eo CHAPTER 7 Thoroughbass in Two-Part Keyboard Music: Unfigured Basses G.P. Telemann: Three Minuets (from Sept fois sept et un Menuet), 1728 If the melody is played by violin or flute, the realizations of the bass should be similar to those in Nos. 93-100. If, however, the minuets are played as keyboard pieces, only as many inner parts should be played as are necessary and convenient: 107.9 Two-Part Keyboard Music; Unfigured Basses80 Thoroughbass in the 17th and 16th Centuries Telemann’s minuets with figured bases may serve as preparatory studies for that part of thoroughbass playing which, while not the most important, is perhaps the most attractive—the performance of unfigured music of the first half of the 18th century that is notated in two parts; pieces that sound dry and thin without such filling-out (the latter must be discreet but imagi- native). Of course, this procedure should not be extended to include pieces of a contrapuntal nature such as Bach’s Two-part Inventions, but it would inelude the minuets and other small pieces in the style galant such as those in the Notenbiichlein of Anna Magdalena Bach, the new Schott edition of Handel's keyboard music, and others. In this connection, attention should be called to the Fantasies of Telemann (new edition by Max Seiffert, Berlin, 1923), which have been little known until now, but which belong among the best works of this genre. G. P. Telemann: Fantasies pour le clavessin; 3 Douzaines (after 1737) 110. From the First Fantasy of the Second Dozenal Two-Part Keyboard Music: Unfigured Basses CUD The Ninth Fantasy of the Second Dozen Plateusement it Vivementa2 Thoroughbass in the 17th and 18th Centuries 112. The Third Fantasy of the First Dozen Vivace &83 Two-Part Keyboard Music; Unfigured Basses