concerns themes w h i c h are too d r y . Here, the composer wishes to avoid the faults m e n t i o n e d above and to provide every opport u n i t y for the elaboration of the p r i n c i p a l p a r t ; consequently he writes a good, f o r t h r i g h t , simple, b u t inexpressive bass. However, this latter k i n d has i n its favor the fact that i t permits an a d r o i t acc o m p a n i m e n t , whereas the f o r m e r very often defies the superimposition of chords. 3. Bass themes are p e r f o r m e d either i n unisón by a l l i n s t r u ments or by bass instruments alone. I n the first case the accompanist omits chords and plays the w r i t t e n notes i n octaves w i t h b o t h hands. B u t should the composer place signatures over the bass advisedly, they must be realized. T h e reason is that the suspensions w h i c h may be thereby i n t r o d u c e d need to be heard, for they w i l l n o t only n o t obscure the theme b u t make i t more l u c i d . Some themes are so constructed that an understanding listener is o n l y half satisfied i n the absence of an accompaniment, for i n his i n n e r comprehension the h a r m o n y is inseparable f r o m the tones that he hears. I n such a case the organ provides the best accompaniment, n o t only because of the suspensions b u t also because of its penetrating v o l u m e . T h e second case m e n t i o n e d above, w h i c h is f o u n d i n vocal and i n s t r u m e n t a l pieces, requires a chordal accompaniment. 4. T h e r e are t w o accompaniments to bass themes, and they provide an able accompanist w i t h excellent o p p o r t u n i t i e s to display his s k i l l . Those w h o possess an adequate knowledge of composition a n d whose p r o p i t i o u s i n v e n t i v e faculties are tempered by good j u d g m e n t may fashion an a d d i t i o n a l melody to be played by the r i g h t h a n d instead of the usual accompaniment w h e n the p r i n c i p a l part pauses or performs p l a i n , sustained notes. T h i s melody must agree w i t h the content and affect of a piece and never hamper the p r i n c i p a l part. 5.
B u t those w h o lack the a b i l i t y to do this should adhere to the
// C C O M I' A N I M E N T
429
prescribed harmony and p c r f o r m it in keeping w i t h the rules of good performance, their attention being directed to the selection of the best progressions and d i s t r i b u t i o n s and the construction of a singing upper part.
IMPROVISATION
C H A P T E R
S E V E N
IMPROVISATION THE
FREE
FANTASIA
1
1 F A N T A S I A is said to be free w h e n i t is unmeasured and moves t h r o u g h more keys than is customary i n other pieces, w h i c h are composed or improvised i n meter. 2. These latter r e q u i r e a comprehensive knowledge of composition, whereas the f o r m e r requires o n l y a t h o r o u g h understanding of h a r m o n y ánd acquaintance w i t h a few rules of construction. B o t h cali for n a t u r a l talent, espedally the a b i l i t y to improvise. I t is q u i t e possible for a person to have studied composition w i t h good success and to have t u r n e d his pen to fine ends w i t h o u t his h a v i n g any g i f t for i m p r o v i s a t i o n . B u t , o n the other hand, a good f u t u r e i n compos i t i o n can be assuredly predicted for anyone w h o can improvise, p r o v i d e d that he-writes profusely and does n o t start too late. 3. A free fantasia consists of varied harmonic progressions w h i c h can be expressed i n a l l manner of figuration and motives. A key i n w h i c h to begin and end must be established. A l t h o u g h n o bar Unes are employed, the ear demands a definite relationship i n the succession and d u r a t i o n of the chords themselves, as we shall see later, and the eye, a relationship i n the lengths of notes so that the piece may be notated. T h e r e f o r e , i t is usually assumed that such fantasías are i n a f o u r - f o u r meter; and the tempo is indicated by the words w h i c h are placed above the b e g i n n i n g . W e have already learned of the fine effect created by fantasías i n Chapter I I I of Part I of this Essay, to w h i c h I refer m y reader. 2
4.
Especial care must be exercised i n i m p r o v i s i n g at the harpsi-
1 A detailed study of this chapter and an analysis of the appended Fantasía (Figure 480) appear in Heinrich Schenkers Das Meisterwerk in der Músik, Drei Masken Verlag, München 1925, Vol. I, p. 11 ff. 2 In 15. 430
1
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c h o r d and ihc o i g a n ; at the l o i i n e r , i n order to avoid p l a y i n g i n a single color; at the latter i n order to sustain constantly and h o l d chromatic progressions i n check, A t least, they should n o t be i n t r o duced sequentially, for the t u n i n g of the organ is very rarely tempered. T h e best instruments for o u r purpose are the clavichord and pianoforte. B o t h can and must be w e l l t u n e d . T h e u n d a m p e d register of the pianoforte is the most pleasing ánd, once the perf o r m e r learns to observe the necessary precautions i n the face of its reverberations, the most d e l i g h t f u l for i m p r o v i s a t i o n . 5. T h e r e are occasions w h e n an accompanist must extemporize before the b e g i n n i n g of a piece. Because such an i m p r o v i s a t i o n is to be regarded as a prelude w h i c h prepares the listener for the contení of the piece that follows, i t is more restricted t h a n the fantasía, f r o m w h i c h n o t h i n g more is r e q u i r e d than a display of the keyboardist's s k i l l . T h e construction of the f o r m e r is d e t e r m i n e d by the nature of the piece w h i c h i t prefaces; and the content or affect of this piece becomes the m a t e r i a l o u t of w h i c h the prelude is fashioned. B u t i n a fantasía the performer is completely free, there b e i n g n o attendant restrictions. 6. W h e n o n l y l i t t l e t i m e is available for the display of craftsmanship, the performer should n o t wander i n t o too remote keys, for the performance must soon come to an end. Moreover, the p r i n cipal key must n o t be lef t too q u i c k l y at the b e g i n n i n g ñor regained too late at the end. A t the start the p r i n c i p a l key must p r e v a i l for some t i m e so that the listener w i l l be unmistakably oriented. A n d again before the cióse i t must be w e l l prolonged as a means of prep a r i n g the listener for the end of the fantasía and impressing the tonality u p o n his memory. 7. F o l l o w i n g are the briefest and most n a t u r a l means of w h i c h a keyboardist, p a r t i c u l a r l y one of l i m i t e d a b i l i t y , may avail himself i n e x t e m p o r i z i n g : W i t h due c a u t i o n he fashions his bass o u t of the ascending and descending scale of the prescribed key, w i t h a variety of figured bass signatures (Figure 472, Example a); he may interpólate a few half steps (b), arrange the scale i n or o u t of its n o r m a l sequence (c), and p e r f o r m the resultant progressions i n b r o k e n or 8
a T h e upper signatures of the first ascending and descending scales in major and minor agree with the older Regola deW Ottava, which was used by i7th- and i8thcentury theorists to instruct beginners in the proper chord for each step. It was adopted with minor variants by Rameau, Heinichen, and Mattheson, among others. It formed the first step of instruction in the reading of unfigured basses, and was
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sustaincd slylc at a suitablc pare. A tonic oigan p o i n l is convenient for establishing the tonality al. the beginning and end (d). T h e d o m i n a n t organ p o i n t can also be introdneed elfec tively before the cióse (e). Figure 472 a. 6 6
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recommended by Heinichen as the basis of improvised preludes. T h e great variety of Bach's other signatures and his failure to mention the Regola, which he must have known, indícate that he placed little weight on it. Cf. E . Borrel, Tribune de St. Gervais, X X I , p. 175.
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8. W h e n the performer is allowed adequatr l i m e lo liave attent i o n directed to his work, he may modulate to remoler keys. B u t f o r m a l closing cadenees are n o t always r e q u i r e d ; thcy are employed at the end and once i n the m i d d l e . I t suffices ií the leading tone (semitonium modi) of the various keys lies i n the bass or some other part, for this tone is the p i v o t and token of a l l n a t u r a l m o d u l a t i o n . W h e n i t lies i n the bass, the seventh chord, the c h o r d of the sixth, or the six-five c h o r d is taken above i t (Figure 473, Example a); i t may also be f o u n d i n chords w h i c h are inversions of these (fe). I t is one of the beauties of i m p r o v i s a t i o n to feign m o d u l a t i o n to a new key t h r o u g h a f o r m a l cadenee and then move off i n another d i r e c t i o n . T h i s and other r a t i o n a l deceptions make a fantasía attractive; b u t they must n o t be excessively used, or n a t u r a l relationships w i l l become hopelessly b u r i e d beneath t h e m .
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r e m a i n i n g keys are the most distan!; any of them may be i n c l u d e d i n a free fantasía even thougli iliey stand i n v a r y i n g distantes f r o m the tonal center. T h i s may be seen f r o m an e x a m i n a t i o n of the wellk n o w n Circle of Keys. B u t i n a free fantasía, the performer should 11
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feel no íurther o b l i g a t i o n n i i lie* circle, for il vvoiild be w r o n g i n this k i n d of piece to make a eyelic excursión t l i i o u g h all twentyf o u r keys. 1 shall leave it to the prívate study ol my leader to practice m o d u l a t i o n to the closely related keys by means of a s k i l l f u l a t t a i n i n g of their leading tones, and shall illustrate here, i n the interests of b r e v i t y , a few particular ways to approach these keys gradually (Figure 474). W e o w n immediately to the possibility of there b e i n g many other ways to accomplish these ends; after the i n i t i a l bass note, any other may be taken be i t what i t may. W e are stopped f r o m a t t e m p t i n g a clear proof of this statement by the threat of diffuseness. 10. T h e examples of Figure 475 illustrate slightly circuitous ways of m o d u l a t i n g f r o m a m a j o r key to the distant keys w h i c h were m e n t i o n e d i n the preceding paragraph. T h e cióse relationship of A m i n o r to C major relieves us of the repetitious task of f u r n i s h i n g similar examples f o r the m i n o r mode. W h e n i t is desired to reach distant keys conclusively instead of simply passing t h r o u g h t h e m , i t is n o t sufficient merely to reach for the leading tone i n the belief that once i t is f o u n d the goal w i l l have been attained a n d that f u r t h e r ends may then be sought immediately. T h e ear, i n order n o t to be disagreeably startled, must be prepared for the new key by means of intermedíate h a r m o n i c progressions. T h e r e are keyboardists w h o understand chromaticism and can e x p l a i n t h e i r progressions, b u t few w h o k n o w h o w to employ i t agreeably, relieved of its Figure 475 5> * *
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crudeness. I t should be observed generally, b u l p a r l i c u l a r l y i n the f o l l o w i n g examples, that the progressions which introduce remote m o d u l a t i o n s f r o m an established key must be playee! more broadly than those of other modulations. By transposing these and the preceding examples, and c o m b i n i n g them, a facility i n m o d u l a t i o n w i l l eventually be attained. 11. As a means of reaching the most distant keys more q u i c k l y and w i t h agreeable suddenness n o c h o r d is more convenient and f r u i t f u l t h a n the seventh c h o r d w i t h a d i m i n i s h e d seventh and fifth, for by i n v e r t i n g i t and changing i t enharmonically, a great many chordal transformations can be attained. A n d w h e n there is added to this a l l the h a r m o n i c artistry and rare progressions of the preceding chapters, w h a t an endless vista of harmonic variety unfolds before us! Does i t s t i l l seem difficult to move wherever we will? H a r d l y , for we need o n l y decide how circuitous or direct o u r r o u t e must be. T h e r e are o n l y three of these chords of the d i m i n i s h e d seventh w i t h t h e i r three superimposed m i n o r thirds, for the f o u r t h c h o r d is a r e p e t i t i o n of the first, as i l l u s t r a t e d i n Example a, Figure 476. I t w o u l d take too l o n g to demónstrate a l l of the o p p o r t u n i t i e s afforded by this c h o r d to guide h a r m o n y i n any conceivable d i r e c t i o n . T h e possibilities of e x p e r i m e n t a t i o n w h i c h are suggested u n d e r b must suffice for the present. W e repeat that such chromatic progressions are to be played o n l y occasionally, w i t h artistry, and broadly. F
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12. T h e beauty of variety is made evident i n the fantasia. A diversified figuration and a l l attributes of good performance must be employed. T h e ear tires of u n r e l i e v e d passage w o r k , sustained
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chords, 01 broken chords. Ily themselves Muy neither stir ñor still the passions; and i t is for ihese pinposes that the fantasia is exceptionally well suited. Broken chords must not progress too r a p i d l y or unevenly (Figure 477, Kxample a). Occasional exceptions to this precept may be i n t r o d u c e d w i l h good effect i n t o chromatic progressions. T h e p e r f o r m e r must n o t break his chords constantly i n a single color. B o t h hands may progress f r o m the l o w to the h i g h register, or the left h a n d may do this alone w h i l e the r i g h t remains i n its o w n register. T h i s k i n d of execution is good on the harpsichord, for o u t of i t there comes an agreeable alternátion of devised forte and piano. Those w h o are capable w i l l d o w e l l w h e n they depart f r o m a too n a t u r a l use of h a r m o n y to i n t r o d u c e an occasional deception; b u t i f t h e i r attainments are insufficient for the purpose, they must enhance by means of a varied and fine execution of a l l manner of figuration those harmonies w h i c h sound p l a i n w h e n perf o r m e d i n the usual style. Most dissonances may be d o u b l e d i n the left h a n d . T h e ear w i l l accept the resultant octaves i n f u l l h a r m o n y ; fifths, however, must be avoided. T h e f o u r t h , w h e n i t appears i n company w i t h the fifth and n i n t h , and the n i n t h at a l l times are not doubled. Figure 477 6
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13. A l l chords may be b r o k e n i n many ways and expressed i n r a p i d or slow figuration. B r o k e n chords i n w h i c h p r i n c i p a l as w e l l as certain n e i g h b o r i n g tones are repeated (Figure 478, Example á) are especially attractive, for they are more varied than a simple arpeggio where the tones are played successively just as they l i e under the hands. I n the interests of elegance the major (b) or m i n o r (c) second may be struck and q u i t t e d below each tone of a b r o k e n t r i a d or a relationship based o n a t r i a d . T h i s is called " b r e a k i n g w i t h acciaccature." I n runs, the n o r m a l tones of chords are filled i n . These runs may pursue a direct course t h r o u g h one or more octaves u p w a r d and d o w n w a r d . B u t an agreeable variety arises o u t of repetitions (d) and the insertion of f o r e i g n tones (e). R u n s w h i c h contain 6
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many half stcps rccjuirc a modérate: speed. A l l maniiei of groupings may be alternated i n the course of runs (/). T h e triad and its i n versions may be expressed by the same r u n , and also the seventh c h o r d and its inversions. A t times the augmenled sccond is avoided i n chords w h i c h contain that i n t e r v a l (g); b u t i n certain íigurations i t is acceptable (h). I m i t a t i o n s i n parallel and contrary m o t i o n can be very w e l l i n t r o d u c e d i n t o various parts (i). T h e chromatic chords w h i c h were discussed i n Paragraph 11 are best fitted to slow figurat i o n and the expression of p r o f o u n d feeling, as we can see i n the final movement of the last Lesson i n Part I of this Essay. 7
14.
I n order to p r o v i d e m y reader, t h r o u g h continuous ex-
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ampies of a l l k i n d s , w i t h a clear and useful conception of the construction of a free fantasia, 1 refer h i m to the Lesson m e n t i o n e d i n the preceding paragraph, and Figure 480. B o t h are free fantasías; the first is interspersed w i t h m u c h chromaticism, w h i l e the second consists largely of n a t u r a l and usual relationships. T h e f r a m e w o r k 8
«Si—*gf-
i Sonata V I , third movement. Cf. Pt. I , Introduction, Note 17.
s T h i s paragraph will serve to illustrate Bach's views on musical analysis as described i n a letter to a friend, dated from Hamburg, Oct. 15, 1777 (cf. Bitter, Cari Philipp Emanuel Bach und Wilkelm Friedemann Bach, und deten Brüder, Vol. I, p. 348): " I n my opinión, in instructing amateurs, several things could be omitted that many musicians do not, indeed, need not know. A most important element, analysis, is lacking. T r u e masterpieces should be taken from all styles of composition, and the amateur should be shown the beauty, daring, and novelty in them. Also, he should be shown how insignificánt the piece would be if these things were lacking. Further, he should be shown how eFrprs, pitfalls, have been avoided, and especially how far a work departs from ordinary ways, how venturesome it can be, etc."
442
IMPROVISATION
I MP
of the latter, i n the f o r m of a íigured bass, may be l'ound i n Figure 479. T h e note valúes have been w r i t t e n as accuratcly as can be expected. I n performance each c h o r d is arpeggiated twice. W h e n the second arpeggio is to be taken i n a different register by either the r i g h t or the left hand, the change is indicated i n the fantasia. T h e tones of the slow, f u l l y g r i p p e d chords, w h i c h are played as arpeggios, are a l l of equal d u r a t i o n , even t h o u g h restrictions of space have necessitated the superposing of w h i t e a n d black notes i n the interests of greater l e g i b i l i t y . A t the b e g i n n i n g and end (1) of the sketch (Figure 479) we find l o n g extensions on the tonic harmony. A t 2 there is a m o d u l a t i o n to the fifth o n w h i c h the performer remains f o r some t i m e u n t i l at x he moves toward E m i n o r . T h e three tones at 3, j o i n e d by a slur, elucídate the t r a n s i t i o n to the r e p e t i t i o n of the c h o r d of the second w h i c h is regained by means of an interchange of chordal tones. T h i s t r a n s i t i o n is p e r f o r m e d i n slow figuration, the bass b e i n g purposely o m i t t e d f r o m the piece as perf o r m e d . T h e change f r o m the seventh c h o r d o n b to the f o l l o w i n g c h o r d of the second on b-flat is an ellipsis, for n o r m a l l y the six-four c h o r d o n b or the t r i a d o n c w o u l d precede the chord of the second. T h e c h o r d at 4 seems to p o i n t t o w a r d D m i n o r , b u t the m i n o r t r i a d is o m i t t e d a n d instead the c h o r d of the second (5) w i t h an augm e n t e d f o u r t h is played o n c as i f the plan were to move o n to the G major c h o r d . Instead, the G m i n o r c h o r d is played at 6, to be f o l lowed largely by dissonant relationships leading back to the p r i n cipal tonality, o n w h i c h the fantasia ends over an organ p o i n t . Figure 479 Allegro
y » t i f t H — 0 —
8
OHhi
" 8
HI—m
43
ir n—p-r,
7 5
2,
6b 6 2
»
1 1\-m I f o j — V e • (x.) (3.) .1
*
«
1
7
| j, ^
6 4
6
1
2
1
7
2 L
c L_m>— (4.)
(5.)
H O V 1 S ATI
O N
li 1 li I I O (. R A l> II Y
447
Cramer, I I . "Die Violonccll Koinposiiioncn P. E. Bachs," in Allgemeine Musik Zeitung, Jahrg. 57, pp. J J I ( ¡ II., Berlín, 1930. Cramer, H . "Einiges zu P. K. Bachs Kammermusik," i n Musik Zeitung, Jahrg. 57, pp. 519 f., Berlin, 1930.
Daffner, H . "Die Entwickelung des Klavierkonzerts bis Mozart," i n Publikationen der Internationalen Musikgesellschaft, Beihefte, zweite Folge, Heft I V , pp. 24 ff., Leipzig, 1906.
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