PRACLICAL THOROUGH BASS. ar the ART OF PLAYIN CERO A LYOURED BASS on the, p tai ty Big: - We CROTCH, Mus. Doc. fefsor of Music in the Uuiversity.of Oxford, wnd Pemeipal Of the Reva Academy of Musie,Comlon, fy 2'= 4 on. Mnblished by CRAMER ADDIseN & BEALE LOL, OL Regents Need, and OF Conduit StrevtCONTENTS. Enharmonic ‘Major and Minor Keyes .ssssescssesssssseeseeses — ‘Triads, sayetneressen = Comsat a = —— a Comonnat Major ae Conse Mine —, os Stier Hules of Compotion. 2 Contrary Matin, (Nt). ies Sabrent Bal e500 = ‘The and § venous ofthe Tad = Diet Adon, soesse 0 ‘The ated Sh. n Tis tole wed Orton ¢sfsvvassecece = Dierence of Atcompainent ty wich Trevino te vd and tone ich se ‘Teed Oh, flowed by the Dominant Teh eS aimeaaMetanna t= Dial hss. cyncarersneeeseee crete = ‘The ening Tih aod dic hy and ide oe — Disoords of Suspension... Ss ‘The 43 and its Tnversions, ss sessseesscseee — The 98... eae = ‘The76, 13 ‘Thess. 76 tHe §.. 1 ‘TheS on the dth ofthe key. 3 Disord of Adon, sed as Discord of Saspension, TS Disord of Suspension, and other Discord ona lding Nowe Double Discord Divordeof Trani, The 87. - The 56,34 be, a he {om a oding Nt andi me Discord of Seyneopation, (Chromatic Harmonies, ‘The Minor Sth and diminished th in the major key. 15 ‘The Ath of the key sharpened with vious chord ‘The Taian Gt, "The German 6th, ‘The French 6th the Nespoltan th +. ‘The Teh Note ofthe Key atened a Chromatic Modulation... ++ ++ - ‘Natural Modulation... = Unnatural, or extraneous Modulation, Gradual Modulation... Sudden Modulation... ‘Modulation by various Discord, ay Enharmonic Modulation, Accompaniment ofthe Seale, 16 ‘Recapitulation of the Rules, ....sseesseess A ‘Remarks on the Piceessclected for Practice «4... 4. 17NDEX TO THE EXAMPLES. samp. Nate—Naturly Sharps Fat, Doubly ‘Sharps and Double Flats... Intervals, Tones, and Semitoes 1 2 Diatonie Seles... Dintoni Tntervas 18 (Chromatie Interval Enharmonic Fatervls, “Accompaniment of Triads, to 34 CConsccution of perfet 5th 35 t0 37 How avoided, ., ‘Tanto Solo, Best Accompaniment of Triad... Otte Scie mt Tei, acs O80 8 100 13 6 75 to 80 31 Succession of Gis, OF the come nn Tvee, not as an Taversion, +44 Combination ofall the preceding chords (Closes oF Cadence. 45 se 00 ‘Accompaniment with a given Treble... ..4 88 to 85 is of Adltion, ates Discords of Ad jane 108 © 11 ea The’ 8 ‘on the th Noteaf the Key, . ‘The § on thesame, 120 1, 1400 16 } rem sere 191 tw 196 ii i ti te Tovey thal 6. ‘the f : Gat sor 6 4 Theb orf eves e+ ees ‘The added 9h... ‘The leading 7, Exerc, Discord of Suspension—The 4 3, . ‘The 43 followed by the added 7 "The 7 Gand 6 6 76 meet 8 eis ‘TheZ & on the Ath Note ofthe key, an is Taverna, Discord of Addition, used as Discorde of ‘Suspension. Discords of Sepennion on a holding Not or Bedaoveseevees - 98 98 Double Ditoords—S— 7 6 &e, 433 ‘The sharp 70h Disoords of Transition —the B Tee seve 6 The 6 5 and 4... 2 The 5 6 and 3 4... companinen, and a Chord sustained in aso, 121 to 132 13310 198 137 to 142 U3 to 144 145 to It 152 t0 157 138 139160 16 + 162 to 164 165 166 167 168 169 to 171 m2 173 im 175 Ht ve 7 18 179 180 1} et = 182 co 185 L187 188 A Chord stained with scloy in he Ae } a the Accompaniment .sry ‘The 4 on a holding Note, i TisTaversions—the3. ‘The use ofthe Dash (—) in these Chords Other passages ofa similar description ‘A sucoesion of Sixes inthe Accompaniment ‘wa holding Not = 194 ++ 196 - 197 198 w 200 ymINDEX TO THE EXAMPLES. Baan Other Chords and unprepared Discord om a 718 ou Dolding Key Note, with the Sor 9,&e. — ¢ *0? aa é 25 Exercises... + 203; Discord of Syncopation—A Succession of 7ths. 204 ‘Tihson alternate Bass Notes, . = 205; 6 ‘The same inverted as a8... see +++ 206 4 tec 207 Bherdest itd scnateiwehs 20% hrc Harweaies-—Chromtio Paving 09 Diseords of Transition made chromatic... + Tr the minor key. ‘The 4th Note of the Key sharpened, #0 67 ‘The #8 instead ofthe 92... ‘The Taian 6th. eee The German 6th, "Whe French 6x, “The Neapolitan 6 ‘The flat 7th to the Key Note—ae a bed Asapéth, Asabmth Asa Bass Note, .. Brerciss. sees i 22 Modulation —Diatonie Modulation... Chromatic Modulation... ++ + 23410 250 234 to 296, Natural Modulation, 239 10 243, 245 240,66. Unnatural or extrancous Modulation. Gradual Modulation... Suaden Modulation Enharmonic Modulation. Accompaniment of the Sele... Pealm, by Martin Lather, Another Old Pasian Tune, Gloria Pai Chorus—Ennilio dal Cavalier, “The Silver Swan.”, 4 «+4 GiDbOOS, ‘Awake, sweet Love”... «Dowland ., “ Hodie Simon Petrus, Cari Purant Br ululantes i... Carsimg “Abit erg in monte"... Cars. “ Plorate fie” Carssini “Non dar piu pone, 1 mio figio dov's, “Che mest “Teach mey O Lord”. « Crine verze Corelle sees 916 ‘Manner of playing of writing certain pesages « 27 to 281 Par of the Sud ‘Trio, .Op. 1. .Co Fugue from the ath Trio. Op. 3. dito, ‘Part of the 7th Violin Solo, ito. Part of the 10th ditt, i The 9th Solo... Mad Bess... Rect This day aolemn fas.” ‘Methodof accompanying thecloseina Recitative 289 200 Part of Return, 0 God of Hosts" (Handel), containing enarmonic Motulaionn, «$20 ‘Choros on a Ground Bass, Seb. Bach ‘Chorus, # Que attrats.” Part of an Andante, with double Counter] esse ttlayda)eersy 28PRACTICAL THOROUGH BASS, Ge. Fe. Tuonovon Bass isthe art of playing from figures, and was fst regularly explained and arranged by Viadana carly in the seventeenth century. ‘The present work i intended as a companion to the author's Elements of Composition, whieh include the whole ‘theory of the subject. He who understands harmony must understand thorough bass, though he may not be able to perform it while the thorough bass player cannot even comprehend what he has to do without some knowledge of the rules of compeaition A person imay co I, Iu thiesense, thorough bass dilfers from composition. It x the habit ‘of playing an extempore accompa (0 given bass, or treble and bass, by the aid of figures; and this art therefore requires & command oft at, an eye capable of reading quickly, and a retentive memory. For the ‘exercise and improvement of all these, a work, consisting ofa concentration of the practical rules agreeing. withthe former theory, rejecting. all that is foreign to thie purpose, and containing a variety of practices and specimens, was required by the author's pupils, and others who approve of his method. With this sale view i not with the slightest intention of depreciating many excellent cotemparary works on the sane subject. , may first be required to play Example 1. He must then learn to I, thus from A to Bare two semitones (or one tone); from B to C is one semitone, ke, And in the latter part of the stme example, from Fp to Cob it seven semitones; from Chp to Gi, seven ‘semitones; and so of the rest—Ex. Land 2. La playing from a figured bass, the figures stand for treble notes, to be played with the right hand, and aro fo be always reckoned upwards from the bass note inclusive. Thus, if the base note is A, the figure 2 stands for B, 3 for C, ke. ax far ae 0; no double Sgures, as 10, 11,12, being in common use, If the base note is B, 2 represents C, 3D, Ke. 8c. A 10th is written 3, as alsoa 17th; and thus 4 stands for 1 sand 18, and 5 for 12 and 19, Ke, &e. A dintonic acale ita series of notes in alphabetical order, a8 the nat seale which resembles thom, viz all such scales as are characterized by 1 of the stave—Ex.3. Diatonc intervals are auch ae ean be performed on any now produced, and al of white keys of the piano forte, oF any flats and sharps placed at the begin nie sea, aud are as follows Naturals A minor ad equal to Tsemitone. Ex. 4, such as EF, or BC. A major Qed 2acmitones, 5, —— CD, DE, FG, GA, A minor Sed A A — Saemitonen 6, AC, BD, DE, a major Grd —— deemitones 7, —— CB, FA, and GB. perfect 4th 5 semitones. 8, —— CP, DG, EA, GC, AD, BE. cet 4th —— Guemitones: 9, —— FB. Jak — reine, 10, — BF. A’ perfect Oth—— Tsemitones. 11, —— CG, DA, EB, FC, GD, AE. ‘A minor 6th —— Bsemitones. 12, —— BG, AF, EC. ‘A major 6th —— Duemitones. 12, GE, FD, DB, and CA. ‘A minor th —— 10 semitones. 14, —— BA, AG, GF, ED, CB. A mejor 7th —— M1 semitones, 15, (CByand FE, A perfect Sth, or octave 12 semitones. 16 —— CC, DD, fe. &e. WBsemitones. 17, —— EF and BC. M semitones. 18 —— CD, DE, FG, GA, and AB, + The Eitor refers for everything not uly explained in this work, to hin Elements of Musical Composition and Rudiment Playing on the Piano Forte. ‘The later work contains prelude and woaduations which may, iis hoped, be of some use to the ‘xtemporancoas perfrmer and young composer. His Rounds forthe Pano Forte are intended forthe eof pertne Icarning to play fom score and ee. B8 Chromatic intervals are such as cannot be performed upon a diatonic scale without destroying the alphabetical srrangement of the notes. An extreme sharp 2nd is equal to 9 semitones. Ex. 19, such as ABE, BCx, DEs, and EFx. fat Sed 2 '20, AC}, CE DP, FAypyor FG, and GBbb or FXA.* ——— ath 4 21, CF, Fl, or EB A, GCS. harp 8 22, AEG or BrbE, BFx, of Cp Gand EBS or Fy C. sharp 6ib wo 25, DBs, ECx, GES, AF and CoA. tae 9 24, CBs DCp, EBD, GP. ———t_ are 1 ——— 25, CO}, or BE Bg and FFb or E Bs arp Br 13 26, EES or PPK and BBE or Cp Ce, sharp 9th 15 ——— 2, ABE ee. see extreme sharp 2nd. El on cannot be distinguished on keyed instruments. —Ex, 29, A complete knowledge ofthe major and minor keys is absolutely requisite for the performer from a Sgured bass Dut a long detail of necessarily avoided in thie work; and the Editor again refers the student to his former works already mentioned, and will ooly insert alist ofa few of the major and mivor keys, with the number of fate and sharps which characterize them. Fs so aan A ea pee Fossseziotiestse7 Majorkeys. C) Gh Dy Ay DB) F CG DAE B FE Cr vu _ Tesase2io0te2s4667 Minor keys. Ay Ep B> F C G DAE B F¥ Ce Gz Df Ag The mivor keys are, in music, distinguished from the relative major keys (having a similar wumber of fats and harps) by the chromatic alterations which so frequently oceur ia them. OF TRIAD’ ‘A triad ie a note accompanied by its Sed and Sth, Thus, the tied of Ais A Cand E. thatof B—BDF. c—cEG, —— DprA. ——E-EGB ——F-Fac. G—cBD. ‘These should be learat by memory. Consonant trinds have ther Sthe perfect.—Ex. 20, ‘Dissonant triads have their Gths extreme Hat or extreme a Consonant triads are ealled major triads when ther Se minor —Ex. 92. a thorough bass, riads occur so frequently, that when they are required to be played, fignres are not always put, expecially tothe frst and most accented wotes in bar. ‘The Bth ie added merely to enrich the effet. ep—Ex.90. 18 major, Ex. 81; and minor triads when their rds are * An extreme sharp Sed (5 semitones, s Ab CE) occurs the Adagio of Mocue's Sinfnis, usualy called Jupiter. The CR {na mere appogriatrsRULES FOR PLAYING FROM A FIGURED BASS. ‘A SuccESSION OF TRLADs 8 ‘When no figures are placed over « bass note, play 5 with the right band on the treble stave, avoiding the ex~ 3 tromes of high and low, and placing aay one of the three Bgures at the top, according to circumstances. —Ex. 39. A sharp, natural, oF fat, placed over the bass note, asin bars 4,5, 6, signify that the Brd is accordingly to be sharp, tora or fat. “Tho th ie always perfect when the 3rd is major, ualess expressly specified otherwise. The Sth, th, 8 or Grd, without any Ggures, also stand for 5. The Sth i only inserted to make the barmoay fuller, and is more 3 frequently omitted than the 5th or Sed. Indeed the Srd should not be omitted if possible. The Sth should be omitted in dissonant triad by the inexperienced performer of thorough bass.—Ex. 34. In playing from a figured bas, the roles of comporition must be a strictly observed asin writing music. ‘must not take place between the same parts, as in Ex. 35,36, d7t. Ex. 98,99, and 40, are correct, but lees convenient ad when that cannot bey should move to the nearest note, excepting when by x0 doing it produces consecutive fifths or eights. Such tran- ‘sitions, however, as Ex. 38, 39, 40, must occasionally be made to recover the positon ofthe right hand after it has got toolow or too high. The same Sth or Bre repeated, is not considered ax. vol part moves while the other stands still Ex. 42, The imperfect Sth will be treated of b Octaves oF isons may pervade a whole passage. The words « tasto solo” are used to prevent the performer fom playing chords when Alouble boss in an orchestra, of to inerease the loudness. Chords are likewise ‘occasionally played for the saine purpore with the left hand and octaves inthe right, expecially on the harp. But the student i recommended to avoid them for the present. Ex. 44, 45, 46, are respectively preferable for all general purposes to Ex. 88, 99, 40. The student should therefore transpose Ex. 44, 45, 4, into several major and minor ‘keys, both writing them a positions Ex. 47 to 60. Ex. 61 in anid to be ut it modulates frequently into the relative minor key of A. Where the asterisk is placed (*) in this and in several ofthe following examples the less pleasing transition is adopted, generally, for the ake of gaining a good postion forthe right hand. The student should transpove this into various other major keys, writing only the bast, and playing the chords according to the foregoing rules. Ex. 62s in A minor, and should likewise be transpored and practised in various other minor keys, Ex, 63, 64, 65, are three diferent ways of accompanying the same bass, of which the later ia the best, on account of the upper melody having the least motion. See last bar but one of Ex. 62. OF THE CHORDS OF THE § AND §. The chord of he 6th x marked or only 6, which stand or 8, because is laps undertod whe 4 or isnot inexperienced performer will find it safest to perform only two notes with the right hand, the Gth and ier of them at the top, according to cieumstances, but generally the Gth. The performer who bas studied + Some writers have considered contrary metion between the upper melody and the bss as afiient rule forthe formation ‘ofa coret and pleasing accompaniment; but the and octaves may oor where there is cootary meio, inthe two lst notes ‘of Ex. 35: and the commencement of Ex, $8, 39, and 40, are not so agrble st that of Ex. 44, 5, 45, See also the Subordinate Rales—Elements of Composition10 such chords of the 6th as are invori and such as are not, will, in the the Bed note of the Lor direct position—(See Subordin Ex. 66 sews the way recom- mended to the beginner; and Ex. 67 shews how they may be accompanied when known to be inversions, by adding ‘nother note ia the right hand, Ex.68 and 69 contain inversions, and should be transposed and practised in various keys. Ex. 70 shews how a succession of ascending or descending Gihs should be accompanied by the beginner. Ex.71,72, and 73, shew how another note may be added in the right hand without violating the stricter rales. ‘composition a latter cases, add an Bh, which he most not do inthe former on account of doubling that which we can distinguish betwe the Element. : Sante nyo t-te Ue lig sentir A i ahd $ be transposed cipal major a keys. Ex. 81, being longer, may be transposed into two or three only of .- Ex. 82 contains illustrations of the four sorts of eadence or termination ‘of passages, the knowledge of which not being essential to the mere perfurmer from a figured bass, «reference is made forthe definition of thew tothe Elements of Composition. ‘The thorough bass player should always avail himself of the composer's own melody where he bas an oppor tunity, a in ants, psalms, services, and other church musi, reitaives, songs, and violin solos. In playing Ex. 89, ‘84, 85, he must never go abore the treble or below the bass, and when these are to near together to admit ofa chord between them, he must omit the harmony as in Ex.85, Given trebles will be found to several other examples in the course of the work. OF DISCORDS. We begin (ein the Element) with dards of ai fertcs ba Noa ouor nase hr Ulan ofa ag saber gr wl ¢ When played fal,7 maybe taken inthe ight hand ay one ofthe notes atthe topEx. 88,88, 90, and 92, The 3 ranopened int the minor Ley—E.87, 60,01, 40409. The dacordantwte of al dinar mut fal ae fils sli nud Bo ooo Th Uecdgoer os Lry sald a ale aaror sane tot be doled th octave sane, The dad hath goo thesame ee ———C BA Tis dete heer lay ebay icmp Ti ec dle la Ged gel tt oh seceapalces ogi Wik he any Soar Kase are duces pry Sad ema Toor princonadered he mont caren built compan to lying orngh bree te oe gery tulident i herght had. "The Ss nth lent eonante ofthe deatoet Dada mt fequeay ane 3 1 hercoe may stand or: but it wally ta 5 ‘The ivesion ofthe ominat 7h are— 1m) and first the dominant 7th, which ie a major 3rd, 5 key. 7 ls for 5.—See Ex. 94 in the major key of Cs and 95 in A minor. 3 6 The§ (toding ford) on the leading note ofthe ey Ex: 96, 97 6 ‘The 4(ometine writen $) on the second note ofthe key Ex. 98, 99. ei 4 And the (sometimes writen) onthe fourth not ofthe key Ex. 100 101. 2 in the abore ” ¢ nian when the ante tthe steno.) The rate wl be together omitted, we obtain the dissonant trind—Ex, 102, A passage of ascending ste in the minor key isruely met with,as u 108, or its eros, the § onthe second woe ofthe keyE. 104, 105; or the $ on the Ath note of the ey x 106,107, The ist composer ofthe ann style of mui and some very eminent moder wr prefer the 6 $ on the second note of the key—Ex. 104, 1055 to the $-Bx- 95,99, On no account therefore should the § be sup- ved os r . Tndeed a fourth is never understood; but always specified in figured basses. ‘The added 6th s resolved by making the discordant note (it the 6th) fll and become the Srd tothe next chord of| the ith ofthe key. Ex. 110 and 111 show the omission ofthe rd. Ex, 112 and 118 shew the omission ofthe 5th, The 8th, or bass note i inserted in the treble, because this Gth i ae totam iavrsion oh, tthe emt fndamanl andy be decled, dan 16 seth diirencesinan te aecompaninent ofthe to F inthe major key of C, where santo hey at wersion, Ex. 116 isthe same in the mi 6 6 6 ‘The inversions of the 5 on the 4th note of the key, are 4 on the Sth note of the key; 4 on 3 a 2 ‘on the 2nd note of tive key. . 6 i. £ x IT a 18 abet relation tte, (umeinsmiten ia the mae iar hey Ee 11nd t20stew th wth the 6th omit, chord not very common inthe msi of the great manera they avsided « pvc tothe bass note ax mach a posible, unless used as dtcord of surpenson, The $withoot the 3 was 6 stl les tolerable, andi therefore omitted inthis work, Ex; 121 and 122shew theretlatins ofthe 4, Ex. 123 and vo) 7 Ex 127 and 18 sew th rslaton of th § onthe 2a vote othe kay played with four note in the right hand, 6 retthe§. Ex. 125.0d 126, the (mf erty used as a discord of su 8 8 the Sth eing added for the sake of loudness. Three are in general sulicient—Ex, 129, 190. The 7 or 7 might also 375 1 te ecioaly wad, but re cites being ke agrecable ha he Teo wags of reeling he 7 re shew § in Ex, 191 and 152. When the 7th is omitted, as in Ex. 133, this chord resembles the triad of the 4th note ofthe ‘minor key. ~ When transposed into the minor key, Ex. 134, itis not 90 agreeable to ascend thee semitones from Fy to Gp, asto descend from F to G4, an extreme flat seventh. Had the F been sharp, it would be better to aacend.—(Seo Elements of Composition, note on page 51). According to the rules of contrary motion, the student would be induced at first to conclude, thatthe fest way of accompanying the triads, D and G in Ex. 135, was better than the 2nd; bat when he reflect dis F aud not D, (see Ex. 114 and 116),he will presivo that the 2nd method is really agreeable to the laws of contrary motion. ‘The same remarks apply to Ex. 135, (See Ele- iments) Ex. 197 to 141, are practices for the student who should play them in all keys, transposing Ex. 127,139, fand 141 into other major keys, and 138 and 140 ato other minor keys. Ex. M42 contains various ways in which the added 6th and its inversions may be resolved into the dominant 7th we only rale being that the dizeordant note (viz the Sth), must fll. Ex. 143 isthe beginning of which the student must complete. Ex. 144 is merely meant to show, that the added 6th, when the 6th isnot retained, may also be succeeded by the dominant 7th: no rule is requ ‘The added 9th, is a Oth auded to the domiaant 7th, and the Oth should be placed at the top whenever itis por sible; and, at all events, the Grd should never be placed above the 9th. When the Sth is resolved into the Sth on the same bass note, the 7th Sth, and Sed have dashes placed after them, to show that these noted are to be con- tinued, ax ithe case whenever dashes are put. Ex, 145 and 146 show this resolution of the added 9th, Ex. 47 c12 shows another resalaton into the triad of the key note, in which the th and 7th must both be resolved into the rd note ofthe next chord, to avoid consecutive perfect Shs to the upper'melody. ‘The same may be done in Ex. 148, 8 hohe ae at oth pet: bu thi elton tw agrees ht into Ex, 1 and 80, at 1 tre not are generally beter chan far inthe accompaniment the of thin Ainord may be oited, Ex. 151 So that 9 may be snd to stand in general for ; rin fall music, et e ‘The leading Th, (der brews thaas (hs dame bs ag Sect) Gras ers of the key, whether major, ax Ex. 182 and 154, or minor, Ex. 158 and 155. Three positions forthe accompaniment are hhero given, but that in which the 7th i atthe top is best. Inthe minor Key this discord is called the diminished 7th h extreme lat, and the 7th extreme dat, But one inversion of the leading 7th, it found ia 56, in which the Sed should be at the top, that note being the same which was 7th to the leading. the discord of the added 9h, from which it ie derived, In the minor key, however, all the inversions ‘met with, and in various postions. Ex. 157. Ex, 158 ivan exercise to be transposed and practised in. various other major keys, In the 2nd bar the dissonant triad bv a re, an wellon «8, Decne the as is not the Sd note of the ri fom which itis derived, Bus 10, 11,12,18,and18,sbow bow the on the 6h of the Key may he flowed bythe dominat 7th and its inversions 7 The on hho key rate ith 3 a $e nt smidordtsnieeio nd to pin of discord, or double appoggiaturs, (See Elements.) ‘Discords of suspension are accented, generally resolved on the sme bass note, (as will be specified by the figures of the thorough bass), accompanied by the same notes that usualy attend the figure which follows the di snd the discordant note must be always prepared, viz. contiaued from the sume note in the preceding chord or dis= cord, Thus the discord ofthe 4th is followed by the rd on the same bass note, is accompanied by a 5th and Stb, ‘because these notes usually accompany a Sed, and the discordant note must be continued from the same note iw the 8 8 8— 5 is therefore resolved into 6; 5— And the dth must be prépared. $5 or 4 9 4 s 43, preceding chord or discord stand for —. NoS must be played with the 4 Sec Ex. 1503 which also contains the inversion of the same dis a3 7 st: elec di ii Ex. 160 shows the preparation the position asin Ex. 159. ‘This discord is sometimes resolved into the dominant 7th. Ex. 161. A succession of these is sometimes met with, Ex. 162, 163, 164. In Ex. 162 the treble descends so rapidly, that had the frst chord in the treble een taken in « positon nearer the bass; the two hands would soon have been too close. To avoid this the Sth may aseond to the Sth, while the 4th resolves. Ex. 163 and 164. In the latter, the 4th is supposed to descend to the Sed in each instance, the parts changing places. Ex. 163, from ite clearness, is ‘most agreeable. Ex, 165 and 165 are to bo transposed into other major and minor Keys, and practised. ‘The 7s 1d resolution of the same discord in the minor key, the student being left to vary & on the Sth ofthe Key, is an inversion of the § 5 seldom met with, excepting in a pedale, of holding vote in the ‘amon in bar DoF Ex-165. Ex. 16, being inp inthe stadent max be crf to aber whether the rslaton of his discords falls early o late in the bar, viz. whether the 4 is succeeded by the 3 on the Sed, or on the 2od note, whieh he may tell by the situation ofthe dash, 4—3 or 43—. The discord of the th (not the added 9kb) is resolved into an th on the same bass note, (and because the 8th 98 fought to be so accompanied) is accompanied with 5 and 3, ‘Thus 9 8 stands for 5 No 8 mast be played with the 9. ‘The 9 must be prepared from the same note in the preceding chord or discord, (See Ex. 167), which containe ‘most of its resolutions and preparations in the major key, ax Ex. 168 docs in the minor key. At the end of Ex. 168, the ms hich the 9 is sometimes resolved into a or a G on another bass note may be seen. Ex, 169 ahews138 bow the 98 and 49 may be used on alternate bats notes-On an orga the ligature oF ted notes soa be held ova one piamnfetthey may be rack or repouted"> In the later halo tin example the lat and Bd prt are ‘Sppued to rons each thers ati opeced by the wore od pr, It part, Ke. Exc i7O shows the sme pnage inthe postion, lew frcurle fr execatin, and lew agreeable in upper melody than the former, e171 fill more tical of exeeaton and lw ft for thorough bam. Ex. 100 therefore aloe need be teasposed and pred, “The disor of the 7 (at th dominant or added 7th no that which ian iaverson ofthe added tb, no ye ay hich wll beeter be drerbed) ny be rvled inte a than the same bao notes ander the Ot save Trned) shouldbe accoupenied oly whha Sry and oceonally with em Sth; but not Gu gorerl) with «Sth 76, there, stands for] ©, The7 must be prepared from the same nae the preceding chord. The Sd, thereire, may sometime be ovr the but ab succetton of 6th sounds best with the thatthe stp (Ex. 70t0 To)s and an the Tih only 8 opecen of eppoggiatrty asthe Sia othe Gy im ascending, Ex. 172, beer that 17 an shouldbe at the top when flloed by a6: hence 86 stand for 8.9 ; but ao 8, empecily when there occa of thew ‘The 76 in the cadences Ex.1T9 i somtimes accompanied in Ex. 174; but in thin ome the writer ofthe thorough bass should express it in the figures Ex. 175, and the performer must be careful to remove the Sth when he plays the 6th 7 ‘The & on the fourth note of the key is pecaliar to ancient music. It is generally resolved into the added 6 ot 3 6 8s the thy of Sth and Sed, being expressed in the figures, Ex. 176 and 177, Ex. 178 shows how discords of ‘ddtcn nny be prepared, ot wed an discord of suspension, Ex. 179 shows what @ variety of figures ny be ved as dincords of soepenion on a pedale or hang note in tte bass, The prfrmer of thorough baw ix recommended not inert aay additonal ote not expresed in the figure which he might imagine would completo the harmony, a he canvot always be certain ofthe composer's sme bass note must not ha 6 Hence § > on the third addod, but is an exception to a general rule. Hence Indeed, sod never baron addon! ste given toi ‘The Ah isomatines ended, bt ihe effet isnot generally improved by ite insertion, “Mauy passages of great simplicity, when accompanying their usual bastes, are rendered extremely dificalt by being reckoned from a pedale or holding uote, usually on the Sth ofthe key, or sometimes on the key nate, as in Bx, Tad The #3 is sometine found with he dination the ded” Ex. ‘two or more note pepe end revel logeter are called dole dco Bx. 18% 18, and 18, The 78 28 Di ? incor ofthe 3 onthe bey note may be witen 2» Bx 18 ts G ‘When the major or sharp 7th on the key note is followed by the re, it is always understood to me abore discord, #6 should be secompaned with {or Ex. 186 Ex, IST and 188 must be transposed and practised in various Keys, Wherever the asterisk (*) is put, the treble hhand aseonds, on account ofthe tendency which melody, (expecially when replete with discord), bas to descend. The comission of the Sth at the end of bar Sed, and of the 8th at the beginning of bar the 4th (Ex. 137), * The Editor having mentioned this quality of porscting of swtaining sounds, 2 caractriie ofthe organ, cannot ret the cpportnity it afods him, of entering his protest against the abuse of this noble instrament, so frejent among organi, who, beens it aay wll be denocnnated « * you frame," on which they may add length to slema sounds” will never sue you to have a shore note, rest = pause, or a pane that ia meato aacrato, ot that has any animation, of resemblance to the fect which the sume pusage would have performed clewhere. Let the chant, the service, the anthem, the palm, the organ fugue, &c. be played in the genuine organ style; but, if spirited chorss or orrtare be adopted a voluntary, lt the performer imitate the eect Fe would have ina fll band, and not rece its biliancy dato an unvaried drawl.4 Inbar the 9th, the th is inserted with the dominant 7th to prepare the next discord; and this constitates a most dificult prt f thorough bass, Inbar 19 the parts are supposed to change place, the 7th of the fst discord falling, and the Sth rising to the Sed ofthe next diseord, In bar 15 the added Gth isnccompanied with an Sth, to prepare the next Giscord, The lat chord of bar, Ex. 188, has an Sth added to prepare the next discord. At the end of bar 5a Sed is inserted, as this note should uot be omitted. ‘Discords of transition eonsnt of notes not belonging to the preceding chord (whether discordant notes or not) passing wily up or dor te we wl some wae bel. ‘TheY ar aeconpnil the sme ay the preceding te fom which they pas. Thus a7 llowig an 8on th ame bas ote (Ex 10 is accompanied wit the $ which ‘eloged oth 8,aud the 7 must il tthe note below i the nest cord, bctase tiv a descending passing sot. Hence 8 stands for $14 bat it wil ot be always practicable t atert both the 6th and the Ion acnuat of te sree ules “hes fllowing 8 Gay be necompa by a8, ora Gand 3. The bien deceding ping ne, Ex. 180. At the end of bar 129 the bass not i the passing note, and is sometimes figured ae $5.02, or merely with dashes, os ia bar Zand 3. ‘AG Cllowing a 5 is an ascending passing note. The 4 following 3 is the same. Ex. 191. In Ex. 192 the nature of ascending and descending passing notes is shown, while the whole triad, or pat oft i held by other parts. ‘These, fa thorough bass, produce a variety of figures; but the use of dashes will render the performance easier. The prnipaldcrds of ean arth ad fn inven he Zand 6, $ peel nd owed by $0 hesame us sla ms nates hy «bo Lad 123 195 bait may oes bvea or 8 tn Bx 1 15 a6 figures, for the epetitiog of the same note, will be readily peresived. To 197 and 200, the discords, or passing notes, are in the bass. reine of tbe 1d the superiority of the dash, where it can be used instead of new In Ex. 198 and 199, the manner of addiog a third part in the accompaniment may be seen. Uniler the head of discords of transition may also be classed a succession of sixes on a pedale, descending, of ascending. Ex. 200, Also discords of addition oa pedale unprepared (Ex. 202), in which the manner proposed by some writers, of figuring the dominant 7th, added 9th, and leading 7th, ona pedale, is shown. In playing the 7 ona fate day mite he abl age plinth appr. Bs 288 be mays 3 and practi Discords of syncopation are suec yas of Tihs on ench note (Ex. 204), or on the alternate notes (Ex. 205) of a ° ‘nas which continually fll Sth, o ses At, or doesn alterantely They may be accompanied with 5 (Ex. 204 3 nd 203) fortunes, orwith only § or §, ‘Th dcr ‘notes must all be prepared like diseords of suspension, ‘and resolved by falling tothe note below in the next chord. ‘Thereare no inversions of succession of Tths on each bass note: but there are two inversions of 7ths on alternate bass notes. Ex, 206 and 207, Ex, 208 must be transposed and practised a usual, ‘Chromatic harmony consists of chords, the alteration of flats and sharps does not change consists of ehvomatie pissing noter, ascending and descending. Ex.210, 211, 212, and 213, Fendered chromatic, Ex.2U1, The extreme fat 3rd to the dth note of the key sharpened (called Fa sharp in the Eleieats) was, the last adopted, because, perhape, the least agreeable. key. Ex. 20015 ‘The foregoing examples (20 to 213) are i the major key of C; and they cannot all be transposed into the minor. Ex.214 contains the principal. Ex. 215 isthe minor Sth iotroduced into the major key of Cy alo the di ‘Tih and ove of its inversions. Ex. 216 shews how the Ath of the key, sharpened, (fa sharp), may be nccomp: resolved in the major Key of C. In Ex. 217, the Sed to thie ebromatic note, in the minor key must be sharpened. ‘The student may tranepose the rest of Ex. 216 ito theminor key of A. Ex.218 shows how some writers used the 6th sharpened on this bass note, instead of the 7th fattened, asin Ex. 216. This ean only be done when the Gth ascends, eeannot be transposed into the mivor key, asthe 2ad note of the minor key eannot be made extreme sh ‘The extreme sharp 6th in the minor key is occasioned by the Ath of the key being sharpened when itis in the accompaniment, Its called the Halian Gth, when accompanied only by ard, (ace Ex.210). Tn the minor key of A, (Ex. 220); in the major key of C, in which the bass is flattened, as well asthe treble sharpened, or they would not ‘constitute an extreme sharp Oth. The extreme sbarp Gth, when accompanied by a Sth as well na Sr is called the German 6th, Ex. 221, in the minor key of A, and Ex, 222, in the major key of C. This discard should not be 6 6 a 4 resolved into a §, but nto § to avoid consecutive Sths. When accompanied witha 4 the extreme sbarp Gth is called the French Gib. Ex. 229,224. ‘The Nespolitan 6th in the minor key is simply the 6th tothe fourth note of the key, fattened, and should generally be placed at the top. Ex. 225. In the major key, the rd as well as the 6th is flattened, ‘that this chord i the same in both keys, Ex.226. A passage peculiar to church music may be sven, Ex. 227, 228, A flat Th tothe key note not followed by any other alterations ofthe flats and sharps, may be considered asa chromatic Ticenee. Ex.229, Of the same nature seems to be the second bass aote of Ex.290. ‘The student should transpore and practise Ex. 231, 2325 the former, inthe minor key, is put Grst, a8 being most simple. The upper notes are given, and some of the chords; bat in transposing them they may be left out. For the study of the unesseatial notes of melody, the composition of music in parts, and the various kinds of the reader is unavoidably referred to the Elements of Composition. Modulation is also, indeed, as much a peculiarbraneh of composition as they are and the thorough bass player, finding the modulations already made for him is not under the necessity of understanding them: buts it is hoped thatthe playing thorough bass will vot generally be separated, as hitherto, from a knowledge of composition, we shall proceed to offer sone examples of what is con- tained in the work already referred to, on this subject. iatonic modulation changes the Key from the major tothe relative minor, and the reverse, without any altera- tiga of flats and sharps; Ex.233. Chromatic modulation ix change of key, together with an alteration ofthe ate and sharps, as in all the following examples of modulation, Natural modulation ie when the Keys, into which the changes are made, are those most immediately related to the original key, viz. the domiuant key, the subdominant, the relative, ta dominant, and its subdominant other words, keys that have the same number of flats or sharps, ‘oronly ove flat or sharp more or less than the original key has. Thus, from C major the nataral modulations are iato G major, F major, A minor, E minor, and Diniuor; and from G minor into D minor, C minor, Bp major, F major, ‘and Ep major. Modulations from C major into D major, By major, © minor, &e, ‘would be unnatural or ext neous, and produce a more unexpected effec. Gradual modulation is effected by doubtfal chords, viz. by such as Delong to both keys, and therefore render the transition imperceptible, as from C to G, Ex. 235, where the frst {rind ofthe second bar belongs to both Cand G. (Similar modulations to this, as from F to.C, may be made by trane- positon). From G to C, (Ex. 236), where the middle triad of the second ba is the doubtful chord. Tn modulating from F to G and from G to F, if C major or A minor is the original key, the modslation is natural, but if G ot Fy ‘major, or Eor D minor, are the original keys, the modulation is wnnata Ex. 237, 298 the modulation iv gradual> the triad, common to both Keys, being that of C. In passing tothe relative minor, or the reverse, the doubtful chords may be the added Gth, (the 5th being omitted), the dissonant triad, ond the Teading Tb, Bx, 290 to 243. In Ex. 244, the Neapolitan 6th, and other discords, are common to both keys vo of the modulations are watural and others Ex. 245 isa specimen of natoral and gradual modulation, though various dscords are used. Ex. 246 ina ‘specimen of natural, but sudden modulation, the precise moment of the chauge of key being perceptible, For the order and duration of modulations, see Elements, page 89. Ex. 247 shos of discords of syncopation, Ex. 248 is a modulation by do ini the manner of modulating by a succession nant Tihs, ia succession, Ex. 249 i modulation by ished 7ths, alternately inverted on a bass of descending semitones, Ex. 250 is the same on an asceniling bass, and is of more modera inventi Enharmonic modulation is the adoption of some other note in a chord, whieh, on D keyed instrument, sounds16 might have, Fa &e. The first chord in the sume ax one we have oF night have, aby taking Eg, where we bare, ‘ach bar of Ex, 351 and 252 sounds the same on a pao forte, vi Ab Ge GE Ab POF EF DDD D BB BG In Ex. 951 these are resolved into four minor and four major keys; and Ex. 252 into four other mivor and major keys, The Italian and German Gths may be used in enharmonic modulations, Ex. 253,254. All the examples, from 233 to 254, should be transposed and practised. Ex. 201 also contains enharmonie modulation. OF ACCOMPANYING THE SCALE. ‘As the thorough bass player i sometimes expected to play an accompaniment to the major and minor scales, ascending and descending in the bass or treble, he will find one of each, Ex.255 and 256, ‘Those which are generally taught contain modulations correct. But the chief objection to them is that they are generally en him to perform by rote, bofore he has leaat the meaning either of discords or modalation; and what the utility ‘of this ean be, the author ie unable to inform hie reader. There isin fact no accompaniment peculiar to auch a scale, Ex. 257 and 258 contain very considerably augmented. A SHORT RECAPITULATION OF THE RULES RELATING TO THE CHORDS AND DISCORDS MOST. FREQUENTLY USED. 8 When no figures are put, play 5. 3 8 8,5, 03, with no other figures stands for 5. a Jn a dissonant triad add n08 in general, expecially i it doubles the Sed note ofthe chord from which itis derived. Ag, b, oF & (vot placed against a figure, but under them, or by themselves), shows thatthe 3rd is accordingly to be made, py or In old music, means a minor 3rd, and # a major. ‘When the Sed i the 5th mustalways be made perfect, unless the contrary is specified. In playing a succession of triads, avoid consceutive perfect Sths aud Ses between any two of the parts, ‘Make the upper part stand stl, if the same note occurs in the next triad; i not, make it move as litle as possible, when the ight band sto higher to fo, tans ff When this chord ith avin of ata, th i or the th may be dbl. Bat he resbold ‘only be added when it does not double the Sed note of the triad from which it i derived, It ia generally best, and ecally in a succession of Gths, to place the th note atthe top. AG, 0r , before any figure, makes it, accordingly, £4, oF a8 £2, 8 t4, 5s es: but 6,4, or 5, witha line drawn through them, stand also for a sharpened Gth and 4th, Amongst ats this mark makes the Gth or 4th natural already sharp, it would make them double sharp, Theb in old music is use to contradict the &, and is then equi ‘to-our 5, with ale drawn through it is used by some weiter forthe extreme fat 5th. Exceptions may be made to hi hen the Sth is better omitted. a 8 {stand for except inthe aversion of the dona wi 6 5 When § is followed by § on the 7 8 3 7 ‘etands for or in fll passages, ford 3 ‘The discordant note in all discords, (excepting some of transition), must fall. une bass note, always make 6 go to 5, and 410 3. c i; Sands rnd beige unde ihany Sgr, wha ore nt epree An exception to ‘hiniethe 8 faltoed by Gon the same bass note, which musi bave 903.n 6 is for 4 3 : have no Gth, but rather an 8 oF 5. 3 9 9 aunt ro or The i shold lays be placed tht sheets . Jn the ning th Th shold age ea tet, Aad Inthe 4 ‘om the 4th note of the key, the Srd should always be atthe top. ‘A inh (plese ster Sgurshows the retetinn er repens of he note represented by the procading Gyre, must understand themas well as he can, § J mmeans § the comporer uses no dashes, the pero $ Gomeans § When the compos dashes, the perf All disco of suspension most be prepared. 98 98 stands for 5— 3 76 76 stands for 3 8 76 7 must have no 5 with the 6, 8 7— 6— 85 Fo Sa Se may have an Sth added. $ sou ave no note added, except the th aw 8 7166 u Gor oF 8 ona holding key note, sould have thei note atthe top. This diacord aa been writen 9 3 7 2 5 ‘The student may now encounter the difficulties of thorough bass contained in the sel of various ages and different styles. These difficulties are occasioned by the circumstance of figures having ‘been originally intended merely as hints to experienced professors presiding in the orchestras ofthe oratorio, opera, ot concert, and not as a perfeet substitution for notes to be performed equally by those who have or have uot studied compositio Tn the choice of postion he will ind much di Position, without making consecutive hs or octaves. ‘The preparation of suspended discords is likewise dificult. ‘The utility of the dash must have been obvious from the foregoing examples: but as all writers donot use thi sign, the student must endeavour to do without it at much as possible, and nay therefore whieh follows of the icclty, a itis not possible to play some passages in more than one18 for even those writers who have adopted thismarkto slow bass note, 0 274, bac must be played lke ba 1, and bar like bar 5. ‘Many dificuties arise from inaccuracy, some from inconssteney, and others from the invention being in ite infaney, when the best methods of writing figures were uot known. By comparing the bass part of Corelli's Concertos with Dr. Pepuseh's score, diference in the manner of iguring the same passages willoften be found, as in Bx. 275, the fourth Concerto, — ‘When the same base note is repeated, the same accompaniment is tobe understood. ‘The student must imagine any ehanges of chord or Key that he doesnot se expressed or may infer fom the bass itself. Ta short, performer fancies dash over every note where there are no Bigures, excepting the fist vote and the principal accented ‘notes in each bar, he will Sd the whole olerably easy. a th fist bar ofthe 2ad pat of the vivace, the 6 means that the’ isto be Mattened, or made natural, and so of the inthe next bar but this method is now obsolete. The last note in bars and 10, a6 fo bo lke the Ts Tn bars and 11 ofthe 2ad part of th allegro, the Sed to E% must be Ge, thongh not specified, as also in bars 15, 16,18, 20. The 8th Concerto of Corelli (Ex.276) is Ggured from the score; and here, instead of #6 and'$ 4, we find G and 4 ined bee hoc “sia ma tpcaest banal eRe Katee stoeipoer ae Thee of the piece is G minor but only ove it space atthe beginning ofthe save. $0 the 2nd Concerta in Caior has aly wo flats The Sthand 11th in By, major have but one fat, In Handel's exrlier productions, three sharps ot flats were pot when four were required; and thelast movement af the Concert before us isin the Key of G maj ‘though no sha ate aon a ve The! the ist movement is tobe played as in Ex. pie pe 5th A mnt be natal ince mAb following iti to those which are rapid. Thus, in Ex. Mochi talagaet ie 1eeaesreriegstt ilthe pei gaat epforeel F evilag His of the composer's melody, eo work, are curt ‘goto bight) ha apes seal ie gaedy Sige bel ‘uly asi the singer bot alice eetaves. “ln E nd b the voice part ax much as possible,*ns it not i soog usually called Mad Bess, by Parel) ‘music. Ex. 288 shows the style of recitat i tobe played as in Ex. 250, and the last bar ot strict, butall ad Hibtum for the ainget. The performer must be guided voice atthe corresponding note in the melody. Souiiapramms te cansenant ‘Tpfnde, ~ Discomant Triads. Conconint Major Triads. Conconant Mi ax annontepinerrnvans. Fxto. Ex4t. Exi42, 0 Ex: 4a. Taste Sole oe‘lone close Plocedelayed clone lore att cose aoe tore Tlf close deggie Wivieary Must oon Ex: 84.Diseorcls of Additie Fens, Kasse. Bukg Exis, boat, Fuge. Pot, Ey "hoe ha vorsDiscords of Siispension. s2078Ex: 163.Ex: 169. frat ttrarest nt ee Ex: 170. qe t T T 43/9914 9945 98 |4 3 9)8!4 39 8 i 4398 43.96 Bx: 1, . 2073,Bx: 178. :212 Ex 197 Ex 156 m3. Ex: Fx: 184.aaa gic [ss 65 T +204, Discords of Syncopation e 2078 ~Exeot, Ex: 209. Chromatic Discords & Harmonies ; ti hb bs 6 ses 3ee Bx 207813 Ex: 233. Modulation « En 3. CoMaf. Ain: Ex: 234.600 Ex:259.¢.t0 A. Min: Ex: 237. hoc. i i ass 6 Ex: 245, CMAOA MINA Iacd te C + 42 A Minto My ‘ Ex 240: 4 min: to ow: Es Ge c OF. C0 3 Mi Ex:244, 6 orsD.MlinsGMig Hens 207836 6 ie = 15654 6.56) Segoe ie cose sepira Rates Sz rer ts |ovsson |asonazo: bats93$ 5 peo ae sortie or = = Wenge 2073821 Faas eso 5 736 == + ae 7 87 Fas $j bye" |" at oa 10 [4t om ro rolae BAT 777[7 27 5m 3 76 | 76thOy 2 1570 50 43“Ea: ze. Ex: 265. Motett fur the fe 1 of St Price & St Paul,» carn te of he Ex: 206. L : Chg: Et Ululantes fies Bafa we i wie ergo in montest 43 book 8 2073+24. + Eases Cho: “Plurate I Ex: 269. Part ofa Cantata. Non dar Abins ll mio Fighio di ae a2508 Full Anthem “*, Exste. § 47 ‘Slows BJs pa Part of a Cantata “Crine Verzose pears.ae 27h: Part of « Cantata “Taci O Crudl™ors“SE Ex: 276 Concerto 8! to 6, ory x30 Viviiews 2073Exe 9 3 Fy yy 4 Bak the Second Suit vin oh 4133. ie comin +S fee® Ext ons. Fuse from the oi! Sensis Opes. VE jag Bee hams. he TH Solo. Violin Forte34 qgstofoce 2073Ex: 266. B Core. The Ninth Solow 4g. 6 6 ie a 498 Taree 207337 H.rurcet early part of thelSe Century. ae Roshsihes <== = = where Sad departed va Je pirits mourn their loves: From chrystil streams, and” from that country : : 7 207svivace. = lies my dear Entonid in sli_-quid gems of dew Each day TM water it > dead and all my jays are 5 | ————E Its fadinghe past SARC ter come nigh you they will scorch up your =I ¢ —_—_———————40 Reet: 6 . t+ 3 ASM s= 2. == = ie imi aaa aa . - li hark To hear old Charon baw! his boat he will nelonger stay The furies lash their 4 | 2 so | 1 SS = = SS = MODERATO. whips and cry come come away come come awiy Poor Bess will return RL Rh = SE ===> . “=a 7 = place whence she cat wld is so-mad she can oh = v ==.admire and wise men en. nih vivacr., SSE --dure cold and hungry am T grown Am .brosia will T feed upon drink nectar a 6 2 > con srrniro, content dows all sorrow prevent and Ress in her free fram the Law inher thoughts is as great see foe ===SSS ee .F | task of servile: toil ols! i: = N se Pe as ¥ 7 7 rest tobreathe hew'ns air fresh blowing pureand43 on ors4 hot "que dattraite Andante Grartose, ansFar Un poco N.