N OV O V EL E L LO LO '
B RA RA R
MU tor om_eDt,
A L K NO NO W In the wit,
.a
BIuoto.
be
E C H T SB S B ER ER G R ' J. G . A L R EC CO
Ur
WR
NG
ON
AND
COMPOSITION, OR
TIlAII'ILATBD
N ST S T RU R U CT C T IO IO N
BY
L' BAS BU
'.
REVl8£D
BY
LONDON: 24:,
1855.
POULTRY;
DG
IIanarc! Oolle.. :LibPa~ 'Jam. I'rOJn
:9
&17 of KIlowlell PaIDe.
"W
Ir
familiar anif anif ld ho gh nifo niform rm-i -i r.
reci reci io ubst ubstan an therefore
shor short, t, apab apable le
firs firs
re Albr Albrec ec tsbe tsberg rger er imse imse r, wh co id re th or impo import rtan ance ce than than th word word on ey ng it ri is
of his
In
Im 8eamul, th
tAird
pres presse se on th it is
ex ress ressin in
int, int,
ch as be
ahor ahor rule rule
five five-p -par ar
oneone--n -not ot frui frui l_ y, part ba rece receiv ived ed cons consid ider erab ab e, an
it isho ed
ot
welc welc
proceed to
ri
fe -t rr
jppressive
rn to
," I
OJ
iI
worthy. IONA IONAz, z, RITT RITTsa sa VO SEYr SEYraI aIBD BD
,.
JOBK
GBORG. ALBRBCHTBBBBGU ira
la
this worl on th 3r of February 1736 in Kloatemeuburg, W88
11'88
gi pr fo
88
Em er relic ia stil preaerve
Joseph agai
in
aued
hr gh It,lelk, an atte ed
88
formance
to
re ra
Court-organist,
81
soon mis-
of learning
11'88
11'88
This -c
indulgence he played lO'UIlusuall well that hi listenin ',
Ir-UI
G.
ltliP
G!I
to
Le pold HofF an
chapel-m te
of
St phen's ,(
rt re
.F
real influentia Iphere of actb!l; ro
88
't
hi, best an self-ere te 81
BIOGRAPHICAL)lE.Om.
Swedis Mu ical Academ
an
in
Sit illiI IJlU8
at th
(composed
coro atio
laTa lem."
in Al rechta erge
T. Dtwm
Ludwig
ad
tIOIt BedhOtJeR,
mero
ch lars
an
in
1827). flO" Dobllao/, B_ JOIepA Ey6ltr, Vienna.
T e D . ,, ,, ,. ,
StepAm Vienna.
-m
in
Frau,
JOM"" FuN, Jo ul rt
G a ru ba ch n- ,
Chapel-master at St Stephen'.,
Vienna. J o A n N tp o m u T H u m m e l
of he daughter
ac
"011
K"'ffl
Vienna). M. J. Ltitk.dorf,
some
om se an
Pian for-tete cher in
JOIepA Prmdl, ll October, 1823 in Vienna).
AmbrOl. BUdu, Choir-director an Berchtoldadorf near Vienna "011
Seyfried,
Fr Scluuitkr, formerly Organist In
good
It
Schoolmaster in
Melk.
JOIepl in Prague
-m
M ic ha e U m la u ri -m tre in Vienna. JOIeph Weigl, Imperial Vice-chapel-maater in Vienna. sO
ar placed in
jovial
26 Ma eea 88
rere ..-I
in
ra al 34 OfFertorie
n.
Litaniee Pw
Miacellaneou
(in D) Magnificat.
pieces :-
erenad
fo
Quintett Nott rn
D) MagnificaL C) Di it Do in ll
voice&,wi&hoboe obligato.
with flut concertante. lo voiCe&,wi&hflute obligato.
Di erti enti
attr
D). B~).
Moteta. Salv ReginL AYe ReginL Regina eeali,
D)
Concerto fo dift'erent instrnment
:-
Concerto fo &h harp
Alm Redemptorll. rg (in C).
7p Concertini fo &h harp (4 pieces), Symphoniee :-
18 Hyams.
Symphony (inF). D)
Miscellaneous Church--mUBic:ep
D) n C
nD
chorus fo inltrnmenll.
from
(i F).
composer are Circ it
(i ). n D
preeented to
F)
'Beata Mari Virgine.
ee
-m Reapon80rinm (i F).
is artia~life.
Oratorioe,
J.
Kreuz-Erfindung. Geburt Christi. ApplaU8U8MUBicua.
lrr. Pol6Iw...
~;rel.
1.
,F, et .Y
Ne G) d e B e
Mari
Virgine.
Hnmmel.
(i
Cappi. 30 Cappi.
oann ro (i E;)
Sa ct
Joan
epomuceno.
to
30 Mollo. 50 ArtariL
Ne muce
hG 17 Violin Quartette. Vi li Quintette. Violin Se8tette
r:
Fugen I'tir
Haslinger. eO
fiir
, I
vii.
BlOORAPmCAL IIB.OIB.
Peters.
p.
12 Artoria. 30 Cappi.
• 2
l'AHe-
mand Auaweichunge
2A 30 Artaria.
Choron.
vo C-du un C-moll
30 Trig. HuUoger.
d.
20 Hulinger.
0 3
Cappi.
E~
30 Cappi.
LIef. d.
30 Artsria.
,,20.
30 Hulinger.
(2
Anweimng zur
F, Bj,)
~t de 61
Pr~lude et
30 Breitkopf.
en de
Vc
2. Abth Dur-Ton.rten
hmioD1JOTIOK
I.
On
g me n e d
perfect
O n e on ao na n a n
di
IV.•
On
V.
Continuation
VI.•
O n d is Bo n n t c ho rd a
\'11.
On
da
o na n n te rv a
eleventh to
On
Xlll.
Continuation
XIV.
On
XXVI.
13
XXVll.
14
IX.•
XII.
Examples of figurlng;
o gr e
thirteenth
Major triads; In
third to
Minor triads; In
XXIX.
fifth
XXX.
E xe rc i8 e o n v ar io u
xxxm. XXXV.
er Ac
do mp
XXXvn.
wi
xxxvm.
XVII.
fifth
XXXIX.
XVIII.
sixth
XL.
O n f ig ur in g
aeventh
XLI.
Pr nc pa
XXt.
ninth
On
E xe r
es
XLm.
w o kinds o f c ho rd a
da
e ve n
f ea tu re s o f i gu r n g
Continuation
,9
ds
hazardOUlprogressions
fourth
octave
ed
me
XXXVI.
e co n
26
O n p r ol u b it e d atipe
XVI.
.,
triads
O n d ou b n g
third
XX.
ve
third
XXXIV. to
to
XXVlTI.
XXXII.
o n o f c on so n n t
e rv a
20
m in o d im in i h e
d ie B mp ed
g ur e
twofigurea
XV.
to
with o n
.•
II
e ve n ninth
On
XXII••
11
g en er a
VIII.
Xl.•
.£0•
XXIV.
ni
triad
X.
• 1
XXIll.
Intervals
XIX.
30 HuUnger.
Abth Moll-T nart
....
..
Choron.
POITBUKOUB. fugen fU die
Sonate Viol.,
II.
trad
Artaria.
30 Weigl.
3.
mp
Continuation
.t
viii. XLIV.
OONTIINT OP VOLGIfB
••••
the figuring of changing
XLVI.
HE l'JRS P40E
81
LXXXV.
the D88 of diMoDant intervals
87
LXXXVI.
the
.a of th diminlahed thir
81
XLYU.
fourth
other
XLvnL
m in o
XLIX.
81
..
81
xcn. xem.
81
XClV.
LL LII.
LlV. LV.
in ban
CootiDuatlon;
of
Lvm.
figure
part
fundamental
8U8pe1lded
the reaoIution of
LXI.
th place or .a
67
xcv.
51
XCVII.
fifth
88
XCVIn.
sixth
89
XCIX.
-57 -
mp
th
exeroieM
liS
imperfect
prepared chord
CIV.• 48
LXIV.
49
prosr-ion LXVII.
parts '49
cvnr.
parts
C1X.
49
minor
LX ••
th 49
of the sixth
LXXIL prepared chorda of
chords of th
LXXIV. chorda
of
60
CXIV.
60
chorda of th
LXX ••
64 deceptive cadences through in
Ie on
mtJor augmented
ninth 51
LXXXW.
four p&rt8 Mct
compoeitioa
66
triad
6S
ftft.h
67 1)8
sixth 69
cxx.
aeventh
mtJor parts
eecond
CXVL
CXXI.
LXXX .• various
64
CXVIli.
the
LXXXn.
eecond
perfect
CXVII.
LXXVIII.
L XX I
by the perfect
CXV.
pusing cbords of th 88vent
LXXVII.
CXI.
cxnI.•
Ie on
and 6th
CX.
IS
4th, and 6th
LXXVI.
O n m o d u la ti o
cxn.
fifth and sixth
chorda
60
the
6th 49
LXIX.
LXXV.
CVI.
4th and
u np re p ar e d
LXXlII .•
60
cvn.
of chorda
p re p e d chorda of
LXXI.
0
4!
of
LXXXIV.
56
CI.
all
LXll.
rxvm,
06
••
LX
LXVI.
56 06
fourth
IL
LXIII.
ixth
XCVI.
LVI.
Lvn.
di inis ed
61 52 52
10
ALBRECHTSBERGER'S
HO
H-
HA
THOROUGH-BA.BB c,
B_th.
Sixth.
all
Oeta...
r~
'I'
co
hy
nn
ac un at
at
ch
-=H-~--==
ai
it stands
ea ed
or gh b8
ch
Tenth.
Ninth.
is OD
rd
he
or
er al en ed ac
be
no
aj po
ed
Tks umito'lls
alI
art
Ex.
-----Jt...J_
JliDor HJDiton...
- r - p t l l r ';kll¥jIl)J .Jj-r===n=
baM, enables
,-
x.Ior-tt_.
J1J;i
88
with us
&c.
ipP=E
jJ
I. ON IN JCBVAL
an int8n7al;
88,
from
to
to
:-
If¥DfifU
'71tt !lilt
FBfH-
'71 ",t.
from
is
es
er
b.... 88,
from
(J
to
major, c$-tJ; minor, df:,-d. fo example:
jjU±"9I
c-d!7,
is called
::S~~~ is called
third; or ex Ex.6.
a
a
ijpRF1E
ALBRECHTSBERGER'S
10
nl
afourth; fo example:
81
mnst be di tinguished £rpm th real econds fourth an sixths
1~~
n.
afifth; fo example: Ex.S.
The tlnU01l
~iiF~JI=$~-gH=~ Meh;
they
Ex. 14.
au
'm
AqmeDted.
or
Th lI8Contl'is
xa
ed
Itft+~ an
;'
ch
I e' fJ e n h ;
....
an
If:2E ex
octa1HJ;
ca
~~H
iJr-
minor semitone
Ex.
pl
DImbIiIhed.
144
r=it1t~+=trd~~=U=
DillllDllWo
~=tI¥?-
~8
I~n -.-. ·, An inte va whic contains nine grades is second ed ninth; fo example: Ex. 12.
majo wo whol Th fourth lui.
d.
Ifl*P
ones
'1 sb
EL17.l4bn~ ab
Ex. 13.
ct e, nd
ed
tentlt; fo example:
rf l.
fe t.
ll 'e ted.
whol tones Th fift
,gg==;•.·?Gi::::~ ;a:!
Intervala Jl1.
..
follow-eleventM, fourths bo tmelftM, ac oc ve
'a
is our-fo d-dimini hed,
ucond
Jl1.
~--=-Tf
tones.
jo
Ex.
tAw
mino
19.:t;i
-&
U--S=~
ajor
tones.
ne
ne
he dma
gmen ed
ve
Ex.
V en t
j:ep:1I
contains thre whol tone an thre
'1 =-H1iJI{§U~
ch ds
an on majo semitone
&l ~~
hi
.----
~:_M~
os
is generally only two-fold-diminished
OctaV6
pe
0; 11
ft f$
:tft$tifn he di inishe
bCiEi
e;
xa
Beenin th followin eD Dple :-
DimlDlabe4.
.I;I~*
math;
~#-t1-
ed
nt
11,1~
ho
three
tw majo semitones
The nit&th
exampl :-
22
JIlDor.
7.
Major.
MInor.
aM
Tke tent", DImlDIahecI. I71n0
Ex.23·1"':
ino
pe fect or mper ec is pe feot -the third, fifth,
10
ifth octave an
respect onant,
hich produc an ag eeable perfec ly sooth-
e, an
nd
or
xa
Ex. 24.
H~=aIf¥I$jJIg~~ bo4.
noon
e:
hird
Th
imperfec consonan chor
poei ions c- hlrd octave an ixth nd ne on an do ng h, nd ampl
12
ALBREOHT8BERGER'8
an seventh,
ifth sixth, an oc ave,
four h, fifth, an octave
hird fifth, also
woul belong to cepted, 8B example:-
As well to gJ
or
ce
ajor major;
ad
major; ns
viz. :-let,
common clwrd 4:
fifth, to
Ex.
part
on he table:-
or
8B
~EI::t:e!::: Ever
.IJitD=n=o=u~=u= fM=U~EJIliflfp.
Ul!bllMt
~¥IIjia=ttg EL 38.
J - ~ = - 3Ei.ii:lft;::::~didi:::::o:::a=E
common chor is capabl of tw inversions 8B th fundasixth is
en
ad
in
89,
fift.h Pert8d
re
I:-r:t:!I
Cbonla.
Ex.
th dominant example:Imper&et Cbonla
P oe ld o D 0 1 tile....
U:==!.-IE
e d Ex.
er
kt
ar always to
ro tInu.
of,
Inltead
.f of
of,
~=
~'I~atl The
or
~!il~~
8t
JI
Fa
IE
always relate
almost superfluous to add, tha~,the term
e w
,w
prepared 47.
to
g-a,
e m
VI.
tb ..
3EiEB:=:t:D
perfect.
C,
e:
VII.
11,
fo example: &.48.
a....
11is th tonic,
~t
I~
Poe:tIGa of tb
JOnor.
I7T
48.ft4iF~~
!)T
ALBRECHTSBERGER~
14
major, minor, ft ma,Jor 7th.
Ex.
minor
of the 7th.
Chor
oUll
dlmlDllhed 71...
~WBiMi=¥B.~41Jg bl
hr to
baas. PInt mallon.
Ex.
~~~
he
es
'I'
±f
of th five ix
th
ev
-~-·I§=B= be
he
or
J=F~ I~J
n£dl1F ~I
F?T =r=1f= IX he eleven h, an
ar
fifth below
18
g,b, d, f, add
ix h.
will lie fifth, aeventh, nin~
as bass, ce
diBBOnants
ve
VIII.
,t JDYenlon.
g, b,d,f. add
ba
1=flI'~~---H==-
g, duced, consisting of th rd fifth, seventh, an ninth;
~~=-::u==~==~ Th
81 omltted.
he 7tll
omitted.
8th
-ggjfr-~~ differen ly accompanied, an
peculiar
reated
88
The fifth to
b,d,f, add
gf-:a, ae th thirteenth is produced COll8istin of th eeventh, 18
baas
chord:-
~=~ Ex.
co
to
--II*-~B
B--o
on imperfect to anothe
I'
mper ec consonan chor
~$b;WU Ex. 59.
f1
===a=ti-=t1 an
in it
ar extremel
h o
~f-I'
1;
r]
esolut on XL
is fourfold:
IS
ft_~·M-II;;~;;~g~-eJ th ough di eren inatruments, pa tl high an pa tl case, they ar no considered consecutiv unisons, an XII. Diseonant chords ar used , a
hr
ascends:-
--C,
;-&11 II
9~
rnlea
movement mu
~~$E
be used an he
he
ho
an
9b
notes:-
and on
suspension :-
J23-.B--a:II-i-~U¥2~~n=::::gg
Ex.72.~;eu1+11 baas.
ng
and
suepeneione
e,
XIII. to on chor
r~----=u---:* = !1 = = ~ fect to
on
accented
nt
contra
e, ar
nn
fJ~
~-r-'f"
~~gg ::
part
B~~
offensiv to
E:x.70.~=lj S8
an
to
-a-id
to the "chord, accented
called
passin no
of
16
ALBREOHT8BERGER'B
tl
and
:t-f~
E L 7 ~ . : ;: : J : :
~-=5tf*
Ex. SO
diminished
and tl ar changing
and
employment of di880nants by BUBpension:first, thei preparation; secondly thei percu88ion an thirdly,
is
EL7~=;t-= ~.I>
ue XIV.
un
al good
It
f$¥}MWo::J " "" _ o
real pe cu ion,
Further,
ai
ahall
real
hich is gene
it
ne
al
ne
b a a s note al to
~=:: : : : ~~_ ~B3 co
ch
!t
18
rH._MAt .A.
diminishei:l
inor or ma or
s, tJ
.figure
ucond,
.I;-lIi Itr
I~~~~~~~~~~!~~ va
An exceptio to
ei
nd Doublo
Mbo.
f£-t=aa=; ctzlt
de cend grad fo Its
di
,an
us
~~::Jij=t"""lI1§gt
nt tollowin
es undamental no
ur
XVI.
indicat, that for
88
88
80
.t 81Xth-
we
eJt_$~
PM diminiBAedfourth
implie
he double mino
I;
formed into
e=::r:P~
==I=ET~~--'E
case, th fundamental ba88
f$ er
nd
note
diminW8tl tAird implie th diminished Se ed ve
mitior and major third, ct ve
he
in
ctav
'Il'-
- 1g~- -
=~
89
en al attgmente fourt
happen that direct movement prohib te constantl occur:
fifths an oc aves
ou
,a
baas
E L 8 7 . C l & = E= L ~ ' ~ ~ ~
~~~~,..pa~and
even
:ii=
.
i=S:::
w
XVII.
The dimi""W.lift1&, prepared implie t1li
-=-=
ALBRECHTSBERGER'S
18
Phe diminukPd Mh
7th pad..
rnde.
7th
.th
he four
hi
IS. th
leadin ma .orgrade. of
:: c::~: ~==r
;g:u
t:6-ffiElt
doubled:-
played alone, withou
doubling:-
;=0: l~gg
ar must
to
en
01'
e:~1'.-;
sl1bstituted.
perfect .lift"
no
~~~=a-~
he ea
aj
Jt~'~Cjg
I':'
be
~bE!±gJg "If
'=
"T
Ji-~- t=®-=E~=( to
nd
gr ea
fa~t
becaus he
he
P h e a ' U f lm e n t e d .f t. ft k wh ch usuall only appear
--
1li!bff:~S:_q==--=-FOgJ-i.'fL-iII -----~ pp
Ed1id
rw
ei elod
ub ed
example to bi unna ural,and di ficu1t
de
av hs es grace to omit an interval occaaionally an double BOrn other:
~-=EFFT -6
oc av
I':'
---=b¢iU
~:=t=~
.A
he
fifth
Nt" 1ll8tead
-
el
~m#~~~fCT~~e
rnd"
18
~o
oc
~8
~f
tJiEEB£
aU!lmented.~
av
er ec co ec
ve
THOROUGH·BAS
AN
HA MONY
1$
108.
XIX. Al '6r;entluJ, whe~ employed resolved
88
preparatIons an
88
r.-.
is
prolonge Ex. 109•.
= = = ~ @#:~ _.:rcrt!ifr~n= PIu augmented
oetae«; 88
r.-.
~==== XX. XXI.
TluJ aiminuked octafJ6 tnJo mntluJ,
sixth:-
Ex. 106.
TluJ perfect mper ec bass of
~ ~ = = = = = . .
octmJe
chords
~ff.
cu
r.-.
/':'>.
~:
#lllIJIjt~lItt=:=e=u
ALBRECHTBBERGER'S
20
is
pa
er el
XXII.
pl
figured b a 8 8 will find it
An unfigure entire
basa, unless marked by "l1ni80ns, or
wi hout accompanimen ), implie in al easea
sixtb:-
oc ve
c:
EX114•
---=~~=
XXIII.
bass Dote
ntervala :_.IA
r s
-~-=n-
oc ve
~~Mn
mp
he
116
.eeond an
fifth
pl
es octave :-
eixth:-
ixth
j,6
··octav
am
fth:
IV
Ex.lU-
~1r.:n~.~Ii~.~~~
-~f·.~12S. ,fourth impl th lixth:
n==U== Ex.13S.
.tllerr;f~h~~~~l;:~ Ia terva doubled:-
he
xth, impl
tern
do
=.::::::::±=~~g;;u:===tIE_
=:F=E:;:a;=:g:H:r:-ill-=i-IE£U~Ek!4ii::_E-:
:t=u=R
ifth
he
led:
octave impl thefifth
he
'nin h, impl th fift
Th imperfec fifth, with th octave impl the minor
i¥¥~
c:
Ex14:3.
t=:-II$
tenth, impl th third:
I;g~~~;~~ ~.:::
§f%~
EX.l44:.
!'[:!E
o=-....II-,-:_-::a::~-
second or thIrd:
. 1 The .mh, with he
_ ¥ 3 : :: :: :: : i i! ! I = : : I I @ g ~
..
EX'146. ninth, impl
he hird
=:I_G==n=
~~~'==!=rz==:11§ EX.147.
t=-~g-~~~~§~~ ~=~J:2. :II§
third:-
::1...
:~:d= =-=-¥!
th,
~---~~~
xxv. fifth is lowest:-
10
fifth:-
~-9¥11-
~==?=:==$g"'-_-«.--~
~-&EiJ8M-3 ~~U
XXIV.
It fa
~@~H
he ha
ni
nd
all
er
es
~:-~fl
h:fJ-11t-1-Jol1-n
THOROUGH BA
AN
HARMONY.
XXVI. is lowest;3•
~h~ -~~
1.,......~
__
..-t......
!_
r.--
r.--
ALBRECHTSBERGER'B
Ex. 151.
~~ XXIX.
S.-In
Ex. 156.
~--J-~n -.-=&3~ ~~~
roo.
xxx.
po sibl
each
88
or:
~=i2i±;2iri¥~§g~~ ~=9=g~=jgg;_"ggj=ilD~ ~~--t=J§FI.J .J ~Etr=FF~4itn=
-~~=
i=n=
~=;:c~~~~:
==-== = = - : r c ; : fN:~~== _..~ =::-~~~ETI~
XXXI.
, in a
o m
ascertain its
it.
Every
:'it
Btance on b, h a d m
h i
r s
~!eih::~~r:/ytid,dt!Jt~et~fm~:ra~~lfi~~~o~
&,'.~=::::= oeIUoo of tile thIrd.
~!=§igjfl~
@ffG-r
==: =-o:=©=~~-r."l-
Ejqj~-IE
EEf
#~
_-------=---=-
=:
r.-
ALBREOHTSBERGER'S
26
Th
ol owin dieaonan ntervals ma
r--=
=:::-::c:
~E
an oc avea prohib te
~--=tiJlI tIf2EP-~=~
. .;
r."'\
er
XXII.
doubled.
--%;~
cc
ni
by
ec
on accoun of th disagreeab
to
XXXIII. tonic,
is
E v e r y skip to
al is unmelons eth to th augmente
au
ou e; augmen ed second from to II fourth from tof$; to
ctoll$;-
AUlIDenled lu
'Fb=-lli#-k!lE;~t:::J
mW!ttherefor no be doubled, 88 it alread impreues
Inversions
is
ad ng no e. If he ifth
er nt th
l1li.
J-tF=:ti1=A~~k
iJ~
XXXIV. perfect
octave
example:-
Ex. 165.
b a s e regularly
ec
ov
tw
THOROUGtt. A.88 AN
HARMONY.
A L B R E CH T S B E RG E I
PoIltIon of th acta....
5Ll93iIft4~+~~g@~~ .. ~&>:it ~7#v"'=~
i!k~RF'
I:-.
tft
==l:= f~~":"~ ;:;r:;:;: h~if~.~~e~~I§ijl~!e~~"~'~~I--~r.-..~: ~_
XXXVI.
monlOU consonants: fo example:-
~%~--..~r;~~
~~~~~=--r
DeacendiDg lICa
ajor keye
_.~l~=]pI=F~·r$a~=tg p-----r-¥...;
to
gmen
I-b,
ei PGeitloD of the acta",.
Ex. 176.
hi
ou
is
THOROUGH-BASS
ND
~"~~-RM NY
Ex. 178.
~.=tr~ ~~
du co po ition.
Thes
88
in {our-parts al
ueeeBBionso f hree ai
belong
cu av ca gh figure placed over th fundamenta baas indicate th ce
figure :Ex.179.
to
u~
FF¥I r E : : :: - r - . - _. .. .
~l::
Ff J2f F= -l
in
I.
8,
88
each other, he chooae th midd Ex. 180.
to
near 88 po tion
to
nt
an
e,
gh
no
doubled, xa
nt
en
....
XXXVII.
baae,
may
to speak especiall 8ia: h a za r t o 1 u p r o gr e# io 7 U ,
they errors
@F'?mFnt~~~r~~ doubled, to
ur ar
altemately um an
Thep hazardou progreselona occur-firstly,
example:-
bus; for
so
ALBRECHTSBERGER'S
eEgl:~~i~ r.--
§ = -
I£ perfect,
@¥l43 im-
perfect, is
duced in Ex. 184:.
~JiHtU=~f~jj_3I-
~--..___---
ke
Ex. 189.
r.-- Better
ID'~ of.
~lf=II~DhJ
r.--
8
8
r.-.
r.--
----.~l
...--...~t
an he
r.--
t~
t~¥B£~~ 8
8
»f
nd
terval must
r.-.
r.-.
U-C!¥f¥)
en ng
iJ.:-!
en
en in-
om tted or
di eren position chosen
--.s:r-
~'8:a
thUi.
~ta-lI-iiI~~~
chord to
e~::::t: 8
~:prr.--
fifths an
8
:LII:g
8
r.--
r.-.
8
r.-- F--~~r.-.
by ch co cu omet me consecutiv octave th base,
r=l=iJi~~m*,~ 8
~
=0===
This 2.
en
en
ac
B~MONY.
=~~~~ %; &ft.bs;
eumple:-
'I'
'I'
0#=1
as
t=!-jgJJg
, t e e
E L 1 9 < · = = t ~~E.1£; .::~~:o each p o n e " Mba
Ex. 200.
j1
~E~IF
~t
.1
.!
!allow
,£t9F
==== to
omitting an nterval, an doubling anot.her consonan one In majo keys
ains
fifths
ampl
E%.201.
~ ~ - - J $ere, and to make
0l
ea
it
be
to double he hi d,
ascend to d$; thus:-
ALBREOHTSBERGER'S
of
,p
ou -par
to
accom-
to
~¥¥r
1££il¥J r'I;
r.-..
fr
XXXVln.
#3&:1
We will ow
ampl
er ei e,
h&8been pre
XXXIX.
fundamental note
octave
bus, g.
ed
knOW8
all
to
~Q-~lE
ae
r.-..
~_-fFH¥Hr-f¥=J:~
at
treated e.
fil'Bt
th
altering
&ftb, s),
th omitte
tJ
4iQ¥
t1
IM'E3H=L-.
8i¥~
three-five-aDt :-
:lLIE
-=wi=~~ nt
no e,
88
ov
tJ
,rally produced remains as baa;
becomes
alto natu-
perfect cadence:
I C I T E(tI-
~4;J·-J=ijl¥If§f8-Rr=J@*
&-j.::n:
r' t-3f~
-=-r=1
rtffEU:
tile
the second;
grade to b a lf -c a d e nC 8 , instead
.J
lunda-
(J
.J
I;;)4 ev
,J I~(clllil.t r r r & ~ jm-1L\
of
beeomes
th fundamenta note,a
uspended bus, c, aw th sixth, a, hi he ei bu be ea f, second, d, be d-
a, he
Th
.¥iH~r=F=~--' LtJ[J:ggng ev
co
c,
er ec
ni
as
he cu
pa al
he
an
n,
ho
complete termination:
Ex. 2 1 2 .
l?!.J~=Nta:lltu:
ee
Ex 209.
.............
~Ffya.l~ ~§rrt¥l~ to
according to
sixth;
a,
tl,
descends, b, the baaa emaina upon he
e,
the bass
,i
g,
f,
the
.I~
r-fJ'M$iir . J _ t i = t
~bJQ£J¥IP!'A .!
~t~
,-.....I~
~::ttJ~=tL~tr5flTm ......
ALBREOBTSBERGJm'S
216.
II-=--
tEi"
tl
fifth IJ.. Ed11.
on he di fe en po it on ated
The baas, g,
an is
rema ke aD
ha
octave higher:-
218.
d, becomes
~~~
always used
~ ~ . ~ ¥ J : ulJ~ ~_f_~ Ex. 216.
tt
It
gTt NI
I1
=~~~=u 1:~=~. ~~~~~§I
.~!J
==n~~~~
r.-.
fl#:;H"~·
@i3'ifull ;T
_WtlE'!rt9r~
·~=E:aQl4~r
wM_tIEJ:jIJllb$fi¥.-#tunI
Wi¥i#=# 1mI~
f§?5i.J:et=.n#
~F.Jlr·rl
thus,
d-G
6--"
r-g
r.-.
r.-.
UNtM~ IO I.J.JI
r.-.
no.
.!l!...,.
r.-.
Mf
121 I1fgJ li
r.-.
THOROUGH.BAS
AN
HARMONY.
35
da gto
is is
r e
in
219.
Jl wrJ±1
ti
It/lHiisn 'rITQt!Wr
itlJEI
II.,', §\\b
M~][~-v.-
.JlTI ci
IW__~--t¥II=
~~¥J eleventh
ijIJ
it
~~ffi~
tl
fiAh below,
:-
EL221.~
baas
I .
tb ""ntb
~gpi~
wt
-~~
on
is gene ally called
on
ne
inth omitted, and
oct..... doubled.
ALBREOBTSBERGER'B
a, viz.:
~===tI§I=n=
I!._ng
Es.226.~
11tf
d, WIll become th
will become
..
eleventh, il,
XL. baas
::==:
en
pr
at
va
ac
to
ho d, are-
unison to x, 1 7 , 1 2 1 7 , and Bat, an na ur
to
&.228.
XLI. ea8e and correctneu.
euy, ca us
ea as al
or mo
correl!t,
~$.J
['
It!
possible, ec ea
&8
av
igures accordin
ha mony fo another.
di
to
or
to miatak
on
xm, Df$'
r'
If he un
Ex. 229.
uf icient nt
ot
i!=n++g
indica ed by on ea
en
TH RO GH-B GH-BAS AS
Lm
to
baa
IllUDe
AN
ON XLIX'
In ease
tb
t.
consona onant nt harm harmon onie ies. s. in cons
I;: n - p - = t r r - - - t t ~ : : c n XLIV.
If 1Iarmony
HA
ou
four
is
an accom accompam pamme ment nt
ID
to be
is
mental note
to
partfo.
AD accompaniment is
LI.
is sub-
Ex 281. to
progreaaion.
LII.
XLV. ot
I: mony to triad is
ei
or an
el
At
strock
j g
Telema mann nn C Q l ' V e . Tbis ligo fa called th Tele
figure
XLVI. is auftic aufticien iently tly indica indicated ted XLVII.
added
88
, w mental nt
When alone is hand to produce fort8. indicates that
be
nt
XLVIII. be
is to
begiua
to the study of
LIlI. ecut ecut ve octa octave ve
Ed3a~
el
according
ke
in
e,
tMtn, or
ttuto 8 0 1 0 ,
thei thei re olut olut ons. ons.
LIV. acco acco ding ding to this
con-
-:~ =::::::c;:
ALBREOHT8BERGER'8
I• -I
fflh
r"lr
@G
&43*
....'.
-s
N"jr' -I
8,",
It
~HJ5FH-lrJ -s
'IrlB
liL=g=rl$tqp
[I
;~:i:J = : - = u = - - =
LV. to be
ai
vi
n& viz. :-in
.:
r....
aU
_r....
S1X
'i:": ~~:0 :J:;::: ~ _ L ~~~:~
~=+~=
proceed l o
:€~~;:E:~~
three, to
quavers
LVI.
is slow
bus
pasalDg quavers, pass
tn
r e
pl
n s
THOR THOROU OUGH GH·B ·BAB AB movement, tw and Iaat
ho ds
uf
on
L-==:t: ::
AN
HARM HARMON ONY. Y. g, the fiftn
is
third tl
ee
LIX. np ep ed
e,
88
antm antmay ay
used
lint
h m · C ~ ~ ~~~= = ~~= ~ ~WM
LVllI. mll8t
==--
~~ta-u±=l~-
be ep
yr
'' "~&#I;r-~~~
-~:!3...=t£ii~.51 5~
~1J1;~;J4-~~
-=~
~.~.===~~ e b
this example, bus, g, in
the baas de en
g t
(I,
f.
(!), ec
h, thus thus it regu regula la reso resolu luti tion on
+fr:t.
l]
*~-~
II
into he con8 con8OD ODan an thir third, d, is
ne
di 80
by
ns
tIli.
ALBREOBTSBERGER'S puling
proo8II,
OODIODIDt
t¥=a=
,,
Ex. 247." ep
248. to
is
fI, forma to aDdf:-
fourth:-
w-raecond to iIle same intenal above
th
.-t.t
a,
e'1". .J i-
is
form th
Ex.
:h!n~f#:16-1
r.-..
placed
tti!:;:If.!dE
..
Wjll-a:f:p
..
n a a ac e ,
,..e
_rli;OI:;II-M!IEFirtU. rr_
tOlr;.
is take
to
dominant
II
111*4*
Dinth,
tl
inStlDce:_d_
Ex. 202.
Jj
:it.
Ex. 246.
With th
placed
II
JOJ1Eij1
.',tlf
nt
LJ
Ex. 261.
"I
to
immediatel
inataDce'
to
tl
F~Ir",j fifth an
sixth:
in
':=el,
bu
THOR UGH-BA A .1 t 0 1
AN
HARMONY.
if'
all til...
I~
eolved accordin to disBODant proceed fro
JI±
figure called tI~
instance, ot et
ch
er
LXI.
al dissonanta
is placed
term.
viz., ongin-
and on
~205. ,.
gIn;}
;_n1;k¥iu II
88-'
!§4~~m:s:g@tD
Ita II in
in
or
",.h
rIf11i
Ex. 2 0 6 .
I7f
rill
II 1 1 , . ·
({barr-TlE hIlT
i§¥f
~-~ EL~.:: ur Aminor:-
_1Ir
iT
8-
J~
_:Er r~ILIb rIJJ~
or
VIZ.,
tl in
also produced
8~
4WJ!
e,
ni on finO
Omajor:-
Ex.
mAmmor:-
om th chor
II in
J$ft instance, on
ALBRECHTSBERGE&~ ADcl whic
alwa
it plac iDitance,
th or
BL_Ct
.n
&_=:::::::fit t1i. octu..
The augmented aixtb ha it p1lc on th Inminor
I&1Il8
grade,
di
fifths whic
"i
"261.
In this exeroise we must obeerve,-6ratly, that when e nd a tifth, tb fundamental hue e, th accompaniment muet made in greeeion made in contra movement th poei io of he ct ve pr other8 eapeciall
ea
Ex.266.
IJJJJlrJfn@l r1rrrrlCrt
'i
Ie
ba
example:-
~~:j::t::t Q!:::::t:
fiJ
IcArrl
Irrtlla"
Ir
II
ij¥lj:l:lBj#-n J4Su::
Common chorda
no
ey
h ~ 1 ' = : :a :f: .eune.
. . . . . . .
trary
I~~~~~~~~~~~~§~~ LXII. lowing examples of all
gi'f'eo,
will
&_=r;::::::
ve
woul occu in th
u e e d in this progreasion,
81
to
wo penultimat chords Secondly
co
the others :-
iii . 3 1 ' :
Ex.268."
El
1[' t@5i¢Ll
chorda in major
_rtf!
IF'
&a=5=tl
THOROUGH BA
AN
HARMONY.
.1 te s a a
EL~~==C W.R..arl.-'ndI progre.ion ioDic, en_ OD the
F'
. . . !
alwa,.
the
r'I:II-f12 r'r J ; @ I
~~
.~!lp_
11.Igg44tt4@l
$\1" .J
IJ
I 8
_JrJr.JI:II_.J
IOJ
I_
I~
ho
-E'91rl~ Chord. 1ft...
p..waa 01 th
.&.ari.-lC, taken inltead
in
dch
third, g,
uample:-
~I
815
rFf3T~
-a+r1F'rl"'U@'L u a e d in tOUl'-part acco_ fiftba would produced
. . m · = t ~ ; · ; :~ t by aacending
UDmeloc1iouaskip to aD aagmentecll8C01l g :
Ex. 272.
J+t
,l,.~lib::
" f* "
-I@.......
riC;
_Jqrlrr_JrTrF'I~U would be
. , , . . . . . . . . . . . .
.It
~Mi! M\5OJ
89-.'
-v, ,'·11. u~
.JrlrF'I~U
r~g;
or
ALBRBOBTSBBBGEB'S the augmented second :-
~=~lil:~: c;~~~:==== .IJrl II"6JlltJIJr~ !@EJ
~.
;I.JI~
ahorda 277.
rtl &.cw1.-The third cloubled ll
o&henrile
coDl8Clllive
&.978.
~Iji±l
Ex. 280.
atb
must alway.
THOROUGH.BAS Chorda th .up_ad andsixth:Ex. 281.
fourth,
with
"'!COM
_wige;~:F:;it _q~
P.,.ltIn
of tb. Ird.
P.... daa of the
.-!__
.Jj-e=W 1 ~ U. J
Poet .... of the
AN
HARMONY. tw
emen
ua
ath.
mauf Iiltth., C O R t r a r y IUCceuion ri ci ally uaed an Interval io etimel thia leat ia -b
8_
.J I @ I E
tl-d
th
sixth:-
Ex. 288.
'I
'II. mi
Ex. 284.
POiltloo of the o o t a Y e .
'"
8 8 8 t
rrrl·.
r:r=FfIf$f
POiItIoll of th
tblrd,
+.
Jill.r'f E'l raid or ,,-...~
......
~:::::E==,
ALBR1!lOBT8BERGlm'S
1M'DI.J
~":-=~~ ,I.d~--=-~8iJ811
."
t t t
f ! r .r 'I £ 1 l ~A
Jf pv
.,..
• , 1J1:!:ff f~
roo.
'f~."' f$frII
r----r li part
chord uI the lixth;
do bled
th
re arat ry
h~7.=== third iDatead baaa:Ex. 2 8
~r
r@¥OOr
F'Ii1§LJI]¥I '11"-
.J
J:Iti#tIJj£n
ma
THOROUGH.BASS.A1O) IlARMONY C01Dpmied with th nd fifth;
nd ct ve
al perfect triad, whic
IJeCOIld
th tonic>
Ex. 292. tfth.
I~ Pwltlon til tile
When
thelle
fift.h complementary in ervala
conjunctiOR with altemately
~±tEttrtl
roo.
Ohorda
~'kr
II II,
lWEi
II.pi;J Ili'
.J
.J
II
ALBREOBTSBBBGER'S
C:CQ;::P-:~= ~-a:t==::: r : r e r . : : t o
:-::c:!: - l
acco panytn ehorde an fo lo tile 81Dlple figured C88(>S, hi ures gu de basa, whic will be
LXIV.
LXVIL Exercise in (0111' parts, foorth:-
Ex. 803.
LXV.
third,
which
Exercise in three he ei fifth preparaiiona of th
on
of
pr ar
is an exception
it
doubled
instead Dlm1DfallecL
ou th
I.¥'-J. Ex. 802.
~;~!p:Jr-~~
IflDor.
ALBRECHT8BERGER'S
LXXI. fifth
LXXV. chorda of
Exercise 6fth:-
&.311.
J=!! :JS~4#f±¥'-=Mdg .11~
eli
tJ
Efr='r
LXXIL
LXXIV.
LXXVIII. Exercise on chorda of
f'1f'
F .x . 3 16 .
txxx,
LXXXI.
= ._ ! Ex. 317.
LXXXII. vano1l8 chorda :-
ALBRECHTSBERGER'S LXXXIII.
.n-i.-
played betwee
that and
And
orth in di fe en poaitiODl:
e~:?t: x. 322.
'l'h;'
When composition in on ct nd ct DOconsonan fourth it is th fift to the octave in in pe
co ds
pa
co
'_~~R.the thin! .(the
823.
third
nt
plac on na
ho da
for
fourth.
II Thisl
And
i\&gggu
ba
part
,=
i~
Ii
1I$¥i=U
Althoug these intervals are undoubtedl1:lOnant, ar cerned yet, form fourth to to
ke
in po itio wher to
6S baas; .u\JI to di
lI
am
t o di
~=:==
hi method is ve
re tric ed Iicenae is given to
1188
CODsonants; but care to change th coD80nantfourt into fifth, in th followin manner .d
must ob erve,procedtll'e, Firstly, that the third mus occasionally doubled, in order to inthe
InItell4
wWtji
ed
wen as in {our-par compositio :-
e::=::=:: &.828.
these thirds m1l8tnever
composition, howeve
hich on is
firth -but ar
too thin in
-IE
:::::
::!= consonan fourth cannot possibly
::4gw:ug
leadin notes. contains perfec
_:=n=:;
ALBREOHTBBERGBR'S Secondly. thOle in which the third
minor,
the
-" IV
~.
apec-,!-'!,
~.
apec-ca-to
1-41-.
et
ai
Ex. 836.
er
gm nt
eM e=tr=
~ar
ou
Ex. SS9.
of
pt11'8 COD80DUlt
composition, ooneiating entirely chorde :-
me-G. Qr}frlJ,Jln'g
Laada
JIISERERE.
........x.887. IV
".....
I$¥fI¥
Ex. 886.
Laud. 8ioDUlva to
I l l . .
_ndum
118:
r.-.
me-I
......
-~-
-0:-.1::
B ~ .
rem\18Ud:iJl;;
i'-um
JI S!
............. h~-n!
De-fl
t4=n
m,
~ 8 D a a l " . -to
I8-eUDdum
li
=-
(without the 0CIIII0IIIDt bmh.)
HYMN
or an mperfect
am of perfect
a-
me.
",-_
I""":'
rem,
-.:
ll h11ll-Dleat
eie: QaaDtum
ti
............. ".
De-WI:
rem,
....
II
I~
=#
~rem, .....-... ~Quan-tum .__.:.,,_ i-
am.
. m . "- " " Example
~Ex. 838.
ry::)
par composition, oonsisting ch
de,
po tee, taDtum au
~.I-
au -de, ui-a
Quan -tum pcMeB,tantum
~~!il!!
a-
om-m
Quantum po-tee, taD&1Im au.
Eltl1lF'
,~-! !..-
A~p!i~ -.u-
perfect
t-
l.m~BJ :.
-~-
AmpllWi
-v
AmpliWi
-v
tr.-te me
AmpliWi
-v
tr.-te me
=.!..~'n
Iau-de qu -a
u P d o r o m -Iii Iau-de, nee)
~-~~EF')~!
!a
aeclau-
l&u-de,
neelau-
-~-=~ml!! -----
au-de, qu .fi.a-jor
om
• b
:~,
:~
(;5
~~~""'-~~ili""}l-~=e~ l·cia.
nec
LXXXVII. TIle diminil1&edfowrtTa.
cis.
I II 1
-~Il=m-==B~
It
pi
l1li- I-cia.
01
keys; as:-
EL 844. a - r
l1li-
mf
~R:i===~-Z2t~::m DeC
ear-
a-
II-ciB.
-ail.
to compose
uc
of
ae
an
minor,
--©n
onf$
In
minor,
@M+&±+JI
on he
all
LXXXV.
an
In
to
in th precedin chord, an isresolved bydescending or ex
18
ni
au
LXXXVI.
mi
tlWd,
~~9~~d-'r!!'~
I~';-l~
EL_
EL3<1.~
hi
1l yb
Ex. 842.
diminUMd or ifllptw;fect.ft.ftl has
~-oort.
sa
keys,
yt em
be used c ase,mustbereeolvedbydescending;
forexample:-
i~~Iffp5Ei=U-=¢f~~ ~~~~~Di
mino thir harsh;
thus:-
~~~1E r.-.
Ex. MS.
PM m i n o r f if t
LXXXIX.. ce has
en
or
ALBREOHT8BERGER'8 naed
= ~ m d ~ Q _ a n _ ~ ~ r: harmony
8m
it
or wi hout preparat on
Inth
IB
~==~::~~= :'j§J
~-~ :
'I'
di inided _"
mented fourth exampl '1:'_ .r.x.
9
b3i
only
I'
OOCUrB
16
~
.n
XOII. diminilA«loctafJ6,
which is
immediately follow it, ha it plac on th augmente it is accompanied
descending :-
di-
XOIII. a t 4 f / " I 8 ' A t e d uniltm
XOI. Th8 dimini8W 8 e W J ' fI ,t " ,
Ex. 352.
sixth-and
is resolved by
It ba
ita
he au
It
h,
~~-r4¥~
XOIV.
I~l--'!'I~~~~
~~F'
prepared
sixth,
en
dillllOll&Ilt
.~:[ XCVII.
xov, second an augmente
triads,
(I~t8d
.fifth has it
min.r
it
ifth ~is an an icipated chord,
all major
in conva
E L - ' ~ : r :~t:::
ou e, be change
Ex.
• a r
XOVI.
need
l8~P CQ
ithout preparat on or
Ii-L! fJi¥§~-:5i=U
p- ¥)
+
'
ear.-.
-+
"£$11
xovm. P I & e atIfJfMflted
cending.
Its original chor is th doubly diminished
=7~:=~:t L~l'==
.l.LDRBOHTSBERGER'S latter ho ever mWltbe alread prepared
fifth;
EL-c:e::::. E L _ = :::tt::;; it)
p e rf ec t f if th , in major key.
to
From
no
ab e) sixth above).
" U . ' .rJ'tJn4t44UJ.J1tlrifF mlnor_
mID••
Da-_
I.
;el::
:1
rjfY rrt;itM fftJI
==:=:~::
The m o e t natura method of modulating to anothe 1188 the that key, chord of
OIX. ever compositio bu
Al hou~
mino (the dominant).
be ea om an on 8we remain always in theaam ke "Varie yisp eaaing!"
From
it
m~or to
pb as ba b e e n change MotltJatioft."
Modulation ia the art
easy,
sionallyby an une~pected an
urpr sing auooeuio of au
From
ou
nd
co
which
aeventh,
vis.,
or m..,or.
or
116
J-li!i4 minor.
mlnor_
~~-rr
I!t>~
Ie
I.,.,.
:!tt
mo,Jor.
~_.9 #-
Q#-
also,
~17.
liUfff llij-1J44 major.
'lUi
~cll
th
second,
to
th 368.
impe fect 6fth with to
fF
froDi
Ex.
mi
~=og~5
to
ma
1·
~ptq-!q
11i¥g4 ·'-Iog
In
tbe fifth
of
at ec ed
nd at OIl.
modulation
nt
all
well adap ed fo lD8ID8
minor third;
::c-:c:;: From
Or: from
Ex.
mi
mi
to
to
miDo1o.
EL 378.
i4~;ZJ~~-jgu
ALBREOBTBBERGER'S
==== =::::~tt
om.
This chord, whic is called enharmonic, ia capable of four transformationa, bl caD modulate ,wi all iahed 8eV8Jlth, imperfect h, third; for example:-
to
~.
CIV.
;:;;;: ::::
Ex. S8S.
OVL
E%.886.
ovrr,
C';;g
By 81dlfal management it is poaaible to modulate pert'eet all keY8; fo example:
triad
Ex. 391.
ma
to
fiat major.
ALBRECHTSBEBGER'S
to
&,416.
Ii to
Ex. 412.
minor. 4:20.
minor.
t--~!_f-ET~~ ...._. to
minor.
~==7~::~~~~ C: ':Y: =-1: :t ~ilS.
to AlIat
ma
om
m i n o r to
minor,
minor.
roo.
THOR UGH. AS
to
AR ONY.
flat minor.
to
to
flat major.
&_~~'~1 ~a
IV""'_
-~8-
to
Ilw.
major.
'"
~~
~~m;~~~~'~J c:::::t::: =E 486 zf
Er !eo
Ic::r: =tD=
earnestly r e c o m m e n d e d to transpos Bt de bye, in d if fe re n t p os i o ns . h ea e e x m p le s
ALBREOBT8BERGER'S
ovm,
It
ns
reguJarl ak
us to
ca
rGally or apparently concluded. Catlettca er ec ed an ce !lI8 per:feet eadenc8, which conclude compositio th
:_r:::::
!lI8 imperftJet tome, or from th
l u U f CtJdeMs sub-"iIominant to th
Of'
is surprised, dietu bed,
es
dominant
ae
cadence ar called "I"K,anni." odulat on
in the art of ve is ugh
will
OIX. Through th
second.
flat majo
to
....... Ex.441. 1:'.
fiJi
""
%3 flat major.
~.
....,. ........
,./..Ex. IV
..__, +:
~c:::::= z:z::: lso, in
y.
Bixth to th dominant
Or:
-"};
to
~~
~t8d
preparation clusion is og
cadtmc8 occurs when
fi::l""f8Ct of
a f t e - ; proper
ny
=:.=~:= e::!!: ~::;: ':: ~:==:z: Ex. 444:.
tJ::".,. m o jo r
J=1i:gtt1tt5!~ tB
Fb====t=¥=1
I--r•
..........
--
.'LO
la tUc8ptifJ8 cadence
an in
go
......,
. . ; 7
#~
Fu=LaJ
Through the
OXI. .........-.....
ug
ec
.....--.....
r: from
minor to
minor.
er:r::C ~~. ...
oxm,
oxrr,
From
Ex 463.
tria :-
tr ad :-
flat major.
~:':'C::: flat major.
ALBRECBTSBERGER'S
Ex.
to
no
,-.....
OXIV.
fifth:to
271.
fiat major.
Ex.
~-~»t~&i&J ~~
.....,
to
,*-~-l!g38:t~
iH3-!.~ -pto
or
""CT
...--....
,,-......
to
to
EP
11'
l_
OXV.
with to F s
;:.1
!t
p m
:::::::1 0 m
to
67 .c.x.
----
--
Ex. 485.
CXVII. CXVI. he mino thir :-
EL~.~1:-:e:
firth, with
ALBBB0BT8BERGBR'S OXVIII.
aixth:-
~~== ,Ex.496.
""
-..__.-....._,~..::.::::;JI§..__,-
rv
r.-..
=r'~:=:; r.
...-... .---.. ~-...
.....
....._, r...
Or:
....._, ..a. :U !!l
"--"
<:»:
~t
Ex.
minor.
r: from
to
k O O l " ~ : ::"r:!:
~<::::=
-~--
OXX.
..._.....
609.
i£1i!.
irom
r.
:===
EL -C := ;
0r
to
!:'T
~t
=a%¥F-~ ... to
r.-.
r.
OXIX.
Ex. 606. Froui
major.
==::: x.
to
x.
. /
mino
'-'" '-'""
r~
r.-.
to
or
ALBRECHTBBERGER'S
OXXII.
'"D"
m0
..__.,
Through both
_,.._.~
to
OXXIII. to
.....-..._........_~
ll ~~~uS=~-~~--=r=:.g
---PI
-...._...
c::::z-,: Ex.
hrough va ioUi chorda :-
~f ,-...... ....--.. ....--..
---=--
It
....--..
.!
-~~~#
II
Or:
~6ifi£¥i€!.p
rv
17
J-
!:If
St
"~ "-
be
..-..
I-as
2£TIU
ALBRECHTSBERGER'S
.-.. ~~
"'U"
1
.-.. ["i7'-J
","",
lit
~T
l;
._
I~.·
..
_~~:e; '-'"
c~=~.
cxxxv. It ight hand upplie
Yh he nterva
rules,
companiment.
ve ence to the bass. ed inclo86/uwmony,
grade:-
neee aary to
ad
ul
is
diuided
ns
ef
ar know to us as having the
HO OUGH-BAS
AN
HA
ONY. fiAb an sixth.
diaperaed theae positions conelud ur examples. Th followin phrase, accordin to g u re d bus, would be played Di
perfect barmoni...-tbe fourth, fifth capabl of six oaitiooe
fo eumple
Ohorda of th
C om p
me
mp
es
equally
sixth.
in th
be O l e a , then the n te rv a following m aD ne r
w ou l
I:a the &rat poaitioL
Ex. 647.
or
Chorda of th
of th
ev ntb.
tbild an fourth 18 dlapenecl"'_'.
be placed
ALBRECHTSBERGER'
MO he hi
pos on
$= ...__;:
·Itr~IG
aittt
