T H E O R E T I C A L SE R I E S . N O. 6 .

N OV E L L O S L I B R A R
’
Y F OR TH E D I F F U SI ON OF M U SI C A L K N OW L E D G E

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A L B RE C H T SB E R G E R S
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COMP OS T ON .

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X L A N A T ORY XA M P LES V A L LY MM U N I C A T E D T O Y T M A TI C A L LY
G E D IT E D B Y H I S PUP IL
E E , E RB CO , AN D S S E
A RR NA E D , EN L AR G E D , AN D ,

IG N AZ C H E VA L I E R V ON SEY F R I E D

W IT H H OR T GU I D P L A YI D E S C R I P TI O N U
I N S T R M EN T S
M P L OY E D U TIL P RE S E N T T I M E
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A S E N G, AND A OF A LL
E N TH E .

IN T H RE E V OL U M E S .

V OL . I .

T RA N S LA T E D B Y SA B I L L A NO VE LLO , O R I I N A L G E R M A N E P R E S SLY
FR OM TH E G , X F OR

NO VE L L O S '
L I B R A RY F OR T H E D I F F U SI O N OF M U SI C A L K N OW L E D G E .

TH E M U SI C A L P O R T
I O N IIA S B E E N RE VI S E D B Y V I N C E N T N OV E L L O .

L O N D ON : N OV E L L O A N D C O M P A N Y , L I MI T E D .

N EW Y ORK : TH E H . W . G RA Y CO SOLE A GE TSN F OR TH E U SA. . .

DEDI CATI ON —To th e Right H onorabl Coun t C imir E terh az y von G e as s l
a an t Imp erial Ch amb erl ain
ha , , Pa tron of
t h C hu r ch Mu i c S c i ety i
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e So c ie t i es & c & c th is wo r k
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.
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,
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fully dedi c at ed by TH E EDI TO R .

P R E FA C E TO TH E SE C O N D E DI TI ON .

BY IG N A Z , B I TTER V ON SE FRI ED Y .

A LTHO UG H
fir t dition of th i b o k of i tr uc ti n
t he s e s o ns o s y mm etric ally t o p l a c e th em i n a m el o dio u s fr am e w ork
,
-
,

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so l d ff om e y e r g y t th e di t r f l i t t b h i
o s a s a o, e e o ee s o e s sma ll t o n e p i c t u r e a cc o r di n g t o r hy t h m a n d r ul e
-
On e s .

du ty t xp l i f lly if h c
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w an st w h i ch c ul d t f i l t x i t i i t Th fir t d f c t
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, ,

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-
,

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o n Th fir t v lu m or . th r ugh b ch l e s o e, a o o -
a ss s oo , m ay a tt a ck si mp l e fugu e w h i ch do es n o t r e qui r e th e a id ,

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.

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,

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s o e a o es, e o o dev el o p m en t ; do u b l e fugu es w i t h t w o t h r ee a n d fo u r , , ,

p i ti h db w r k d u t w i th th g r t t s u bj e c ts b ase d o n t h e se c r e t s o f do u b l e c o u n t e rp o i n t o n
”
os & &
o n, c. c .
, a een o e o e ea es ,

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, , , ,

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th r f r hi m u c ript r ch d th pri t r w ri tt i hi
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, , ,

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.

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on , w rn r dr d s on s as e e en e e o n ly ch a n g e h e h a s all o w ed h i m sel f t o m a k e i s t h a t h e h a s ,

n c e essa ry b y th xtr r di r y pr gr m d i th e e ao na o e ss a e . n e p l a c ed I nv e rsio n i mm edia t ely a ft er I m ita tion a s th ey are ,

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ns en a an f m r O s n e a se . O o e cl osely con n ec t ed an d al so h e ha s tra n sp l a c ed fr om th e
, , ,

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-

pr d th i p i t m uch h b d — t fr i tl ly
e sse on s o n , as e en on e no u ess , c o m po si tion as t h ey c o m p l e t e th e i n str uc tio n s o n h ar
,

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, .

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oo r d r f _th r ul eas o n on e o e o e s. h as r ec eiv e d c o n sider ab l e an d i t i s h o p e d n o t u n w e lc o m e, , ,

M d r th ri t p l c th e tu dy f i mp l
o e n eo s s d d ubl ea e s o s e an o a ddi t io n s May i t ai d i n ful fi ll i ng a fo r m e r pr o p h e cy
.

c un t rp i t i mm di t ly ft r ch th r
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w e m ay p er h a p s b e a b l e t o e xpr ess o u r se lv es m o r e
, ,

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,

hi s o ar cl J h J E w f diff r t p i i
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s o n an Si m p l e
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s ea a a ne f e no e e o e a n e s, O i t c on t a in e d t h e e x a m p l es w h i ch m igh t b e t a k e n fr o m t h e
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e es c c r i g p r f c t d i m p f c t ch r d
on s on e n n e e an er e o s, best m ast ers o f a ll ages to i llu str a t e t h e de ad l ett er o f ,

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e a os l l di es o a an s es a s t h e r ul e s ; w h i l e if c o n t a i n in g n o n e i t w o ul d n o t a tt a in i t s ,

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en s e s o e a ea n e pr o p osed obj ec t— th a t o f fu rn ish i ng pr ac tic a l kn o w l e dg e ,

l c tu l r fr h m t t th ch l r t th r w ff th
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, , .

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e ss e o e, o ee se o e na o s a es M ay t h i s w o rk s er v e a s a fin g er p o s t t o i n di c a t e t h e -

o f ch r l
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o a e, n tyl I mi t ti o f e n ee s e. a on s o h on o r a b l e g oal w hich may b e r ea ch ed b y o n e m o re
a ll i t rv ln e i tw th r a s, m r p rt gi v h i m th
n o, e e, o r o e a s, e e w o rt hy .

m an to c on t i u hi ideas th ema ti c ally t or der t h m

e s n e s ,
o e I G N A Z Ru n “ VO N Sn m w b , .
 B I O GRA P H I C A L ME M O I R -
.

J O II N G E O R GE A L E R E C I I T SE ER O E R fir t s l igh t o f
sa w th e pr i a se a n d duc t Wh i 1 7 6 5 the augu t br i de o f
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on an o an een ne oo o In

p r i d t r d th gym mm f th B di c t i A bb y
e o , en e e e n as o e en e ne e p it ch I th y r 1 7 7 2 h t l gt h Obt i d th
. n e ea , e a en a ne e

a t M lk w h r e , h vi g fi i h d h i c u r
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e as s o a or e o - o s e o dr l di d i t h y r 1 7 9 2 A l b
a , e n ht b g we m d ea , rec s er er as n a e

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f hi M j ty th Em p r r J ph Th l ittl G rg m u m t i w h t h pr duc d c m p r d t ch r ; '

o s a es , e e o o se . e e eo e on en s a e o e as o o se an ea e

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a e e a en on o e e o s e a hi m m ry w ill b gr t fully l v d b y c t mp r ri
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e rv d by p t ri ty I n 1 7 9 8 h
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I O R A H I C A L M E MO I R .

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a demy , an d in 1 8 08 , b y th Si t [112 e dis in c a a e e e o , e o ne e n, 3

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T D m th l t w r k w h i ch G d h d p r mi tt d hi m t
e eu e as o J h E b l P r i c
o i p l I m p ar i l C h p l
e — m st r i n e o ose
,
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fi i h t th f t f th e Em p r r d cl ri g th t A
n s , a e ee o Vi e o , e a n a , s enn a .

a tr ubj c t h w i h d t o d h m g t hi M j ty
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Vio . o a o e a a e en n a .

e v t h pp n t b l th mill io
en a e f i h b i t t dw ll i g
o ess
J e
h F u C mpns O
r ( di d M r ch 1 8 1 9 i P th )
n a an s e n
o a nn ss, o o se e a , ,
n es .

J h Ga b h Ch p l m t r t R t St p h
‘ '

b en ea th th mil d c ptr f A u tri th the s e l m e O s a, an e so e n

o a nn ns a c er , a e -
as e a . e e n s,

es p u ls f Fr c i to C r l i A ugu ta ? O th i
o sa o an s
V i
a o ne s n s
enn a .

J h N p m l H mm l C h p l t m t t th G d o n e o ur u ra n
l l h r t r j i c d t h w id w
c , a e a s er o e
o cc i wh
a s on , en a m
ea s e o e e o a cc o
f W i m r ( di d 1 7 th O c t b r
,
duk e o e a e o e
l i h d th e d i r d ugh t r
,
s e f th d c d; es f he o e e e a se on e o er a e s
K r f t ( di d l 6 th A pri l 1 8 1 8 i
n
B Ni a ron c v on a e n
pr t d th e b equ t t o hi M j ty w h i r m m V i
.
, ,

ese n e es s a es o, n e e
) , en n a .

br c f th gr t chu rch c m p r m t gr ci u ly
an e o e ea
M J L id d f C m p r a d P i
-
o ose ,
f t t os
h i a o s
. . e es or , o o se n a n o or- e ea c er n

d fi bl y cc pt d i t m w k ft r t ly V i a
'
an a a d a e e , an so e ee s a e , no on en n

s ig i fi d hi
n c t e t d gr t i fi c t i
e s ton th w id w
n J
an
ph P i dl Ch p l m t r
a a t St St p h
on o
(Ai e o , ose re n , a e -
as e a . e en s
’

th r ugh th m diu m f J o p h Eybl C rt ch p l b h t b g

o e e O se ucc r t th p t ) Ch p l m t r
er , ou a e re c s er er s
’
s esso o e os , a e -
as e

m t r but l w rd d h I mp ri l pr t A ll t St P t r s d fr b urgh r f V i ’

as e , a so a a e er a n e a ( di d 2 6 h
esen .
a . e e , an ee e o en n a , e t

A lb h t
re cb g w r k
s b r t
er h t m p
er s f
’
s i m p l g or O c ts
b r 1 8
ea
2 3 i V i e s a ) O e an
o e , ,
n en n a .

A mb Ri d C h i r dir ect r d S ch l m t r i
d ur d l v t d dig i ty ; t h y im p l pi u r os. e er , o -
o an oo as e n
e an e e a e d n e are s e, o s, a n

r l igi u
e oh w s, h im lf Th
as c ll d fr tyl f
e as
B ht l d d f
se .
r V i
e so- a e ee s e o
erc o s or ,
n ea en n a .

Ig Ch li S yf i d C h p l m t r n d na z , eva er v on e r e a e -
as e a
c m p iti v r b ec m e c g i l t h i m dh ft ,
o os on n e e a on en a o an e o en
D i r c t r f t h Op r i V i e
,
e o o e e a n nn a
xpr d h im l f t h i p i t wi th hum b l i c ri ty
.

e esse se on s o n e s n e
F S h id f rm rly Org n i t i th M n t ry t r . c ne er , o e a s n e o as e a
It i m ri t f m i
s no th t I w rit e g d fugu f
e o ne
M lk a oo e s, or n o
e .

id ev r pr t i t lf th t i ot fitt d f d ub l
e esen s se a
C h p l m t r f th St t Th tr e
s n e or o '
ea e
J ph T b ose r ze ens ee, a e -
as e o e a e ea

c u t rp i t H m rri d
o n e o n . th 3 1 t A ugu t 1 7 6 8
e a i P r gu e , on e s s , , n a e .

R o sal i W i d ugh t r t th cul pt r B r h r d W i

a e ss, a e M i h l Uml f I m p r i l C h p l m t r t th Th
o e s o , e n a e ss, c ae au , e a a e -
as e o e ea

o f Egg b r g b r th 3 oth f A ugu t 1 7 4 0

en u , o n d m et i Vi o s , ,
an ar re n en n a .

ri d i th Imp r i l ch p l t V i
e n e Sh b r e hi m
e a
- J a p h W
e ig l I m p ri l V ic ch p l
a enn a .
t i V ie n a e o ose e , e a e- a e -
In a s er n n .

fi ft ch il dr n in b y d i girl f w h m igh t
een e ,
n e o s an s x s, O o e

so n s an d f u r d ugh t r eo l r dy d c a d I hi e s ar a ea e ea se . n s

f mil i r l i f A l b ht b g e w g r l ly ri u b u t
a a e, r ec s er r as
‘

en e a se o s,

l t h w rk h c r h ch ’

a l w y mi b l
a s a ff b l e d a pr p r cc i s ev
e, a a
A i an
f A l b on
t b g o
t
e o
f w i
a s on
'
s o rec s er er s o s, e s o es o
, , , en

j vi l ;
o a m hu b d a d f th r th tr i c t t p
as a an , s
p
an
l c d i th m u i c l r ch i v
n a e
f hi Ex c ll c the
e s es er
ar e a e n e s a a es o s e en e

P
, ,

f rm r f du ty H i l tt r y r w r tr ub l d by th
o e o s
r i c Ni l
a e ea s
E t rh y G l tha & c &
e e o e
n e c o au s v o n s e az -
a an , . c
. e
26 M a sses.
sa d c mp i o fw k d ld g
an on s O th h u r f d m i ea en e o a e e o o e se
4 3 G r du l a a s.
a ppr ch d
oa t h 7 th M r ch 1 8 09 —h di d
e on e h h d a , e e as e a '

3 4 Ofl t i
.

er o r e s.
l iv d w i th ch il d l ik r ig ti
e , d a g -
d Ch r i t i
e es
V p r ( i C ) d C f or e
na o n, a n as oo s an ,
es e s n e o n ess .

i hi
n v ty—th ir d y r ; hi
s se en rthly r m i l i i th ea
(i A ) d C f
s ea e a ns e n e n e o n e s so r e .

m chu r chy r d w h r h i i t im t fri d d br t h r

sa e
( i El?) d A p t l i
n
a e e s a e en an o e n e os o s.

t M rt f u d r t igh t y r b fr
i d ( i C ) d B t M r i Virgi
‘ ‘

n ar-
o za o n es e ee n ea s e o e, an n ea a a a ns .

H
, , e

wh r i e e f w m n th th gr t J ph y d w h
a e on s ( i D ) d B t M r i V ir g ins
e ea o se a n, o n e ea a a a .
vi . moo ns P a w n
-
. N E MOIR .

4 Li t a n i es . M i c lls e a n eo u s p i e c es
P lm (i
sa n D) Magn ific at . Se r v oi c es wi th ob oe ob l igato
e n a de for 5 , .

( in D ) Ma gn ific a t . Q uin t e tt w i th fl u te c on c ertan t e

, .

( in C ) Dix i t Do mi nus . N o t t urn o for 4 v o ic es w i th fl u t e Ob l iga t o , .

( in A ) de C o n fessor e . o b o e o b l iga to .

T e D e u m ( in C ) . 6 D ive rti me n ti a qu a tt ro .

( in D ) . 1 D iv erti m en to

( in C ) fo r h er M j esty the Emp r e s Th er esi

a s a. l

( in C o n c e in o rt
V e ni San c t e ( i n C ) . rt im ti f 2 vi l i n d v i l nc ell o
2 8 D ive en or o ns a o o .

( in D) ;
C c rt
on f diff r t i tr um t
e os or e en ns en s

Co c r t f t h h rp n e o or e a .

rg o an.

tr mb e o on .

p i f rt ano o e.

m d r ( 7 pi c ) an o a e es .

C c rti n i f th e h rp ( 4 p i c )
on e or a e es .

18 Hy mn s .
Sy mp h i o n es

Sy m p h o ny
A ll elu

M i c ll
s e
j a

a n eo
( in C ) .

u s Chu r ch - m u si c
8:
( in D ) .

Ch o ru s de Sa n c te Th e r esi a ( i n C) .
( in C ) .

D e P I Of‘m di’ n ( in D m) -
.
A ch o ru s for i n st ru men ts .

M e m en t o ( in G ) .

I n tr i t u s o
( i n F) , Sev e n t
een m asse s from th e p e n of th i s b
in de fa ig a l e t
( in D m ) -
. c omp o se r ar e n o t h er e m en i o n e d, t as so m e o f t h m w re
e e

( in F) '
pr ese n e d tp r r w h r qu t d t
t o t he E m e o ,
o e es e o h v th m ;
a e e

C i l C U i tU S ( i n C ) d m f t h m cc r di g t t h w ill f th d c d
’

an so e o e , a o n o e o e e e ase ,

( in D ) de B ea ta M ri a a V i rgi ne .
h v b c m th
a e p c i l pr p rty f th ch ir t wh ich
e o e e es e a o e o e o o

Te n e br ae ( in C m ) .

h d v t d th l t h u r
e e o e f hi t i t l if e as o s o s ar s ~ e.
Re s p o n so ri um ( in F) .

6 O r t ri
a o os , vi z

D ie P il gri m e au f G olga th a.

Kru Efi d e z- r n un
A l is t o f J G A l b rec htsberger s wo rks wh i ch ha ve
. .
’

,
g .

G b u rt C h ri ti
e s .
b een p u bl ish ed ( wi th a n i n dic a tio n o f the p u b lish er an d
t he p n c e )
A p p l a usu s M uSim
H
( a 0 Al . .
fl . kr . P ubl is hers .

D e N a i vi t t ate J ean 4 0 um m el
Pi
.

0p 1 Eug en fo r t he f rte .

De P ass io n e D o mi ni .
. . an o o
1 4 5 Ca i pp .

2 Q u a t u o rs en fugu es ( in D , A ,
A ria ( in Eh) de San c to N epo mu cen o
.

B b, F, C , Eb) p 2 , io l , A l t . V .

E b) de San c to N ep o muc e n o
.

( in .

et V c ll e 5
( in G ) de Be a t a M ri V irgi a a n s.
3 . P r el u des e t u n e fugu e p .
'
l Or g 3 .

( in F) de B ea t M ri Vir gi
a a a n a.
Fug a ( in C ) p er l Org an o
{g
’
4
— P .

( i n D m ) de assi o n e D o m in i .

( in F m ) de
-
P assi o n e D o mi ni .
5 . Fug a : Do, m i, p er l Org 0
re,
’
.

Fu gh e P rel udj pe r l Org ano 1

’
6
( in uc en o
G ) de Sa n c to J oa n n i N e p om .
. e

D u e t to ( in Bl?) de Sa n o to J o a n n i N ep o m uc en o
7 . Fugu esp ur l O g o
'
r ue 1
p ur l O g
.

Fugu
'
8 es o r ue
C o r o ( in El?) de San c to J o en a i N ep o muc e no
.

p u r l O gu
.

Fu g u
’
9 es o r e
A n Op e re tta ( w i t h G erm an te xt)
.

Fug fu di Org l
.

10 en r e e

1 7 V io l in Q u a rt e t ts
.

11 Fug fu di Org l
.
. en r e e

9 V iol i n Qu in t e tts .
12 P ii l u d fu di e Org l
r r e 1 , 2 , 3,
. .
,

2 V io l in Ses te tts . Lis t .

 B I OG A P H I
R C AL M E MO I R . vii.

Op 1 3 Se
. . xtu r ( i n E b
o s
,
G -m
, D -m
)
2 V I , 2 A l t , V c l l et B
. . . . G en e r al b ass-S chul e
iv 1 . . . 2 8 0 Ri e dl .

14 . Se xtu r o s ( i n D , F, C ) 2 VI p . .
, M é th o de de l
’
ac c om
p .
, tr a d . de l A ll e
’

2 A lt .
, V cl l e . et B Li v 2 . . 2 3 0 Ch o r on .

p Pi f a4 m
Fuga ( in C ) C- dur u n d C-m o ll
15
16
.

. Fugu p u r l o rgn e es o
.

’
an o . . O
l
A u sw ei c hu n
i n di a ti
en v o n

rig en To n a en rt 0 20 H as l inger .
‘

I nga nn i ( Trugsc hl ii sse) L d Ptr

{
17 F ug n fur di e Org l 2 0 45 e e s.
1 . . . .
e e
pp i
.

A u sw 0 36 Ca
Fugu es p o u r l o rgn e
. .
’
18 1
t rr ich t u b r br
.

Un e e den G e a uch der

19 . Qu tu r s ( in G Bl7 E b F C
a o , , , , , v erm i n d. u ii b erm I n e v all e tr
D m ) p e 2 V i l i ni A l t
. . .

-
t
3 Li e f d A usw
. r o ,
o e
r t r ia
. . .

B asso A e
Ku rz e
.

Reg el n des r ein stein Sa tz es

2 0 Fugu e s
. p u r l Pi f rt o e an o o e
( 2 A usg ) .

2 1 Q u tu r ( i A D m G C m
. a o s n ,
-
.
, ,
-
.
, A n w eisu ng zu C o mp o si i on r t
F Bl?) p 2 VI A l t e t B e a sse 2
M é th p o tr
.
, .
,
o de é l é m e n t de C o m a d. de
P ré lu de et Fug p u r l e P i n f a 4 m . o a o . . 0 '
l A l l em .
. .

0 5 0 Ch o r on.

P a l udi t b e p l y ed w i t h 3 4
'

r en o a or 0 0 A r fi ri a.
Cl av i ersc hul e 1 t

r g t er s
e is . 1
V rset t n f th e P i o f r te
e e or an o 0 P O STH U MO US
D uo s, i tr p VI t V ll Li v l 2
ns . . . e c e . .
, . 2 5 0 V ersett en un d 8 fug en m” di e

Q u i t t t ( in C ) p 3 v1 A l t t
O rg l e

So t
n e

n a esa 2 Ch u r ( i
ll
G C) p 4 oe
. .

s n
.
, . e

, .
e. o
1 . A b th . M ll T
o -
on a rt n e 1 30 H as l ing er .

Vi l o .
, 2 A lt . et 2 V c ll es . 2 0 2 . A b th D ur-Ton a . rten 1 30

CO N TEN TS OF V O LUME TH E FI RST .

T HOROU G H -
BA SS A N D H AR M ON Y .

E x m pl a es of figu ring ; th on figur

wi e e

On i nterv l a s t w fi g u res o

O th e perf c t a d ug m t d u ison
n e n a en e n M j r tri
a o ads ; in th e p i ti f t h c t v
os on o e o a e 22

On c t d di t i t rv l
onson an an sso nan n e a s

On t h d iff r t kind f tri d

e e en s o a

M i r tri no a ds ; i n th e p iti
os on o f t h e o c tave 23

On disson an t ch rd o s i n gen e r al t hi d r 23

On ch o ds r Of th e se en v th
'

fi fth 24
E x rci
e ses on v arious tri ads 24

the r
mino d i m inish ed tri ad 25

On dou bl i g n

On th e pr ogr ession of consonants O pr h ib it d k ip

n o e s s

On th e u se of d isson an t s E x rci d ub l d th ird nd ixth

e se on o e s a s s

C on i n ua ion t t A cc m p i m t f th o c l an en o e s a e

On th e i m pl ied i t rv n e al s to th e c
se on d 16 w i th tw k i nd f ch rds o s o o 28

17 XXX I I V . O th e i h n rd u pr gr i s x az a o s o ess on s 29

17 E x rci ch rd f th v th
e ses on o s o e se en

t h ch ord d ri v d fr m it e s e e o

O fi guri g n n

v th
se en Pri cip l f t ur f fig uri g
n a ea es o n

oc ta ve

C on inu a ion t t
v iii
. C ON TE N T S or VO LUM E THE r ms T .

P AGE

r
On th e fig u ing of ch an ging n otes LXXXV . On th e use of d issonan in et t rval s

triad s LXXX V I . On t h e sea t of the d i mi i h d thi d

n s e r

chords of the second LXXXV II . f urth o

o th erc ho rd s L XXXVI II .

G enera l rul es for accompanim en t L XXX IX .

XC .

X CI . v th
se e n

oc tave

a ugm ented uniso n

second

t a n in bars of tw
Co n inu tio o di vi sions

t ri pl e t im e

wi ht a fi gu red fundam ental part

On up
s s en ded d issonants On mod ul a ion t . 58

On un prepared disso nan ts th ugh th ch rd f th m i r 7 t h

ro e o o e no 58

On th e reso lu t ion of d isso nan ts thr ugh t h im p rf c t 5t h w ith th 6t h

o e e e e 59

On the pl ac e or sea t of i nterv al s th r ugh th dimi i h d v th

o e ns e se en 59

E x ampl es o f al l ch ords th rou gh th i v r i f th m e n e s on o e sa e 60

Exem pla ry exe rc ises on th e prepared ch ord Co n t i u ti

n a on

o f th e seco n d

pr gr i f ch rd f th thi rd
o ess on o o s o e C VI I . t
On m od ul a ion by th e perf t tri ec ad

p p r d ch rd f t h 4 th in 3 part
re a e o s o e s On cad ences
4 p rt a s On decept ive cadences th rough th e h o c rd o f
u pr pa d ch rd o f th 4 th d 6 th
n e re o s e an t h e m in or seco n d

pr par d ch rd f th 4 th a d 6th
e e o s o e n m aj o r c
se on d

w i th t h mi r i th e no sx a ugm en ted secon d

chord f th fi fth d ixth
s o e an s m in o r tri ad

ch rd f t h i th o s o e sx CX II I . m aj o r tri ad

pr p d ch rd f th v th
e a re o s o e se e n p rf c t f u t h e e o r

pr pared ch rd f th c d
e o s O e se on ugm t d f urth
a en e o

pr p d ch rd f th 2 d d 5 th
e a re o s o e n an C X VI . au
g m en t d 4 th w i th t h m ino 3 d
e e r r

ch ords of th e 2 nd 4 th and sth , ,

d imi i h d fifth n s e

passi ng ch ords of the seven th th ird f urth d ixth,

o , an s

ch ords of th e nin th ugm t d ixth a en e s

ch ords of th e fourth and ni n th 69

ch ords of th e six th and n in th t ev th

d ominan s en 70

cho rds of th e seven th and ninth C XX II .

n m j r v th a o se en

various chords in th ree parts , C XXII I . b th th

o e ch rd f th i th
o s o e n n 70

LXX I II X . fou r part s C XX IV . E x mpl

a e o fa s uccession o f d c pt iv cad c
e e e en es 71

On stric t comp o it ion s C XX V .

 A L B R EC H T SB E R G E R S
’

TH O —
RO UGH BASS A ND H ARMO NY .

T HO R OU G H B A SS
-fu nd m ent al basi s
i s th e a of all Sv e en t h . O c ta ve . N in th . T e nt h.

m u si c a nd m u st be pr o fo u n dly stu di ed by al l th o s e
,

who d e sir e t o d ed i c at e t hems elv es to th is b ea ut ifu l

a rt . W ithout this s c i en c e w e c an a d m i r e t he ex ,

c el l en c e o f a c omp o sitio n by t he physi c a l impr essio n

i t may c a us e but w e c an n ev er w o rthi l y a ppr ec i at e

,

W it h i nnat e t al en t w e m ay f
“

its i n t ri n si c m erit . R ema rk — Th e u n ison i s i n u m e , u i s n o t e a lly an b r b t r

pr o du ce s om e n ot im per fec t c ompositio n s but w e ,
tr t
i n e v a l , a s i t s an ds o n t h e s am e g a de a s t h e fu n da r
c anno t s atisfa c t o rily a c cou nt for t he m atter c r eat ed t t
m en a l n o e t t
Th e en h , a l so , m a y b e c o n si de e d a s t h e
. r
n or v o uc h for bl a m el ess imm a c ul a c y i n r e g a rd t o
,
t r b
h i d a ov e t h e o c a v e t .

gramm ati c al t ec h n i c ality T h o r o ug h b ass t ea c h es

.
- T hes e i nt erv al s m a y b e m i n o r , m aj o r dimi n i sh ed
, ,

u s to r e duc e to its simpl e origi na l n a tur al an d , , ,

or a ug m ent ed, a cc ordi n g to th eir p o sitio n .

d eri v ed c hords ev ery c ompositio n —for wh at ev e r

, ,
The semi t one m ay b e mi n or or m ajo r ; m i n o r
i n strum en t it m ay b e writt en an d h o w ev e r fl o rid ,
wh en it st an ds on t h e s am e grad e with t he fu n d a
t h e m e lody a c comp an im en t or e mb ellishm en ts
, ,
m ental n ot e ; for exa mpl e
it grants us a v i ew of t h e u nv eil e d i nn erm o st s an c
t uary — sh e ws t h e wh ol e wo n d erfu l c o n st r u c tio n o f
, Ex . 3 .

a work o f ar t i n a sk el eto n ch a p e stripp e d o f al l

.
,

ornam en t al g arb by a m er e fig ur ed b ass en abl es ,

t he i n iti a t ed to fo llow c orr ec t l y a c om p ositio n of

m an y p arts throughou t al l its tur n s an d modu
,

l utio n s : it is our s ure guid e and direc tor — ord ers ,

m ajor wh en it stan ds on t he n ext grad e ; fo r e x ampl e
a n d bi n ds id eas — str a ight en s p a ths — ch a i n s an d
, , Ex . 4 .

u nit es th a t wh i c h with out its ai d wo uld b e s ep a ra t e

a nd e rri n g T h er efor e l et us al l b ec om e i n t im at e
.

w ith th is e l em en t al s c i en c e a s our g r ea t a nc estors ,

w er e an d it wi ll fa r e w ell with u s !
,

R ema rk — Th e m in o sem i o n e ( t he m in o sec o n d) i s t r r

I r tr t r
n o t c o n side e d a n i n e v a l , a s h e e i s n o ch a ng e o f g a d e r
V
.

IN TE R A L S ON b t
e w e en i t a n d t h e fu n dam en a l a ss ; t h e m a o t b
s em i j r
j r r tr
.

ton e ( th e m a o se c on d) i s c on side ed th e fir st i n e va l ,
T he dist an c e from on e to n e to an oth er i s c all ed t
as i t s a n ds o n a di ffe e n r t r r
g a de f om th e fu n da m en a l t
a n zn ter va l
; as from c to c fli from d to 3
, , b ass .

Ex . 1 .
T wo s emiton es on e m aj or an d on e mi n o r m a k e
, ,

on e who l e t o n e ; as fr o m c to d i s a who l e t on e ; ,
—
t he t w o s e mit o n e s ar e t h e m i n or o c
# a nd t he , , ,

m aj o r cfl— d ; or the m aj o r c — a b an d th e
, ,
’
,

mi n o r d b— d T his wh o l e to n e is c a l l e d a seco nd ;
,
.

for ex ampl e
T he i nt er v al s ar e sm all e r or l arg er ac c o rdi ng to , Ex . 5 .

th eir r el ati ve dist an c e from the fu n d a m ent a l n ot e ;

th er efor e t h e sm all est i nt er val i s a s emito n e— c c # , ,

g g f T her e a re o n l y ei g ht i nt erv a ls n a m ely

, .
,

A n i nt erv al wh i c h c o n t a i ns thr ee gr ad es is call ed ,

a t hi r d for e x ampl e
Ex . 6 .
 10 A L BR ECH T SBERG ER S
’

A n i n t er v al wh ich co n ta i ns fo ur grad es is call ed

, s ec o n d fo urth and sixth are ex c eption s as th ey
, , ,

a
‘ fbu r th for ex a m pl e s o m e ti m es a pp ear as will b e s een l at er i n the fo rm , ,

o f n i n ths e l ev e n ths a nd thirt een ths a nd th e r e for e

Ex . 7 . , , ,

must be disti ng u ish ed from the r eal s eco nds fo urths , ,

a nd sixth s .

An i n t erva l wh ic h c on ta i n s fiv e grad es ,
is c all ed II .

T he u nis o n is two fo l d— p erfec t- an d au gm ented

t . P rf
e ec t . A u gm t d A en e . ug men t ed .

A n i nt erv al which c o nt a in s six grad es is call ed

a six t h for ex ampl e
,
The secon d is th r ee fol d— m i n or m ajor -
, , and aug
men t ed ; fo r ex a mpl e
Ex . 9 .

Ex 15
Mi M j A gm t d A gm
. .

Mi nor nor a or u en e u en t ed .

m
. . . .

its
i nt erv al whi c h c o nta i ns s even grad es is
An ,
ca ll ed
a seven th for ex a mpl e
Ex . 10 .
T he m i n o r conta i ns a m aj o r s emitone ; t h e m aj o r ,

a whol e to n e ; th e a ugm en te d o n e whol e a n d o n e ,

mi n or s emito ne .

T he t hi rd is th r ee fol d — dimi n ish e d mi n or a nd , ,

An i n t er v al whi c h c o nt a i ns eight grad es is cal l ed ,

m aj o r ; fo r ex a mpl e
an oc t a ve ; fo r ex a m pl e Ex 16
Dm D mi Mi r Mjr Mjr
. .

i i ni s hed i n i sh ed no a o a o
Ex 11
. . . . .

be has be
. .

Th e dimi n ish ed c o ntai n s two m aj o r s emito n es ; the

mi no r o n e wh o l e to ne a nd o ne m aj or s emito ne th e
An i n terval which c on ta i n s n i ne g r ad es is a se c ond
j ,
,

m a o r two wh ol e to n es .

,
T he f our th is th r ee fol d — di m i nish ed perfec t -

abo v e t he o c ta v e an d i s ca ll e d a n i n t h ; for e xamp l e :

, ,
,
and augm en t ed ; for ex ampl e
Ex . 12 .
Dim i i h d Di l d rf t rf t A gm t d n s
4
e .

4
b P
o e . e
4
ec . P e ec . u
< 1
en e .

T he d imi nish ed co nta i ns one wh ol e tone and t w o

m ajor s emi t o nes ; the p erfect or m aj o r tw o wh ol e , ,

An i nt e rv al wh i c h c o nta i ns t en grad e s is a thi rd ,

to n es an d one m aj o r s em ito n e ; t he a ugm en ted three ,

a b o v e th e o c t a v e a n d is ca ll ed a ten t h
,
fo r ex amp l e : wh o l e to n es .

Ex . 13 .
The j fl i h is thr ee fo l d — di m i n i sh ed p erfec t and , ,

au gm ent ed for ex ampl e

D im i i h d rf t A gm t d n s e . P e ec . u en e .

Ex . 18 .

Th e dimi nish ed c o n ta i ns two wh ol e t ones and two

I n t he sam e ma nn e r , fo l low—ele ven ths, fo urths m aj or s emito n es th e p erfe ct thr ee wh ol e t o nes an d ,

o n e m aj o r s emito n e th e a ugm ent ed fo ur whol e

a b o v e t he oc ta v e ; t wel t hs , fifths a bo ve t h e o cta v e
f .

to n es
,

I n t e rv a ls may be pl ac ed o ne o r m o r e oc ta v es high e r .

with o ut l osi n g th e ir origi nal na m e ; for e x amp l e T he siwi k is fo u r fold — dimi n ish ed m i nor major -
, , ,

a nd augm ent e d for ex ampl e

a seco nd t wo oc tav es h igh er ; Dimi i h d M i r M j A gm t d n s e . no . a o r. u en e .

be e s e

@ l a t hi rd two o ct av es high er . The

T he dimi n ish ed c on ta i ns t wo wh ol e to n e s an d thr ee
 T H OROUG H - B A S S A N D H A RMON Y . 1

major s emiton es ; the mi nor thr ee wh ol e to nes ,

an d s em iton e) ,
th e mi no r s ec ond ( the m aj o r s emito ne ) ,
two m aj o r s em i t on es ; t he m aj o r four wh o l e t on e s ,
a n d all the r e ma i ni ng i nt erval s for e x a mpl e
a n d on e m aj or s emito n e t he a u g m en t ed fi ve who l e ,
Ex 25
to nes .
. .

bba $3
T he seven th is th r ee fo l d —d imi n ish ed, mi nor, -

an d m aj or ; for ex ampl e .

Ex . 20 .

D i mi n i sh e d . Mi r no .

br D7 D7

T he di mi nish ed c onta i n s th ree who l e to n es and thr ee

m aj o r s emito n es ; t he mi n or four who l e t on es and ,

t wo m aj or s emito n es ; t h e m aj o r fiv e wh o l e to n es ,

a n d on e m aj o r s emito n e . A ll ch ords wh i c h ar e c omp os ed of th es e i nt erval s ,

a re c a ll e d dis c o rds But a r ea l c ons o n an t b ec o m es

T he oc ta ve is g en er a ll y o n l y two fold —dimi n ish ed
.
-

a disso n an t by b e i n g c o u pl ed w i th su c h an i n t erv a l
an d p erfe ct ; b ut it is s o m eti m es a ug men t ed a nd
, ,

as— t he p e rfe c t fifth w ith a sixth t h e sixt h wit h

,

t h en c onta i n s on e mi n or s e mito n e mor e than t h e

a s e v en th t he p erfect oct a v e wi t h a n i nt h ; a s m ay
p erfec t o c tave for ex a m pl e
b e s een i n the fo ll owi n g e xa mp l e
Ex 21
P rf
. .

D imi n i sh e d. e ect . A gm t
u en e d.

Ex . 26 .

T he dimi nish e d c on ta i n s fo ur wh ol e to n es an d th r ee
m aj o r s emit o n es ; t he p erfec t fiv e w ho l e to ne s and ,

t w o m aj o r s e mito n es .

The n i n th i s t w o fol d —mi n or a n d m ajor ; for -

e x ampl e
Mi r no .

Th e c on s on an ts
subdivid ed i n to p erfec t an d
are

T he t en t h, whi ch is i n fa ct a r ep etiti on of th e imp erfect T he fi fth an d octav e are p erfec t ; bo t h

.

t hi r d an o c t ave high er is thr eefo ld —dimi n ish ed

, ,

, ,
thirds a n d s ixth s are imp erfect T h er e for e it a pp ea rs .

m i n or a n d m aj o r ; fo r ex a m pl e
,
th a t ev ery c h ord o v er a funda m enta l n o t e c omp o s ed ,

D im i
i n sh e d Mi r no
of thr ee c on s onan ts must be p erfec t or i m p erfect ,
.
.

Th e c omm on chord o n l y is p erfe ct— th e th ird fifth

. .

bb i o 17 1 o , ,

an sp o siti o n s — t he
Ex . 23 .
an d o c t a v e
g with its two
,
tr,

fift h o ctave an d th ird

,
g or ten th an d th e o cta v e
, , , ,

th ird a nd fifth
,
g or wh en a n ew p o siti o n is
,

obta i n ed by o m itti ng on e an d d o ubli n g s o m e o th er

,

i n t erval— t h e third fifth an d th ird

T h er e ( with r
are esp ect to t h e sou n d w h i ch i m

press es th e ea r) t w o ki n ds o f i nt er v als— the c on

5 a n d fifth

th ird an d fifth {g Th e imp erfect c o n s onan t c h o rd

.
, , , ,

, ,
}
s ona n t which pr oduc e a n a g r eeab l e p erfectl y soo th
, , — ,
8
i s th ird sixth a nd o ct a v e 4 with its two tran s
, , ,

i ng effec t the diss o n an t which ex c it e a p a i n fu l a n d 5

,
p ositio n s— third o c tav e an d sixth an d o c t a v e
un ea sy s ens ati on T he c o n s on an ts are— th e p e rfe ct , , , ,

th ird an d sixth g an d t he n ew p o smon s o bta i n ed

.

un ison t he mi n or th ird t he m aj o r third the p erfe ct , ,

, , , 8
fifth th e mi no r sixth t he m aj o r sixth th e p erfect
, , , by o missi on a nd d o ubl i ng third sixth an d thi r d , , ,

o c t a v e a n d t he mi no r a nd m aj or te nths ; for e x ampl e

, a n d six th sixth an d third for ex am pl e
, , ,

Ex . 24 .

a b o f g h

A ll c h o rds wh ich co mp o s e d o n l y of th es e in
ar e

t erv al s, ar e c a ll ed p er fe ct or c o n s on an t c hor ds T he .

diss o n an ts a re — t he a ugm en t ed un iso n ( the m i n o r

 A L BRECH T SBE RG E R S
’
12

I mp f
e r ec t c o ns on an t ch o rd s . Mj
a or c h ord s w i th fl a ts .

E x 28
. .

W h en on e o r m or e diss o n an ts a pp ea r i n a ch o rd ,

i t a lw a ys b e l ongs t o t he cl a s s of d iss o nan ts a s ,

third fifth a nd sixth

,
5,
fifth sixth an d o c t a v e
s ec o n d fo u rth an d sixth 2; third fifth an d
,
5 , , ,

, , , ,

s ev enth
5 fo urt h fi fth a nd octa v e
, ,
thi r d fi ft h
, , , , E x 33 . .

an d n n th
i 5 thir d ,
sixth a n d o cta v e
3
, ; al so

wh en t he th i r d an d si x th a re mi no r ,an d the o c t a v e
,
i
,

p er fec t ; wh en t h e six t h is m aj o r t he thi r d mi no r , ,

an d t h e oc ta v e p e r fe ct ; wh en t h e third a n d s i xt h

t h e octa v e p erfe ct ; for ex am pl e 1

M rin o c h ord s w i t h fl at s .

Ex . 29 .

Ex . 34 .

T h es ech ords al th o ug h a c c o rdi ng to t h e rul e th ey

,

would b e l o n g t o t he imp e r fe ct c ons o n a nt s ar e ex ,

c ep ted a s i s a ls o t h e ch o rd o f t he m aj o r third wi t h
, ,

t he mi n or di m in ish e d or a ug ment ed si x th ,
for
e xa m p l e

Ex . 30 .

As r em ot e k e ys with m a ny sh a r p s o r fl a ts l n
,

c r eas e t he difii c ul t y o f r eadi n g a n d e x ecuti o n i t i s ,

w ell t o subs t itute t he k eys which st a n d o n t he s a m e

grad e fo r i n sta nc e— U h m aj o r i ns t ead of Ci: m aj o r ;
A b m aj o r i n st e ad o f G aj o r i n s t ead o f

C b m aj o r ; a n d so forth
fl m aj o r B m
.

T h er e are i n m usi c fiv e pri n cip al ki nds o f c hords ,

v iz z— l st, co mm o n c h o r ds 2 nd, c h o rds o f the
.
IV .

s ev en th ; 3rd, ch o r ds o f t he n i n t h ; 4 th , c hords o f The c ommo n c hord is fo ur fo ld— t h e m aj o r with

-

t h e e l e v en th ; a n d 5 t h , ch o r d s o f th e thir t e e n th
,
.

t he m aj o r thi rd
T h e p erfec t c o m m o n ch o r d c on sists of t h e thi r d an d
fi fth , t o wh ich is a d ded the p erfec t o c ta v e in four Ex 35
pa rt c ompositi o ns T he tw e l v e k eys m ay be e ith er
. .

m aj o r o r m i n or ; t he fi rst r equire t h e m a or , t he j T h e m i no r , wi t h t he mi no r th ird

s econ d t he mi n o r third , as is sh ewn i n th e fo ll o wi ng
tabl e Ex . 36 .

T he dimi nish ed

Ex . 37 .

T he a ugm ente d

Ex . 38 .

E v eryc o mm on ch ord is c apa b l e o f two i n v ersi o n s

t h e first is m ade b y t a ki n g th e third as th e fu d n a

m e nt a l n ot e by w hich t he c h o rd o f t h e sixth is
,

p r od uc ed for ex am pl e
 T H OROU G H -B A SS A N D H A R MON Y . 13

It foll o ws fr o m w ha t has b een al ready sa id th a t

, ,

ev e ry c ho rd wh eth er p erfect i m p e rfect or dis

, , ,

s o nan t, may be t a k en i n thr ee d iffer ent p osition s

Ex . 39 . i n t he positio n o f t h e oct av e wh en t he o cta v e of t he ,

fu nd am ent a l not e ( th e to n i c ) is h igh est ; i n t he

p o siti o n of th e fi fth wh en t h e fifth ( d om i nant) is ,

high est i n th e positio n o f t h e t hird w hen t he thir d ,

The s econd is m ad e by t a k i ng t he fi fth as th e fu n da is high est ; fo r ex am p l e

m ent al n o te by whic h the c h o rd of t he six four is
,
- -

pr o du c e d for e xa mp l e
Ex . 40 .

Ex . 44 .

I n t h i s key , f is t he t on i c , an d c t he domi nan t ;

b ei n g t he fift h a b o v e, a nd t he fourth b el ow ; fo r
e x a m pl e

F rom th is it m ay be s een h ow fro m a p erfec t ,

c on so na n t c hord ma y be m a d e an imp erfe ct or ev en

, , .

a diss on an t o ne W h en t h e p er fec t fo urth is us e d

.
5
4
i n c o nj u n c ti on with a mi no r or m aj or sixth it i s , x
.

usu a ll y c a ll e d t he c o n so n an t fo u rth wh en with the E

fi ft h th e diss on an t fo urth ; for ex ampl e
,

Ex 41
. .

C o n s on a n t i t h . Di s s on an t4 h t .
b is t h e t on i c f ,
the domi na n t for e x a mpl e
l et p o s it i o n , 2 nd, l st p os i t i on , 2 n d,

It m ay b e h er e r em a rk ed th a t th e com m on c h o r d ,

i s n ev e r figu r ed an d th a t t h e thi rd fift h a n d oct a v e ,

It will be alm o st sup erflu o us to add th a t the t erm s ,

p o siti on of the third fifth a n d o ct av e must no t

, ,

of
a r e a lw a ys to b e pl a y e d with an u n figu r ed b ass n ot e , , ,

be u s ed with ch o rds wh ich a cc o r di ng t o th eir p ec u

a b or hab o v e it e xp r ess e s the k i nd of third
, , ,
l ia ri ty, are with o ut th o s e i n t erv a ls t h e t er m s o f
, ,

a n d t h e r e b y d en o t e s a mi no r or a m aj or ke
y ; for first s ec o n d an d third p ositio n s m ust be sub
, , ,
e x a m pl e
stitut ed .

Ex 42
VI
. .

thus . In s t e a d o f, th u s . I t n s ead o f, thus .

.

It has al r eady b een s aid th at all ch o rds of t he .

sec on d fo u r t h s e v en th a nd n i n th are diss on an ts

, , , ,

w h en th e s e i n t er v als are b o u n d — th a t is wh en t h e
n o t e al r eady h ea rd is n o t r e p ea t e d —th ey a re c al l ed
,
-

r e a r ed ; for ex a m pl e
p p
Ex . 47 .

T he
fi 1
7 t ,
lw a ys r el a t es t o th e third
,
or a ; an d it

m u st be un d erstoo d th a t w h en e v er this is m aj o r
, ,

t he fifth a n d o c t a v e m ust b e p e rfe ct .

V .

Of th ese fo ur com m on c h o rds , two a re co ns on an t

— t h e mi no r and m aj o r ; c , 8 , a n d two
9 0, e :
VI I
a r e diss on a n t t h e di m i ni sh e d and t he a ugm en t ed
.

Ii d, f — c e g ; for ex a mpl e
, , ,
# T he s ec on d pri nc ip al ki n d o f c h o rd , the ch o rd o f
th e s e v enth c o n sists of a third fifth
,
.
, , and s e v en t h ;
fo r e x am pl e

Ex . 48
 A L BREC H T SBE RG ER S
’

T ch o rd of
he s ev en th may be m aj o r mi nor,
,
EL 54 W it h t ou t h e 7 th . With t th
ou e sth . W ith ou t t h e 3rd .

o r di m i n i s h ed for ex a mpl e
C h o rd th e of Ch o rd o f t h e Ch ord of t h e
j
ma or 7 t h. mi no 7 t h r . dim inis he d 7 t h .

Ex 4 9. .

c
Ea ch of th es e h o rds is a pa b e of thr ee i n e rsio n s c l v
—fi rs ly , wi h t he thi rd for t he b ass s e ondly , W i h
t t c t A l th ough th e i th is pl ay ed upo n t he sa m e n ote
n n

t
t he fi f h fo r t h e b ass an d thir d y , wi th t h e se ent h l v as t h e sec o n d a n d r e pr e s en ts t o a c e rt a i n d eg r ee
, , ,

its el f fo r t he bas s .
t he sa m e i n te rv al a n o cta v e high e r y et a d e c id e d ,

r ti r i difier en c e e xists b e tw een th es e i n t e r v a ls ; for t he

’

Fi s nv e s o n .

n i n th i n r ea l c h o rds o f t he n i n th i s p r e pa re d a b o v e
, , ,

a n d d e sc en ds wh er ea s t he s ec o n d o blig e s t he fu nd a
Ex . 50 . m en t a l note t o d esc en d a g ra d e b e i ng alr eady p re ,

pa r ed by a bi nd for e x a mpl e

I n this t he ch o rd
,
of t he s ev en t h be c om es th e ch ord
o f t he fiv e - six .

S eco nd i nv e ri
s on .

T he fo u rth pri nc ipa l ki n d of c hord t he ch o rd o f ,

t he el e v en th is fo r m e d wh en a n o t e a fifth b e l o w
, ,

In this it b e c om es,
t he c h o rd of the third fo urth
, ,
t he ch o rd of t he se v en t h is a dd ed t o it ; fo r i ns t a n c e
, ,

a nd sixth . t o t h e ch o rd o f g b ( In f: a dd 0 a s b a ss an d t h e ch o rd
, , ,

of t he e l e v enth wil l be pr o duc ed c o nsi sti ng o f t he

Thi rd i r i nv e s on .
fi fth se v enth n i n th an d el even th for ex am pl e ,
,

, ,

Ex . 56 .

In th is i nv er si on the c h o rd of th e s ev enth b ec o m es
,

t he ch o rd o f t he s e c o nd fo urth a n d sixth T he , ,
.

In a cc om panim ent i nt er v al o f this ch o rd is

o ne
fo u r th th us fo rm ed is c on s i de r ed a s a c o ns o na n t ; al w a ys o m itte d — e v en two occa si o n ally ;
,

if the
bu t a l l c h o rds of t he s ev enth with th e ir i nv ersi o ns , ,
,

o m it t ed n ot es a re t he s ev en t h a n d n i n th t he thr ee ,
a re d isso na n ts
n o t e ch o rd co n ta i n i n g the fi ft h an d e l e v e n th is c a ll e d
.

t he c h o r d o f t he fo u rth a n d fifth sh o u l d this b e i h

VIII . v e rt ed a nd t h e fo urth ta k en as b ass t h e ch o rd o f t he
, ,

s ec o n d a nd fifth is pr odu ced fo r ex a m pl e

Th e th ird pri n c ipa l k i n d of c hords the ch ord o f ,

t h e n i nth is fo rm e d wh en a n o t e a thi r d b e l o w t he
, ,
I n v ers io n .

ch o r d o f t he s ev en th is add ed t o it ; for i ns ta nce i n

, ,

t he ch o rd of t h e s e v e nth g b d f a dd 6 as ba ss , , , , ,

u nd er t he g a n d t h e c ho rd o f t he n i nth wil l be p ro
,

d uc ed c on sisti ng of a third fi fth se v en th a n d n i n th ;

, , , ,

fo r e x a m pl e

T he e l e v enth an d fo u rth ar e di ffer en t ; th e y are

di ffe r e n tly a c co m pan i ed , a nd pec uli a rly tr ea t ed , as
E x C3. .
wil l be sh e w n in t he sequ el .

X
Th e fi fth and l ast pri ncipal ki nd of c h o rd t he ,

ch o rd of t he thi r t eenth is a l s o fo rm ed fro m t he ,

I n fo ur -p a rt acc o mp anim en t o n e i nteryal i n th is , ch o rd of th e s e v en th wh en a n ote a se v enth b el o w, ,

c h o r d is usu a lly o m i t t e d , e ith e r t he s e v e n t h fi ft h o r t h e fu n da m en ta l n o t e i s a dd e d t o it fo r i nst a n c e to .

, , ,

th i r d for ex am pl e th e dimi nis h ed c h ord of the s ev e n t h g

# b ( In f, add , , ,
 T H OROUG H - B A S S A ND H A RMON Y . 15

as ba ss the s ev enth b el ow gfi—a and t he c hord o f ,

The co n tra ry or o bl iqu e mo v em en t m ust b e u s ed i n
t he thirt een th is produ c e d c o n sisti n g of t he s ev e nth , ,
p assi n g fr o m an imp erfec t to a p erfect c o nso na nt
ni n t h el ev enth a nd thirt eent h ; for e x a m pl e
, ,
c hord
6

A ll fo ur mo v em en ts m ay be u s ed i n p a s si n g fr m o
Ex 5 8 . .

on e imp erfec t to an oth er imp erfec t c on so na nt ch o rd

One i nt er val is u su ally omitte d ; e ith er th e T wo c o n s ec uti v e p erfec t fifth s o r o ct av es m ust be

sev enth n i nth o r el ev enth
,
for ex amp l e ,
c ar eful l y a v oid ed a s th ey n ot on l y s o u n d thi n but
, ,

ar e e xtr e m ely offe n si v e t o t he ear

Ex . 59 .
7 th om i t t ed . 1 1 th om i t te d .

Ex . 69 .

In a c omposition of m n y p arts h o wev er a uc a , ,

s

c ession of o c ta v es m ay fibe u ed a n d disp e r d s ,

se

thr oug h d iffer en t i n strum en ts p artl y high an d p a rt ly ,

T he chord thirt een th al tho ugh simi l a r i n

of th e
l ow ; i n th is c as e th ey a re n ot c on sid ered c on s ecuti v e
,

so un d must be disti nguish ed from the c hord o f t h e

,
o c t a v es but d oubl ed tr ebl ed and fou rfo l d un ison s
, , , ,

a n d a re by n o m ea n s obj ecti o n ab l e
,

si x th from which it di ffers in its imp l i ed i nt er val s

,
.

a nd in its r es o l utio n .

XII .

D isso nant ch ords are us ed in a thr eefol d m anner

T hemo v em ent o f c on s on ant c ho rds is fo ur fo l d first as p assin g n ot es
,

d ir ect wh en all t he p arts as c en d or d esc end

,

Ex . 60 .

c ontra ry when p art d es c en ds wh il e t he th er In th is ex amp l e th e t en ths e c and the sixth s g b

—
, , , , ,
on e o
c e a re c on s onan t c h ords an d b o th s d an d 6
f
,

a sc en ds , , , , , ,

r egu l a r p a ssi ng disso n ants S ec on d l y a s c h ang i ng

.
,

n o t es
Ex . 61

o bliqu e w h en on e p a rt r em ai n s st ation ary or is

, , te
eat ed wh il e t h e o th er m o v e s
p ,

Ex 62 In th is ex ampl e f an d d a re ch an gi ng n ot es i n th e
,

a cc en t ed divi si on of t he bar a n d a r e o n ly sus p en s i o n s

.

a nd p arall l wh p rts r em i
e ,
en t h e a a n on th eir grad e of the fo llowi n g c on s onants e an d c T hirdly a s ,
.
,
,

an d a r e c on ti n u o usly r e p ea t e d
s usp en s i o n s
Ex . 63 .

Ex . 72 .

f
T he fo ll o wi n g rul e s m a y h er e be giv en T h e .
In th is e x a mpl e th e s ev enth .
, c, is pro du c ed by the
c o ntr a r y m o v em en t m u st b e u s ed i n p a ssi ng from on e c h ang e in th e b a ss .

p er fec t c o ns o na n t chord to an oth e r

XII I .

Ex 64
. .

W hen two di ffer en t n ot es are pl ay e d t o o ne ch o rd

( e ith e r i n t h e l o w e r o r high e r p a rt
) o n ly o n e o f
or on e p a rt m ay r em ai n stati on ary th em b el o n gs to the ch o rd W h en it is t he fi rs t .
,

Ex . 65 .
n o t e a n d it fal ls o n t h e a cc en t ed d ivisi o n o f t he bar
, ,

t he s e c o n d n o t e w hi c h fo r m s t he a ft e r s o u n d is
' ‘

-
, ,

A l l m o v em ents may be us ed i n p as si n g fr o m a p er c alled a passi n g n o te

fe et t o a n i m p er fect c o n s o na n t c ho rd : for i nsta n c e,
fro m a n o c t av e o r fi fth t o a th ird o r si x t h
Ex 66
Ex 73
. .

. .
16 A LBRECH T SBE RG ER S ’

o a nd b el on g to t he ch o rd ; d an d f ar e p assi n g
e

n o t es W h en the s eco n d n o te is an i nt er v al o f t he
.
Ex . 79 .

ch o rd th en t he first n ot e alth ough it m ay fal l o n t h e

, ,

a cc en t e d di v isi o n o f t he bar d o es n ot b e l on g to t he
I n t he di mi n ish ed fifth , th e high est p a rt is
c ho rd a nd is ca ll ed a c h ang i n g n ote
,
na n t , a n d m ust d es c en d o n e gra d e

Ex 80
Ex
.

74
.

. .

A lth o ugh c ert ai n diss ona nts — for i nst an c e ,

th e
mi n o r s ev en th ab o v e t he d o mi nant ; t h e dimi nish ed
e a n d c a re p art o f t he c h or d ; f an d d ar e ch an gi ng fift h with i ts i nv er si on ; a n d t he a ug men t ed fo u r th
— may b e u s ed with out p r e pa ra ti on i n fr ee styl e et
,

no tes T h r ee po i nts must be a ttend ed t o i n t h e

.

y
,

e m p l oy m en t o f d iss on a n ts by sus e n si o n fi r s t th eir ,

p , th ey m ust always b e r egul a rly r es olv ed I n t he free

p re p a rati o n ; s e c on dly th e ir pe rcussi o n ; a n d thi r d l y
.

, , styl e on e diss o nan t is o fte n r es ol v e d by a no th e r ;

,

t h eir reso l uti o n T he pr epa rati on o f a diss ona n t is

.
but this l i ce ns e o r igi nat es fr o m a p artic ul ar figur e
e ffec t e d by us i n g it as a co ns o nan t i n t h e ev en p a rt
,
w hich w e sh al l expl ai n i n the s equ el
o f a ba r b e fo r e its r ea l pe rcus si o n
.

XI V .

I n o rd e r t o fac ili t a t e r ead i ng an d a r apid g en e r a l

,

Ex 75
v i e w it has b ec om e t he u n i v ers al rul e n o t t o figu r e
,

t he fu n d a m en ta l b ass w i th a l l th e i nt e rv a ls co nt ai n ed
. .

i n a ch o rd th e re fo r e it is h ighly n e c ess a ry for th o s e

w ho would b e c o m e g o o d fi u red b as s pl ay e rs t o
g
-

res ol uti on is effect ed by c au si ng t he dis

,

T h eir k n o w t he i m pli e d i n t erv a ls wh ich b elo ng t o ea ch

s o n a n t i n te rval a ft e r its pe rc ussi o n to asc end o r
, , fi gu r e W h en t he b as s n o t e ha s n o figure a p erfect
.
,
d esc e nd a grad e o n to a co ns o n a n t , m mo n c h o rd is a lwa y s to be pl ay e d

T h is pro v es th a t t h e r ea l pe rc u ssi o n wh i c h is g en e
,

ral ly pr ep a red is a l w ays a d i ss o na nt but tha t t he

, ,

p r e pa ra ti o n a nd r es o lu t i o n m u st be co n s o na n t .

F urth er it ma y he r em a rk ed t h a t i n t he fo urth
, , ,

s e v en t h n i n th e l ev en th a n d thirt ee n th t h e high e s t
, , , ,

p a rt o f the i nt e rv al is diss o n ant a n d m ust d esc en d

a grad e fo r i t s r e s o luti o n

A b
Ex . 77 .

di mi n i s h ed,
,
fi i
orn dic a t e s th a t t he th ird is t o be

m i no r o r m ajor 7 71 3 figu re 2 t he
, .
,

sec o nd, a l w a ys impli es t he fo urth a nd t h e sixth

Ex . 82 .

Sh o ul d a fifth be w ritten ab o v e t he s ec o n d 3 o n e , ,

o f th e s e i n t e rv a ls e ith e r th e fi fth or t h e s ec o n d mu st
A n exce pti o n t o th is rul e is th e m aj o r se v enth w hen ,
be d o u b l e d
, ,

it is i n c onj u n cti o n wi t h a fo urth m i no r si x t h n i n t h

, , , D bl fi
ou ed ft h s .

e l eve n t h o r mi no r thi r t ee n th
,
whic h m u st th en
a c e nd o ne gr ad e
s

I n t h e s ec on d a n d augm en t ed fo urth the l o w est ,

p a r t o f t he i n terv a l is diss on an t and must as a rul e

.
, ,

d esc end a g r a d e for its res o l uti o n 1

 A L BR EC H T SBE RG ER S
’
18

Ex . 93 . XVI II .

T he di mi nished six th, whi c h o ccurs rar el y and is ,

al wa ys us e d as a pr e pa r a ti o n of t h e imp e rfect fi fth

,
imp li es t he mi no r third and dimi n ish ed s ev enth

e s ev en th m aj o r gra d e of t h e sca l e o f
F f is t h
G m aj o r an d leads to th e e ight h g fl is t he l ea di n g
.

n o t e t o A mi n o r ; a n d c
fl t he fo u rth m aj o r gra d e o f
t he t o n ic G wh ich i s r es o lv e d by a sc en di n g a m aj o r
.

s e mito n e i n to t he do m i nan t W h en it h a p pe ns t ha t.
The mi nor an d maj or impl y the
si r t h
'

th i
t h e fu nd a m en ta l n o t e st an ds on t h e s ec o nd gr ad e of
and t he oc ta v e or the thi rd or the sixth be
a mi no r ke y or o n t he se v en t h of a m ajor key a n d
,

d o ub l ed
D bl
, ,

mo v es a wa y fro m it t he o c ta v e may be us ed i nst ea d

, D bl d
ou e si x th. ou ed t h i rd.
of t he sixth

Ex . 98 .

Ex . 94 .

A third or a sixth m a y be pl ay ed al on e without ,

d o ubli ng

Ex . 99 .

Ca r e must b e tak en n ot to doub l e t he m aj o r third

A is ons ec o nd grad e i n the key of G m i no r
the ,
or maj or sixth wh en it stands on t he s e v en t h m aj o r
b ut o n t h e s e v en t h i n t he ke y o f B b m aj or ; th e re ,

g r ad e a nd i s t h e l e adi ng n o te ; as it w o uld th en
fo r e t h e si xt h is o mitt ed thr o ughout a nd the oct a v e ,
,

be c o m e t he oc ta v e o f t h e fu nd am en ta l n ot e a nd p ro
s u b st i t ut ed
,
.

d uc e to o sha rp an i m pressi on o n t he ea r ; for ex a mp le

T he p erf ec t /fi fth i m pli es t he m i no r o r m aj o r third Ex 1 00 Ex 1 01
a n d t h e p e rfe c t o c ta v e ; a nd fo rms as w e al rea dy
. . . .

k no w t he pe rfec t triad
,

B is the s e v enth m aj o r gr ad e of th e key o f O and ,

s o u n ds dis agreea bl y b y b ei ng d o ubl e d I n ex a m p l e .

1 01 th e l a s t skip i n t h e high est p a rt from a b to b

,
h
is faul t y beca use the m el ody is u n n atu ra l a nd d iffi cult
, ,

T his i t rv al d oe s figu red

no t requi r e to he
. ,

Wh en m an y sixths fo l l o w eac h oth er it

n e
t o ex ec ut e
,

be c aus e all u nfig ured ba ss n o te s a re acc o mpa n i ed .

,

with c o m m o n ch o rds ; but t he qu ality o f th e third is w el l to ch oo s e the co ntra ry mov em en t i n p la yi n g

th e m i n o rd e r to av oid ) rohi bit ed fi fths and oc ta v es ;
it a d ds to t he gra ce o ft h eir pe rform ance also to
mu st be i nd ic at ed wh en it r equire s t o b e h eightene d ,

o r l o w ered acc o rd i ng to t he key , ,

omit an i nt er v al o c ca sio nall y and d oub l e s om e oth er :

.

T he a ug me n ted fifth wh ich us u a lly o n ly a pp ea rs

,

a ft e r t he p erfe ct fi ft h a s a p a ss i n g no t e a lw a y s ,

impli es t he m aj or third and t h e pe rfect oc ta ve

Ex . 1 02 .

T he au
g men ted ither a d o ubl ed six th i m pli es e

third o r a m aj o r third a nd a n a ug m ent ed fo u rth , o r

a pe r fec t fift h with a m
,

aj o r thi r d ; but this must n o t

T he m aj o r s ev enth s el dom a ppea rs as a s us p ensio n be fo ll o w ed by a p erfec t b ut b y a c h o rd o f t he six ,

of t he o ta e c v . fo ur in ord er to av oid tw o p e rfec t c o n sec ut i ve fifths

,
 T H OROUG H -B A SS A N D H A RMON Y
. 39

Ex . 1 07 .

W h en m an y p erfe c t t v es fo l l o w ea c h oth er
oc a ,

th e y are r eally h e ight en e d u n is ons and are pl a y ed

A ll wh en empl o y ed as p reparat i ons an d
seven ths , ,
a s su c h with o u t a n y acc o m p an yi n g i n t e r v al s S uc h
r es o lv ed b y d e sc e n di n g imp l y th e third an d fifth ;
.
,
,
p assa g es are m a rk e d by t he w o rd un ison s or by ”

a ls o t he th ird an d o c t a v e or a doub l ed third

,
,
a co n ti n u o us h o rizo n ta l l i n e

Ex . 1 08 .

Ex . 1 04 .

Sm all sh o rt l i n es sig n i fy to t he p l ay er th at the ,

c ho rd l ast stru c k is to r em a i n un ch an g ed a nd ,

pr o lo n g ed
Ex . 1 09 .

T he maj or wh ich wh en a l ead i n g n o t e

seven t h, , ,

is r eso l v ed b y a sc en di n g to t h e octa v e of t he b a ss ,

a l wa ys i m pl i es t h e m aj o r s eco n d an d p erfe c t fourth ,

e v en wh en i t oc c urs wi t h out pr ep a r a tio n

Ex
whi c h is n o r eal i nt erv a l
.

T he a ug men ted oet cw e , ,

c an o nly be c onsid er ed as a p a ssi n g n ot e or p re

,

p arat i on to a n ot e on t h e n ext gr a d e

Ex . 1 10 .

T he dimi n ished oc ta ve is o nl y s d
u e in ob l iq ue XX I .

mo v em ent , a nd imp l i es t he m i nor third a nd mi n or

T he tw o n i n t hs which l ik e fourths a n d s e v en t h s
, , ,

mu s t be p r e p a red in the h igh est p a rt a n d r esol v e d ,

by d esc en di n g a wh o l e o r h al f t o n e imply a thi r d ,

a n d fi fth It is a dvi sa bl e wh en th e b a ss a sc en ds t o
.
, ,

o mit t he fi fth a n d d ou bl e t h e third i n ord e r t o a v o id

, ,
Ex . 1 06 .
t w o ugly c on s ecuti v e p erfe ct fifths

T he p erfec t b el o ngs to t h e p erfec t and

'

oc ta ve

i m p e r fe c t c h o rds an d is a l so som etim es

,

fo u n d with t he mi nor s ev en th esp eci al l y wh en the

,
 A L BREC H T SBERG ER S
’

20

Although t he n i nth s o u nds l ik e a h eight ened

s ec ond w e have a l ready beco m e ac q uai nt ed wit h
,

t h e diffe r e n c e b y whic h w e m ay r e c o g n is e th em .
The si x th impl i es
F irstly t he s ec o n d is ac c o mpa n i ed by t he fo u rth and
, the t hird an d oc ta v e :
sixth whil e t he n i n th is ac compan i ed by t he third
,

a nd fift h — Se c on dly t he s ec o n d ( unl ess a passi ng

,

no te ) is a lways a p r ep a ration to t he b a ss t he n i nth

is a l ways prep a r ed by t he a cc omp anyi n g i n te rv al s .

T he s e v en th i m pl i es
XXI I .

the th ird and fift h

I n o rd er to a tta i n fac il i ty i n ac comp an yi n g a
figur e d ba ss fr eel y a nd with o ut fa ult t he s c h o l a r
,

w ill find it a v ery us e ful study to m ak e himse lf i nti

m at ely a cqu a i nt ed with the fo l l o wi ng ta b l es a nd ,

v ivid l y to imp r e ss on h is m em ory t he i nt e rv a ls

b el on g i ng t o ea c h fu nd am en ta l n ot e i n al l k eys
,
.
Th e o c ta v e impl i es
A n u nfig ured bass u n l ess m ark ed b un iso n s ,or
”
th e thi rd an d fift h
,

tas t o s o l o ( which sig n i fi es t h e eft h an d al o ne

"
,

e n tir e ly with o ut a cc o mpa n i m en t imp l i es i n al l c as es

) ,

a c ommo n c ho rd

Th e i th impl i es
n n
t he third an d fift h
Ex . 1 12 .

T he s ec o nd impl i es T he t enth i m pl i es
t he fo urt h an d
t he fift h a nd o cta v e
s i xt h

XXIII .

W h en t wo figu res a re pl a c ed ov er a b ass no t e

T he third i m pl i es ,

th ey a re ac c ompa n i ed by t h e fo ll o wi ng impl i ed
th e fift h a nd oc ta v e i n t er va ls

T h e mi nor s eco nd ,

with th e m aj o r t h i rd ,
T he fo u rth impl i es imp l y the fift h
t he fifth and oc tav e

T he u g m e n t ed
a T he s ec o nd w ith
,

fou r t h i m pl ies the t he fo u rt h imp l y t he

,

sec o nd a nd s ixt h six th

T he dimi nish e d T he s ec o nd wi t h
,

fift h i m pl i es t he m i no r th e fifth i mpl y o ne

,

th i rd a nd t he m i n or o f the sa m e d o ub l ed

s ixth

T he p erfect fift h The s eco nd w i t h ,

i mpli e s t he third a n d t he m aj o r s e v en th
imply the fou rth
 T H OROUG H -B A S S A N D H A R MON Y .
21

T he th ird with th e ,

fo urth imp l y the sixth

,

Ex 1 29 .

T he fo u rth ,
with
t he n n i th imp l y
, t he
fi fth

The third with t h e ,

s ev en th i m pl y t he
,

fifth or t he o c tave

T he third with t he The fifth with ,

th e
o c ta v e imp l y the fifth :
,
s even th imp l y t he
t hird

The thi r d with t he

,

n i n th imply t h e fifth
,

T he fo u rth with ,

t h e fifth i m ply t h e
,
T he fi fth with th e,

octa v e t enth imply t he third

,

T he sixth with ,
th e
s ev enth i m ply,
t he
s ec o n d or th ird

T he sixth with ,
th e
o ct a v e impl y
,
th e
th ird
 22 A L B R ECH T SB E RGER S
’

T he si x th with th e ,

ni nth , i m ply t he thi rd

T he s e v enth w ith ,

th e oct av e i m ply t he ,

third

The se venth with ,

t he n n i t h i m ply
,
t he
third

XXV .

I n the s e c o n d po si t i o n t he th i rd is h igh est

. ,
t he
T he octa v e with ,
oc ta v e is i n th e middl e a nd t he fifth is l ow es t
,
t he n i nth i mply the ,

fo urth Ex . 1 52 .

The ct a v e with
o .

th e t e n th i mply t he
,

fi l th '

XXIV .

It is fur th e rm o r e nec ess a ry to b eco m e w ell a c

u a i nte d wi t h t he h a r m o n ic tri a d an d i ts d e riv a tiv e s
q ,

t he ch o rd o f t he six t h a n d t he ch o rd o f th e six
,

fo u r— in all posi t i ons a nd i n al l k eys I n t he fi r s t .

pos i t i o n t he octa v e is high est t he fifth is in t he

, ,

mi ddl e and t he th ird is l o w est

,

Maj o r T ri a ds .
 T II OROU G fl BA SS A N D
o
H A R MON Y . 23

X XVI .

I n th e th ird p o si t i on t he fifth is high est

, ,
th e
third is in t h e middl e a nd t he o c ta v e is l ow est
,

XXVIII .

2 — I n the
. p o sitio n of t he th ird
Ex . 1 55 .

XX VII .

E x a mpl e s of mi no r tri a ds are si mi l a r l y gi v en .

1 — I n th e position o f t h e o c ta v e
.
 A L BR EC H T SBERG ER S
’

2}

Ex . 1 57 .

3.
— I n t he p o sitio n of th e fifth
Ex . 1 56 .

Impr o v ed b y the
u se of c o n tra ry m ov e

m en t

Ex . 1 60
.

Fa u lt y , b ec a us e of

t he dista n t skips

Ex e rcise s on variou s tri ads

E x 1 61
. .

X XX .

W h en m an y tri a ds f ll w each o th e r c a r e mu st
o o
,

be t a k e u — fi r t l y t h a t t he thir d fi ft h a nd o c t av e
s
, , .

sh a l l a l t e r n a t ely s ta nd o n t he high e s t g r a de ;
s e c o ndly t o u se o bliqu e an d c o n tra ry m o vem e nt i n
, ,

o rd e r to a v o id t h e e rro r o f c o n s e cutiv e fifths a nd

o c t a v es ; thi r dl y to k ee p t he ch o r ds as n ea r as
,

p o ssibl e to each oth er a nd t o a v o id distant skips ;

,

fo urthl y t o s u b sti t ute t he u n is o n fo r t he oc ta v e

, ,

wh en t he p arts a n d th er efo r e th e han ds com e

,
'

i mm ed ia t ely to g eth er ; for ex a mpl e

26 A L BRECH T SBERG ER S
’

The fo ll o wi ng disso nan t i nt er val s may be d oubl ed .

fi rstl y t he m aj o r s e c o n d wh en ac comp an i ed b y th e
,

fifth ; fo r ex amp l e

Ex . 1 66 .

S ec ondl y t he p e rfect fo urth, in c on so nan t c h o rds

t h e six fo ur fo r e x ampl e
-

Ex . 1 67 .

T hi rdly , the p erfec t fifth acc ompan i ed by the s econd

XXXII .

fo r ex ampl e
I n o rd e r to a v oid i n direct mo vem ent the fifths
, ,

a n d o c ta v e s pro h i b ite d o n ac c o u n t o f t he d isa gr eeabl e

,

e ffe ct th ey pr o duc e o n t he e a r it is n ec essa ry s o m e ,

tim es to d o u b l e s o m e i nt e rv al ; a nd a pl ay e r from Ex . 1 68 .

fi gur ed b a ss mu st end ea v o u r t o be a bl e a t o ne gla nc e

t o r e co g niz e wh a t is r eq ui r ed by t he p r ogre ssi o n of
t he fu nd a m en ta l p a rt C o n s o na nt i nt e rv a l s m ay be
.

d o ub l e d. F irstly the mi no r and m ajor th i rd wh en

, ,

t h e l att e r d o es n o t sta nd o n t he s ev enth major gr a d e

XXXIII .

o f t he t o ni c wh e re it is t he l ea di ng no t e
,
fo r ex .
skip to a n augm ent ed i nter val is unmel o
E v er y
d io us a nd th e r e fo r e d e fecti v e ; for i nst a n c e— t o t h e
,

a ugm en te d s ec o nd fr om t he a u g m en t ed
f g#
t o ; to ,

fo urth from c to f i ; to the a u gm ent ed fifth fr o m

, ,

Ex 1 63 o to
gt
. .

A gm t d z
u en e ud . A gm
u e nt e d 4 th . A u gm e n t ed st h .

B is the s ev e nth m aj or not e o f the s cal e of 0 and . Ex 1 6 9

. .

m u st th er e fo re n ot be do u b l ed as it already imp r ess es ,

t he e a r mor e stro n g l y th a n t he oth er t o ne s b e in g , It is i nfi nit el y pr eferabl e to u se the i nv er si o n s o f

t he l ead i ng n o t e If t he fifth d is a dd ed i n fiv e pa rt
.
-
th es e i nt e rvals— th at is t h e sa m e not es but i n '

S ec o nd l y t he
, ,

c o m p o sitio n t he d e fect is impr o v ed

a d i ffe r en t posi t i on for i nst a nc e— t he dimi n i sh e d
'
.
, ,

m i no r a nd m aj o r sixth which how ev er m ust not be , , , s eve n th i n stead of t he a ugm en t ed s ec o n d t h e di m i

t he l ea di n g no t e ; for ex amp l e ni sh ed fifth i n st ead o f t h e a ugm en t ed fo urth t he
dimi n ish ed fo urth i nstea d of the a ugm ented fifth
Ex 170
D mi D im i Dm
. .

i n i s h ed 7 th . n i s h ed sth . i i n i sh ed 4 t h .

Ex 1 64 b
2 b e
. .

XXXIV
N eith er sixth hei ng l eadi ng n ote to C may be
.

, ,

d o u b l ed . T hi rdl y t he pe rfe ct fift h Fo u rthly the

, .
, I n th e fo l l o w i ng ex ercis e t he do u b l ed thi rd o r ,

pe r fec t oc ta v e : b ut o nly wh en t h e ba ss regul arly si x th is qu it e n ec ess ary as without t h em t w o .

, ,

e n ds on a pe rfect c hord a ft e r a m aj o r s e v en th ; fo r oc t a v es w o uld fo ll o w i n dir ec t mo v em ent

e xampl e
Ex . 17 1 . P o s i t i o n o f t h e t h i rd .

Ex . 1 5 . .
 T H OROUG H -B A SS A N D H A RMON Y . 27

t
P o si io n of th e oc t a v e.

P o s i t i o n of th e fif h t .

XXXV .

Wh en a b ass p a rt a sc ends or desc en ds e igh t eq ual

gr ad e s it i s u su a l to m eet wi t h it sl ightl y fig ur ed
, ,

or quite u nfig ured On a cc o u nt of its dir ect p ro

.

ressi on it r equir e s a n a c c o mp a n im en t i n c o n t a r y
g , r
m o v em ent ; th er e fo r e t he st ud en t must d ilig en tl y
pr a ctise th is fo r m u l a in a l l m a jo r an d m i n or k ey s ,

an d i n its th r ee p o siti o n s a s t he k n ow l edg e of it i s

,

highly n ec essa ry for prel u d i ng .

A s c endi ng s c al e i n m aj o r k eys
Po s i t io n o f t h e o c t a v e .

Ex . 172 .

P o si t i o n o f t h e t h i rd .

P osi ti o n of th e fif ht .
 A LBREC H T SBE R G E R S
’
28 .

A s c en di ng s cal e in mi n or k eys P o si t io n o f th e mt
a .
‘

P osi ti o n o f t h e oc a v et .

XXX V I
P os it ion of t h e t hi d r .

Wh en the fu nd am e n ta l p art sl o w ly a sc en ds or
.

d e sc ends t h e ac com pa n i m ent is m o r e gra c eful a nd

,

v a ri e d if two ch o rds are i n tr odu c ed o v e r each no t e ,

th es e b e i ng su s pend ed disso na n ts re sol v ed i nto ha r

mo n ious c on s on an ts ; fo r e x ampl e

P os i ti on of the i th ff .

D es c en di ng sc al e in m aj o r k eys
P o si
t io n f t he
o oc ta v e .

P os iti on o f t h e th i d r .

A lth o u gh w e h a v e sa id th a t the l o w est i n t erv a l i n

t he a ug m e n te d fo urth mu st b e r esolv e d by de sc end
i n g , y et thi s rul e o n ly a p pl i e s t o t he fo urth w hich i s
pl ac ed n ex t t he b a ss wh en it is pl ac ed in the i nn e r .

pa rt , it fo rms a n ex c eptio n ; fo r ex a m pl e
P os i t io n o f t he fif h t .

Ex 1 7 4
. .

—
In th is e x a mp l e t,
h e a ugm t d $
en e c is four th, f ‘ ,

D esc endi n g sc al e in m i no r k ev s r s
n ot e o l v ed i n to t h e six t h g
— b but
,
by a sc end i n g,

to the fourth g— d
P os i t i o n o f t h e oc t a v e .

Ex . 175 .
,

P os i ti on of t h e t h i rd .
 T H OROUG H - B A S S A N D H A RMON Y . 29

Ex . 178 .

6 6 6 6

But t he first m eth od is prefer abl e as i n four p a rts ,

-

hidd en fifths and o c t av e s are produ c ed an d alt h ou gh ,

o c curri n g i n th e i nner p a rt a re proh ibited i n strict , ,

c om positio n T h es e succ essi o n s of th r ee six bel on g

'

-
.

to t he p ass a g es whi c h m ost easily i n du c e the fa ult o i

c ons ecutiv e fifth s a nd octav es b eca u s e a lth ou gh th e
figur es pl ac ed o v er th e fu n d am ent al bass i n di cat e t he
i n t erv a ls o f the c ho r d yet t h e y do n ot d ec id e t h e , .

pr ec is e position o f the oct a v e wh e r e t he ch o rd is t o

be p la y ed for i nstan c e v i ol i n s e x ec ut e t h e fol l owi ng
,

figur e

B asso

t he org an ist m ea ntim e fi n ds no th i n g i n hi s p a rt

, ,
'

m o r e th an t h e figure 6 wh i c h i n dic a t es th a t h e is t o
,

p la y ch ords of g U n a c quai n t ed with th e d i s t a n c e

.

a t whi c h t he i n str um en ts a cc omp a n y an d ob ed i en t ,

to t he r ul e of k ee pi ng ch ords a s n ea r as p o ssi bl e t o
ea c h oth er he c h oos es t he midd l e p o sitio n
,

In c c omp an yi n g t he m ajor sixth w e may sub

a ,

stit ut e for t h e o ct a v e or d oubl e d t h ird a f urt h ;

o
,

a n d this i n t e r v a l is ev en pr efer a bl e as it is t he
,

o ct a v e o f t h e n o t e t o wh ic h th e m aj or si x t h f orms
a m aj o r third but to whi ch t h e mi n o r third o n ly
,

fo r ms a s ev enth and shoul d th erefor e n ot b e d o ub l ed

, ,
an d, with o ut h is dr eami ng of such a th i n g ,

a c c rdi n g to stri c t rul e a ltho ug h i n n um er a b l e e x a m

o fo l l owi n g ear splitti ng fifth s - an d o ct a v e s c r a s h
,

p l es by t he b est c ompos ers s an c tio n t h is ex ceptio n i n to exist en c e

Ex . 1 81 .

Ex . 176 .

XXX VII
VY he n m an y sixth s fol l o w each oth er abo ve an
.

u ni nt e rrup t e d a s c en din g o r d e sc en di ng b a ss th e y T he c a s e j ust sh ow n l eads us to sp ea k esp ec i all y ,

ma y b e pl a y ed i n three p a rts wit h o n ly t he t ln rd of th e six ha za r dous p r ogressimw which must b e ,

,
c a re fully a v o i ded in o rd er n ot to fa l l i n to si m il a r
,

Ex . 17 7 .
e r r o rs T h es e h az a rd o u s pr o gr essi on s o c cur — first ly
.
,

wh en th e s ec on d is t he l o w est i nt erv a l o f t he ae c o m
a n i m en t a n d is c o n s equ en tly n e xt t h e b a ss ; for
p ,

ex a mp l e

Ex 1 8 2
th ird sixth and o c ta v e may be alt ern at el y
. .

or th e , ,

d o ub l ed to obta in a fu ll fo u r p art a cc o mp anim en t

,
-
 A LB R EC IITSB E RG ER S
’
30

A n oth e r positi on must be tak en or

,
an i n t erv a l Sh o uld th e si x th be fol l o w ed by a t ri a d c o n ta i n i ng
o m itted fo r e a m pl e -z x a d iss on a n t di m i n ish ed fifth th en i n e v ery ca s e t h e ,
'

a c co mp a nyi n g in te rva ls must asc e nd in co n trary

m o v em ent t o t he bas s ; fo r ex a mpl e

ba bi

Ex . 1 88 .

If of the fifths be p erfec t and t he o th er i m

o ne ,

e fec t th is pr ogr e ssio n ma y be u s ed i n fr e e styl e

lint it is a l ways m o re ad vis abl e to c h ange t he

r An qu ally o bj ec t i o n abl e cas e is wh en t he sixth
,
e
,

p ositi on o f t he l att e r c h o rd i n su c h a m ann er that fo l l ows t h e fifth b e ca us e tw o p erfec t fi fths a re p ro

,

duc ed i n t h e u pp er pa rt ; t he sixths th er efo re m us t

,

t he s ec o n d must d es cen d ; for e xam pl e

be d o ubl ed o r t he i n t erv a l ta k en in ano th er po s itio n
,
‘

for ex a mpl e
Ex . 1 89 .

S ec on dl y wh en the a ugm ente d fo u rth form s

,
t he
i nnermost of t he a cco m pa nyi n g i nte rv al s ; for ex .

An imperfec t fifth ma y no t pro c ee d to a perfect fifth

Ex 1 85
,
. .

0
e i t h er i n a s c en d i n g o r desc en di n ev e n wh en
o o s s

g
f
,
e
t he imp er fec t fifthf o rms a ch o rd bf t he six t h by t he
positi o n o f th e fu n damen tal n ot e ; th er e fo r e an i n ,

t e rvel m ust be omitted or a differ en t posi t i o n ch os en ;

,

fo r ex a mp l e

T his ha d
ti ng th e
po s itio n m ay b e a void ed e ith e r by o mit
,

se c o nd or b y des cen din fr o m t he first

,
Ex . 1 90 .

B tr
et e t h us .

c h o rd to t he c h o rd of the a u gm ent fo urth ; for ex

Ex . 1 86 .

Fo u rth l y ,
wh en m an y sixths foll ow eac h o th er in
direc t mov em ent by which s om etim es c o ns e cu tiv e
, ,

fi ft hs a nd so m etim es c onsecuti v e oct a v es to t h e ba ss

, ,

are produ c ed ; fo r e x a m pl e

Ex . 19 1 .

T hird l y wh en a chord o f the sixth foll ows a com

,

m o n ch o rd or c i ce-versa o v er a progre ss i n g ba ss ;
,
T his ba d positio n m ay b e r em edi ed by c o n t ra ry
t he o nl y m anne r o f a v o id i ng t he h a r sh n e ss th us p ro m o v em ent , or pr o pe r d o u b li ng ; for ex ampl e
d uced , whi c h n ot e v en c o ntra ry m o v e m en t c a n Ex 192
m o llify , is to o mit t he third i nte rv al— th at is the
. .

o cta v e o f t he fu nd a m en ta l n o te fo r e xampl e
‘ ’

Ex . 187 .

Fifth l y , wh en s e v enths o c c ur a c c o m pan i ed by th e

,

third a nd fifth and are res o lv ed on a p e rfect tri a d :

,
 T H OR OIIGH BA S S
- AND H A RMON Y . 31

w
hi h pr d c o c s
u e a cc essio nof fifths ; for
prohibit ed s u
e x a m pl e
Ex . 198 .

as (
4 is t he s ev en th m aj o r t on e of D and i n th i s ,

c h aract er a l wa ys r eq uire s t o b e reso l v ed by a s c en d

i ng on e gra d e for ex a mp l e
positi on m u st be ch an g ed th e c on
T h e r e fo r e, the ,

t ra ry m o v emen t us e d or som e t i m es a n i n t er val

, , ,

d o ub l ed ; fo r ex ampl e
Ex . 19 9 .

EX 1 9 4 °
Sixthl y wh en eith er of th e n i n ths l ie in the u pp e r
,

or i nn e r p a rt an d a c h o rd O
,
f t h e fiv e six ; with t h e -

di m i n ish ed fifth i s produ c ed by a ri s e of o n e th ird i n

,

bass by whi ch t w o p erfec t fifths fol l ow ea ch

, “

other ; for ex ampl e

Ex . 200 .

Or t h e i n t e rv a l s may be di v id ed i nt o t he t w o h an ds ;
for ex a m pl e

Ex . 195 .

T h is error , which is l ik el y to occ ur pri nc ip all y i n

t h e p o sitio n of the fifth m ay b e a v oid ed— firstl y by
, ,

omitti n g an i nt er v al and doubli n g a no th er co n so nan t

,

o ne ; for i n st a n c e i n mi n o r k e ys t he p e rfect fi ft h is
, ,

omitt e d an d t he mi nor thi r d d o u bl ed i n m aj o r k e ys ,

t he fifth m ay be r et a i n ed but th e third i n t h e foll o w
,

in g ch ord of th e fiv e six must b e d o ub l ed a n d t h e

-
,

sixth p l ay ed a ft e rwa rds or th is c h o rd must b e

But i n this m anner h idd en ,
d i v id ed an d th e fifth i ntrodu c ed a ft er th e sixt h
ag a i n st ; for e xa mpl e
,

Ex . 196 .

—
al j g h r e e it wou l d be b ett er to do ub l e th e th ird
id t m k
,

an o a e c
fi a s c en d to d
# ; th us

Ex . 197 .

To obta i nc o n tra ry mo vem en t it is n ot all owab l e to

,

re so lve the l eadi ng not e by d es c endi n g

 A L BR ECH T SBE RGER S
’
32

S ec o nd l y by pl ay i ng such a succ essi on o f n i n th s 1 n

,
T he sc h ol ar must tran s p o s e th e fo ll owi ng ex er c i se
t hr ee p a rt s o n ly m t h e sa m e m a n n er as s ucc essi on s
,
i nto all k eys acco rdi ng to t he abo ve e x ample
,

o f se v enth s pr e pa r ed fo urth s a nd s e co nds ; for ex

, ,
Ex . 205

Ex . 202 .

7 7

S h oul d pl ay er d e sire to u se fo u r pa rt acco m

the -

p a ni men t th en thirdly ,
c o ntra ry m o v em e n t is t he
, ,

surest m eth od an d cannot be too h ighly r eco m

,

m end ed i h m o st ca s es

Ex . 203 .

7 7

7 7

XX X V III .

W e wil l now tr ea t of t he chord of the s ev en t h ,

a nd i ts a pp ro pri a te pr o gr essi o ns I n ex a mi n i ng t he .

fo llowi ng e x a mpl e w e sh a l l pe rc e iv e fi rstly th at in

, , ,

t h e s e c o nd ch o rd t he fifth a is o mi t te d a nd t h e ,

o c ta v e of t he fun d a m e nt a l n ote substitu ted i n o rd er ,

t o a v o id co n s ecuti v e fifths v iz : 9
I
Se c ondly
F
.
, ,

th a t i n t he s ec o n d chord the se v enth c has be en p re ,

pa r ed by a p pea ri n g as oc t a v e i n t he fi rs t c h o rd an d ,

is r es ol v e d i n t he third chord o n b t he third o f t h e

, , ,
XXXIX .

fu nda m en tal n ot e g whil e t he f wh i c h fo rm ed t he

, Who ev e r is su ffici en t ly acqu a i n ted with th ese
third b eco m es the s ev en th of t he present bass g
, ,
.
pr ogr e ssi ons o f t he sev e nt h a ls o k no ws t he tr ea t
,

T hir dly th at t he third c in t he fifth chord a p p ea rs

, m e n t o f i t s d eri va t iv es ; a s t he fi ft h i n the ch o r d o f
a s t he s e v ent h in t he sixth ch o r d a nd by ch a ngi n g , t he fiv e si x t h e thi rd i n t he ch o r d o f t h e t h r ee fo ur
- -
,
t o b b e c o m es t he fifth of t he ch o rd o f E mi nor in
.
, si x the s ec o n d in t he ch o r d o f the t w o fo ur i x - -
s
,

which h o we v er t he t hird g is d o u b l ed a nd t h e
, ,
( wh en it is p la c ed n ext t h e b a ss) m u st a ll be t r eat e d
.

o cta ve e is o mi t ted to prev ent a p e rfec t fift h fo ll ow

,
.
i n a simil a r m an n e r as will be cl e a r ly s e en i n t he
,

i ng an impe rfect fift h i n dir ec t fo ll owi n g ex amp l es W e will first ch a ng e th ese

.

t w o s ev en th s

Ex . 206 .
34 A L BR EC H T SBERG ER S
’

W s h av e al ready sh ewn th a t
'
the c h o rd of the
i th pro c eeds fr o m t he ch o rd o f t he s ev enth as i t is
n n ,

c rea ted by addi ng a thi rd b el ow t he fun da m ent a l

n ot e ; for i n sta nc e p la c e un d er t he i n t e rva l s of t he
,
Ex . 21 6 .

f {1
c hord of th e s ev enth ,
g , the thi rd below , a, b , and
9
9 r equires th e sam e treatm en t and may be
,
e
t he c h ord of the ni nth is prod uced four pa rt s by omittin g the fi fth or n inth ;
, ex .

Ex . 21 7 .

Ex . 2 13 .

The foll o w i n g ex ampl e wi ll s e rv e as an ex erc is e

o n t h e di f
fe r ent positi o n s It is to he r emark ed th a t
.

As th is ni nth is r eall y onl t he s ev en th of the i n figur in g t he n u m b er 4 is us ed i nst ea d o f 1 1 , as

,

origi na l c hord it is t o he tr ea ts i n the sa m e mann er

, .
t he el ev en t h is m e rely a fo u rt h a n o c tav e high er
T he j ; whi c h form ed t h e s ev ent h to t he origi nal
Ex 21 8
ba ss g b e com es t he n i nth wh en a is ta k en as t h e
, ,
. .

fun da m en tal not e ; and t he form er fifth d be c om es , ,

t he s ev en t h B ut as t he c hord of the n i nth is no t

.

al wa ys u se d i n five p a rts a n d as t h e fifth or s ev en t h

,

may be om itt ed at pl easure th us ,

Ex . 21 4 .

it wi ll be v e ry us eful to pra c tise the fol l o win g

e x erc ise i n al l k eys an d i n both man n e rs
,

T he c h o rd of the l v th wh ich is prod u ced by

e e en ,

addin g a fifth bel o w to th e chord of t he s ev enth

—
,

f f
t h us b—6 by Sf} lgv l ”
1
iw fig
__
—
,
,

9
. 9
a
g fi
 T H OR OUG H - B A S S A N D H A RMON Y . 35

I n the foll o wi ng x m pl e
e a i th p laced a b o v e
,
t he n n E x er c is e on th e first m ann er
th e fu n d am en ta l no t e m ay be r esol v e d e ith e r by EX 2 2 4 '
Wi h t t h e sth om i tt d
e .

a sc en di ng to t he t en th or d e s c e nd i n g to t he o c t av e
,
.

W h en the s ev ent h is o mitt e d th e h a rm on y Of th e,

e l ev en t h is u su al ly a nd b est pr epar ed by t he c h o rd
of the s ev en th of whi ch it is a d eri v ati v e by i n
,

v e rsio n fo r e x amp l e

Ex 2 1 9
. .

2 23 2 23

2 23 2 23

2 23 2 23 2 23 g 23 E x er c is e on the s ec o n d m ann er
Ex . 22 5 .

Wi h th v th
t e se en and ni n th omi tt d
e , an d v
th e oc t a e doubl t d .

Inord er to sh e w the origi n of the ha rmo ny of th e

el ev en t h as cl ear l y as possible w e wil l a g ai n tak e
,

the ch ord of th e s ev enth as a m od el f ,

(1

Ex . 2 20 .

Chang e the fund am ental note to the fifth b el ow g ,

Ex . 22 1 .

an d sh al l pr o duc e th e i n co mp l et e chord of th e
we
e l ev enth e ith e r wit h t he n i n th omitt ed
,
o r w ith , ,

t h e s ev en t h a n d n i nt h omitt ed i n which l a tt e r ca s e
. , ,

t h e o cta v e of t h e b as s must be doub l ed T his i n .

c o mpl et e chord of t he el e v en th is g en e ral l y c a ll e d

t he c hord of the four fiv e -

The chord Of t h e thirt een th also pr o c eed s fr o m

t he c h ord of t he s ev en th , a n d th e r e fo r e r e quir es t h e
 A L BR ECH TSBER G ER S
'
36

sam e treatm ent We hav e sa id th at it is prod uced

.

by a ddi ng a s even th bel o w th e b ass ; for in sta n c e ,

f
f d
add to g the fu ndam en tal n ote , a , v iz . b

9 g 4
5

Ex . 22 6 .

a nd t he h f;
wi ll
sev en t h b ec o m e t h e th irte enth ( or

i x th a b o v e the o c ta v e) the fi fth d wi ll b e co m e t he

, ,

e l e v e nth ( o r fo urth a b o v e) ; t he third b wi l l b ec om e , ,

t he n i nth ; a n d t he fo r m e r fu nd a m en tal n ote g g , ,

wil l b e com e t h e s ev enth or l eadi ng no t e t he ,

e l ev en th d must b e r esolv e d by d esc endi ng ; b ut

, ,

t he n i n t h b ma y b e r esolv ed by d esc endi ng or

, ,

a s c endi n g A s t he ch o rd o f t he th irteen th is s o m e
.

ti m es r edu c ed by o mitti ng t h e s ev enth or the n i n t h ,

it is us ua l l y prep a r ed by th e h a rm o n y o f t he s ev en th ,
XL .

from whi ch i t is d eriv ed th a t t h e i nter vals m ay be

, T he co rr ect figu ri n g o f a b a ss is so importan t
pr es en t and capa b l e of b ei n g us e d as sus pensions ;
, a po i t th a t w e sh l l t r ea t of it n o w i n d eta il
n ,
a T he .
‘

for exa mp l e sign s wh ich are pl ace d a b ov e fu n d am enta l n ot es t o ,

d enot e t he a ppro pri a t e i n te r val s o f ea ch c hord are ,

firs t l y t he n u m b ers fro m 1 to 9 ( th a t is fro m t he

, ,

un iso n to t h e ni n th ) for th e i n t erv a ls r equi ri ng t w o

Ex . 227 .

figur es t he el ev enth a nd t h irte enth are ma rk ed a n

,

octa v e l ower as fo urt h an d fi ft h to fa ci l ita te quick

, ,

r ea d i ng S ec on d l y t he sig n s 3 x b bb and n
.
, , , , , ,

sh a rp d o ubl e sh a rp fia t d o ub l e fl at an d natur al
E x er c is e , , , , ,

wh ich are us ed to ra is e and lowe r i n t er vals or re ,

d u c e th e m to t h e origi na l grad e i nd i ca te d by t he
key T h i rd l y s uc c e ss iv e short l i nes
.
, which ,

Ex . 2 28 .
i ndi ca te the re petitio n of one and t he s am e int e r val .

XL I .

The dvan ta g es and p r i n cip al q ual i t i es o f a ful l

a

figur ed ba ss a re case a nd c orr ec tness It wil l be

, , .

easy if m a rk e d with a s fe w figu r es a s p o ssi b l e b e

, ,

ca u s e m a n y figu res wea ry t he eye u nn ec essa rily a n d ,

c o n fus e t h e g en era l v i ew ; b esid es which th ey a re ,

us el e ss as a l l those w h o h a v e studi e d th o roug h b a ss

.
-

pro p erl y will k n o w ev ery i n te rv al impli ed b y o n e

,

or m o r e fi gu r e s a ccordi ng to gi v en rul es It wil l be

, .

cor rec t if t h e di f
,
fe r en t a n d c ha ract eris t i c ch o rds a re
m a rk ed by such su ffi ci e nt an d cl ea r sign s as sh a l l ,

rend er it impos si b l e for t he i n iti a ted to mista k e one

ha rmo n y for an oth e r .

X L II .

I f a ch o rd can no t be su ffici ently i ndic ated by one

figu re t w o or m o re must be u sed ; th es e are usuall y
,

pl ac ed pe rpendi c ul a rly a bo v e e ach o th er a nd ov e r ,

t he fu nd am en t a l no t e but som etim es b e nea t h ,

ro o m is w a nti ng

Ex . 2
 T H OR OUG H - B A S S A N D H A R M ON Y . 37

X L II I . X LIX
I f c hords are to be r e p eated l y str uc k abo v e one I n ca s e the positio n of t he right han d has b ec om e
b ass n o te prop er sign s m ust be us ed to i n di cat e t he
,
t o o high or too l o w an d t he pl a y e r sh o ul d d e sir e t o
,

s am e c h ang e it to a m o re a ppropri at e situ ati on h e c an ,

Ex . 230 .
o n l y do so in c on so na n t h arm o n i es .

L
A l though it is a gen era l r ule to acc ompa n y i n fo u1
p arts ye t m an y c as es pr es en t th ems elv es i n wh ic h
, ,

a n a cc omp a n im en t i n thr ee o r e v en two p a r ts

X L IV , p ro ,

du c es an i n fi n itel y b ett e r effect But j u d g m en t o n

.

If a harmon y is to be stru c k o n a c h angi n g n ot e

.

t his must b e i n di c a t ed by a tra n s v ers e a s c en di n g

,
t his poi nt can on ly be g a i ned by m at u r e ex p er i enc e
th er efo r e t he stud ent m u st k eep stri c tl y to t he ru l e
l i ne and the figure is pl ac ed abo v e t he r eal fun d a
,
a n d dilig ently pr a c tis e i n fou r p a rts
,

m ental not e of t he chord .

LI
An a cc omp an im en t is i n fo u r parts
lthou gh o nl y ,
a

thr ee d i ffer ent n o t es a pp ea r wh en a n u n iso n is su b

,
Ex . 2 31 .
stitut ed fo r t he o c tav e i n c on fi n ed sp a c e o r wh en
, ,

a n i n t erv a l is doubl ed acc ordi n g to th e rul e s Of

pr ogressio n . 5’

X LV .
L II
T he c ommon c hord fig ur e or m er el y r eq ui r es no ,
It is h ard l y n ec essa ry to r emi n d the stu d ent th a t ,

a si n gl e figur e 8 5 or 3 ; t h e m aj or third is i n di
th os e wh o w o u l d d ev o t e t h ems elv es to the study o f
th o ro ugh ba ss must h a v e a c qu ir ed t h e k n owl edg e
, , ,

t h e mi n or third by a b or
b a c c o rdi n g
-
os t ed by a ,

a n d h a bitu al pr a c ti c e o f p l ayi n g i n a l l k eys

,

to t he m o dul ati on s m ad e by t he fu nd a m en ta l har .

m on y to for eig n an d unr el a t ed k eys T he dimi n ish ed .

L I II
tri a d is oft en m ark e d i n t he m ann er o f T el em ann
.

,
A l l c on so nan ts m ay be do ub l e d ; but n o disso
thus n a n ts a s t he y so un d dis agr e eably , a n d produc e c on
,

sec ut iv e o c ta v es i n th eir r eso l utio n s .

LI V .

Ex 2 32
. .

At v ery pri n c ip al divi sio n of a bar a chord m ust

e ,

be stru c k a cco rdi ng to th is ru l e four ch ords are to ,

be struck m a ba r of c ommo n tim e

This sign i s c all ed th e T e l eman n cur ve .

X L VI .

The ch ord of th e s ec on d is s uffi c i entl y i nd i c at ed

by t he fig ur e 2 .

X L V II .

T he si ngl e fi gur e 6 r eq u ir es th e th ird , with a

d o ubl i ng o f on e o f th es e i n t erval s or t he o ct a v e ,

a dde d as a fo u r th p a r t .

T he ch o r d o f t h e fo urth a n d six t h is i ndi c at ed by 2

fo urth an d fift h
fifth and sixt h
fi fth and s ec on d
n i nth with t h e th ird o r fi ft h ,
9

n i nth wi t h t h e s ev en th , 2
thi rd an d fourth
th irt eent h o n t he fun d a
m en tal b ass
s ev en th with th e fourt h ,

n i n th with t h e fo urth ,

X L VIII .

“ h en al l t he p art s p r o gr es s i n un is on t h e b a ss ,

al o n e is pl a y ed or m a y be d oubl e d i n t he righ t
,

h an d t o pr o du c e for te T he word t a sto o r tast o solo

,
.
, ,

i ndic at es th at t h e n ot e is to be h el d on and O nly to ,

stru c k wh en it b egi ns to w ea k en or t o
as A LBREC H T SBERG E R S
’

b
a s g bls 9 8

Two c h ords ar e t o be struck in v ry

ba r c on
e e

ta i ni n g two divisio n s v iz
, .in b ars Of a l la breve,
o r t w o mi nim a ; o f two c r o tch ets ; Of six c r o t c h ets ;

a nd o f six q ua v e r s — wh en , i n qu ick tim e, th es e a r e

ac c en te d by two b e ats ; fo r e x a mpl e

L VI I
T h ese r ul es r em a i n u n ch a ng ed ev en wh en the ,

figured b ass is di v id ed i nto m a n y sm a l l p a rts or is ,

i nt errupt e d by pass i ng n o t es Wh eth er the bas s .

p r o c eed in qu a v er s pass th rough t he h a rm o n y o r

, ,

r o ll o n i n s e mi qu a v ers o r e v e n sh o r te r n ot es t h e
-
,

ch o rds must alw ays be struck o n t he r ea l di v isi o n o f

t he ba r u nl e ss e spe c i al figuri n g i ndic at e the co ntra ry ;
,

for i n sta nc e fou r in a ba r o f c ommo n tim e

, ,

Ex . 2 36 .

th r ee ,
in a ba r of tripl e tim e
LV I .

T hr ee ch o rds ar e to b e pl a y e d i n v ry bar c on
e e
t a i ni ng th ree division s , viz — i a ba rs o f thr ee
Ex
.

2 37
q u a v e rs of th ree c rotch ets ;
'
of three mi n i ms ; . .

a n d of r uns q ua v e rs —wh en the mo v em en t is s l ow ;

 T H OROU G H -B A SS A N D H A R MON Y . 39

W h er e a tripl e tim e is to be pl a y e d in qui c k

ba r i n I n N O 1 , the
. origi na l c hord of th e s ev en th }: ( l b g ,

m o v e m en t t w o c h o rds a re su ffi cient —on e on t h e first

, ,

,
is c h a ng ed to i ts d e ri v ativ e the c hord Of t he fi ft h ,

a nd l a st cr o tch e t o r qu av e r ; for e x a mpl e a nd sixt h b e fo r e it is r eg ul arly r es o lv ed i nto t he

,

c ommon c hord o f C m aj or I n N o 2 the c h o rd of . .

,

t he fifth an d si x th is c h an g ed to its origi nal positio n ,

t he c h ord o f t h e s ev en t h I n N o 3 t h e c hord of
. .
,

Ex . 2 38 .
b

the s ec on d ,
3 c hanged to
is
6
i ts d eri va ti ve ,
th e chord
f
of the t hird an d fo urth,
d

LI X .

In free sty l e an un prepa r e d dissonant may be us ed

,

i n two c a s es F irstl y wh en on e d isso n an t is res o lv e d

.
,

W ith trip l ets , asi ngl e c hord is to be p lay ed on t he i nto a nother for i nstan c e a n i nth or a s ev en t h,

first not e ; for ex a mp l e E x 24 2

. .

Ex 2 39
. .

L VIII .

We ha v e
l ready l earned th a t every dissonan t
a
must b e r eso l v e d i nto a c o n sonan t but it is n owis e ,

n ec ess a ry th a t t he r eso l uti o n s h oul d fo ll ow imm e

d ia t el y ; it m ay be pro l o n g e d or s usp en d ed b y re
m ai ni n g on its gr a d e and be chan g e d i nt o a n ew i n
,

t erv al b efor e b e i ng r eso lv ed a cc ordi n g to its r ul e

Ex . 2 40 .

In th is e x amp l e 0 wh i c h is th e fou rth abo v e the

, ,

b ass g i n the th ird chord ( Q) b ec om es a fifth wh en

, , , ,

t h e b ass d es c ends to ] ; an d t hu s its r egu lar r eso l uti on

b

c o nsonan t third p erfec q

i n to the ,
b
, of th e t ch ordp
t,

9
is p o stpo n ed fr o m th e fo urth to the fi fth c h ord .

A n o t he r m an ne r of pr ol o n gi n g disso na n ts is by tr an s
p o s itio n Of the h arm ony th at is by i ntrodu c i n g t he
, ,

s a m e chord i n an o th er p o siti o n of t he i nt er va ls and ,

thus ch a ngi n g a diss o n ant o rigi nal ch o rd i n to a n i n

rsio n or an i n v ersi o n i nto an origi nal ch ord
,
’

I n th is e x a mp l e, th e n i nth is a l ways r es o l v e d i n to
t he s e v en t h which i n i ts t ur n , is r eso l v ed 1 n t o t h e
, ,

i m p e rfect fifth I n ord er to p er cei v e c l ea rly th 1 s

.
40 A L B REC H T SB ERG ER S
'

im si n g c ons onant
7

pr o c ess we must a gi n e a p as
‘

b et ween t h e t wo d is s o n a nt s ; for ex a mp l
Ex . 24 7 .

or ,
th e sa m e progr essi o n with th e th ird an d fo urth

Ex . 2 48 .

T he i ma gi na r y o ct a v e, 9 , fo rms t o th e car the tra n

s it io n o f t he n i n th to t h e s ev en th or a s e v en th wh ich
,
a nd fro m the c o ns o nan t sixth ab o v e e th r o ugh the ,

is reso l v ed i n to an a ugm ented fourt h z ch o rd o f the s ec o n d t o t he sa m e i n te rv a l a bo v e 0 a , ,

a nd
f

Vl i t h the m i n o r
s ev en t h i n m aj o r k eys or t he di
'

I mi n is h ed sev enth i n mi no r k ey s wh i c h 1 3 p l ac ed o n
,

In th is ex ampl e t h e im agi n a r y sixth 6 for ms

, , ,
t he the s e v e nth m aj o r gr a d e ; a n d with i ts d eri va ti v e
c o n so na n t l i n k b e tw e en t he s ev en th a n d fourth c h ords ; for ex a m p l e

Ex . 24 5 .

W ith th e m i no r c h ord o f the s ev enth pl ac ed

, on the
(C

7 2 6 7 2 6
s ec o nd m aj o r t
no e in mi nor k eys ; fo r i nsta nc e ,
5 in
A mi n o r b

Ex . 25 1 .

W ith t he mi nor ch o rd o f th e n i nth o v e r a b a ss ,

pl ac e d o n t he domi na nt of a mi no r key ; fo r

7 2 6

7 2 6

Ex . 25 2 .

7 2 6 33

A nd with the m aj o r c h o rd o f t he n i nth ove r a b ass ,

Se co n dl y , wh en a dissonant is ta k en imm edi at el y pl ac ed on t he domi nant of a m aj o r key ; fo r

a ft e r a c on s o n a n t c hord T h is usu ally o ccu rs i n c a
.

d en c es with t he s ev en th ; for i nsta n c e fr o m C m aj o r ,

w ith the s ev enth to A mi nor — from F to D mi no r

,

Ex . 24 6 .

With d eriv ed and i nve rt ed ch ords o f the fifth

t he
Ex 25 3 .

a nd sixth t h e t h i rd a n d fo urth an d t h e ch ord o f t h e

.

, ,

s ec o n d ; for i nstan c e from O to A m in or from F

, ,

t o D m i n or wi t h t h e c hord Of t he fifth and six th :

,
 A L BREC H T SBERG ER S
’
42

A nd l as t yc h o rd o f the a ug m ent ed sec o n d

,
t he .
In r ry m
c on t a t
oveme n .

w h ich a lwa ys has i t s pl a c e on t he six t h gr ad e o f a l l

m i n o r k eys for i n sta nc e o n f i n A mi nor ,

Ex . 2 65 .

Ex . 2 60 .

In this ex er c is e w e must obs er v e — first l y th at wh en

'

, , ,

t he fu n d am en t a l bas s asc en ds a fifth , as i n th e c o n

c l udi ng c hords an d c , the a cc omp an im en t must be
, f
T h e augm en te d sixth has its p la ce on the sa m e grad e , m a d e i n c o ntr a ry mo v em ent ; s ec on dly , wh en a p ro
i n mi no r k eys g r ess i on is m a d e i n c o n tr a ry mov e m en t ,
t he po si t i on

Of t he oc ta v e is pr e fe rab l e, as b o th o th ers , e spec i a l l y

the posi t io n of t he th ird , fr eq uen tl y p rod uc e hidd en
fifths , whi ch d istress a fin e ea r
Ex 2 61
Ex 2 66
. .

. .

T he c h ord l ev en th co n isti n g of a fi fth se

of t he e ,
s ,

v e nth n i nth and el e v enth ( o r fo u rth a bo v e) al ways

, , ,

has its pl ac e o n the to n i c or fu n d am enta l n ote ; for

e x ampl e

Comm on c hords in mi nor k eys

T he c h rd o f
o thirt eenth wh ich b esid es th is i n
the , , Ex . 2 67 .

t c rv a l ( or sixth a bo v e
) c o n sis ts o f a s ev en th n i n th
, ,

a nd e l ev en th has i ts pl a c e with out e x c ept 1o n o n

,

t h e to n i c of ev ery mi n o r ke ; fo r e x am pl e
, ,
Tlm
e e
'
a n n s c u rv e .

y
In th is e x er c is e w e must obs e rv e —first ly th a t c o n
, , ,

t ra ry mov e m en t must b e us ed i n th is progre ssio n as ,

the d ir ec t mo v e m ent wo ul d p rod u ce h idd en fift hs

a nd o c ta v es a n d a skip t o a n a u gm en t ed e c on d
s
wou l d occ ur 1 n t he two penultima t e ch o rds S e co ndly .
,

o n this a cc oun t th e positio n of t he th ird is pr efera bl e

,

L XII .

I n r e ca pitul ati o n o f al l t he rul es giv en the fol ,

l o w i n g ex am pl es of al l the i n t erval s sh o uld be d ili

g e n t ly prac tis ed i n al l po siti ons and i n al l k eys
, .

T he s tud en t will find this t h e sur e st m e t h od o f be

c o m i ng a r ea dy a n d pra cti ca l pl a y e r fro m figured
C ommo n c hords in m aj or k ey s

Ex . 2 64 .
 T II OROU G H - B AS S A N D
—
H A RMON Y . 43

2 n d R ema rk .
-T h is
’

pr r
og e ssion a l ways b eg ins on th e
toni c , a n d en ds o n t h e do m i n a n t

. Ex . 27 3
.

C hords O f th e m i n or s ec on d

Ex 2 69
. .

Chords of the m aj o r s ec o n d
P osi ti o n o f t he fi ft h .

P o si t i on o f t h e t h i rd .

v
t h e o c ta e.

l at R ema r k — I f, i n th e se c on d ch o d, t h e m a o
r h i d, j rt r
t t rt r
9 3, i s ak e n in s ea d o f th e m in o h i d, g , th e s ec ond m u s t
a s c en d ; for e a m l ex p

h ch h o wever c oul d no t b e u se d i n
w i , , a fo u r p art
b c
a e om
a n i m e n t a s ei t h e r t w o p e r fe c t fi ft h s w o ul d b e pr oduc ed
py ascending
,

Ex . 27 1 .

u n m el o diou s sk ip to an a ugm en te d sec on d woul d b e

o r an

produc e d b y desc en ding

Ex . 27 2 .
M
'
A L BR EC IIT SBERG ER S

C h o rds of the au gm ent ed s e c o nd

Ch ords of the pr epar ed fo u rth , in mi nor k eys

P os i t i on o f t h e oct a v e
.
P Ex . 27 7 .

os i t i o n o f t h e oc ta v e. P os i t io n o f t r
th e h i d . P osi t i o n o f t he fift h .

3 r d Rema rk —The th ir d or th e sixt h m u t a l w ay s be s

do u b l e d i n t h e ch o r ds o f th e ixth wh i ch h er e o ccu r s ,

b
o th e r wise c o n se cu ti v e fi fth s
-
(l

l ,

Ex . 27 8 .

or c o n secu t ive
pro duc e d
o c ta v es wi th the b a ss,
5: wi ll be

Ex . 27 9 .

4 th R ema r k — I f the a ugm en te d sixth u sed the th ird

is ,

u t
m s b e do ubl
e d, a n d t h e o si t io n s o f t h e c t av e a n d fi fth
o

C hords of t he pr e pa r ed fourth , in m aj or k eys a re t o b e u

sed, but
ne e v r t e p o si t i o n o f t h e t h i r d t o a v o i d ,

c o mm itti ng th b ov rr or
P
e e

P
e a
Ex 27 6
fif h
. .

os i ti o n of t he t . t
o si t i o n of t h e oc a v e.

Ex . 280 .

he 4 :
 T H OR OUG H - B A S S A N D H A RMON Y . 45

Chords of the au gm ent ed fourth with ,

the se co n d R ema r k —I n a succ ession o f m a ny si h s, c on a y xt tr r
and six t h t t
m o v e m en m u s b e rin c ip a l l y u se d, a n in e v a l so m e im e s tr t
tt
o m i e d, a n d t h e t xt
ir d o r s i h do u l e d, w h en h is l as i s b t t
P
Ex . 28 1
o s it i o n o f
.

t h e 3rd . P ti
os i on o f t h e 8ve . P osi ti
on o f t he sth .
no t p
rt b tt t
t
fo u h i s su s i u ed for the o c av e as a fo u h i n e a l
j r r
l a c ed o n t h e sev e n h m a o g ade o cc a sio n a lly, th e
t rt t rv
b—b
f
for in sta n c e, i n st ea dp zg al
.

d—d
Ch ords of t he sixth
Ex . 28 3 .

C h o rds of t h e augm ent ed fo urth with ,

th e m i n or
th ird an d m aj or si xth
Ex 2 82
P
. .

osit i on of t r
t h e hi d .

6 6 6 6

C h ords of t he pr ep a red dimi nish e d s ev en th

Ex
P
. 28 4 .

os i t i on of th e t
o c av e. P osi t i on of t h e t h ird .

P os i ti
on o f th e fi fth .
 '
46 A L BR EC IIT SBE RG ER S

6 7 6

C h o r ds of t he mi no r s ev enth with ,
the th ird an d

o c ta v e , o r wi t h t he doub l ed third

P
Ex . 28 5
os i t io n of
.

th e 6 i h . P os i t i on of t h e 8 7 0. P
osi t i on of t h e 8 rd .

R e ma r k —Wh en th e fun dam e n ta l p a rt as c en ds a w h ol e

to ne to the p re p ar e d seven th the fi fth m u s t be o m itte d ;
,

sh o ul d i t d es c e n d a h a l f o r a w h o l e t o n e t he o c t a v e is ,

o m i tt e d o r th e si xt h i tse lf i s do u b l e d i n t h e pr e p a r a to r y
,

ch o rd of th e sixth fo r examp l e

Ex . 287 .

Ch ords of t he m aj o r s ev enth wh ich t ak e a d o ubl ed

,

thi rd i nstea d of th e fift h or oc ta ve w ith a n as c endi ng ,

b ass
Ex
P. 28 8 .

os i t i o n o f t h e ard . P os i t io n o f th e 5 th . P o s i t io n of t he fiv e.

C h ords of t he m i nor s ev enth wit h , th e th ird an d

fi ft h :

Ex . 28 6 .

In succ essi o n Of s ev enths ab o v e a bass m o vi ng i n

a

al t e r na te fo urt hs an d fi ft hs t he first s e v en th is ac
,
 T H OROUG H -BA SS A N D H A RMON Y . 47

co mp ani ed with the third and o c t a v e and, t he s ec on d C hords of t he prep a re d m i nor ni nth wh ich al way s
,

w i t h t he third an d fi fth or v i c e -v ers a b egi n o n the sub d o mi na nt i n a pe rfec t tri a d wh ic h

-
, ,

fo rms t he prep ar atio n of t he domi n ant ; and en d on

t he to n i c

Ex . 29 2 .

W h en th es e s ev en ths a ppea r in c onju n c tio n wi th

pr ep a r ed fourths t he fifth an d o c tav e are alt ernat el y
,

add e d as c omp l em en ta ry i nt er v al s

Chords of the pr ep ared m aj or n i nth

Ex . 29 3 .

I nv ersi on s

Ex 2 9 1
. .
 A L BREC H TSBER G ER S
’
48

R ema k — I n a r r ll i g b
o n a ss , on e ch o r d is p l ay ed to an
e qu a l ru n i n a ba r of e ven m ea s u r e

ith a n u n equ al run , a ch o r d is p l ayed on each div isi o n

t h e bar

c a u se , in t h e fir t
s c ase , th e fu n da m en a l h a m o n y of t r
C ma j rro e m ai n s u n ch a n ge d, b u t i n t he se c o n d, i s a l e e d tr
at ea ch div isio n ; fo r i n s a n c e , C m a o — F m a o ;
t j r j r
A m i no r —E m a o j r In. b r
a s o f u n e v e n m e as u e, o n e r
ch o r d i s p l ay ed to equ al or u n equ al un s r

Bu t , w h en t h e fu n da m e n ta l p a rt m o dul a t es to diffe r e n t
k eys ev e ry n o t e w h ich is n o t a pa ing o n e sh o ul d be
,
ss
’

pr o p erly figu red a n d a cc o mp an i ed wi th its p a rticul ar

,

ch o rd ; fo r e x a m p l e

Ex . 29 9 .

A l s o , w h en t h e b ass r ll th r ug h p rf c t h rm y
o s o a e e a on

Ex . 29 7 .

A l so ,
w h en im p rf c t
e e or di sso n a n tp as si n g n o te s occu r

L XII I .

T he fo llowi ng a n d c o n c ludi n g ex er c is e s m a y s e r v e
as mod e ls for t h e stud en t w ho m ay c om p o s e si m il a r
,

o n es fo r hims el f i n a l l k eys H e wil l s o o n e r a t t a in

'

h is ul t i m a t e g o al i f he r e fus e t h e a id o f t he w r i tt e n
.

a cc o m p a nyi ng ch o r ds a n d fo ll o w the sim p l e figu r ed

.

base wh ich will be i n all ca ses , his su r est gu id e

, , .
50 A L BR EC H TSB E RG ER S
’

L XXL Lx x v .

E x ercis e on c h ords of t he fi fth an d sixth E x er c is e on c hords of t he pr ep ar ed s ec ond d

an
fift h

Ex . 307 .

Ex . 31 1 .

L XXI I .

E x ercis e on c h ords o f th e sixth L XXVI .

Ex 308
. .

E x e rc is e on c hords of t he seco nd fo u rth and fi fth

,

Ex . 31 2 .

L XXIII .

E x er c is e on c h ords of t he prep ar ed s ev enth

Ex . 309 .

L XXVII .

Ex er c is e on c hords of th e p assi ng s ev enth

L XXIV .

E x ercis e on ch o rds of t he t ran si en t sec o n d

L XXVI II .

Ex ercise on chords of th e n ni th
 T lI OR OU G H -B A SS A N D H A R MON Y . 61

L XXIX .

Ex er c is e on c h ords of the fourth an d n n

i th

Ex . 31 5 .

L XXX .

E x er c is e on c h o rds of the sixth i th

an d n n

Ex . 31 6 .

L XXXI .

E x er c is e on c hords of the s ev en th i th
an d n n

Ex . 31 7 .

LXXXII .

E x ercis e i n thr ee p a rts , on v a ri ous ch ords

6 5 9
 52 A L BRECH T SBE R G ER S
’

LXXXIII . T h e r e fo r e t hemidd l e fifth fo rms

E x erc is e in ,
four p a rts , on v a ri ous c h o rds .
c on s ona nt fo u rth to the oc ta v e
R ema k —Wh en
r fi ur not pl c d i mm di t ly A nd so fo rth in di ffe rent p ositio n s fo r e xa mpl e
t t h ch rgi dic t
es a re a e e a e
abv o e a n o e, e o n a e d m u t h pl y d b tw
s e a e e ee n
th ta an d th f ll wi g n t
e o o n o e

6 »

6
ii ifg
6 f)
A nda ma p n
c
f
j -o
2 5 5
—
6 I. C o n so n an t C o n so n ant

g
.

m a
fia fi s
-
é s

f
ou rt h . fo u rth . fo urt h .

A l so i n th is impe r fec t ch ord of the sixth

18 t h e third of the b a ss

an d e is its sixth

L X XXIV T h er e fo r e b etw e e n t he th ird and th e si x t h st a nd s

t he c o n s o na n t fo ur t h
.

Wh en a c o m p osi t i o n in thr ee o r fo u r p a r ts co n s i sts

o n ly o f p e rfe ct a n d i m p e r fe ct c o n c o r ds , a nd co n t a i ns Ex . 32 3.

n o c o nso na n t fo urth , i t is sa id t o be writt en i n pur e

h a rm o n y T h is co n s o nant fo u rth h as its pl a ce fro m

.

t h e fi ft h t o th e o c t a v e i n p e r fe ct , a n d fr o m the third
t o t he si xt h i n i m p erfe ct c o ns o na nt c ho r ds ; for C on son an t C o ns on an t

i ns ta nc e

Ex . 3 20 .

Co n so n an t C o n so nan t C o n s o n an t

His the fifth of th e ba ss

A lth o u g h these i n t erv al s a r e u ndo ub t edl y c on son ant ,
as fa r as t h e i r r e l a t i v e d is t a n c e t o t he ba s is c n
s o

c e rn ed, y et as w e h a v e sh e w n t h ei r m utu a l p o si t i o n
,
,

is such as t o fo r m fo u rt hs t o ea ch o t h er which i m ,

in t h e upp er pa rt is i ts
p r es s a fine ear as d iss o n an ts , a n d th e r efo re a re n o t
A n d th e c
a ll o we d i n pu r e c o m p o siti o n I n o rd er t o a v o ul th i s
c ve
.
.

o ta
e rr o r it is b est t o t a k e t he ch o r ds i n a pos i t i o n wh e r e
,

t he i nt e r v a l c a nn o t for m a fourth to a ny oth e r, h ut

”
o
 T H OR OUG H -B A SS A N D H A R MON Y 53

sh a ll al ways app ear in the qu al ity o f fift h abo ve t he

un is o n o r o c ta v e o f t h e b a ss fo r e xam p l e
F if h h tFi f h
to t e th t to e
o c t av e o t
‘

u n is o n o f
Ex . 329
b
.

t he as s

As this m ethod is v e ry r e strict ed l i c ens e is giv en t o ,

u se i m p erfec t ch o rds
( ch o rds o f t h e sixth ) a m on g
c on s on an ts ; but c a r e m u st b e t a k en t o ch a n g e t h e
c o ns on an t fou rth i n t o a fifth i n the fol l owi ng m an ne r
,

I n this m eth o d o f pro c edur e w e must obs er v e, ,

F i r stly , th a t t he th ird m o st o cc a si o n a l ly b e d o ub l ed ,
i n o r d er to a v o i d c o n s e cutiv e fi fth s , alth o ugh i n
m an y part c omp o siti on h idd en fifths are a ll o w ed
-
.

W h en th e third is d o ubl ed th e o c t av e may l i e i n t he ,

u pp er or i n n e r p a rt ; for a s t h e fi fth is o mitt ed a

, ,

c on s on an t fo u rth c ann ot p ossibl y be produ c ed

S ec on dl y th at t o a void c o n s ec uti v e o ct av es
, , an d

un iso n s th e fifth must o cc a si on a lly b e doubl e d

,

A s, 1 n pur e h arm o n y , th e c on son an t four th, th e c h o rd

T hi r dl y , th at thirds m ay be doub l ed with o f t he fo urth a n d si x th a n d a ll o th e r disso n a n t l n
,

i n t hr e e -
p a rt t er v al s are e x cl ud ed it r esults th a t on l y t he p erfect
,

m aj o r an d mi n o r c ho r ds a n d the chord of t he sixth

, ,
8 8 8 8
b6 , r em a i n for ord er to av oid
if
6 our use in
3 3
fo rmi n g t he c on s onan t fourth
n ev er l ie l n t h e u p er p a rt
p
first c as e t he
o ct ave— an d i n t he s ec o n d c a s e t h e sixth must
I n c h ords of t he si x th
.
,
i n th e
, —,

w e m ust n ot o n ly gu ard a g a i n st dimi n ish ed an d

a ug men t e d sixths but a l so a g a i n st F irstly th o s e i n
as w ell as in four p a rt c omposition
- , ,
-
,

wh ich t he th ird 1 3 m aj o r but th e sixt h mi n or ; for

Ex 328 ,

ex a mp l e
. .

Ex . 33 1 .

Of c o urs e th es e thi r ds m ust n ev e r b e l eadi ng n o t es

A c o m p osi t i o n , h o w e ve r , whic h o n ly c o n t ai n s p erfec t
.

becaus e in th em is c on t ai ned e ither a di m i nished

fourth
c h o rds without d o ubl ed th irds , is a l w ays t he m o st
,

pu r e and cl ea r ; for th e s a k e o f v ari ety t he third ,

Ex . 332 .

a n d t he o ct a v e ma
y al t er nat e with t h e third an d t h e
fi ft h —
,
but th e d o ub l e d u n iso n , or o c ta v e abo v e, is o r an au gm en t ed fifth
on ly fitt ed
fo r t h e n a l c a d en c e , as fi this two p art
-

har mo uy w o ul d s o und too th i n i n t he

'

midd l e Ex . 333 .
51
1
A L B R EC H T SB ERG ER S ’

Se zu n dl y, th o s e i n which the thi r d is mi no r ,

an d the
i i x t h m aj o r ; for ex ampl e

Ex . 334 .

be caus e th ey c o nta i n e ith er a n au gm ent ed fo urth

or an 1 mp erfe ct fift h Ex .
H
33 9
Y
.
MN (with ou t th e consonan t fou rth )
.

E x am pl e pure c o mp os iti on co n sisti ng

of
,
en tirel y
t f p e r fe ct c o nso n a nt c h o r ds

M ISERERE .

Ex , 337 ,
Bv A t s n nc u rt n n e x n.

E x am pl e o f pur e c o mp o siti o n, c ons isti n g of pe rfec t

and imp e rfe ct h o rd s c
By the sa m e .
 T H OROUG H -B A S S A N D H A RMON Y . 55

L XXXVII .

The dimin ished f our t h whi ch is n at urall y onl y

,

t he pr ep a r ed third o f the c hord of t he fifth a nd sixth ,

o r c hord of t he dimi n ish ed s ev e nth ha s its pl a c e o r ,

t h e s ev enth m ajor to n e or l ea di n g n ot e of al l mi n or
, ,

k eys ; as
Ex . 344 .

In G m i n or on
f i sa
z

Ex . 345 .

use Iau da
- re, l au da -re suf fi -c is.
In E mi no r Q E ,
H on d fl
an d is i n all cases tr eat ed in th e sa m e m anner as th e
, ,

L XXX V .
dimi n ished th ird ; l ik e the l att e r i t must b e pr ep a r ed ,

i n th e pr ec edi ng ch ord an d is r eso lv e d by d es c en di n g ;

Gr eat c ar e and c auti on a re n ec ess a ry to c ompos e ,

i n th e pur e styl e with n o n e b ut c o n so nant c hords

,

w h il e a c ert a i nty o bt a i n abl e o n l y by pra cti c e an d

e x p e ri enc e , is e qual l y n ecess ary to t he pr e p er
a n d i n tr od u c tio n of disso n an t dimi n ish ed and au g
, ,

m ea ted i n t er val s T o promot e th is end w e wi ll

.
,

a ga i n tr ea t o f th es e import an t i nt er v al s and a dd ,

m uch m atter worthy of att en tion .

L XXXVI .

whic h o nl y o cc urs in mi nor

7 7m di mi n ished t hir d ,

k eys has its p l ac e o n th e a ugm en te d fourth of t h e

,

fu nd am en tal n ote ; for i nstanc e on c# in G mi nor , ,

a nd on a
# i n E mi n or

Ex 340
. . Ex . 34 1 .

T h is dim i nish e d third m

ust a l wa ys be pr ep a r ed i n
t h e prec e di ng c hord— is r eso lv e d by d es c en di ng— is
d isti nguish ed fro m t he mi n or third by b ei n g m a rk ed L X XXVII I .

w ith t he T el em ann s c urv e— a n d is ac c ompan i ed wit h

’

The di mi nis hed i mp erfi c t fifth h as its pl ac e o n

or ’
'

t he imp erfec t fifth and dimi n ish ed s ev enth ; as sh e w n

o

t h e s ev en th m aj or gr a d e, i n m aj o r a nd mi no r k eys .

i n t h e foll owi n g ex amp l e It is acc omp an i ed by the mi nor th ird a nd sixth — m ay

be us ed With or with out pr ep ar ati o n but i n t he l a tt e r
c as e, m ust be r eso lv ed by d es c endi n g ; fo r ex ampl e

It m a y be al so c o nsid er ed as the substitut e for t he

mi n o r thir d i n t he c hord of th e di mi n ish ed s ev enth ,

a n d i s oft en fo un d i n th is charac ter as so un di ng l ess

1

,
'
ha rsh th us

L XXX I X .

minor fif th has its p lac e

s ev enth m aj o r
on t he
gra d e ,
in maj or k eys an d i s ac comp an i ed by t he
,

mi n or th i rd an d perfec t oc tave I n mi nor k eys it

.
,
 A L BR EC H T SBERG ER S
’
56

has its pl a c e on the s ec on d m aj or grad e ; al w ays It may be us ed with or witho ut preparati on in the
r es u mi n g th a t th e b ass m o v e s i n ski ps a n d th at t h e fi r st c as e it is u su ally a cc o m p an i ed by the mi no r
har mo ny is i n fo ur pa rts T h is dimi n ish ed tri ad is
, ,

.
third and i m p erfect fifth ; it m ust a l ways be r es o l v ed
T el em a nn s c ur v e and
"
u su a lly i nd ica t ed by t h e
“ ’
,
by d esc endi ng
as t h is fifth i s c o n sid e r ed a n i m p e r fe c t c o n s on a nt
Ex
,
35 3
p r e pa r ati o n and r es o luti on are unnec essa ry ; fo r . .

e x amp l e

XC .

7 7 mdi mi n is hed six t h h as its pl a c e o n t he aug

me n t e d fo u rth a n d o nl y o c cu rs i n m i n or k eys ; fo r
,

x
e am pl e
X CII .

The di mi nis hed oc ta ve which is (as may b e s ee n

,

fr o m t he a b o v e) a susp en si on o f t he s e v enth w h ich

It is m et with in th e ch o rd o f t he d i m i ni sh ed s ev en th ,
i mmed ia te l fol l o ws it h as its pl a c e on th e a ug m ent ed
,

w h e re i t a pp ea rs as a s us p e ns i o n o f t he i m p e r fe ct fo urth be t in m aj o r a nd mi nor k eys it is aec o m

,

fi lt h,
and m ust be pr e pa red and r e s ol v ed b y p a n i e d b y t h e thi r d a n d fi ft h a n d must be pr ep a r e d
,

de s c en di ng a nd r es o l v ed by d es c en di n g for ex ampl e

Ex . 354 .

A s the im pe rfect fi ft h ma y be s us pe n d e d b y t he di
m i n ish ed si x t h so a ls o t he d imi n ish ed s ev en t h may
,

b e s u s pe nd ed a t t he sa m e tim e, b y th e d i m i n ish e d
t a v e ; for e xam pl e

X C III .

The au
gme n ted u nison m ay he c onsid er ed to
,
a

c e rtai n d egree a s a r egul a r pa s si ng n o t e It has its

,
.

pl a c e on the u n is on or t o nic in al l k eys — is aec om

, ,

n i ed b y t h e third a n d fi ft h or b y t he fo u rth s d
'

p a ,
p
si x t h— an d is r e s o l v ed by asc en di ng for ex a mp l e
X CI .

fl di mi n is hed which can on l y b e used

seven t h,
’

i n m i no r k eys h as its pl a c e e i t h e r on t h e a ugm e n te d

,

f u rt h o r o n t h e se v enth m aj o r gr ad e or l eadi ng
o , ,

n o te fo r ex am pl e Ex . 35 5 .
 '
58 A LBREC H T SBER G ER S

or by the m aj o r third and augm ent ed fo urth wh ich , T he s am e a ppli es to mi n or k eys fo r i nst ance
la t te r h o w ever m ust be al ready prepa re d as a fifth ;
, ,
From A mi n or to C m aj o r ( t he mi no r t hird a bov e)
for ex ampl e A E m i n o r ( t he d o mi nan t )
.

A G maj or ( t he mi no r s ev en t h ab ov e) .

A D mi no r ( th e fou rth a bov e) .

A F m aj o r ( th e sixth a bo v e) .

Ex . 362 .

A nd fr o m th enc e h om e a ga i n

Ex . 365 .

A min o r . C m s -or . B m in or .

or c
tw hen a h o rd of th e fou rth an d si th fo ll o ws it ) x s 2es s s 3 ii a s 8
bv t he m a jo r thi rd an d pe rfe t fift h, i n m ajor k eys c

Ex 363
‘

. .

A minor .

O .

m o st natural m eth od of m od ul ati ng t o a no th e r

T he
d rel a tiv e key ( sa y the d o mi na n t ) is t o use t he
XCI X o rd o f t h e mi no r s ev en th be lo ngi n g t o th a t ke
.
y ,

A l th o ugh e v ery comp o siti o n has a pri nc a l key or on e o f its i nv ersi on s ; fo r e xa mp l e

i n which it b egi ns and m ust r egul a rly en p ye t it ,
i ,

F rom 0 m aj or to G m aj or .

w o uld be w ea ris o m e a nd mo n oto n ous w er e it to re

m a i n a l ways 1 n t he sa m e key V a ri ety 18 p l easi ng ! "
.
“

is a n a nci ent and tru e p ro ve rb ; th er efo re wh e n a ,

phras e has be e n w o rk ed o ut i n t he pri ncipa l key l ong

e no ugh fo r t he ea r t o d isti ngu ish t he t o n i c a n d re

c og nis e it firm l y t he l a w s o f va ri ety r equi r e a ch a nge

,

to o th er k eys a nd t his is cal l e d Mo dula t ion

, .
"

Modul a ti on is t he a rt of co nn ecti ng nea r or dist ant

k evs by an ap t easy na tura lly fl o wi n g or oc ca T he har mo n y i n this exampl e r em a i n s i n the origi n al
key—C m aj o r—d uri ng six c h o rd s
, , , ,

s io n a l l by a n u ne x e ct ed a n d surpris i n g su cc e ss io n of i n t he s e v e n t h
y p ,

c h o rds F ro m ev e r key th ere ar e fiv e simp l e mo

. it ch ang es to t he do mi na nt, m aj o r, th r o ug h t he G
d ul at ion s to r el ati v e eys fo r i n sta n c e
F rom C m aj or to G m aj o r domi nant) . c h d of
or the a u gm ented fourth a n d s c e on d f whic h
f
, .

C E mi no r thi rd a bo v e) .
c
c

C A m i n or sixth a bov e) .
is an i nv ersion of the c hord of t he m i nor s ev enth
s ec o n d a bo v e)
,
C D mi no r .

0 F m aj or fourth a bo v e )
Or, from A m i nor to E mi nor
.

Wh ich r eturn to the key from wh i c h th ey sta rt ed

.

v iz C m aj or
.
, .

E x 36 4 . .

O ma jr
o . B m i nor .

2 9 6 5 5

A m i no r . D mi n o r. jr
F ma o .

In th is ex a m p l e al so t he m od u l a ti on o c curs in t he
e e —
flfi e e rbs s gs i ba a a s a c
, ,

W
‘
s ev enth cho rd by t he h a rm o ny of t he fou rt h an d
gfi
r

z s ll d

s eco nd which is an i nv ersio n of t he ch ord o f

f l?
,

which l eads to the key of E mi no r .

 T H OROU G H -BA S S A N D H A RMON Y . 59

CI .
Or : fro m A mi nor to F m aj o r .

A no ther l eadi ng chord is the im perfec t fi fth wi t h

th e s ixth ; for i n stan c e from C m aj o r to A m i n or
,

T he modu l atio n b egi ns with t he sixth ch ord , 2

f#
a d ec eptiv e c ad en c e h er e o c curs for the ear exp ec t s
,

a c a d en c e of G m aj o r ; but t he fo ll o wi n g ch ord of t h e .
Or : fr om C m ajor to D mi n or .

(1

arm an d sixth ’ ’
satisfi es a ll doubt ,
an d lea ds
e

# 9
u nexp e ct edl y t o A mi o r n

Or : fro m A mi n or to C m jo r a .

Or : fro m A mi no r to
'
G m jor
a .

c
T he sixth c hord a
pr ep ar es th e fo ll owi n g ch ord
a f
d
of the fifth a nd sixth , and th is l eads most na ut
9
b
rall y to th e ha rmo n y of C m aj o r
Or : from C maj or to F m aj or .

I n the eighth ch ord of th is e x a mpl e, t h e c h o rd of

Ex . 37 0
t he fifth a n d sixt h a l r ea dy hi nts a t t h e dir e cti o n o f
t he mod ul atio n ; b ut t he sixth i n th e e l ev ent h c hord
r eall y and d ec id edl y in di c at e s G m aj or .

OH .

The d imi nish ed s ev enth is v ery w el l a d apt ed for

A n o th er l eadi ng cho rd is the m aj or sixth with the m o dul ati on i n to all k eys by t h e m ean s of som e
,

m i nor th ird ; for e x ampl e i n t erm edi at e c h ords for e xampl e

F rom A mi nor to D mi or n .
F ro m 0 m ajor to D m aj or or mi nor
,
.

Or : from C m aj o r to E m i n or .

to E m aj or or mi n o r .
 '
60 A L BRECIIT SB ERG ER S

01 1 1 .

T his c h rd which is c a ll e d enharmo m c 1 s ca pabl e

o .

o f fo u r tr n sfo r m a ti on s
a by m e ns o f w h 1 c h w e c n
,
a a

m od ul at e t o all k eys — fo r i n sta nc e w ith t he ( li m i n

,

i shed s e v enth imp erfec t fifth a n d mi n or third ; for

, ,

e x a m pl e

CI V .

W ith th e m aj or six t h dimi nish ed fifth

, , and mi nor
th i rd fo r ex a m p l e

Ex . 388 .

'

Vl i th the m aj o r sixth , a u gm en t ed fo urth ,

an d mi no r
third fo r ex a mp l e

to F sh arp m aj o r or mi no r
CV I
.

Vl i th th e a ug m e n t ed s ec o nd , ug m ented fo u rth
'

a ,

a n d maj o r six t h fo r ex a m pl e

C V II .

By skilful m a n ag e m en t , it is po s s i b l e t o m o d ul a t e
fr o m o n e a n d t h e sa m e p e rfec t tri a d i n to all k e y s ;

for ex am pl e
 T n o noue u r a ss A N D H ARMON Y . 61

F ro m the p erfec t tri ad of C m aj o r to D ,

fl at m aj or .
Ex . 39 9 .
to A m ajor .

to B fl at m aj or
to D m ajor .

Ex . 401 .
to B m aj o r .

to E fl at m ajor .

to C sh arp mi n or .

Ex . 4 02 .

to E m aj o r .

Ex . 403 .
to D mi n o r .

Ex . 404 .
to E fl at mi n or .

405 to E mi n or
Ex . 39 7 .
to G m jor
a .
Ex . .
.

Ex 3 9 8
. .
to F mi n or .
 A L BRECH TSBERG ER S
’

to F sha rp mi nor to D mi no r
Ex
.

41 5
.

Ex 407
. .

. .

to G mi or to E fla t mi n or
n Ex 41 6
.
.
. .

Ex . 41 7 .
to E mi n or .

to A mi nor .

Ex 4 1 8
. .

to B fl at mi nor .

Ex . 41 1 .

Ex . 41 9 . to F sh arp min or .

to B m i n or
Ex 4 12
.

Ex . 4 20 . to G mi n or .

to C m i nor
Ex 413 A
.

. .
to fl at mi n o r .

be be

I n l ik e
Ex 4 1 4
. .
manner from C mi no r to
,
C
# mi no r .
 T H OROU G H -B A S S A N D H A RMON Y . 63

to A mi nor s to E m ajo r
Ex 4 29
. .
. .

to B fl at mi nor .

Ex . 4 23 . Ex . 4 30 .

Ex 4 31
to G fl t m j or
a a .

to B m i nor .
. .

Ex . 4 24 .

to C m ajor
Ex 49 5
.

Ex . 4 33 .
to A fl at m ajor .

Ex . 4 26 .

Ex . 4 34 .
to A j
ma or .

E x 4 35
. . to B fl at m aj o r .

to D m ajor .

Ex . 4 36 .
to B m aj o r
to E flat m aj or .

The stud ent is ea rn es tl y r ec omm end e d t o tr anspose

th es e ex amp l es i nto al l k eys, i n differ en t p ositi o n s .
64 A LBRECH TSBER G ER S
’

C VIII . su cc essi on o f r egu l a rl y -c onnec ted ch ords co ncl uded ,

It now o nl y r em a i n s fo r us ti) sp ea k of cad en c es i n a fo r e ign key t he b ea re r is surpri se d dis t ur be d

.
, ,
,

b y which c omp ositi o n s o r di v isi o n s o f th em a re a n d d ec e i v ed i n his p re c o n c ei v e d id ea s ; h enc e the s e

-

cad enc es a re c a ll ed I ng a nni

, ,
”

r eally o r a ppa ren tly co n clud ed Cadenc es ar e fo u r .

.

fo ld— p erfec t imp erfect i n te rru p ted an d d e c e pti v e .

T o th o s e w ho a re pr o fi ci en t m ast ers in th e art of
, ,

m o dul a t i o n it will be easy to crea t e th ese d ec e p tive

,

The p erfec t c a dence which c on clud es a c om po siti o n ,

caden c es in an en dl ess vari ety of sh a pe ; fo r i t is

,

wi t h p erfec t sa tis fac t i o n t o th e ea r r eturn s fro m t h e ,

d o mi n ant i n the fun d a m enta l p a rt to t he to n i c ; for ,

possibl e to m odul at e fr o m ev ery i nte rv a l as throug h ,

e x am pl e a l a b yri n th to e v e ry ke f or ex ampl e
, y

CIX .

T hro ugh the c h o rd of th e mi n o r s ec o nd .

Ex . 44 1 .
F ro m D m i no r to B fl a t m aj o r .

The i mp erfec t or ha lf m ov es fro m th e

ca den ce
to n ic ,
or fro m t he sub do mi na nt t o t he d o mi nan t ;
-
,

Or : fro m D mi no r to E fla t m aj o r .

Ex . 4 42 .

A ls o , in mi no r k eys from ,
t he sixth to the d o mi na nt ;
Or : fr om A m aj o r to F m aj o r .

Ex 4 39
Ex 44 3
. .

. .

T he i n t er r up ted ca de nce o c cu rs wh en a fte r p r o per ,

p r e p a ra ti o n fo r a erfec t cho rd t he exp e cted c o n

e lu s i o n is r e pl ace( pb y a n o th e r cho r d which ch a ng es
,

,
OK .

t h e pr o g r essio n of t he h a rmo ny ; for e xa mpl e T hrough the c h ord of t he m ajor s ec o nd .

Ex 4 40
F rom 0 m aj o r to E m i n or
. .

Ex 444
.

. .

Or fr om C m aj o r to F m aj o r .

Or : from C m aj o r to A m i n or .

The decep ti ve cade nce is t o a c e rtai n d egree an in

, ,

terrup t ed o n e ; but i n cl ud es m an y amplifica ti o n s .

\ he n a c o mpositio n c o nsisti ng of a w ell ord e r ed

V ,
 A L B RECHT SB ERG ER S
’
66

Or : from C m ajor to F m ajor Or : from C m ajor to C sha rp mi nor

Ex
. .
.

Ex . 463 .
Or : from C m aj or to G m i nor .

OXI V .

T h ro ugh t he c hord of t he p erfec t fo urth wi th ,

the

mi nor to B
'

F rom D fl at m aj o r .

Ex . 27 1 .

0“ “ Om C m aj o r to A m aj o r
Ex 4 64
.

. .

Or : from D m inor to D m ajor .

Ex 4 7 2
. .

Ex . 4 65 .
Or : fro m 0 m ajor to B mi n or .

Ex . 4 33 .
Or from C m aj o r to Gm j ra o .

Or : from C m ajor to A m aj o r .

Ex 4 67 Or: fr om C m ajor to D m aj or or mi no r .
Ex 47 3
m m
. .
. .

Ex . 4 8
6 Or:
.
from C m aj or to E m aj or or mi nor .

T h ro ugh t he ch ord of the a ugm en t ed fourth with ,

th e maj o r s ec o n d
E x 4 69. .
Or from C m ajor to F sh a rp m ino r .

F rom C m aj o r to D mi no r .
 T H OROU G H - B A SS A N D H A RMON Y . 67

Ex . 47 5 .
Or : from C m aj o r to A mi nor .

Ex . 481 .
Or : from E m inor to B fl at m aj o r .

Or : from ‘C m ajor to C m i n or Or : from A mi nor to E m ajor or mi nor

Ex
.

47 6
.

“ .
. .

Or : fro m C m aj or to E mi n or or m ajor . Ex . 483 .

Or : from E mi nor to G m aj or .

mi n or to C m a3o r
'

Or : from E
Ex 4 84
.

.
Or z from C m ajor to A m ‘

j
a or.
.

Ex . 47 8 .

Or : from E mi n or t o C s ha rp mi nor
,
.

EX 4 85
Or : fro m C maj or . to G major or m in r o .
‘ °

C XVI I .

C XVI .
T hr o ugh th e h ord of t he dimi nish ed fifth with
c ,

th e mi n or third a nd s ixth
T hr o ug h th e c h ord
th e m i n or th i rd
0 f th e au gm ent ed fc urth with
Ex .
F r o m 0 m a or to O mm or
486 .
j .

F rom E mi nor to A mi no r .

Ex 4 80
. .

Ex . 487 .
Or : fro m D mi nor to A mi no r .
 A LBRECH TSBERG ER S
’
$8

Or : from D mi n or t oG mi n or or m ajor . CXVI II .

Ex . 4 88 . T h r o ugh th e c h o rd o f t he thi rd fo urth

, a nd sixth

8 fro m D mi net to
'

Ex .4 9 ;
Or : F m aj or .

Or : fro m D mi no r to D m aj o r .

Or : from C m ajor to G sh r p mi nor

a .

Ex . 49 3 .
Or : fro m F m aj o r to D mi no r
Or : from C m aj o r to F sh a rp mi no r .

Ex . 5 01 .
 T H OR OUG H -B A S S A N D H A RMON Y . 69

Or : fro m C maj or to E fl at m aj or .
Ex . 5 08 .
Or : from A m i nor to E mi no r
.

C XX .

T hrough the c hord of the dimi n ish ed s ev enth

Ex . 5 09 .
F rom D m i nor to G mi or
n .

Dr : fr o m C m aj o r to B fl at mi nor or m ajor .

17 7 17

Or : fr om C m ajor to D mi nor or m ajor .

C XIX .

T h ro u gh the c h ord of th e a ugm en t ed sixth

Or : from A mi no r to C m aj or .

Ex . 507 .
Or : fr o m A mi n or to D mi n or .
 '
70 A LBRECH T SBER G ER S

C XXII .

T hrough th e chord o f t he m aj or s ev enth

Fr om 0 m aj or to D mi no r .

Or : from C m aj o r t o C mi nor .

C XXI .

Th r ough t he c hord of t he d omi nant se v enth

F ro m 0 m aj o r to F major .

Or from C m ajor to F mi nor or m aj o r .

C XXIII .

T hrough b oth c hords of t he n i nth

F r o m 0 m ajor to E mi n o r .

D? [7

Ex . 5 28 .
m 0 m ajor to C mi nor .
 T H OROUG H -B A S S A N D H A RMON Y . 71

Or : from F m a or to j C j
m a or .

CXXIV .

E x a mpl e of a s u cc essio n of d ec epti ve c ad en c es ;

throug h v arious c hords

Or : from: D mi nor to D majo r .

Ex . 5 30 .

Or from F m aj or to D mi n or
“

: .

Ex . 5 31 .

Or : fro m A mi n or to D mi n or .

Ex . 5 32 .

Or : frofri A mi n or to C m aj o r
’ ’

.
 A LBRECH TSBERG E R S
’

E
x . 5 35 .

C XXXV .

It is by n o m ea ns n ec essa ry th at the l e ft han d

sh o uld pl a y o n ly th e fu n da m en ta l n o t es whil e t he
,

right han d suppli es t he i ntervals n ec essa ry to t he ful l

o ny o n t he c o n trary a pl ea sa n t v a ri e ty is
,

g a i n ed wh en t he i nt erv a ls a re t ak en by both h a nds

, ,

a lw a ys m a i n ta i ni n g t he dista n c e r equi r e d by th e ir

rul es T his m o de of pl ayi ng is ca ll ed di vided a c

.

com a ni men t E v ery pe r fec t tri a d wi t h t he d o ubl e d

p .
,

o c ta v e may h av e six di ffer en t p ositi ons with r e fe r ;

, ,

en c e to t h e b ass T he thr ee fi r st po siti o n s wh i c h

.
,

a re use d i n c lose ha r mo n a re k n o w n t o us as h a vi n g
y ,

t h e fift h or t he octave or t h e third on t h e upp e r

, ,

gra d e

Ex . 5 36 .

T he oth er po siti on s are us ed in disp ersed har mony ,

be ta k en in the fo ll owi ng m anner

A LBREC H T SBERG ER S
'

I n the s ec ond position

.

Ex . 5 48 .
T H OR OU G H - B A S S A N D H A RMON Y .

I n t he third position
.
76 AL BR E C H T SB ER G
'
ER S T H OR OUG H - B A SS AND H A RMON Y .

E N D OF FI RS T VOLU ME .
 T H E OR E T I C A L S ERIE S — N O . . 6 .

N OV E L L O S L I B R A R
’
Y F OR T H E D I F F U SI ON OF M U SI C A L K N O WL E D G E .

t
S u di es se rv e l t r
fo r de i gh , fo r o n a m e n , a n d a i i y t blt . Th e r e is t
no s o n d o r im p e di m en t
in t h e w it , bu t
m ay b e w o gh o ut by fi t ru t s tu di es .
”
— L or d B a c on .

A L B R E C H T SB E R G E R S
’

J . G .

C OL L E C T E D W R I TI N G S ON

AN D

F OR SE L F I N ST R U C T I O N .

X X
W I TH MA N Y E PLA N ATO R Y E AMPLE S V E R B ALLY C OM M U N I C ATE D T O A N D S Y S TEMAT I C ALLY A R R A N G E D
, , ,

E N LA R G E D A N D E DI TE D B Y H I S P U P I L , ,

IG N A Z C H E VA L I E R V ON S E FR I E D Y
W I TH A S HO T
R G U IDE T O F U LL S C O R E PLAY I N G
- A N D A D E S C R I PT I O N OF A L L I N S T R U ME N T S EMPLOYE D
,

U N T I L T H E P R E S E N T T I ME .

IN T H RE E V OLU M E S .

V OL . II .

T RAN S LATE D B Y SA B I L L A N O VE LL O , FR OM TH E O R IGI N AL G E R MA N , X

E P R E SS LY F OR N OV E LL O S ’

L I B RA RY F OR TH E DI FF USI O N O F M U SI C A L KN OW L E D G E . T H E M USI C AL PO R T I O N
HA S B EE N R E VI S E D B Y V I N C EN T N OV E L L O .

L ON D ON : N OV E L L O , E W E R CO .
,

B ERN E R S ST RE E T A N D 80 8x, QU E E N ST R EET

B P H IL A D L P H I A
r,

O S T ON , N EW Y OR K , AN D E : D IT S ON C0 .
 C O N TE N TS OF V O L UME TH E SE CO N D .

G U IDE TO P
COM OSI TI ON .

rAc E P AGE

C XXVI . On i nterval s 81 C XXXVI II . On th e firs t cl ass of s trict c omp osi ti on in

C XXVII . On con sonants an d di ssonants three p art s

C XXVIII . On mo vemen t 82 C XXXIX . On the c
se ond cl ass
C XXI X . On m usi cal modes and keys 83 CXL . On the thir d cl a ss
On th e an ci ent an d mode rn cal es
s of a C LIX . On th e fou hrt cl ass

fun damen tal pa rt 84 X

C LI I . t cl
On th e fif h ass

C XXXI . On stri ct an d r
f ee comp osi ti on in C LI I I
X . On th e fi r t cl
s ass of s tri ct c omp osi ti on in
gen e rl
a fou r p rt
a s

On the fir st cl ass of stri ct compositi on i n X V

C LI . On the c
se on d cl ass
two p a rt s 89 C L X V . On the thi d r cl ass

91 C XLVI . On th e fou th r cl a ss

On the c
se on d cl a ss t ct comp ositi on
o f s ri X V
C L II . On t he fifth cl ass
in t wo p a rt s 94 X
C LVII I .

97 C LIX X .

1 02 CL . On fu gu e

On th e fift h cl ass 1 05 C LI . Rul es for fugues in th r ee an d mo r p rt

e a s .
 A L BREC H TSBERGER S
’
82

T he figu ri ng used i n E x ampl es 5 5 1 and 5 5 2 i s not ,

CXXVII I .
—ON MO VM E EN T .

g enera l i n th em t he figur es m er ely d en o t e the r ea l, E v ery i nte rva l with its a cc o m pan yi ng c ho rd
positi on o f t he i n t er vals I n usu a l figuri ng t he
, ,
.
, progr esses by movemen t whi ch h as been cl ass ed i nto
sm all er i nt er val m ust be writt en b enea th t h e l a r g er
,

three ki nds ; t he di rec t t he obliq ue and the con tr a ry , .

— an d not ; § b
,

for ex a mp l e z— g 1
b? 2 § 5 3 o ur t h o r
g ( Th f a ra llel is h e r e o mitt ed a s w e s ha ll
‘

e
,
p , , ,

6150 . It w o uld a lso be I nc orr e ct to w ri te t he fig u res

0

show furth er o n th at i n si m pl e stri c t c o u n t er po i n t

, ,

of a p erfect c hord a b ov e t h e first or l ast not e o f a o n e id en tica l n ote ma ne v er b stru ck c o n t i n u o usly )

y e .

b ass ; b e c a use e v ery th o ro ugh b ass pl ay er k no w s th a t - D ir ec t movemen t is th e m os t da n ge ro us es p eci ally ,

most pi ec es b egi n with a c om mo n ch o rd ( u n l ess with i n a t w o p a r t st r i c t c ompo si t i on wh er e n o hidd en

-
,

t he ch o rd o f t he sixth o n t he th i r d gr ad e) a nd en d ,
fi fths o ct a v e s or un is on s are admissibl e ; i n o th e r
, ,

i n t he pri n ci pal key an d c on s equ e ntly with t he , ,

ca ses it is Oft en go od
, T h is mo v em en t oc c urs wh en
.

p erfec t c hord F urth erm o re it would b e superfl uous

.
t w o or mor e pa rts simult a n eous l y d es c en d or as c end,
,

a nd u n usu al to writ e t w o thr ees fiv es or si x es a bo v e , ,

e ith e r by grad es or by skips for exampl e
t he b a ss n o te i n fou r p a rt p a ss a g es wh er e t he third
,
-
, ,

per fect fifth or si x th m ay be d o u b l ed T he perfect

,
.

c h o rd wh en it o ccu rs u n expectedl y in th e mi no r or
,

m aj o r is sufii cientl y i n dic at ed by a

, b o r t Most ,
’
Ex . 555 .

c h ords especi al ly c onso nan ts (t he ch ord of th e fo urth

,

a n d sixth exc ept e d ) are i n dica t ed by o n e figur e as

, ,

th os e w ho h ave studi ed thor o ugh b ass k no w wh a t -

impli ed i nt erv al s bel ong to th o s e express ed The .

s e c on d and th i r d fi gur e is o n l y a dded wh en the i n ,

t e rv al is fo r eig n t o t he ch o rd o r r equir e s a b or , ,

3 ,
n o t m a rk ed i n th e o rigi n a l key L a stly p e rfect
c h o rds are m ark ed wi t h one or two figur es wh en
.
,

p re c ed ed by a disso nan t s us pe nsi o n or a p r epa r e d

s ixth o r wh e n fol l ow e d by a diss o na nt i n r egul a r
,

s ucc essi on fo r i nstan c e

8 7
25 9 2 5 4
4 8 a s 6 5

1 0 9 i t 32 3 3 i i i t 32 8 18 0

Oth er h a rmo ni es of this ki n d wh i c h ar e d e ri v ed fr o m ,

Oblique mo vemen t oc cu rs wh en one o r mor e p a rts
p re p a r e d o r u n pr ep a r e d r et a rd a tio n s a re eas ily dis ,
rema i n sta tiona ry o n t h eir n o te s an d t he oth er or
c o v e r e d b y l e tt i ng o n e t w o or a l l thr ee n ot es of t he
, ,

, ,
o t h ers m o v e o n wa rd as c endi n g or d es c endi ng e ith er
, ,
preced ing chord rem a i n o n to the next whi c h m ust ,
by grad es or skips ; fo r e xampl e
th en be fi gur ed in sl o w m eas ures ,
.
'

Ex . 55 6 .

C XXVII — ON Co N SON A N T s . AND D I SS O N A N T E .

We als o h a v e l ea r nt th a t i nte rv als must be all

e ith e r c on s on a n t or d is so nan t —thus c a ll ed b e ca us e

t he fi rst g ratify t he ear and t he s eco n d m or e o r l ess ,

o fien d it T he p e rfe ct u n iso n t he pe rfe ct fifth and

'

.
, ,

per fect oc ta v e are p erfect c o ns on an ts ; t he mi n o r

,

a nd m aj o r thi rd t h e m i no r and m aj o r sixth a n d t he

, ,

mi n or a nd m aj o r t e nth are i mp erf ec t c onso na nts

T he r ema i n i ng i n t erv a l s —
.
,

v iz th e a ugm ented u n iso n .

,

which is a ls o ca ll ed t he mi n o r s em ito n e he mi n or
( ) t
sec o n d or maj o r s emit o n e ; t he m aj o r a n d augm en t e d
,

sec o n d ; t he dimi n ish ed th i rd ; t he thr ee fo ur ths

th e di m i n ish e d an d a ugm ent ed fift h ; t he a u gm en t ed
.

Contra ry mo vement occ urs wh en on e pa rt asc ends

si x th t he thr ee se v enths ; t he dimi n ish ed o c ta v e ;
whil e t he o t h er d esc ends or d es c ends whi le t he o th e r ,

an d t h e two n i n th s —
asc en ds ; t he s am e a ppli es t o m a n y pa rts A l l th e se
are disso na n ts
.

m o v em en ts may be use d tog eth e r as is n ecess a ry an d

.

lrpl
,

l us ua l in c ompositi on s o f m any pa rts

oc t a v e
t l t
A d im i nis h ed si x h i s n o w a so mad e ; b ut t h ose w h o a

I h av e made t hem o t h in t h e o o wi ng m anne :

.
g
mu s a s o a d mi t o f t h e au m en ted hi rd , i n d ou e c o un te
b
t
f ll
bl
r
ow of t h i s,
oin t of th e
Ex 5 5 7 .
C o ntra ry m o v em en t
.
.

Ex . 554 .

b b5 3
§ n§ 5h
v

I nv ersion .
 GUID E T O C OMP OS I T I ON . 83

positio n ( wh i c h w as s el dom ) this w as c all ed t he

‘

mi x e d sp ec i e s ( gen us mimtum) W ho ev e r d es ir s . e

gr eat er k n o wl edg e of th es e antiquiti es sh ould r ead ,

t h e s ev enth s e c ti o n of t h e first p a r t o f Mr Mar p ur s

'

g .

w o rk o n t he fugu e I n t he p r es en t day 24 k eys a re .

,

ac k n owl edg ed wh i c h m ay b e multipl i ed t o 4 2 by ,

m ean s of a dditio n al fl a ts an d sh arps But a s t he .

m ost r em o t e may be i ndi c ated by di ffe r en t and few e r

Ex 558
V ario us mov em en t .
ac c id en ta ls a n d t he s a m e ef fec t prod uc ed on th e e ar
,

p rt
,

I n t h re e a s. 2 4 k eys 1 2 m ajor an d 1 2 mi n o r h av e b een esta b

:
, ,

l ish ed I n ord e r to disc o v er the 1 2 mi n or k eys it

.
,

is su ffi c i en t to d esc en d t o t he mi n o r third b el o w the

m ajor key n ot e T o b egi n for i nsta n c e on C m aj o r
-
.
, ,

C XXI X —
ON MU S I C A L MO D E S AND K Er s G b ma jr E b m i no r Db B b min or
. .
o . .
j
aa or . .

g g ijg fi
[ 1
c estors c ont en t ed th ems elves m an y hun
-

Our an , Z

dred y ea rs ag o with t he fo ll owi n g six k eys wh i ch , ,

prob ab l y origi nat e d i n Gr eec e A b ma jr o . F m i no r. Eb ma jr o . C mi n o r

.

D ,
f g b c d — Thi sc l w c ll d M du d riu
e, , , a, , , . s a e as a e o s o s .

E f g
, . b c d
,
a, , , M du h yg ius
, e . o s r .

F g b c d f
a, M d u y die, o s us

G
. .
, , , , ,

G b c d fg
a, e, M du mi l ydius o s x o
jr r DB r
M
.
, , , , , .

A b
9
dy 0,f g , O, : M du li : o s aeo us .
B b ma o . m i no . maj or oe .

C d
,
f g b
,
e, , , a, M du i i u ,
c . o s on e s .

T hes e w e r e th e ir a u then tic modes wh en th ey en d ed ,

t he c o mp o siti on by d es c endi n g a fifth or a s c en di n g

a fourt h ( wh i c h is t he s a m e t h i n g) i n th e fun da
,
Sh ou l d a s c h ol a r a sk h ow m any k ey s h e might u se
i n a l o ng pi ec e—fo r i n stan c e i n t he first or l a st p a rt
,

m ental p art ; fo r i n stan ce g c to wh ich n ot es w er e ,

ta k en p erfec t c h o rds a s is still usu al un l ess th e m aj o r

, , ,
of a symph on y of a c on c e rto o f a qu artett or qu i n , ,

third o n p ultim t t het is s usp en d ed by a en

,

a e no e
,
t ott i n a c h orus or i n a lo n g fug ue— my an swer
, ,

fo u r th T h ey a c k n ow l edg e d six o th er r el ati ve k eys w o uld b e : On l y fiv e ana l ago us k eys w h i ch a s , ,

a n d d es c en di n g i n mi n o r k e ys
.

c en di n g i n m aj or
,

form ed fr om t he six au th enti c m o d es a fifth high er , ,

a n d th es e th ey c a l l ed l a a l modes ; th e y c o ncl ud e d
, ,
wit h th eir n atural thirds m ay be foun d i n t he fol ,
p y lo wi ng o rd er which n eed n ot be r et ai n ed i n the
t he fu n d a m en t a l p a rt wi t h two p erfec t c h o rds an d ,

d esc en ded a fo urth or a s c en d ed a fifth ( whi ch is

,
c o mp ositi on its elf ; for ex ampl e
Pr
. ,

pl lg
a ga i n th e s a m e thi n g ) ; for i n stan c e c A s in
th es e tw el v e k eys an d a l so i n th eir d eriv ati v es it ,
, ,

,
Pr i nc i
E X 5 60
p lk y A l g k y
a e . n a o ous e s .
i nc i
A m i n or
a key.
.
A na o o u s k eys.

w as n e c essa r y to gu a rd a g a i n st fl ats an d sh a rps ,

n o th i n g v ery v o cal c oul d b e p r o d uc e d W h en any .

fo r eign s em iton es w er e i nt r od u c ed i n to th e a bo v e ds es f g , as as g fr er d»
m enti o n ed tw el ve mod es th ey c h an g e d th eir cha
, ,

m aj o r an d A mi nor h av e th e s am e ana l o g ous

,

r act er a n d w e r e c al l ed nus c hr o ma ti cnm th a t i s T h us C

g e
k eys G m aj o r the s am e a s E mi no r a n d so fo rth i n
, ,

s emit o nic ; wh en qu a r terton es w er e i ntrod uc ed th ey ,

, ,

al l m aj o r k eys w ith th eir r el ativ e m i n ors T he

w er e c all ed genus enha rmoni cum or q uar t er to ni c
'

.
.

c o m m o n est m a nn er h o w ev er of p r o c eed i ng to a n a
,

T h e a n ci en ts h o w ev er m a d e littl e u se o f th es e r ari , ,

l o g on s k eys is i n m aj o r k e ys fro m t h e p r i nc i p al
, ,

ti e s s o co m m on i n o ur day but c on t en t ed th em s el v es , , ,

key t o ts fi ft h with t h e m aj o r thi r d

,
th en t o t he
with th e ab o v e k e ys ; th e ir co m p o siti on s consist e d i ,

pri n cip ally of wh ol e ton es an d b elo ng ed to t h e c l ass ,

t A l th gh
'
t h i s n orma l l m ru e h av e kl sha c ed t he c re a t i v e g en i u s
l p p
ou ay
d en o mi nat ed n atur a l or simpl e ( gen us di a ton ic um) t oo m uc h h a f a c en t u ry
h a v e ro c ee d e d t o t h eat r e se n t au t h o rs
p m g g p g
l gl m p
.
ag o ,

Wh en all thr ee sp eci es w ere us ed in t h e s a me c om an t i o d e s , a nd s e e m t o i a i ne t h at t h e hi h e s t

g
oi n t i n art is a i ne d b y

Wh in th e p l
d ay, a c on c u sio n i s m ad e i n t h e p la ga l m an ne , r
m
p
l od u a t in g
t h ro u h e v e y ke y i n a s i n e c o
a w ay s t o b e a v o id e d ; t h e m idd e c o u rse
r
os e rs , ho we v e , h a v e m o re t h a n s u f c ie n t
o s i t io n

s a w a y s b e st
r
E x t re m e s are

ro v e d t h at i t i s
oo d c o m
o ss i l e
l i
fi ly p
l .

. G
p b
i t i s usua t o
en ,
l sus p
resen t
end t h e o c t av e i n t h e p
e n ul tima e c h o d b y t h e ni n t h t r .
t rg
t o co nnec even h et e o eneo us e ys i n a flo w m g , h a rm o n io us m a nn er k '

.
 A LBRE CH T SBER G ER S
’
84

sixth th a t is to the sixth gra de with the mi no r

, , , C XXX — ON. TH E A I T
N C EN AN D MO D ER N Se a m s
t hird ; th en t o t he fourth g r a de with t h e m aj o r , or A F UN D A ME N T A L P A RT .

third ; th en to t he s ec on d gra d e wi th t h e mi no r , T he qu esti on : W h a t ch o rds are r equi red by the

“

thir d; l a st ly wh en d esire d t o the third gr ad e wi t h

, , , asc en di ng o r d esc en di n g sc a l e o f a fu n d a m en t a l par t
t he m i n o r t hird It is n ec essa r y a ft er th es e w an m ay be t h u s a n sw e r e d :
.
, T he an c i ent and m o de r n
d e ri ng s i nt o an al o go us k eys fo r t h e c o mpo s er t o re acc o mp an i m en ts m a
,
y be equ ally em pl o y ed as b oth
tu rn b y a m el o dious a n d b ea utiful tra n si t i on t o t he Fi rstl y—t he
,

a r e g o od a nd use ful i n di ffer e n t c as es

p r in cip al key i n which a ft er a l on g or sh ort m odu
.

, .
ba ss sc al e o f t he an ci en ts i n C m aj or a b o v e which
l a t io n t he pi ec e must c o nc lu de Fo r i nsta nc e it is
,

,
.
, th e y pl ac ed o n ly p erfect c h ords or c h o rds o f the
u su a l to pr o c ee d fr o m a c om m en c em en t i n C m aj o r
,

i nor and m aj o r si x th
t o G m aj o r th e nc e to A mi n o r t h e n c e to F m aj o r
, , ,

th enc e t o D mi no r th enc e to E mi n or th ence for , ,

co nc l usi on t o C m aj or Mi n or k eys h av e a difieren t .

o r d er . I n th em it is mor e u su al to proc ee d fro m

,

t he pri n ci pa l key t o th e thi r d no te fro m A mi no r to ,

C m ajor ; th enc e t o t h e s ev en th G m aj o r ; th e nc e to ,

t h e fi ft h E mi n o r ( which t he a n ci en ts als o us e d as
,

t he fi rst anal o g o us key) th enc e t o t he fo urth ,

D mi nor ; th enc e to t h e sixth F m aj o r ; a n d l astly ,

b a ck to t he p r i nci pa l key A mi no r But t he a bo v e ,

.

o r de rs o f mod u la tio n are n o t t o b e c on sid er ed l a ws D e sce nd i n g

a r e fi n ed t ast e a n d c o r r e c t fee li n g— a bo v e all
.

t he ,
T he th ree up pe r p a rts may be i n v ert ed i n this
pro fo u n d study of goo d m o d els — wil l be the su r es t , , as
i n t he followi ng ex ampl es
guid e as to wh at o ught to be i m itat ed o r a v o id ed .

It is to be fur t h e rm o re r em ark ed th a t the s ev e nth ,

In A mi nor .

m i no r o r m aj o r g r ad e i n m aj o r k ey s an d t he s ec o nd , ,

gra de i n mi no r k eys are n o t a nal o go us i n t he t w o ,

k eys m enti o n ed a b o v e as e x am pl es t h es e wo uld b e

bb a n d b . u s e is m ad e o f t he e n h a r m o n ic

t ran siti o n it is advisa b l e to p ut a slur i n the p a r t

,

which m ak e s th e tra nsiti o n espec i all y if i t b e fo r ,

wi nd a n d st r i n ged i nstru ments i n o rd e r t h a t the o r ,

c hest ra m a n o t cl as h to o much w i t h t he o rg a n
y ,

which o n ac cou n t o f i ts fix ed t e m p e ram e nt has no

, ,

u a r t e rt o n es F o r i n s ta n ce a v i o li n o r h a utbo y pa rt
q .
,

,
#
h as a sc e n di ng o r d esc endi ng g a nd a b o r d a nd
e b i n i m m ed i a te suc ce ss i o n ; t h es e t w o n o t e s which
# , ,
T h es e tw o scal es serv e fo r al l possi b l e k eys i n strict
compositi o n Seco ndly— the s cal e of t he mod ern s
,
, ,

fo r m erly m ade a qu art e r t o ne must be a l ik e i n s o u n d ,

.

i n C m aj o r whi c h asc e nd i n g and d esc endi ng is ac

wh en p er fo r med th o ugh no t t he sa m e i n n ota ti o n ; , , ,
,
c om p an i ed b y thr ee pe rfect two imp erfec t a nd thr ee
fo r e x ampl e , ,

di ss o nan t ch o rds
Ex . 5 61 .

In A mi nor .
 GUID E T O COMP OSI T I ON . 85

The th ree upp e r p ar ts may equ ally be i n v e rted i f ,

d esir ed T h es e two sc a l es s e rv e for all p o ssibl e k eys

.
,

i n fr ee c o mpo sitio n .T h es e ex ampl e s may b e t a k en

as m o d els fo r a l l m aj o r a n d m i no r k e ys wh ich m ay
b e m o difi e d a c c o rdi n g t o t h e fo ll o wi n g t a b l es —for
,
.

i nst an c e ; s l o w s c al e i n C m ajor in whi c h t w o di ffer en t

,

c h ords a re form ed o ve r ea c h fu nd a m enta l n ot e

The fiv e N B p o i n t out t h e fiv e o bj ec ti on a bl e fifths ,

which m ust be a l w ays a v o id ed i n a c c en t ed divisio n s

o f a ba r

D esce ndi n g .

D esce ndi n g .

Or i n d ivid ed h armon y

Ex . 5 66 .

S l ow S cal e in C m i n or .

T he N B i n t he b ass p o i n ts out th a t it is b ett er for

t h e b a ss to m o v e down wa r ds a d i m i n ish ed s ev en th ,

th an to mo v e up wa r ds an a u g m en t ed s ec on d from
-

a b to bl
;

Ex . 570
.

An e x a mpl e faulty,
on a cc ou nt o f too m any h idden
fifths
 A L BRECH TSBERG ER S
’
86

T his ki nd of three p art acc ompa nim ent to a figur ed

-

b ass is u n usu al but s om etim es n ec ess a ry and p ro

, ,

du ces a b eautifu l effec t in p ia no sol o pass ages T h e

- .

fol lowi n g are two ex ampl es in thr ee pa rts in D mi no r

I n t h r ee -p a rt c o m po siti o n p e rfect a n d i m p e rfec t

,

ch ords ( 5 — 6 ) m e rely a lt e r na te in a sc endi ng ; but i n

d esc endi ng with the exc epti o n o f t he fi rst bar 7 — 6
, ,

a lt e rn a te t o which t he t hird is c o n sta n tly ta k en a s

,

c ompl em enta ry i nt erv a l for ex am pl e

It m ust fu rth er be r em ark ed th at i n the 1 2 mi no r
,

k eys t he sixth and se v enth must be m ad e m aj o r i n

,

as c e ndi n g ,
t o e nsu r e a b ett er m el o dy ( see t he N B
u nder
f¢ an d
gt n E x ampl e 5 64 i n A mi nor) I n
i , ,
.

d esc en di ng th ey r em a i n u nch an g ed I n al l mi n o r
,
.

k eys this a l terati on ta k e s pl ac e als o i n t he uppe r

,

p a rt
Ex . 574 .

l ’ od tl on of

G o od m a ste rs h a v e l eft t he sixth un ch ang ed i n as

c en di ng , wh en t he m eas ure is sl ow ; but in qu ick
 GU ID E T O C OMP OSI T I ON . 87

run s it is al ways he ight ened l ik e the s ev en th ; for c ompan i ed with the imp erfec t fifth an d mi n or th ird
e x ampl e a n d si x t h sh o uld i t mo v e a whol e o c tav e the sam e ,

h a rmo n y m ay r em ai n for ex ampl e

Ex . 57 8 .

W e must r em a rk th at mi no r m aj o r sc a l es of
an d

m o d er n c om p os ers c ann ot b elo n g to t h e fi r st c l a ss o f

st r i c t c omp o sitio n b ec a us e all u n prep ar e d diss on ants
,

a r e fo rbi d d en ex c ept i n g i n fr ee sty l e ; i n this l a tt e r

, ,

e v en c hr o m a ti c p ass a g es may be i ntrodu c ed i n t o

mi nor an d m aj o r s cal es T he q u estio n n ow aris es
.
,

wh a t is t o be do n e wh en the b ass do es n ot proc eed

en tir ely through t h e eight gra d es Th e r u l e th en is
.
,

al w a ys t o a c c o mp an y t he c o n c l udi n g n o t e o f t he
p assa g e wit h a p erfec t ch ord u nl ess w e wis h to use
, ,

a d ec epti v e c a d en c e for ex amp l e

In C maj or ,
a cc ordin g to stri c t c omposition .

T he ski p s i n th e un d er b ass sta v e are o n l y l o c al in

-

v ersion s o f thos e i n t he up p er b ass sta v e an d a re -

,

th er e for e acc omp an i ed by t he s am e harm on y T h e .

i n v ersio ns o f doubl e co un t erp o i nt are s o m ewh a t dif

fer ent as wil l be shown i n t he s equ el
,
It oft en
.

h a pp en s th a t a b ass an d i nn er p a rt must b e m a d e to
a n u pp er p a rt which m o v e s i n skips Sh o u l d it not
.

In A mi n o r ,
a cc ordi n g to fr ee styl e .
p ass thr o u gh any gi v en chord to whi c h o th e r p arts
or at l east t h e b ass— might n ot r emai n st a t i o nar y i n
obliqu e mo v em en t th en t h e fo l l owi n g a c c omp an im ent
,

may b e u s ed

Ex . 57 9 .
Skippi n g U pp er p art .

If it is ask ed h ow a b ass is to b e acc ompani ed wh en

it m o v es i n skips t he an sw er is— sh o u l d it asc en d a
,

third or d esc en d a si x th th e s ec o nd n ot e must be

,

a c c o mp a n i ed by a c hord o f t h e si x th i n obliqu e

m o v em en t shou l d i t as c en d a fo urth or d esc en d a

fi ft h the s ec ond n ot e m ust be ac c omp an i ed by a p er
,

feet c h o r d a c c ordi ng to th e key— t he s a m e sho uld it

a sc en d a fift h or d e s c en d a fo u r th ; sh o ul d it a sc en d
a sixth o r d esc en d a third s om eti m es a p erfect
'

, ,

s om e ti m e s a n impe rfect ch o rd m a y be us ed sh o uld

it a s c en d a mi no r sev en t h or d e s c en d a m aj o r s ec on d ,

t he s ec on d n o t e m ust be a cc o mp ani ed by t he ch o r d
o f the s ec o n d augm en t e d fo urth a n d m aj o r sixth i n
, , ,

o bliqu e m o v em e n t— th e s am e sh o uld it a s c en d a
m aj o r s ev enth or d esc en d a mi n o r s ec on d wh en th ey ,
As m an y ki n ds o f a cc om panim ent may be us ed t o
are p assi n g n o t es but wh en th ey ar e i n t r i nsic n otes
, , ev ery sc a l e esp eci a lly i n fr ee styl e it is a ll o wa bl e
, ,

and as c end i n st ea d of d e s c en di n g t h en th ey are s e ,

al so i n t h is c as e to em ploy oth e r chords ; for if
g in
 88 A L BRECH T SBE RG ER S
’

t he v iol in pa rt w ere ,
n ot t he c omm en c in g n ote ,
th e Furth ermo re , i n stri c t compo s i t i o n, al l s usp en de d
fu nd am ental n ot e might be e ith er 3 the third be l ow , ,
disso nants ( whi ch are first ad m itt ed in t he fo ur th
b t he si x th b el o w o r c th e fift h b el o w i n wh ich ca s e
, , , ,
class) must be prep ar ed by a c on s onan t, a nd resol ved
t he i n n e r p a rts would r equi r e a di ffe r en t d ispo si t i o n ; by descending on to t he n ex t h alf or wh ol e to ne .

th es e three fu nd am en t a l no t e s and t he o cta v e b el o w , ,

C hrom a tic an d en h a rm on i c p assa g es are als o probi
a re t he o n ly c o n s o n a nt i n t erv a ls whic h m a
y b e ta k en bit ed T o strict co m po siti on th er efo re b el ong the
.
, ,

a lte r n at e l y be n ea th a n u p pe r pa rt fiv e first cl as s es as p r e s en t ed i n this an d i n F ux s

'
in t h e first fo ur , ,

cl a ss es o f strict c om po siti on I n t he s ec ond cl ass .

,
b o ok o f i nstr uc t io n Fo r t he s ak e o f c o n veni en ce,
.

wh en t he Ca nt o fe rm o r equires t w o n o tes ag a i nst one ,

t h e ex am pl es gi v en a re a lm o st al l i n a l la br eve m ea
t he o bliqu e m o v em en t i s pr e fe r a b l e t o t h e o th e rs no s ur e Oth er ki nds o f m eas ur e m ay be u sed Strict
. .

l ess so in t he fo urth cla ss w her ei n four six o r e ight , , ,

c ompo siti on c ompreh ends ch urch styl e imita ti o ns -
,

n o t e s a re pl ac ed a ga i nst on e . s ol em n an d s e ri o us cou n t erp o i nts with or w ith o ut a ,

ch o r al si m pl e and d o ubl e fugu es an d l as tly ca non s ;

C XXXI — ON Sr nrc r Fa ns CO M PO S I T I O ,

i n short to this st l e bel ong all c o u n terpoi n t c ompo

, ,

G
'
. AND N rN ,

AL EN ER . sit io n s a l la ca e la for v oic es

, p e spe ci a lly thos e un ,

ac c omp a n i e d by i n strum en ts N 0 c l ass o f stri c t

com osi t io n is th a t wh ich empl o ys v oi c es
.

p
a l o n e with o u t a n
c ompo sitio n p er mits a n ot e of t he sa m e d enomi na ti o n
y i n stru m ent al a ccompan im en t
,

dd to b e r epe a ted i n suc c essi o n duri ng on e

, .

is m o re restri c ted b y ru l es t han is fr ee c om positio n as cc , ,

bar ; th e re exist two e xc epti on s to th is r ul e — t he

,

b ec a us e a si nger ca n n ot p r od uc e ton es so easily as an ,

i ns t rum en t a list It i s m o stly us ed i n church es o r fi rst i n t he fifth cl ass o n a n i n terrupted susp ensi on
—the se co nd i n v oc a l pi eces wh en on acc ou nt o f
, ,
.

ch a p el s ( t h er efo r e a lso c a ll ed Sti lo a l la Cap ella ) , , ,

m any espe c ial ly short syll abl es on e n ot e ma y be

,

wh en i t is a cc omp ani e d by t he org an o r oc cas i o nal ly , , ,

by v i o li ns and o boe s i n u nis on with the treb l e—by di v id ed i n to two and ev en the s l ur ov er a susp ensi o n
,

o mitted ; for e xa mpl e

tr o m bo n es in u nis o n with th e alto a nd teno r—and by
do u b l e ba ss es v i olon c c ll o s a nd bass o o n s i n u n is o n
-
, , Ex 5 81 Th e o r an g p rt h ow e v e r m ust
wit h t he b ass o r o rg a n Wh en i ns t rum en ts are
. . e , ,
.

o mi tt ed as is u su a l i n P a ssio n w eek in ro ya l cha p els

,
-
,

no d iss o na n t skip s a r e p er mitt ed e xc e pti n g ski ps o f ,

t he di m i n ish ed fo urth a n d fift h wh en th ey are w el l ,

a nd s oo n r es o lv ed it is a lso fo rbidd en to ski p fr o m

o r t o a d iss o na nt I n t w o p a rt h a rmo n y hi d d en
.
-
,

fi fths oc ta v es and u nis ons are by n o m eans ad m itt ed

, , ,

i n t h e fiv e cl ass es o f strict c o mpo sitio n abo v e or ,

u nd er a si mpl e ch a u n t (C h o ral o r Ca n tus fir mus ) ; ,

so m e fe w ar e all o w ed i n th r ee p a rt
o

a n d mor e ag a i n -
,

i n fo ur pa rt c o m positi on s & e b u t th e y must be es

-
, .
,

p ec ia l l y gu a rd ed a g a i n st i n t he u pper p art The

comp osi tion , its cl ass es ad mits of nu
.

fir st c l ass ad mits no d iss o nan t ch o rd wh eth e r t he F ree i n all ,

h a r mo ny b e in two t h r ee fo ur o r m o r e pa rts ; it
,
pr ep a red dissonan t s o c ca si o nally i ntro d uc ed in imi ,

ta t i o n s c o u nt e rp o i nt p ass ag es a n d fugu e s a nd o n a ll
, , ,

c o nt ai ns only pe rfect ch o rds an d the ch o rds o f t h e , , ,

mi n o r o r m aj o r si xt h N o t e v en i n c om po siti on s o f di v isi on s o f bars ; but th es e d isc or ds must a l ways be

pr o p erly a nd n atura ll y r es o lv ed I n b o th styl e s o f
.

m any pa rts is t he ch o r d o f t he fourth a nd o cta v e .

t o l e ra t ed T he s ec o n d a nd th i r d cl ass es ad mit dis c om po si t io n a ll o cc a s i ona l F a notes are res ol v ed by

,
-

d e sc endi ng a s em i t o ne and al l M i n otes are r e so l v ed

.

-
s o na nts wh en th ey are regul a r pas si n g n ot es th a t i s ,

by grad es a nd o n t h e u na cc ent ed di vis i o n o f a ba r

, ,
by as c en di ng a s em ito ne u n l ess a dec eptiv e ca d enc e ,

is us e d ( fo r a n e xpl a nati o n o f F ez no tes a nd M i no tes

.

Ex c e pti o ns t o t his rul e a r e m a d e for c erta i n ch an gi ng

- -
,

n o t es with th e ir i n v e rsi o n s b y wh ich it i s pe r m i t t e d

se e p a g e I n fre e styl e a c o m po s er s eld o m re ,

stri cts hims elf to o ne of t he fiv e cl ass es b ut us es a ll

,

to sk i p fr om a se v en t h i n t he upp e r c o u nt e r p oi n t or ,
,

fr o m a fo u rt h i n t he l o w er c ou n t er po i nt o f a ch o ra l e
,
ki nds o f no t e s b ot h for th e m el ody and ac co m pa ny
,
,
A r est or short pa us e may be oc casion
.

Str i c t c o m p o siti o n do e s n o t a d m it o f u na cknowle dg ed i n g pa rts .

, ,

no fes ( N a ta? a b ec tae)
j w
a l ly e mpl o y e d i a v oc a l o r wi n d i n stru m en t p a r ts in
hich a y o ft e n b e us e d
m ,
o r der t o fa cilita t e r es p i r ati on A ppo ggi a turas an d
,

w i t h a dv a nt i g e i n t he th i r d an d fift h cl ass o f fr ee .

y b e i nt r od uc e d wh e n t he b ea uty of
,
o th e r gra c es m a
c o mp o s it i on e sp ecia ll y i n vi o l i n p a rts A n u na c
, .
,

t he m el o dy is i n cr ea s ed by th em T he sa m e n o t e
kno n k dg ed no te i s o ne which is p as si n g skippi n g
' '
.

ma y b e r e p ea t ed t w o thr ee o r m o r e tim es in o n e
, ,

a n d fo r e ig n to th e ch o rd for e x a m pl e , ,

ba r e s p ec ia lly i n i nstru m enta l pi ec es

,
F r ee styl e .

a lso a l l o ws d i ss o n a n t skips p a r t icul a rly i n v i o li n , ,

vi o l a V i o l o nc ell o a nd b a soo n pa r ts pr ovi ded th es e

, ,
s
,

Ex . 5 80 .
a re n o t i n tr o duc e d i n an unn a tu r a l m a n n e r F r ee .

c o m po siti o n is u sed i n th r ee s tyl es — t he chu r ch styl e ,

ch am be r music sty l e and d r a ma t ic styl e for i ns t anc e

, ,

i n m a ss es g r ad u als o ffe rto r i es p sa lms hym ns , & c

, , , , .
,

ac co m pa n ied b y t he o rg a n ; a ls o i n fugu es wh en ,

diss o na nts are unpr epa r ed , o r wh en suspend ed a re

90 A LBRECH T SBERG ER S
’

and a dd t he fo l l owi ng to the tw o rul es bo v e the a di fficult to si ng wh e th er it u lt imat el y

, a s c en d or
first c hord may be pe rfec t imp e rfec t , or disso nan t , . d esc en d
R ule 3r d — C omm en c e m en ts an d co ncl usio ns must
.
Ex . 587 .

be mad e o n p erfec t c o n so n an ts ca r e be i n g ta k en tha t ,

t he co u n t e rpoi n t ab o v e s ho u ld n ot en d and t he ,

c o u nt er p oi n t be low s houl d not commenc e on a fifth .

I n t h e fi rst cas e t he c o n clusi on wou ld so u n d thi n

,

a nd u n s a tis fac to ry i n t h e s ec o nd c ase t h e fifth , ,

pl ac e d as fu nd am ental no te woul d in di ca te a for eig n ,

i nstea d Of the pri nc ipa l key

R u le 4 th —
.

A ll ba rs or di vi s io ns of b a rs shou l d
.
, ,

b e m ark ed by c on so nan t c hords mor e O ften imp erfec t

th an pe rfec t T he l att er are—the pe rfect u n ison
,

t h e pe rfec t fifth an d oc ta v e ; t h e form e r ar e—t he

.
,

mi no r and m aj or third an d t he mi n or an d maj o r s ixth , .

R ule 5 th —T he un iso n is al ways to be a v oided

.

as s o u n di n g too thi n e x c e pti n g o n a first or l as t bar

,

.
Ch ora l .

R ule 6 th —Wh en a c h o r al e li es i n th e upp er p a rt ,

t he p en ultim at e n ot e of t he c o un t e rpo int be l o w must

ha v e t he mi n o r third or te nth t he form e r en ds on
t he un is o n t he l et ter on t he o c t a v e i n th e co n cl udi n g
, ,

ba r Wh en a c horal e l i es i n t he l ow e r pa rt t he
I n a c a d enc e Of thr ee o r mor e p arts , two m aj o r th irds,
.
,

c ou n te rpoi n t a bo v e must h av e th e m ajor sixth a bov e

a sc en di ng a wh o l e t o n e, ar e p e rm itted , as ma
th e pen ul ti ma t e n ote whic h c o n c l ud e s on t he oc ta v e y be
seen in th e l ast e xa mpl es
.
,

R ule 7 th —T w o m ajor thi rds must n ot foll o w ea ch

.

oth er in t he progr essio n Of a wh ol e to ne eith er as ,

R ule 8 th — W h ol e or h al f ca d enc es are forbidd en
.

c endi ng or d e sc endi n g ; but may do so i n t h e p ro ,

i n t he c o urse o f a pi ec e i n the l as t t wo c on cl udi ng
ion o f a s e mito n e N ei t h e r may th ey fo ll o w ba rs, 9 ha l f ca d enc e is p e rmitt ed fo r ex ampl e
g ress .
.

ea ch oth er i n a m ajor third ski p as a n un h a rmo n i o us-

,

trans v e rs e positi o n would ensu e ( Mi con t ra F a

but th ey may do so i n a p erfec t fo urth ski p I n -
.

a n c i en t n om en cl atur e Mi a lw a s i ndi ca te s t h e l o wer Ex 58 8

y , . .

hnd F a the high e r t on e o f a maj o r s emitone .

T h er e fo r e lift F a a re th e asc endi n g a n d F a Mi

,
-
,
-

t he d esc end in g h alf to ne s Of a m aj o r s e mit o ne ; for

i n stan c e i n co nsec utiv e n ot es
, e f a b bb c e a -
, , , , ,
G ood in co nc udinl g .

b are Mi no tes ; an d f bb c are Fat notes

,
-
I n th e, , ,
-
.

syst e m O f the B enedi c ti ne Gu ido c on A r ez zo the , ,

n o te 8 is al one ca ll ed M i I n a m ajor third skip .

-
,

two no tes are M an d the o th er t w o are F a ; th is is

,

wha t is ca ll ed M i con t ra F a W e may al so co ns id er .

that Mi no tes i ndi ca t e

-
'

a n d F ez no tes b k eys -

th erefo r e wh en one Of t w o chords b elo ngs t o a

.
R u le 9 th — Skips
of all a ugm ent ed a nd most d i
.

key whil e t he oth er b el o n gs t o a b key a h ete ro

, ,
mi n ish ed i nt erv als are forbi dd en bo th i n as cendi ng
,

n eo us su c ce ssi o n en s u es a n d produ ce s an u n h a r an d de sc en di n g ; als o s ki p s o f t he thr ee s e v enths as

g e ,
,

m onious transv e rse positio n ca ll ed Mi con tra F a ; ,

th es e all belo ng to u n vo ca l i nt erv a l s di ffi cult to en
,

for i nst an c e z t o ne .I n a v o c al c omp o s i ti on u nsu p p o rted by i n

,

g
stru m enta ev erythi ng must be a v o i ded w hi ch c o uld
or? en danger i ts ea sy a nd firm ex ec uti o n for exa mpl e
g
b and g ar e Mi be lon g -
sc al e Of G
no t es , an d to the .

an e b ar e F l t no tes a n d b e l o n g to t he s c al e o f
gl b d t h erefore this is a cas e of M t con tra F a as is
-
,

, ,

t he followi n g r eve rs ed ,

b
9

5
Tw o co n s ec uti ve major thirds are equ al ly p rohi bited
w ith a pe rfec t -fifth ski p in both p arts , n ot o n a cc ou n t
of M con tra F a , but be ca use a maj o r s ev en th th e n
i s placed ac ross thes e t wo bars or no tes , and is al ways
 GUI D E T O C OMP OSI T I ON .

OX X X I I I .
—CO N TI N U A TI O N A O E on TH E BV .

N o stud ent c an add o ne or mor e p art s t o an

i n vent ed or gi v en m elody u n ti l h e h av e c arefully
e x a mi n ed an d st udi ed t h e k eys whi ch it c o n t a i n s i n
its elf or i nto whi ch it natu rall y mod ul at es It is
,
.

Cho rl
a .
true th at w e c omm en c e by the s i mpl est c hor al es i n
o ne of t he eight c h u r c h mod es or i n th e easi est of
,

A s n o skips b eyo nd t he p erfec t o ct av e a re us ed i n the esta b l ish e d 24 k eys ; but all the n ot es o f t he
:

t h e fo ur v o ca l p arts of c h o rus es t he fo l l o wi ng i n t er ,
written subj ec t do not r emai n i n t he origi nal key
y a l s o n l y r e m ai n for p ermitt ed use ; for i n st an c e, whi c i i n di c a t e d by t he l a st n ot e) whi ch oft
( h s en ,

in
g c h an g es to its analo gous k eys for e xampl e
A sc en di n g an d D esc en di n g .

Choral e in 0 m ajor
Ex . 59 6 .
.

1 0 l l 1 2
a _

T he fo l l owi ng are on l y p ermitt ed in free styl e or ,

I n th is ex ampl e, the {i nst an d l ast n ot e a r e rightly
with i n strum ent al acc omp an im en t p l ac ed i n the c hord of 0, wh en th ey are a cc omp an i ed .

T he s ec on d an d third n ot e s ar e d eri v ed from G m aj o r ,

Ex . 59 1 .
an d th e fourth an d fifth from C m ajor a g ai n t he
sixth and s ev en th b el o n g to the chord of A m i nor
th e eigh th a nd ninth, c o n sid e r e d t o g eth er , to E mi no r .

T h e t en th is d eri v e d from A m i nor , t he e l ev en th

R u le l Otk — I t is w ell to use ( with o ut n eces
. n ot from D mi n or, or both, ta k en tog eth er, fro m F m aj o r .

si t m o r e th a n thr ee su cc essi v e thirds or sixths i n T he tw elfth n o te m ay be c o n sid e r ed e ith e r th e o c ta v e

y)
di r e ct mo v em ent b eca us e suc h p a ral l el progr ession s
, to G maj or, or the dominant of t he c hord of C m aj o r ;
of th irds and sixth s d estroy t he di gn ity o f a s erio us t h e thirt een th m ay be c on sid er ed t h e pri n c i p a l key
styl e and fin d th eir pr e p er sph ere o nl y i n l i v el y or
, n ot e, o r th e t hird of A mi n or , or th e sixth ab ov e
op er ati c s on gs T he c o un t erpo int in t w o part com
.
,
-
e, wh en the c o unt erpoi n t is wri tt en b el o w ; t he fo ur
p o siti on shou l d not c onti n u e stationary durin g mor e
, t eent h m ust he con sid er ed as t he domi n an t of
th an thr ee b a rs ( even of al l a br eve two c rot c h et -
, , G m aj or, which 9 m ust first a pp ea r i n th e p enul ti
thr ee c rotch et or th r ee mi n im m easur e) i n ord er
, , m at e bar, in thr ee or mor e p a rt h armo n y ; in t w o
th at the progr ession of the ha rmon y m ay n ot b ec om e p art h armo n y , o nl y 5 is ad ded to it for i n t he fiv e ,

sluggi sh Of cours e an e x c eptio n to this is th e

.
, class es of c ompositio n our two c a d enc es
t w o - p art , ,

Ta ste solo i n pi ec es of thr ee o r mor e p arts Skips .

e 8 and b3 1 a re o n ly h a l f cad en c es
,
T he fo l low .

of the m aj o r s ev enth an d n i nth through thr ee or fo u r , i ng chords may be wri tt en abo v e and b enea th t he
n ot es a r e i nc orr ec t and prod uc e hars h and di f
, ,
fic ul t choral e
m el odi es ; fo r exa mpl e Ex . 597 .

Ex . 59 2 .

Th e m i nor s ev ent h ,
on th e c o ntrary ,
may be s d;
u e

q ll y w ell i n the un der pa rt ; for exa mpl e

e ua

G oo d.

T he ugm ented fo urth is al so forbidden thro ugh two

a

or thr ee n ot es as i t is di ffi cul t to h it a nd al tog eth er

, ,

un v o c al ; for ex amp l e

Ex 5 9 5 . .
92 A L BREC H T SBE RG ER S
’

Wh en as is ri ght ,
ch o ra l e is transpo s ed —th at is
,
t he ,
a nd the fo u rth t
s pe ci a lly in m aj o r k eys sh o uld
n o e, e ,

wh en t h e su bj ect which has fo r m ed t he l o w est p art d esc end t o t he thi rd which need n ot always be s e
,

is t reat ed as t he upp er pa r t o r vi ce ver sa —i t is ne ,

-
r co m pan i ed by t he ex p ect ed ch o rd a s d ec eptiv e os,

c essary to fo rm t h e c o u n te r po i nt fr o m n ew i n t e r v als . denc es are mor e effecti v e an d p r e fe ra b l e u n t il t h e

,

d i ffer en t from th o s e a lr ea dy us ed i n o rd e r to p r od uc e ,
r ea l c on clusion for e x ampl e
o t h e r h a rm o n i es as t h e m er e t r a n s po siti o n a n o cta v e
,

high er o r l o we r d oes n ot crea te a c ha n g e o f ch o r ds .

T he s a m e a p pli es t o h a rm o n i e s i n th r ee a n d fo u r
p a r ts T he fi rst c l ass of com posi t i on i n t w o th r ee
.
Ex . 601 .

, ,

a nd four p a r ts admits o n ly pe rfe ct c h o rds a nd ch o rds

,

o f t h e sixth
( s ee R ul e t h e r e fo r e w e m ay u se ,

for t w o pa rts t he mi n o r an d m aj o r third th e m i n o r

, ,

a n d m aj o r si x th t he p e r fe ct fift h a n d pe r fect o cta v e

—al so t he mi n or and ma o r t enth which are th en
, ,
'

co ns i dere d thi r ds— also t e p erfe ct u nison but only ,

o n t he fi rst a n d l a st bar o r divisi on o f a ba r , ( see

R u le For i ns ta n c e i n a ch o r a l w r it t en in an easy
,

key a nd fo rmi ng t h e upp er pa rt sh o uld t h e n o t e 8

, ,

o cc ur t he fol l o wi n g p e r mitte d i nte rvals may be

,

pl ac e d aga i nst it i n t he l o w er p a r t alte rnate ly ,

sh o uld t h e sa m e 8 oc cur i n the ch ora l b el o w th en ,

t h e sa me n umbe r of i n te rv a ls may be use d in t he

upp e r pa rt for e xa m pl e

Ex . 598 .

A n c i en t m aste r s expe ll ed t he Ot ta va ba tt uta from

pi ece s i n t w o o r m o r e pa r ts I sh o uld n ot use it i n
two - pa rt composi t i ons i n t he strict o r fr ee styl e it
,

is admissibl e i n th r ee p arts ; it is mo r e so i n four

pa rts , es pec i all y wh en t he d o u b l e co u n t e r poi n t o f t he
W ith th ree pa rts t he fo ll o w i ng co nso nan t c ho rds
,
oc ta v e pa rti c ipa te s The Ot ta va ba t tu ta , is th at
may be pla c ed u nd er 0 wh en it occ urs i n t he u ppe r
.

,
wh i c h is struc k upo n t he acc ent ed d i vi si on of a ba r
part i n a bar of t w o o r thr ee divisi o ns , it occurs o n t h e
Ex . 59 9 first no te i n ba rs of c ommo n tim e it o c c urs on the ,

first and third c rotch ets ; i n ba rs of six di v i sio ns , on

t he fi rs t an d fo urth i n b a rs of tw elv e divisi o ns o n ,

th e fi rst and s e v en th T he rem a i n i n g di v isio n s a re

.

ca ll ed un acc en te d and wil l be spo k en of m or e de

ta il edl y i n t he th i rd cl a ss Wh en t he upp er pa rt
.

m o v es fro m an u nacc ent ed to an acc ent ed divi s i on ,

foll o wi ng wh en it o ccurs i n t he fu nd am ental by a d escent of the fou rth fi fth or sixt h to the p er
a nd the , ,

feet oc ta v e wh il e the l o wer part o nl y asc ends a h a lf

,

o r whol e to n e i n c o ntra ry mov em en t a n Ot ta va ,

ba t t uta is pr o duc ed a nd may h a ppen i n t h e

fo l lowi n g m anner
Ex . 600 . F r
ee sty el .

The sa m e m a y be u se d in fo ur pa rt s with the a ddi ,

ti on o f a fo urth i nt erv al whi ch will g enerall y be t he ,

pe rfect o ctav e t h e pe rfect fifth t he d oubl ed third or

, , ,

t h e d o ub l ed sixth The l a ws o f g oo d m el o dy must

.

be obse rv ed i n th e co u n terpo i n t as w ell as i n t h e

subj ect itsel f ; one of th ese la ws is to re d esce nd ,
-

aft e r asce ndi ng a sixth or oc ta v e an d vice cer am ,

-

a n other d em an ds t hat th e l eadi n g n ot e or s e v enth ,

major tone sho ul d as c en d a semito n e to t he o c ta v e

, ,
 GUID E T O C OMP OSI T I ON . 93

T h e N B to th e s ev en th bar p o i n ts out th at th e u n d e r
p ar t m a y c ross t o a b o v e t he u p p er p a r t an d vic e ,

v er s a T he subj ect m ay b e tr an sp os ed an o ctav e

.

low e r an d a pp ea r as teno r : and t he c o u nt erpoi nt be

E x 605
,
. .

writt en i n an upp er p art ; for ex ampl e

Ex . 6 09 .

P erh aps it w as forbidd en on acc o un t o f i ts v ague

effec t an d its l ik en e ss to t h e u n ison ; for ex a mpl e

A nd so f rh
o t

The fol l owi ng is an e xampl e of t he first class

S ev en faults o c c ur i h thi s ex am p l e p o i nt ed out by ,

t he n umb e rs a b o v e F a u l t l — A skip of t h e aug

.

men ted fourth fr om c t oj fl b etw e en t h e s econd an d

,
Ex . 607 .
third bars o f t he u p p er p art F a u l t Z — I n th e fo urth
.

a n d fifth b a rs of th e upp er p a rt t o c p r o du c e hid

9 ,

d en o ct a v e s ; th es e or hidd en u ni s on s an d fift hs are

, ,

C ounte rp i t
o n .
pr o duc ed as w e h av e al r eady ex p l a i n ed wh en i n a
, , ,

Skippi n g pr o gr essio n o f th es e p er fect i n t erv a ls on e ,

o f th em is c on t a i n ed i n t he empty sp a c e b etw een it

a nd t he co ns e c utiv e o ct a v e fifth o r u n is on ; th is will

,
,

b e s een disti n ctly by filli n g t h e em pty sp ac e of a skip

with its i n term edi at e i nt er v als for ex ampl e

In thi s th er e are si x fa u lts poi nt ed out by th e

, ,

n umb e rs b el o w The fi r st is th at t he c om m en c em en t
.
,

is n ot in th e s am e key i n whic h t h e Ca n to fermo

c l o s es ; i n t h e key of C m aj or f must n ot b e pl ac ed
.
.

as fu n d a m en ta l n o t e T he s ec o n d fa ul t is o c c a si on e d
.

by t h e u n iso n which is only p ermitt ed i n o p en i n g

,
Th e two N B p oi n t out th a t b i s c o nt ai n ed b etw een
a n d c on clud i ng b a rs t h e third fau lt is th e c a d en c e
a n d c , a n d fo r m s , i n b o th c a s es t h e hidd en , as t h e
9
l ike octav e pr ec ed ed by the m aj o r sixth ; t he fo urth
,
,

fo ll o wi n g 0 is t h e c on s ecu t i v e o ctav e ; t he er r o r s
fa ult i s th e augm en ted fourth b ec a us e n o d iss o n an t
, b—c
is admitt ed i nt o th e first cl ass ; t he fifth fa u l t c on sists m ark e d ba d are as great c on s ec uti v e oc taves b— c
as ,

o f a t oo lo n g s u cc essi o n o f si zi t h s which l ik e m a n y, , w o u l d be T his expl an a tio n wil l al so s erv e for

t hirds or t en ths sou n d tri v i al as h as b e en r em a r k ed
.

, , , hidd en fifths an d u n is ons A ll th es e pro hibit ed o c

a n d c on tr ast d is a gr eea bly with t h e si m p l e s ev e r ity o f
.

t av es fifth s an d un is o n s may be dis c ov e red by c om

this un ad orn ed c l ass of writi n g T he si x th fa u lt , ,

p l et i ng t he i nt erm edi a t e s p a c e o f a skippi ng p a rt

.

e v en without m en ti o ni n g th e hi d d en o ct a v e s is
( ) oc with sm all no t es for ex am pl e
ca si on ed by th e c a d en c e o f t h e b a ss p a rt ; for i n two -

p a rts th e p en ultim at e n ot e must a l ways app ea r as

t h e mi n or th ird b elow e v en though the b ass be u s e d
,

i ns t ea d of t he a lt o Unl ess fr ee styl e b e employ ed

.
,

t he foll o w in g man n er is b ette r

Ex . 608 .

H idd
e n u ni sons.
 A L BRECH T SBE RG ER S
’
94

Fa ul t 3—is the dimi nish ed fifth ah ab o v e 3 , whi c h ,

a comp osit e It is r em a rk abl e th at F uae i n his ex
. ,

i s a diss onant F a u l t 4— is a l s o t he dimi n ish ed fift h

. ,
a mpl e s c o mm en c es its a cc o mp a n i m en t w i th t h e m i n o r
,

ab o v e 6 F a ul t 5 — is the chro m a tic p r o g r essio n third a nd en ds it wi t h t h e m aj o r third l i k e o t h e r

f . ,

mi n o r k eys But his fa m e r em ai ns im m o rtal an d he

,

fro m g do wn t o 8 ; th es e s em it oni c p assa g e s n o t b e i n g .

,

a dmi t te d i n t o t he fir st cl as s wi t h o ut i nst r um enta l w as m ast er a nd mod el to m any hu ndr eds H e is n o t .

—
,

a cc o m p a n i m en t F a u l t 6 is t he mi no r third ab ov e
.
t o bl a m e if i n ou r day m u c h has b een ch an g ed
, , ,
.

t h e pen ul t i m at e n o t e which must a lways be t he

,
T he r em a i n i n g a uth e n tic m o des w oul d be s t ill ad
m aj o r sixth F a u l t 7 — is t he fi fth p la c ed a bov e the
.
missi b l e if m ark ed w ith t he fl ats and shar p s nec ess a r y
,

l ast bar which must always h av e t he o c ta ve or u nison . t o b ea utify t h e i r m el ody I sh al l h o w e v er r etain .

, .
,

T he fo ll o wi ng is th er e for e be tte r t he es t ab l ish ed 2 4 k e ys o f m o der n m ast e rs thr o ugh

o ut all fi v e cl a ss es But I r ec o mm en d th a t i n r em ot e
.

k eys t he l ess difficult sh ou l d h av e t h e p r efer enc e

for i nsta n c e G b m aj o r i nst ea d o f F m aj o r—as t he
,

,
#
fo rm er l ea ds t o a nal og o us k eys whi c h are m o r e easy
Ex 6 1 2
. .
, .

I will o nly gi ve a gene ral ex ampl e of t he six a nal o

gous k eys o fG b m aj o r an d F fl m aj or ; but fro m this
it wil l cl ea rly be s een th at G l7 m aj o r on a cc o u n t o f ,

its m o re easy ana l o gous k eys is l ess di ffi cult fo r ,

p er fo rm er s th a n F# m aj o r although b oth k eys wi t h ,

i t m odu l a t i ons h av e t he s am e effec t o n t h e ear ;

for exampl e
A nal ogous k eys to G fl at m aj o r .

The first N B ab ov e f
fi lto po i n ts o ut th a t th e
in t he
is i ntr o du c ed i nt entio nall y as i t is p erm itt ed to
a

,
Ex 61 4
m odul at e fr equ ently to anal o go us k eys T he s ec o n d
. .

N B a bov e d in the alto poi nts out th at e v e n m or e

tha n three thirds m ay foll o w each o th e r wh en o ne or , e o e e 1 1 5 s
m any of th em are pl ac ed so as to c r oss the p a r ts .

A nal ogo us k eys to F sh arp m ajor

The t w o N B b eneat h the t enor po i n t out th a t t he
.

pa rts m ay c ro ss ea c h o th er with c o nsonan t ch o rds ,

e sp e ci a lly if t h e y are a lr ea dy a ppr o xim ate d T h ey .

a l s o p o i n t out th a t si x ths must be m ark e d i nst ead of

,
Ex . 61 5 .

t hi rds ab o v e 3 an d d as n o o rgan ist pl ayi n g from

,

fi gu r ed b as s m ay c ro ss his hands ; fo r w ere t w o ,

th i rds t o be m ark ed i n succ essi on ab o v e t he t eno r , 0 7 7 6 5 5 7 6

to which thi r ds b el ong t h e fift h and octa v e i n fo ur , H ere it cl earl y s een th at G b m ajor l eads to
ma y he
pa rt h a rm on y t he r esul t w o uld prod u ce t he c h o rds
, easi e r k eys th a n do es F
fl m aj o r L et t h e stud en t .

o f E mi n o r a n d D mi n o r i nstead o f t he i nv e rt ed
, ex a mi n e t he n u m b ers m a rk ed b el o w t he b as s which ,

c h o rds of C m aj or and G maj o r .

do n ot i n dic at e ch o rds b ut h e n umb er o f fl a ts a n d ,
t

A n oth e r ex ampl e i n E mi nor sh a rps requi r ed by t he new anal og o us key c ont a i n e d

in each ba r an d h e will p erc ei v e th at G b has two
.

a na l og o us k eys with s e v en fl ats an d thr ee with fiv e ,

fl a ts whil e Ffl has thr e e wi t h s ev en sh a rps and o nly ,

t w o wit h fiv e sh a r ps I will n ot ev en m en t i o n t he
.

d o u b l e sh a s wh ich w o uld be r equired with th e

-

Ex 61 3
,
. .

d o mi na n t 0 th ese m aj o r k eys wh en us ed i n co nclu ,

si ons I t foll o ws th a t G b m aj o r is much m or e easy

.

an d natu r al to si n g ers an d i n str um en ta l ists as c om ,

mon s e ns e will tell ev ery o n e th a t it is us el ess t o

e m p l o y m uch wh er e a littl e atta i ns the sam e en d
,
.

W h en t he fi r st cl as s has b een sufli c ientl y pra ctis ed i n

v ari ous m i nor and m aj or k eys t he s ec on d cl ass may ,

be studi ed wi t h t h e sa m e C h o ral es .

C XXXIV — ON T H E S E C O N D C LA SS or ST R I C T
.

Co n ro srr mN 1 N T w o P a m s I N W H I C H T w o o n
P
'
,

T a m-3s N o r ms A RE L A C E D A B O V E c x B EL W ON E .

In th is c lass w e may rem ark — firstl y—th at the

, ,

c o u nt erpo i nt may b egi n with o ut or with a r est equi

W e h a v e al ready st ate d th at th e Gree ks and an ci ent v al en t t o a divisi o n of a ba r but i n both c as es t he ,

maste rs a c kn o wl edged 1 2 pe c uli a r k eys T he ir key . b egi nni n g n ot e must be a p erfect c onso nant I n th e .

of E c all ed M odus P kr
, ygi us appea rs to be m er el y ,
r ema in i ng ba rs t he a c c ent ed di v isions must al ways
,
 GUID E T O C OMP OSI T I ON .
95

o st of p erfec t or im perfec t c o nsonants the nu

c nsi
a c c ent ed di v is ion s may c on ta i n eith e r c on s on a n ts or

dissonants ev en the un iso n whi c h is admitt ed i n this

, ,

class o n any una ccen ted di v isi on but on a ccen ted

, ,

divisi on s o nly on the first an d last bar Diss onants

,
.
,

how ev er su c h a s the thr ee s ec on ds th e thr ee fo urths

, ,

t he dim i nish e d and a ugm ent ed fi fth t h e thr ee ,

s ev en t hs the mi n o r and m aj o r n i nth must n ot be

, ,

i ntro du c ed by skips but by gr ad es ; for i n stan c e

, ,

b etw een thr ee d es cen di n g or as c end i n g not es

Ex . 61 6 . S ec o ndly— the p en u l tim at e b ar in upp er c ou nt erpoi nt

m us t h a v e th e p erfe ct fifth and m ajor sixth o r the ,

mi no r t enth an d m ajor si x th in suc c essio n ; which ,

m ajor sixth mo v es to the o c ta v e for c oncl us io n I n .

l ower c ou nt e rp o i n t the p en ultimat e bar a lwa ys re

,

quir es t h e p erfec t fifth and mi n or third or t enth ‘ ,

a n d t he l a st bar c o nc l ud es with th e un iso n or o c ta v e

;
for ex ampl e

Ex . 61 8 .

It r es ul ts th er efor e th a t i n this cl ass a s in t he fi rst

, , , ,

th e sixth a nd third a re t h e i nt er v al s w hich l ea d to

th e c o nc l usi o n an d must b e pr ep a r e d on ly by th e
,

fift h T h irdl y— it is fo rbidd en e v en i n c ontr a ry

.
,

mo v em en t t o mo v e fr o m a p erfe ct fift h o ct a v e or
, , ,

u n iso n to an oth er p erfec t fi fth o cta v e o r un ison

, , , ,

b etw een wh ich a skip of o nl y a third o c c u rs ; a s tw o

fifths & c o f t his ki n d i n tr o du ced i n d e sc en di n g or
, .
, ,

a s c en di ng produc e as sh arp an effec t o n t he c a r a s

, ,

two c on s ec uti v e fifths & c i n d irec t mo v em en t for

T he fo ur N B poi n t o ut errors wh i c h c o nsist of skips
.
, ,
,
ex amp l e
from or on to disso nan ts It is al so al low ed to i n tro
.

d uc e disso nants ev en thos e whi ch are dimi n ish ed or

,

a ugm ent ed b etw een two simil ar n ot es wh i ch m ust

, , ,

h owever, be c o n son ants for e xamp l e

Ex . 61 9 .

Ex . 61 7 .

l pl
t
bb h as n o
l pl
Th ose wh o w ou d em oy t h e P h ry tan mo de- v iz , e, wi h out
p k fi
ac e i n t h i s mod e , a n d t h e na ed b w o uld be an i nc o e c
.

m u s , i n o wer c ou n t er oi n t , ta e t h e m i or s i x t h i ns tead of t h e ft h. u
k r t
t
fi fi
r
dimi nished fift h . in an accen ted d i i sio n of th e bar v .
 A L B REC H T SB ERG ER S
’
2b

C orr ect, as th e skips a re in fo urths .

Wh en the fifths octa ves or u n is ons o c cu r

, ,
u na c in
c en t e d, whil e t he thirds o r si x th s o ccu r i n a cc en ted
d i v is i o n s o f a ba r, th e e r ror n o l o ng e r e x is t s ; fo r

F ifth l y —skips with two notes ,

be en d the p e r fect
octav e to t he th ree s e v enth s
, ,
t o a]a ugm en t e d a n d

m ost dimi n i sh ed i n t e r vals are prohi b ited i n thi s as

But I shoul d r ecomm en d a be gi nn e r not t o i ntro duc e , ,

in t he o t h e r cl ass es T h os e diss on an t ski p s h o w ev e r

t o o m any such fi fths and o c ta v es as th ey i m press th e
.
, ,
,
which w e r e ad mitt ed in the fi rst c l ass wh en p assi ng
ea r disa gr eea b ly i n t w o p a rt c o mp o si t i o n N o w for ,
-
.

fro m ba r t o ba r if i n o ne p a rt a l on e are al so p er
a n eedful w o rd o n m o no t o ny : thi s c o nti n u a t i on o r , ,
,
m itt ed i n thi s cl ass i n o n e ba r or fro m a n u n a cc e n t e d
r ep etitio n o f a few no t e s is fo rb idd en i n t his cl a ss
, ,
,

t o a n acc en t ed d ivisi o n
,

T he s am e wi t h regul a r
a l though oft en m et with i n fr ee st y l e wh e r e g o o d
.

,
p assi ng n o tes whi c h oc cu r i n u na cc ent ed divi si o ns
m a t ers add a di ffer ent b ass o r m id dl e pa r t or ch a ng e
s
,
,

o r i n fr ee sty l e on a cc en t e d divisi on s o f a ba r A ll
t h e i ns trum ents an d v a r y by ar ts a nd p ia no o r by
f
.
, ,

o ,
t h e rul es o f th e first cl a ss ( ex c e p ti ng R ul e s 4 a n d 5
tra nspo siti on t o an o c ta v e i gh e r o r l o w er T he .

of c ours e) are a pplic abl e t o t he pr es ent cl ass

,

fo llo wi ng ex ampl e sh o ws th is e vil a lth o ugh t he

.

i d e ntic a l i n t er vals sta n d i n proportio nal differ enc e to

t he su bj e ct 1

S bj t
u ec .

F ourthly— a ft er distant skip of tw o n ot es th e thi r d

a ,

n ot e o ugh t to r e tu rn by a skip o f a fo u r th or t h i r d .

wh en it can n o t do so b y gra des T h ree o r fo u r .

skippi ng n ot es sh oul d n ev e r c on ta i n i n th emse lv es a

c h ord o f the ni nth or m aj or s ev en th ev en th o ugh ,

t he Ca n t o f ermo i n t he fu nda m ent a l p a rt sh o uld

furn i sh g oo d ch o rds Ski p s o f t h r ee or fo ur n o tes
.
,
co nta i n i n g a m i no r s e v e n th a re s e ld o m go od
, ; t he
di mi n ish ed s ev ent h may be to ler at ed
 A LBRECH TSBE RG ER S
’

98

W id er skips also a ft er su c h prog ressions , , , are

s el do m good ; for ex ampl e

t he same .

A s this class admits Offour six or eight n ot es ab ove , ,

or b el o w the ch oral e or su bj ect it wi l l be advi sabl e , ,

to e xami ne t he divisi ons o f b a rs th eir qu ality a nd ,

q uantity in o rd e r to c ompos e with c erta i nty a ccordi n g

,

to r ul e Div is ions are g enera lly i ndi cat ed by th e

.

u ppe r n umb e r of t he tim e m a rk e d — fo r i n stan ce a

,

bar o f t w o c r o tc h ets c on ta i ns two di v isi on s ; t h e

down b ea t or fi rst c rotc h et is the a cc en ted—the up
, ,

bea t or s e co nd c ro tc h et is the u na cc ented d i vi s i on

, , .

A ba r o f u sua l A l la br eve tim e has a ls o t w o di v i -

sio n s—the d o wn be at or first mi nim b ei ng t he ac

,

, ,

c en ted a n d t he up b ea t or s e c on d mi n im t he u n a c
, , ,

c en t ed di v i s i on A ba r of thr ee cr o tch ets has o nly

.

W e must h er e r em ark th a t it wo uld be v e ry u n o n e acc en ted

( t he first c rotch et) an d t w o u n ac c en t ed ,

m el odi ous to skip a thi r d i n to a n ew ba r a fte r o ne

, divisi ons ( the s ec on d an d third cr otc h ets ) T h e s am e .

co ntai n i ng thr ee or fo ur n o t es a s c endi n g o de sc end

r

a pp l i es t o a b ar o f thr ee mi nims a n d to all b a rs Of ,

i ng b y gr ad es fo r e x ampl e tri pl e ti me A bar o f fo ur cro tc h ets or co m m on

.
,

tim e has it is tru e fo ur b ea ts but is r eal ly o nly a

, , , ,

dou ble ba r o f t w o cro tc h et ti m e T he fi rst cro tch et .

is the first a cc en ted t he s ec on d cro tch e t the first ,

un a cc en te d t he third cr otc h et t he s e c o n d ac c en te d
, ,

an d t he fourth cro tc h et t h e s e c on d u n a cc e nte d div i

si o n Of th e bar I n b a rs Of six b ea ts o f equ a l l en gth

.
,

t he fi rst n ote is t he fi rst a cc en t e d d ivisi o n t he s e c on d

an d third no te s u na cc e nt ed d iv isi o ns , t he fo u r th n ot e
is t he s ec ond a cc ented di vi si o n ; a nd t he fift h an d
sixth n ote s u na c cent ed di visi ons I n ba r s of n ine
, .

bea ts th e fi rst fourth a nd the s ev enth n ote s a re ao

, , ,

c en ted — t he s e c on d a n d third fi fth a n d si xt h eigh t h , ,

a nd n i n th a re u na c c en te d di v isi o n s
, I n ba r s o f .

t welv e bea ts th e fi r st fo urth s ev en th a nd tenth

, , , ,

n o tes a re a c c en t e d a n d t h e s e c on d a nd third fifth

, ,

an d si x th e ighth a n d n i n th
, el ev en th a n d t w elft h ,

n ot e s a re u nacc en ted di v isi on s

, Wh en this l ast ki nd .

o f ba r is tr ea t ed as a ba r Of fo ur c r o tch ets i n whic h

(
case th e d otted note only c ounts as on e bea t although
, ,

co nta i ni ng three eq ual parts ) th en the first beat may ,

 GU ID E T O C OMP OSI T I ON .
99

be c o nsid ered an a c c ented s ec on d best an u n a c , the c essors a pply for th eor eti c al k nowl edg e T he higher .

c en t ed the th ird b ea t an a c c en t ed a n d t he fourth c ha n i n n o t e h e c alls th a t whi ch d e s c en ds fr o m t he

, , g g ,

b eat a n una cc ent ed di v isio n of t he bar ; for ex amp l e : mi n o r or m aj o r s ev en th on t o th e p erfe ct fifth on t he

s ec o n d n ot e o f t he d o w n b eat ; t h e lower cha ngi ng
no te is th a t wh i c h d es c en ds fro m t he p erfect o r a ug
m ent ed fourth (the l ast b ow ev er sh ould s eld o m oc c ur )
, ,

It foll o ws th a t in b a rs of this k i n d susp ensi ons m ay o n t o t h e mi n or or m ajor sixth T h is s ev en t h

.

a b o v e an d fo u rth b elo w as s ec o n d n o te s both skipp ed

,

be i n troduc e d in t wo m ann ers for ex amp l e , ,

fro m in t h e c h aract er of dissonants m ay b e emp l oy ed ,

Ex . 631 .
i n fo ur n ot es i n th e foll owi n g m anne r i n pi ec es of
1 st m a n n e r .

two thr ee an d fo ur p a rts a ltho ugh forbidd en i n the

,

, , ,

for mer class ; for ex amp l e

Ex . 6 34 .

Ex . 6 32 .

Ex . 635 .

or C adenc e .

W h en of equ al or tripl e ti me mor e not es

,
in a bar ,

o c c ur th an b elon g to t he b eat all th o s e whic h occ ur ,

on t h e b eat ar e a c c en t ed an d th o s e th a t o cc ur wit h ,

o ut t he b eat are una cc en t ed su b di visions , for -

e xa mpl e

Ex . 633 .

Ex . 6 36 .

In albo v e m ea su r es th e n ot es a re o n l y sub
l th e a ,

div isio n s of t h e bar Th e first n ot e in all c as es is a n .

b 7 5 6
a c c en t ed sub divisio n an d t he s ec on d o r p assi n g n ot e ,

is a n un ac c en t ed sub divisi on I n t h e b ars of 2 an d .

A lla breve tim e N o 1 I s an a c c en t ed N o 2 an nu

, .
,
.

a cc en t ed N O 3 an ac c en t ed N o 4 an u nacc en t ed
, ,

s u b di v ision I n th e bar of 2 N O 1 is an a cc ent ed

- .

N O 2 a n u n a c c en t ed N o 3 an a cc en t ed N o 4 an
.
, .
,
.

,
.
,
b
et te r .

un a cc en t ed N o 5 an a c c en t ed N o 6 a n un a cc en t ed
,
.
,
.

s ub d i v ision I n t he first ba r o f c o mm on tim e N o 1

- .
,
.

is a n a cc en t ed N o 2 an u nacc ent ed N O 3 an ac
,
.
,
.

c en t ed N o 4 a n una c c en t ed N o 5 a n a cc en t ed N os
,
.
, .
, .

6 an d 7 an u n acc en te d N O 8 an acc en t ed an d N O 9 , .
, .

a n u n ac c ent e d sub divisi on i n t he s ec on d bar-

,

N o 1 is a n a c c en t ed an d N O 2 an una c c ent e d sub

.
, .

divisio n of t he ba r I n sh ort, ev ery n ote which .

su ffi c es for the b eat of a bar is a di v isi on all n ot es

Oth er good m ast ers h a v e u s ed th ese tw o ch an gi n g
,

wh ich fo rm o n ly th e hal f thi r d qu a rt er or still l ess

n o t e s t h e S ev en th a b ov e an d t h e fo urt h b el o w i n
, , ,

p o rti on o f a b ea t ar e c on sid er ed sub d ivision s A s -

,

v e r t ed , a lth o ugh th es e i nv ersion s p r oduc e hid den

.

, .

i n this c l a ss of cou n t erpoi n t w e sh a ll m a k e u se of

A l la breve ti m e i n w h i c h fo ur equ al sh o rt n o t es
,
fifths , i n th r ee an d fo ur pa rt h armo n y ; for exam ple
-

fo ur cr otch e ts ) a r e t o b e pl a c e d ag a i nst on e sl o w
(
n o t e I sh al l h er e e xpl a i n wh a t IS un d erstood by the
, ,

two c ha nging n otes so ca l l ed on th e a uthority o f ,

ch ap el m ast er P u x t he c el ebra t e d a uth o r of t he Ex . 637 .

u n iv ersa lly tran sl at e d b oo k of i n structi on c a ll ed

Gr adus ad P a rnassum t o which all h is suc .
 A L BREC H T SBE RG E R S
’

H id den fif h
t s.

Ex . 6 39 .

In u nder co u nt erpoi n t th e foll owi ng cad en ces

, ,

pr ep ar ed by the thir d m ay b e us ed
,

or in t he followi ng m ann er i n which t h ey p r odu c e,

,

i n a d di ti o n , an u np r epa r ed ch o rd o f t he fo urt h an d
si x th , which is o nly all o w ed i n free styl e ; fo r
3 1 2 8

0 7 8 6

Ex . 64 0 .

l 1 S bju ec t .

T he la st t wo c a d en c es are faulty as in th em two

,

u n is o ns a n d t w o o c ta v es o ccur on ac c e n te d d iv isi n s
o

o f t he ba r a nd p r o d u c e a pr o gr essi on o f
,
fens i ve to
t he c ar i n dire ct m o v em en t
Ex a mpl e i n C m aj o r .

T h es e latter m anners are th is a c c ou nt l ess bea u

,
on ,

tiful and o ught t o b e s el do m e mpl oy ed i n strict

,

c o m p osi t i o n I n th is cl ass al so the l ast no te o f t he

.
, ,

pen ul tim ate ba r m ust be t he m aj o r si xt h wh en t he

, ,

c o u nt erp o i n t is a bov e, and the m i n o r third o r t en th ,

wh en it is b el o w I n upp er cou n t erpo i nt t he fol

.
,

l o wi ng c a den c es b esi de s m any o th er s m ay be us ed

, ,

i n th em t he sixth i s l ed t o b y r egul a r gr a dua l p ass

,

i ng n o t es or by n o t e s skippi n g o n to a c on s on an t
,

i nt erval

Ex 641
. .
 1 02 A L BRECH T SBERG ER S ’

F a ul t 7 th—is the g i n th e igh th bar which m a k es e , m ented fifth . Consona n t fol

susp ensi ons a re t he

a b ass ca d en c e with t h e pr e c edi n g d f i l o wi n g — a pe rfect unison which in this c lass is

i &c
g
- ,
v z
;
pe rmi t ted o n t he a c c ent ed divisi on o f a bar a m i n o r
.
, , .

Fa ul t 8 th —is th e g i n t he n i nth bar which fo rms

#
a n u n h a rm o n i o us tra n s v e rs e po siti o n wi t h t h e
, or m aj o r third pe rfect fift h mi no r or m a o r sixth
, ,
j ,

p re pe rfect o cta v e a nd a mi nor or m aj o r t en th S ec onds

, .

c edi ng g o f t h e al to and als o a mi no r ch r omati c

, ar e a l wa ys r es o l v ed i n t he b ass fo rmi n g t he c o u n
pr og r essi o n in t he cou nt erpo i nt its el f— g d a 82 0 , , , . t erpo int b el o w by d esc endi n g a h alf or wh o l e to ne
F a ul t 9 th— is t h e b i n t he sa m e ba r b eca us e it d oes , to t he t hi rd T he thr ee fo u rths al so are r eso l v ed by
.

n ot asc end t o t h e n ext 0 fo r wh en i n t w o p a r t

, ,
-
d e s ce ndi n g t o t he third in the c o u nterpo i n t a bo ve
, .

c o m positi on o f thi s c lass th e p er fect fo ur th d oes no t

, ,
The three s eve nths a l so a re r es o l v e d b y d esc endi n g
i n thr ee n otes d e sc en d or asc end b y grad es on t he
, half or a wh o l e tone to the mi no r or m aj o r sixth in ,

t h ird n o te but is m er e l y en cl os ed b et w ee n t w o si mi
, t he c ou n te r poi nt a bo v e ; an d t he two n i nths al s o
l a r n ot es t he e ffe ct o n t h e ear i s th a t of a dis so n ant , d esc en d to t he octa v e as suspensio ns i n t he upper
a nd this i s as fa ulty as t o skip to it with t w o mi n ims pa rt T he pe rfec t an d a ugm en ted fou rth wh en
.
,

sus p en ded in t he l ow er pa rt m ust al s o be r eso l ved

s ec o nd cl ass i nstan ce
,
in t he ; fo r t n :
by d esc endi ng to the n e x t n ot e the fi fth It is w ell
' 4
, .

0 kn o wn t h a t the dimi nish ed fift h is best r esolv ed o n

F a ult l Oth— is the sh i p of t he a ugm e n ted s eco nd i n t he third b e l o w but i n th is cl ass it is n ot to h appen
t he t enth bar fro m g d o w n t o f
fl
this skip be i ng ,
,
imm ed i ately espe c ia lly in t he upper pa rt ; wh en i t
s eld om v oc a l or pe rm i t t ed even i n t he free styl e .
,

a p p ea rs sus pend ed i n tha t pa rt t he mi nor third or

F a ul t l l t h— is t he skip o f t he m aj o r s ev enth i n t he ,

sixth must be i n t erpo l at ed in the unacc en t ed di v isio n

e l ev enth ba r F a u lt t h—is ca us ed by t he hidd en
.
of a ba r ; for ex ampl e
fi fths b etw een the twelft h and thirte enth ba rs , viz ,
Ex 64 8
.

fro m the sixth to t he fift h , i n direc t mo v em ent, . .

Fa ul t l 3th— is
t i , &c . ca us ed by two un isons ,

b etween which t h er e is on ly a shi p o f a third fro m

th e p en u l ti m ate to t h e l as t ba r,
ft 8
I n the

follo wi ng ex amp l e both

f t t (i
impro ved
8

,
c oun te r po m ts a re Co n so nan t suspensio ns may be resolv ed by movi ng
no th er c o n s ona n t by skips or grad es whi c h last ,

o n ly ta k e p l ac e co rr ectly with t h e pe rfec t fifth

t he two pe rmitt ed sixths for ex ampl e

C XXXVI — ON T H E FO U R T H C na ss o r
. S TR I C T
COMP OSI TI ON I N T WO P A R T S .

T he s y n c o pe or suspen si o n admi t t ed in to th is
,

c las s is divi ded i n to t w o pri n ci pal ki nds — cons onant

,

a n d diss o na n t— b ut th es e c oh ta in m an ifol d v a ri eti es .

D issona n t su rp m io ns ar e made b y b i ndi ng a ny o f

t h e foll o wi ng n o t es — t h e th r ee s e co nds o r fo u rths , ,

or sev en ths the t wo n i nths a dimi n ish ed o r a ug

, ,
 GU IDE T O COMP OSI T I ON . 1 03

T he bo un d fourths i n th e und er c ou n t erpoi nt are

n ot r eal susp en sio n s of t he fourth b ut a n a c c o m p a
,

n im en t to th e susp en d e d s e c o n d whi c h must b e a dd ed

,
’
i n h a rmo n i e s of thr ee o r m o r e p a rts I n F ux s L ati n
.

book of i n structi on th ere is an e x amp l e ( see his

,

Gr adus ad P arn assum p ag e 7 2 ) o f a n i nth i ntr o

,

duc ed i n to t h e l owe r p art wh i c h i s al so n ot a r ea l

, R ema rk —A l though the pr ec ed ent o f m any c om
n i nth but a s ec on d a bov e t h e o c ta v e as is pro v ed by
, , p os ers m ay san cti on the abo ve pr ogr ess ion which
its r eso lv i ng on to t he third abo v e the o c ta v e call ed
,

, has b een a ck no wl edg e d c orr ec t ev en b y s ev er e,

t he t en th The s am e m ast e r ( see s a m e p ag e) forbids
.
rigorists y et w e would dissu ad e b egi nn ers fr o m u si ng
u s to r e s ol v e a s ev enth on an o c ta v e i n th e l ow er
,

it a s a su cc e ssio n of su c h fifths an d o cta v es in two

p art whi c h is right enough in two p arts but w e p art s i mpr ess t he ear too sh a rpl y—th e m or e s o th at
, ,

, ,

k n ow th at o th er c el ebrat ed c ompos ers h av e often

, ,

this c l a ss a d mits of s usp end ed d isson an ts on th e ac

u s e d it a s a susp ens io n of t he p erfec t c hord i n c en t ed d ivisio n s of b a rs whi c h th us m a s u n d mor e
, y o
c ompositi on s of m an y p arts ; for exampl e lik e u nacc ent ed di visio ns whil e t he u nacc en t ed
No 2
. .
di v isions upon which the r esol utio ns are c o m pl et e d
by c o nso nan ts soun d lik e acc en t ed di v ision s —by
,

which t h e dis a gr eeab l e effec t of this progr ession is

ma de m o re s en sibl e For this s am e r eas o n th e fol
.
,

lowi n g thr ee m ann ers o f susp en si on sh ou ld be av o id e d

i n su cc essi on in pi ec es of t wo or mo r e pa rt s b oth i n
, ,

stri ct a nd free styl e The fo urth m ann er h ow ev er

.
, ,

T he h a rmon y of t h e sixth , i n N o 2 , is b ett er . .

i n wh ic h th e susp en d ed n i nth is pr e p a r ed by t h e
T he fol lowi n g ex ampl es are a lso good , esp ec i a lly for o c tav e is fo rbidd en ev en wh en n ot i n suc c essi on
, as ,

pi ec es in th r ee a nd fo ur p arts , al th o ug h t h ey app ea r it produ c es n earl y c on s ec uti v e o c taves ; for e x ampl e :

to c on ta i n octav es an d fifths

Ex . 65 2 .

E X 65 1
‘ '
1 0 8
8 1 0 8 1 0 s 3 s

No 2. . N o. 3
.

No 4
. . B ad .
1 04 A LBRECH T SBE RG ER S
’

I n this cl a ss , t he fi rst ba r o f b o th c o u nt erp o i nts ,

i n h arm o ni c s o f thr ee o r m o r e p a r t s , sh o ul d c om La s t ly i f su cc essiv e suspen sions shoul d n ot he
,

m enc e with a p a us e o r r est equ al to a w h o l e d ivi si o n a gr eea b ly e ffec t iv e it is a ll o wa bl e t o i n tr o duc e on c e

, ,
,

a n d t he first u p be a t o r u n ac c en t ed d ivisi o n, sh o uld o r a t m o s t twic e i nt o the c o u n terp o i n t an nusus

,
,

c ont a i n a p er fe ct c o nso na nt A ll un acc ent ed d ivi .

p end ed c o ns o nan t o n a n a cc ent ed divisi on I n this .
,

si o n s must c onta i n c o n s ona n ts , as i n th e m are p re s i n t h e p r e vi o us cl ass es a b eau t iful flowi n g m elody

a , ,

p a r ed t he suspen sio ns which , i n this cl ass , a re al l 1 8 a r equ i s i t e

,

m ade in t h e acc ent ed d i visi ons ; th e su sp ensi on s Ex . 65 5 .

th em s elv es may be eith er diss o nan ts r es olv e d d o w n

wa rds ( in strict styl e) o r c o ns o nan ts r eso lv ed up o n
,

oth ers , by grad es or s kips T he p en ulti m at e ba r in .

u p per c o u nt erpo i nt mus t a l wa ys h av e t he suspen de d

mi n o r s ev enth r es olv ed up o n t he m aj o r sixth , a ft er
which t he l ast bar c o n clu des w ith th e o c ta v e I n .

t he P h r y gi a n m o d e e m pl o y ed by F ua t he ch o ra l e
,
'
,

c o nclud es i n t he t w o l as t b a r s with f , a wh en t he ,

m aj o r s e v enth is n atu r al a nd nec essa ry , and must be

r es o lve d upo n t he n atu r al m aj o r s i xt h v iz t he sus .
,

p e nd ed e o n t o (1 T h ere fo r e a n o rga ni st c om m its a n

.

e r r o r if h e r es o lv e this m aj o r s e v e n t h on t h e a ug

m ented s ixth , d wh en pl ayi ng t he sh o r t sym pho

fl ,

n i es b etw e e n t he v e rs e s o f V
esp ers i n th is key ( t h e

fo urth chu r ch m o d e) which , i n c h o ral e s has no ,

, ,
f
a nd he m a
y b y thi s m ista k e c o n fus e t he si ng e r s , w ho
a re o b liged i n this ke
y t o si n g ( I u n a lt e r ab ly T he n .

o r g a n ist a ls o is i n e rr o r o r ig no r a n c e, w h o m ak e s
,

t h e r es po ns es o f t he v e r s es be gi nni n g i n this pri n ,

The N B bov e the u pp er c o u nt erpoi nt poi nts out
a
c i p a l ke
y with t he fo u r th a , i n st ead o f t he fifth , 6
, ,
.
th at al t h o ugh t he d imi nish ed fifth f a sc ends i n stea d
T h u s much o n t h e c ad en c es o f upp e r c ou nt erp o i nt
, , ,

o f d es c e n ds to i ts r es o lut ion yet as the g i n the

.

T he c a de nc es o f u nd e r c o u n t erp o i n t m ust c o nsi s t o f

, ,

,
u n ac c en t ed d i vi si on may be c onsid er ed a s m er el y a
t he s usp e n de d s e c o n d r eso l v ed o n t he mi no r thi r d
p assi n g note th i s fift h is really res o lv ed on e i n the
fo r t he p e n ul t im a t e bar a n d th e u n is on o r oct a v e for
,

,
fo ll owi ng ba r T he N B o f t h e u nd e r c o u nt er po i n t
t he c o n clu d i n g ba r— t he l att e r i f t h e s ec o n d l i e s
.

,
poi nts o ut th at f an d b pr o du c e t h e fa ult o f M i
d i st a n t I n fr ee s tyl e , t h e fo ll o wi ng lic en s e s a re
.

c on tr a F a whic h is excu s ab l e as l ea di ng i n t he
T he s e v e n t h ma y as c en d or d esc en d to t he
,
g i v en -
,

foll o wi n g bar t o A mi no r a nd n ot to C m aj o r
t h i r d by a ski p w h en t he m el o dy g a i n s gr a c e
.
,

,
A l t o g eth er t he exc essiv ely shac kl in g r estri c tio ns o f
t h ereby ; fo r ex ampl e ,

th is cl ass r equi r e o c c a sio na l exc epti o ns .

E x amm e in E mi n o r .

Ex . 65 3 .

Ex 65 6
T he dimi n ish ed s e v enth which has its pl ac e o n the
,
. .

s e v en t h g r ade o f m i no r s cal es a nd t h e d om i na n t .

se v e n t h which ha s i ts pl a c e o n th e fift h n o t e o f m aj o r
,

an d m i no r sc al e s m a y ski p t o or fr o m ea c h o th e r a n d
,

th e i r a p p r o pri at e i nt er v a l s the third and dimi n ish ed

,

fifth or to th eir i nv ersi ons for ex ampl e

,
1 06 A LBRECH T SBERG ER S
’

w ay, whi c h , n otwi thstan di ng his great fa m e, is not ar e no t a dmitted i n this class ; s uch a faul t can o nly
be r em edi e d b y a n en sui n g bi n d or by dividi n g the ,

n ot es i n t he fo ll owi ng m a n n er
,

T he c omm en c em ent and c onc l usio n of b oth c ou n

te rp o i nt s in this cl ass , must b e m ad e with a pe rfe ct
c o nsonant ; an d it is sti ll forbidd en to c om menc e the
u nd er co u nt erpo i nt wi t h the fi fth b el o w a nd t o c on ,

c l ude t he u pp e r c o u n te rpo i n t with t he fi ft h a b o v e .

T he first ba r o f b oth c o u nte rpo i n ts must b egi n with

a rest equ al t o o n e divisi o n o f t he b a r
, as i n t h e ,
S ec tions en di ng with a m i n i m on th e a c c ent ed d 1 v1
pr ec edi ng class T he pen ul ti m at e bar a l so has t h e
.
si o n are p er m itted and o ften necess a r y for v oca l and
,

s usp en d ed s e v enth in t he uppe r and the susp end ed wi nd i nstrum ent pa rts as brea th m ay b e t ak en n u
,

F a ul t 7 t h — is
,

sec o nd i n t he l o w e r c ou n te rpoi nt .
o b s e rv ed a ft e r th e s e u n bou nd n o te s .

t h e d i m i nish ed fi fth j ; i n t he first a c c en te d sub

,

divisi o n o f t he ten th bar F a ul t 8 tk— is the s ev en th

.
,

a i n tr o du c e d by a skip i n t he t en th bar
, , F a u l t 9 th .

— is ca us ed by t he fo ur qu av e rs i n the el ev ent h bar ,

Ex . 664 . wh ich do not b el o ng t o this cl ass ; t he c as e is d i f

fer ea t if a pi ece whi c h might be m a rk ed by 3 or
c omm on tim e be written for t he sa k e o f c onv en i ence
, , ,

i n A l la br eve m ea sur e i n whi c h qu av ers w o ul d

-
,

r e pr es ent s emiqu av ers .

An impro v em ent x mp l e
of E a 664 .

C o un t e rp i t
o n .

N i ne faul t s exist i n this ex ampl e F a u l t l at—i s .

the un pr e pa r ed fo urth g i n t he th ird ba r F a ul t

2n d —is t he du l l m e l ody produ ced by usi ng t he
.
, ,

se co nd c l a ss to o l ong th a t is fo r thr ee b a rs c on
F a u l t 3rd— is c a us ed by t he t w o qu a v ers
, ,

t i nuousl y .

o n the first di visi o n of t he si x th b a r F a ul t 4 tk— is .

th at i n o n e bar two si m il a r n o t e s a re wr itt en i n

, ,

su cc essio n ( a a in t he s ev enth bar) this would be

,

no fa ult i n a v o ca l pa rt wh er e o ne l o ng n o te may be
,

div ided to a cco mmod a te syll abl es ; for exa mp l e

Ex . 665 .

Ex ampl e i n E min or .

F a ul t 5 th—is t he ski p of the s ev enth wh ich is on l y ,

pe r mitt ed i n free styl e for the sa k e o f el eg an c e a ft er

, ,

t he susp en de d n i n th F a u l t 6 t h— is t he t oo l engthy
.

mi n im c (a fte r the two c ro tch e ts e a n d

,
o n t he ,

unacc en ted di vi sio n Of t he n i nth ba r wh ich s ecti o ns ,

 GUID E T O C OMP OSI T I ON . 1 07

I n th e third cl ass w e al ready r em ark ed th at fo ur

, ,

six or eight n ot es of equ a l v alu e might b e w ritten

,

a g a i nst t he c h o r a l e an d e x a mpl e s n o w fe l l ow of al l
,

fiv e cl a ss es o n t he s am e ch o r a l es i n C m aj or an d
, ,

E mi n or i n t w o so r ts o f tripl e ti m e which o ugh t t o

, ,

b e as fam ili a r to t he stud en t as m ea sur es Of equ a l

tim e W h o ever c an gu a rd aga i n s t all fa ults c om
.

pr eh end e d in th es e fiv e cl ass es o f tw o p a rt co mpo

-

siti ou i n equ al or u n equ a l m easure m ay feel assur ed

, ,

th a t h e will easily c omp o s e m el odi o usly i n thr ee or

fo ur p arts as it is c erta i n th a t th e fu ll er the ha rmo n y
,

bec om es t he g r eat er i n proportio n are th e dev i ation s

,

from strict rul e .

Ex 669
. .

We may c omm enc e with a c rotc h et r est i n th e

s eco n d cl a ss or a qu av er r est i n t he third c l ass wh en
, ,

writi n g in trip l e ti m e Th e foll owi ng is an e xampl e

.

o f eight s hort n ot es a b o v e on e of th e c h o r al e wh ic h
,

is ch ang e d t o A lla br avo tim e i n th e und er c ou n t er

-
,

poi n t for gr eat er c onv en i en c e

,

The nu mb er 3 i n t he tr ebl e abov e the s ev en th bar ,

draws att en ti on to t he a o f t he a lto, which forms o nly Ex . 67 2 .

a third a b o v e t he tr ebl e but wh ich must be m a rk e d

,

by a 6, as all i nt er v a l s must be c ou nt ed u pward from

t he fun da m en tal p a rt .

Ex . 67 0 .
1 10 A L BREC H T SBERG ER S
’

NB NB
. .

T he thr ee N B i n t h e abo v e e x ampl e po i nt o ut

th at t h e i nco mpl et e ch o rds , 2 i , may o nly be writt en
i n t he first ba r Wh en the pe rfe ct fi ft h an d mi n o r
.

o r m aj o r thi r d are a dd e d t o t h e fu n da m e n t a l n o t e a
,

p erfect h ar m on ic triad r esults ; wh en t he m i no r o r

m aj o r th ird wi t h the mi no r or m aj o r si x th , are ad ded
,

to t he fund am enta l n ot e, a n i m per fect h a rm o nic tri ad

res ults— but wh en the m aj o r third i s ta k en with t h e
m in o r sixth , t he tri ad b ec o mes dissonan t, and b el o ngs
to th e sa m e t ri b e as ch o r ds Of the s ec on d , fo urth,
se v enth, a nd n i n th tog eth er with al l dimi n ish ed or
,

a ugm en t ed i n t erv a ls wh at e v er , a nd th e ir accom a

p
n i m ent Wh en a fu nd am enta l not e is d o ubl ed by its
.

oc ta v e or a third o r s ixth be d o u b l ed , which is p er

,

m it ted i n three and fo ur p a rt c o mpo siti on , t he chord

-

is ca ll ed a d o ubl ed tw o no t e ch o rd , wh en i n thr ee
-

pa rts ; and a d o ubl ed tri ad wh en i n fo ur parts ; an d

are n o lo n ger fo rbidd en wh en us ed to a void erro rs
, .

I n this c l ass are ad mitte d two hidd en fift hs o ct av es

, ,

or u niso n s esp ec i ally wh en con tra ry m o v em ent is

,

empl oy ed for t h e third pa rt or wh en t he fu n d a m en t a l

,

pa rt m a k es a skip of a fo u rth Wh en th es e l ic ens es

.

The c h ords of sec ond fourth s ev enth and

the , , , a re u sed t he u ppe r of t he t w o p arts m ust mo v e by
,

n i n th, an d a lso th ose m a rk ed N B i n th e a bov e ex gr ades ; for e xamp l e

a m pl es are diss ona nts and th e r efo r e ca nn ot be em
, ,

pl oy ed i n t he first c l ass whi c h i n three and four

, ,

p arts on ly admits o f the two p e rfec t c h o rds an d the

,

thr ee fo ld c hord of the sixth whi c h howev er mu st

-
, , ,

n ev e r be the dimi n ish e d or a ugm en te d s ix t h T he .

ch ords of th e thi rd and fou rth ta "

g of th e fourth and
,
I)
si x th ,
and of t he dom in an t se v en th
; are a l so

sti ll ex c lud ed The fo llo wing only are mit te d i n to

,

t h e first cl a sses of stri c t c ompos itio n for i nsta n ce ,

abo v e 0

C ad ence
NB N B
.

. .

Eh 6 7 7
. .
l
C ho ra e.
 GUID E T O C OM P OSI T I ON . 11

I t is mor e h az ardous to use two m ajor thirds suc

c e ssi v e l y i n thr ee p a r t th an i n fo ur p a rt h a rmo n y
- -
,

e sp e c ia lly wh en th ey fo rm p a rt of a p e rfect c h o r d .

T w o succ essi v e a ug men t ed o r di m i n ish e d o ct a v es

p r o du c e a n u n h a rm oni o us tran sv ers e p o siti on ev en
wh en on e thi r d i s mi n or and t he o th er is m a or o r j ,

w hen b o th are mi n or for ex a mpl e

m i are .

Ex . 68 1 .

{a fa

T h is c l a ss adm its th e c ursory use of h al f c a d enc es ,

s uc h a s, fig 3Hg i H . I n t h e l a st ba r th e o c t a v e
,
b

m ay be d o ubl ed but wh en th e ch or al e i s i n the

,

l o w est p a rt on e o f t h e upp er p a r ts must h a v e t he

,

th i r d an d o cta ve as m a y b e s een i n E x a mpl e 68 2

,
.

T he c o m m en c i ng a n d c o nc ludi n g cho r d s must be

p er fect T he p en ultim a t e bar or c hord must be th e
.

p e rfect t r i ad with m aj or third an d p erfect fifth wh en ,

t h e chor a l e I s i n th e upp er or middl e p a rt whic h ,

o ccurs o n t h e d om i n an t Of t h e fu n d a m en t al p a r t .

W h en t h e ch or al e is i n th e l o w e st p art t he p en ul ti ,

m a te b ar sh o uld c on t ai n the im p er fect tri ad o f t he

m aj o r si x t h an d m i n or third a s t h e ch o ra l e s a re g e
,

n e rall y pl ac ed o n t h e s e c on d gra de i n t h e p e nu l t i
,

m at e bar ; t he s ec on d gr ade o f a fu nd a m en t a l n ote ,

w hic h d e s c en d s or a sc en ds a t o n e a l wa ys r equ i r e s
,

t h e m aj o r si x t h as w e l ea r n t i n t h e study of sc a l e s T he N B p oi n t ou t th a t it is n o fa ult i n simpl e

"

. ,
,

T he r em a i n i n g ba r s u su a lly c o n ta i n o n ly th e fol l o w c ou n t erp o i n t t o i n tr o duc e tw o o r thr ee chords of

,

i n g ch o rds — 3 g o r g g o r 130 wh en th es e l ast t h e sixt h succ essiv e l y b e c a us e th e y a r e n ot i n v ert e d

fi
,
, , ,

a r e n ot l e a di n g n ot es H ere fol ow ex am pl e s i n
.
,
i n d o u b l e c o u n t er p o i n t it w o ul d be an e r r o r b e caus e
, , ,

which th e li n e n poi nts out th e p ermit t e d h i d d en w er e t h e tr ebl e writt en a n Octav e l ow er and the ,

fifths and octa v e s fu n d am en ta l no t e an o ct a v e high e r t w o p erfect fifth s

,

or a
p e r fe ct a ft e r a di m i n ish ed fift h w ould o cc ur i n

dir ect m ov em en t for ex ampl e

Ex . 68 3 .
112 A L B REC II T SBER G ER S
’

It w as fo rm erl y a rul e to k eep a succ ess i o n o f

sixths n ear to g eth er i n ord e r th a t t h e s ucc essi v e
,

fo urths i n th e upp er p a rt shou l d no t O ffend t he ea r

fo r ex a mpl e

Ex . 68 4 .

G ood w h en ry
n ece s sa .

b ut i n t h e first pl a c e,
, it is n ot always po ssib l e to
m o v e the tr ebl e and alt o sudd en l y d o w n wa rds o r the
,

ba ss upwa rds with o ut distu rb i n g the m el o dy and i n

, ,

t h e s e co nd pl a c e th e ch o r a l e
,
fugu e su bj ect or
,
-
, T he N B p o i n t o ut th a t it wo u l d n ot b e a n e r r o r
c o u nt e r s u bj ect o ften occ asi on t h e si x th s t o be writ
-
t o d o u b l e e i t h er of t h ese M n ot es as n e ith e r o f t hem
-
,

t e n a t a d ista n c e as is t he cas e i n Ex am pl es 6 8 0 a n d W e m a y a dd t h at H an de l
,

6 8 2 ; th e r e fo r e this rul e w as a r b i t rary a nd c o uld

,
ar e the l ea di ng n o te d
# , .

S eb asti a n B ach and o t h er g ood m ast e r s o f stric t

,

, ,

s eld o m be c ompli ed with . com po siti on h a v e Oft en us ed t he th ree fo ll o wi ng

,

phras es wh er ei n hidd en fift h s o ccur But t he re

,
.

C horal e i n E mi nor . m a i n i ng o nes wh en t he th r ee p a r t s p r ogr ess b y

,

dire ct m o v em ent or t he t w o upp er p arts m ak e

,

simulta neous ski ps ev en th o ugh t he ba ss pro gr ess

,

by c o ntra ry m o v ement are almost al l fo rbi dd en

,
.

Ex . 68 5 .

Ex . 68 6 .

No 2
. . No 3. .
1 14 A L BRECH T SBEB G ER S
’

Ex . 69 3 .

Ex . 689 .

E x amp l e i n C m ajor .

E x 6 90
. .

6 5 3 2 a bs a s

6 5 8 1 6 8 7

Ex 6 9 1
. .

C XL .
-
ON TH E T H I D C LA SS
R ST R I C T COM PO S I T I O N
OF

IN T H R E E P A R T S .

A ll tha t has b een sa id i n trea ti n g of the tw o p re

v i ous cla s se s o f thr ee p a rt c om positi on
- a ppli e s t o ,

thi s cl a ss i n w hich fo u r si x or e igh t equ a l sh o rt

, , ,

n o t e s m ust fo rm t h e c o u n t erpo i nt u n til t h e l a st ba r .

It is to be o b s e rv ed th a t th e c oun terpoi nts may

,
 GU ID E T O C OMP OSI T I ON . 1 15

c omm enc e with r est equi v al en t to h al f a d ivisi o n

a ,
It is o f c o urs e un d ersto od th at th es e c a denc es i n
, ,

a nd a r e n ot r estrict e d as i n t w o p a rt c o mp o s ition to
,
-
, the u pp e r c o u n t erp o i n t may b e tr an sferr e d t o t he
t he fift h o r o ct a v e but m ay b egi n with t h e third
,
i nne r pa rt an d t h e h igh est position b e gi ven to t he
,

with o ut or a ft er a r est wh en t h e fifth or o cta v e a p

,
c ompl em ent a ry part .

p ea rs i n the c ompl em enta r y p art I n sh ort t he .

,

p e rfec t ch o rd requi red by al l cl ass es as c o mm en c e ,

m en t may be pl ac ed a c co rdi n g t o fan c y i n pi ec es Of

, ,

t hr ee or m o re p a r ts W h en t he ch o ral e li es i n t he
.

l o w est pa r t t he l ast n ote Of t he p en ultim at e bar mu st

,
Ex . 69 7 .

be t h e m aj o r sixt h a cc ompan i ed by m i no r third ;

sh o ul d t he fu nd a m enta l not e be th e susta i n ed d o mi
n a n t t h e c o u n t erp o i n t must c on ta i n t h e m aj o r third
, ,

as t h e ch o ra l e giv e s t he fifth Wh en t he c ou n t er
.

poi nt is t he l ow est p a r t it may rol l th r o ugh t he

,

m i no r third b el o w th e c hora l e an d t h e m i no r sixt h

,

b e t a k en i n t h e c om pl em en t a ry p a rt ; o r it m ay t a k e
t h e do m i na n t o f t he p r i n c ip a l key whil e t he c h o r a l e
,

has the p erfect fift h a n d t h e c omp l em entary p a rt th e

,

m aj o r third — thu s pro du c i ng t he w ell k no wn r o lli n g -

ba ss c a d en ce wh i ch is the l ast Of t he fo l lowi ng

,

e x ampl e s

Ex . 69 6 .

C ho rl a e.

C h ora l e.

C h ora l e. Ch o ra l e.

C h ora l e.

C ho r
a e. l

Ex . 69 9 .
 A LBRECH T SBE RG ER S
’
116

Ex . 7 02 .

Ex am pl e i n E m i n or .

Ex . 7 00
.

C X L I — ON T H E FO U R T H C LA SS OF ST R I C T
P
.

CO M O SI T I O N I N T H R E E P A R T S .

T his cl ass ad m its suspen si on and sy n c opati on an d ,

w e h a v e a l r ea dy sh o w n wh a t t h e t hi r d i n t e rv a l o f
e v e ry c o n s o na n t a nd d i ss o n a n t must b e see first cl a ss
(
Of th r ee pa r t c o mp os i t i o n)
-
. T he m i no r s ev en t h ( t he
m aj o r s e v e nt h r a r ely wh en it is n o t a l ea di ng no t e )
,

ca n be a cc o m p a n i e d by t h e octa v e i nst ea d o f t he

third wh en n ec e ss i ty d em ands i t ( see N o 1 Ex

,
.
,
.

It is a ls o p e rm i t t ed t o use the ch ord o f t he fo u rt h

Ex . 7 01 .
a nd si x th o n a n u na c c e n te d di v isi o n ,
b ut o nly as a
r eso lu t i o n o f t h e susp end e d ch o rd o f t he fift h a nd
si x th w i th a s t a ti o na r y b a ss as al l u na cc en t ed divi
,

si ons ought to c o n ta i n c o n s o nan t ch o rds ( see N 0 .

 A L BREC H T SBER G ER S
’
1 18

is not all o wa bl e as one o f the i nt e rval s is the l eadi n g

,

n o t e o f t he pri ncip al ke
y an d is di fficult t o si ng ,

c o r r e ctly with o ut i nstrum en ta l a cc o m pa nim en t .

C o mm o n skips o f t h e m a o r s ixth ar e p e rmi tt e d at

'

t he pre se n t ti me F a u t 3r d —i s t he b i n t h e a lto
.
,

which d o ubl es the l ead i ng not e of t he fo ll o wi ng c h o r d

o f c wh ich d o ubli n g is o n ly e rmitt e d o n a n a cc en ted
,
p
d i vi si o n F a u l t 4 th— is t he fifth g i n t he alto on
.
, , ,

t he a cc e nted d ivi s i o n o f t h e fifth ba r which s o u nd s ,

thi n a nd w e h a v e just l ea rn t th a t th i n ch o rds m ay

o n ] be us ed o n un acc en t e d divisi o n s F a ul t 5 t h .

is t e M cont ra F a fro m t he tr ebl e c in t he fifth

F a u l t 6 th—is
,

Li ce nce .
bar t o t he ten o r c o f t h e six t h ba r .

t he c h o rd o f t h e ft h and si x th i n t he ei g hth b ar ,

b eca u se t he fifth is di mi nish ed and is n o t foll o w ed b y

a p e rfec t ch o rd o f c o n the un a cc en t ed d i v isi on o r

n ex t b a r I n free st yl e this ch o rd o f t h e fi fth a nd

.
,

six t h wo uld be natu rall y res olv ed o n t h e p e rfe c t tri a d ,

with o ut a d e cep ti ve cad en ce i n t he foll o wi ng ,

manne r

Ex . 7 09 .

Li ce nce .

No 2 . .

Li cence .

Ex 7 08
S F a ult 7 th— is t he u n h a rm o n i o us tr ans v ers e p ositi o n
. .

ec o n d t m o c i t io n .
g
c

n th e t en o r
o f t he sam e
f
t he n i nt h bar
i n t he a lt o to t h e
f
.
i
F a u l t Stb —th e suspe nd ed fou r th to
in f ,

the req uired third ,

3
i n t he tenth bar F a u l t 9 th
,

is a no th er tr a nsv ers e po s 1 t 1on of b in t he treb l e an d

.

a l t o to wa r d s o f t he ten o r i n the ten th an d e l e v en t h

, f ,

b a r s T his p repa rati o n o f t he a ugm en te d fo ur t h ca n

.

o n ly b e p r o p e rly e m pl o y ed in c onju n cti on with t h e ,

n a tu r a l m aj o r sixth at wh en th is b b el ongs t o the

, ,

key o f A mi no r a n d n ot to C m ajor as may be s e en

, ,

i n N o 2 o f E x a mpl e 7 09
. F a u lt l Oth— is t he .

prep ar ed u nis on i n t he p enulti ma t e ba r which o ught ,

t o c o nta i n t he suspen d ed fo u rt h 2 T he fo ll o wi n g ,

e x am pl e is impro v e d

I n t he la st ex a m pl e fa ults o c cur F a u lt l at
te n
°

—is t he 5
.
,

fifth a i ns tea d o f th e third f: with t h e [

.
, ,

l o w er e d n i n th i n t he se co n d bar F a ul t 2 nd —is
, .

t he skip of t he m aj o r six t h from ( 1 t o b i n al t o which

, ,
 G U I DE T O C OMP OSI T I ON . 1 19

C X LII — OH . TH E FI F TH C L A SS o r Sr a w r ' '

C o mp o srr xo n IN T H RE E P aar s .

T his mits orn a m ent al c o u n t erp oi nt a nd c om

ad .

pr is es the a lter nat e use o f t he thr ee pr ec edi n g cl a ss es ,

with s ev e r a l sh o rt e r n o t es as in t he t hi rd cl ass T he ,
. .

c om m en c em ent a n d c on clusi on must c o nsist of a

p e r fe ct ch o r d an d t he fi ft h is stil l pro hi b it ed as a
,

clos e T he p en ulti ma t e ba r wh en t he c o u n t e rp o i n t
.
,

Ex 7 11 E x ampl e i n E mi n or is a b o v e t a k es i n t h e middl e o r u pp e r pa r t t h e sus

,

p en ded fo u rt h r es o l ved on the m aj o r thi r d 2

. . .

or ,

t h e s usp en d ed s ev en th r es o l v e d on th e m a jo r s i x th ,

b; 2 W
. h en t he c o u n t e r poi n t is b e l o w it r eq ui r e s ,

t he susp en d ed m aj o r s eco n d r es o l v e d by a sc en di n g t o
t h e mi no r t h i r d with t he p e rfe c t fo ur th or fifth a s
.

third i nte rv al i n the com pl em en t a ry p art Su spen

,
.

si o ns which are o f lon g er durati on th an th eir p re

p a ra t ions a re e rr o neo us a nd u nm el o di o us ; but wh e n
,

sh ort er or of equ al du ratio n may b e a l w ay s

, ,

emp l oy e d fo r ex a mp l e

Ex . 7 14 .

N o. 3 . No 4
. . No5 .

G o od . &c . G oo d .

W e may r em ark th at it wou l d w ell to use

,
n ot be
s usp en si on s such as N o 2 an d N o 3 withou t c on . .

ti nn i ng t he p assa g e i n c ro t c h ets as is sh o wn in N o 5 ,
.
,

or with o ut i n trodu c i n g a n o th e r susp en si on wh en it ,

7 6 7 6 7 6 6 7 6 w o ul d r es embl e a s ec tion lik e two c rotch e ts an d a ,

mi n im i n a bar with o ut an en su i ng bi n d T h es e .

s ec tion s w er e expl ai n ed i n treati ng o f t he fifth c l a ss

of t w o p art c omp osition I n this cl ass w e sh o uld
-
.
,

a im a t a ful l th r e e p a rt h a rm on y c onj o i n tl y wi th a
-
,

pur e styl e T h e c o u n t erp o i n t sh o uld n ot c o nti n u e

.

too lon g i n on e c l ass ; th e first shou l d b e gu a rd e d

a g a i n st u n til t he l a st b ar an d th e fo urth c l ass pri n ,

c i p al l
y us ed with shor t susp ensio n s The fo ll o wi ng .

a r e e x a m pl es

G3
ood
3
11 c e n ce .

é z t z ts t A
:
1 22 A L BREC H T SBERG ER S
’

If w e sim u l tan eousl y use two di ffer ent c o u nt er

po i nts b el ongi n g t o t he fi rst fo ur cl ass es wi t h o n e
ch o ral e this s c i entific pro c e dur e be l o ngs t o t he fi ft h
,

cl ass and is a fo r etast e o f the free styl e in which

, ,

di ffe r en t n o tes may a pp ea r i n ev ery p a rt ; for

e x a mpl e

Ex . 7 26 .
 GUID E T O COMP OSI T I ON . 1 23

T he N B b ass n ot e a p oi nts o ut th at it is
on the , ,

no fa u l t to i n t r o du c e t he domi n a n t s ev en th i n tr a n
si t i o u wh ich has b een mu ch prac tis ed by good
,

m asters Of th e pr es en t ag e .

C X L III .
—ON TH E F s
ra r
f
Cnx ss OF S TR I C T
C OM PO SI T I O N IN FO U R PA RTS .

T his lik e t he first cl ass es of two and thr ee p art

,

c omp o siti on i s ca l l e d no te aga inst note T h e n t es

,
o
Ch
.
Ch l
-

l
ora e. ora e.

e qu i v a l en t to t h e c hor a l e m ay b e s emibr ev es mi n i m s , ,

c rot c h ets or quav ers T h er efor e c omp osition s i n

,
.
,

t w o t hr ee fo u r or m o r e p a rts wh ich c o ns i st of n o t es
, , , ,

of equ a l durati on be l on g to t he first c lass an d a re , ,

writt en i n eq ua l c o u n te rpoi n t t he r em ai ni ng cl a ss es
c o mpris e u nequa l c o un t erp om t T he pr es e nt cl a ss .

onl a d m its t he p e rfect ch ord with t he mi n o r o r

j y
m a o r th ird a n d t he c h o rd of th e mi n or or maj or
sixth with i lie thi r d a cc o rdi ng to th e key and p er fect
,

o ct a v e
g but the l ast m ust n ev er ta k e a p ositio n
,

i n which t h e sixth is mi n or a n d t h e t h i r d m ajor Ch l Ch l ora e . ora e .

,

which w o u ld p r oduc e a fals e c hord ; the p erfect

T his cla ss a dmits hidd en fifth s oct a v es and uni
g may a nd Oft en m ust be v a ri ed to
, ,

ch o rd or n s wh en n ot O ffen si v e i n s o u n d a n d pro vi d e d t he
, ,
g so , ,

wh en t he fifth i s p erfect an d the thi r d i s not a l ead ,upp e r p a rt as c en d or d esc end by g r a des ; th e y a re
is v ri d to g c c c
g b s i trodu e d i n i n n e r p a rts L i s m ust
i ng n o t e. the c o r d of t he sixth
h a e e t n
, ,
e n e n o t .

be ta k en i n skips wid er th an t he p erfec t fift h i n t he

g § x t n d to th e sixth or o ctav e H i dd e fifths may

,
The t w o ch o rds of the fourth an d sixth
. D upp e r p a rt but i n th e l ow er an d i n n er p a rts ,
,

a s are al l disso n an t c hords an d

s q are pr oh ibit e d
e e n .

, ,
av e s m ay oc c ur i n d ir e ct mo v em en t wh en t he b a ss
,

oct
a ls o t h e ua r ta fu nda t a which 1 s t h e fourth which
Q
‘

a sc en ds o r d es c en ds by skips o f t h e fo ur th o r a sc en ds
,

a pp ea r s i n t he s e c o n d i n v ersio n of t h e d o mi n an t
,

by skips of th e sixt h ; but wh en t he lic en c e is u s ed

s ev en th a n d 1 s us ed o n the s eco n d gr ad e of the b a ss in the upp er p art c on trary m o v em en t must be
m
s c al e w 1 th t h e m aj o r sixth an d mi no r third — for i n p l oy ed i n on e or two Of the r em ai ni n g th r ee p a rts
e ,

stan c e it is p ermitt ed i n free styl e lik e oth er Th e fo ll o wi ng are ex ampl es Of g oo d lic en c es in b id

, , ,
s
di sson ant s T he first bar ea si l y c o nta i n s g or
.

g g The d en fifths a nd o ctav es wh i c h I h av e m a rk e d with an

i c li n ed strok e
.
,

l ast bar which sh o uld al so be p erfec t can o l y c

,
n o n n
,

t a i n this c h ord wh en the ch o ra l e o ccupi es t h e l o w est

,

p a r t ; for should it l ie i n th e upp er o r i nner pa rt ,

g
th ere onl y r emai n s s o r a fo r th e c oncl udi n g bar
a s t h e ch o r al e d e sc en ds to t h e pri n c ip a l key for its
,

t er m i n a tio n wh il e th e m aj o r thi r d w hi c h i n th e
, , ,

p en ulti ma t e b ar is t ak en with t h e fifth and o ctav e

, ,

a b o v e t h e do mi nan t Of the to n i c a ls o a sc en ds to t h e ,

pri n cip al key a s m ay b e s e en i n t he ex am pl es

,
.

W hen the cho ra l e li es in t h e l o w est p art th e i nt er ,

v al s o f the p en u l timate bar a re {7 7 o r 9 g ; f ,

e x am pl e be

Ex . 7 29 .
 A LBREC H T SBE RG E R S
’

Ex . 7 32 .

C ho rl
ae

E x ampl e i n E mi nor .

C ho ra l
e .

G oo d .

E x ampl e i n C m aj o r , in fo ur p art s
.

Ex . 7 31 .

T he N B on th e p enulti m at e bar p o i nts out th a t it

m ay c o nt ai n a l o n g er n o t e t han t he o th ers i n o rd er
,

to im p ress the c o nclusi on.

Ex . 7 34 .
1 26 A L B RECH T SB E RG ER S
’

C X L V — OH
. TH E Tm nn Cns ss o r Sr m c r'

Co mro srrro n IN FO UR P a nr s .

The c ou n t erpoi nt o f this cl ass is writt en with fo ur

or eight not es ( in ba rs o f equ al m eas ure) o r si x not e s
i n b a rs O f u n equ al m easur e ) to o n e Of th e ch o r a l
(
an d c o mpl em en ta r y p a r t. T he rul es a nd exc e p ti on s
o f t he pr ev i o us cl ass e s t il l a pply to t he pr es en t o n e
s .

Op en fi fths and octa v e s mus t be guar d d ag a i n st e ,

fro m t he u na cc ente d t o t he ac c en t ed d iv isi o n s o f ba rs .

On acc o u n t of t he ro lli n o r skippi g cou n te rp o i n t

n

it is p ermitt ed oc ca sionally to to uch an d t o d o u b l e

,

t he otes o f the oth e r thr ee p a rts

n ,
an d to us e t he
uniso n i nst ea d of th e octav e .

Ex ampl es .
 GUID E T O C OMP OSI T I ON . 1 27

Ex . 7 43 .

C X L VI — ON TH E FO U R T H Cna ss OF S T R I C T
.

CO M PO S ITI O N I N FO U R P A R T S .

T his a dmits s usp en sio n and sy n cop atio n We .

ha v e al r eady r ep eat edly m entio n ed th a t s usp end ed

diss on ants are m er el y r etard ed p erfect or imp erfect
c onso nants and must a l ways in strict sty l e be re
, , ,

so lv ed by d es c en din g a gra d e I n this cl a ss it is .

,

n ec ess a ry to r em emb e r t he i n t e rv als b el o n gi n g to

ea c h disso n a nt as l ea r nt by th e st udy o f thor o ugh

,

b ass T o th e susp ended ni n th bel on g t h e third ac

.
,

c ordi ng to the key and the p erfec t fi fth or i nst ea d

, ,

of th e l a tter the si x th o r wh en n ei t h e r t h e fift h n or

, ,

sixth wil l suit th e doubl ed third prov id ed it be not

, ,

a l ea di n g n ot e it is r esol v e d on t he octa v e T o t he .

s eventh b el on g t he th ird and p erfec t o cta v e—Often

t h e doubl ed third but wh en from ex p edi en cy t h e , ,

fifth is t a k en with the s ev en th an d third ( whi ch

ought t o o cc ur r ar ely ) it is n e c ess ary to skip to t he,

o cta v e or doub l e d th ird o n t h e u na cc en t e d divisi on

Of the s a m e bar or to mo v e t o g et he r t o t he d o ubl e d

,

s ixth ( wh en n ot a l eadi n g n ot e) as oth e rwise the ,

c ontinuatio n o f t he fifth duri n g the d esc en di ng r eso

l a tio n of t he s ev enth on t he sixth wo ul d c r eat e a n ew
dissonan t chord v iz
5 g w h
, ic h c h o rd is n o t
.
, p er ,

m it t ed u nl ess in fr ee s t yl e on an un acc en t ed di vi
, ,

sio n esp ec i all y after t he dimi n ish ed s ev en th —for

,
D
i nst an c e a bov e c#
,
5 2 & c T o t h e susp end e d
, , .

fo urth b elon g t he fifth and o c ta v e or d o ubl ed p erfec t ,

fifth or the sixth and o ctav e or dou b l ed sixth ; this

, ,

fo urth is u su ally p erfect and must hs r es o lv e d o n , '

t h e mi no r or m ajor third T o t he sus p en d ed s e c on d .

Ex 7 44 ( the on ly susp en d ed diss on ant us ed i n t he low est p art

i n this c l ass ) b el on gs t h e doubl ed p erfec t fifth or a
. .

p erfec t fift h wi th the s e c on d its elf doub l ed— this

p a rti cul a rl y wh en the fun d am en t al n o t e is r eso lv ed b y
d es c en di ng o n ly hal f a to n e wh ich r esol utio n p ro ,

du c es an agr eeabl e c hord of t he sixt h without the

o c t av e as or
,
g g If th e p erfec t fo urth b e doub l ed
.

wi th a sus p en d ed mi nor or m ajor s econ d ( which is

,

a lso permitt ed
) th is susp en si on must be r eso l v ed by
,

d es cendi n g a wh o l e ton e i n ord e r th at its r eso luti on ,

may pro d u c e a m i n or or m aj o r third with two p erfect

a nd n ot imp erfect fifths I n fr ee styl e it is all o wab l e
.
,

to a c comp a ny t he susp en d ed s econd with the p er fec t

or a ugm en t e d fo urth a nd t h e m i n or or m aj o r sixth .

L astly it is p ermitt ed wh en e x p edi ent t o giv e oc

, , ,

c a si ona l l y t w o n o t es t o a ba r Of t he c o m pl em en ta ry

p a rt wh en o n e pr olo ng e d n o t e would n ot suit t he

,

r esolutio n The fo llowi n g are ex a mp l es of re sol utions

.

Of t h e fou r dissonan t susp ensio ns

1 28 A L B REC HT SB ERG ER S
’

9 8 8

Wh en diss onan t susp ensi ons can be us ed c on

no
,

s ona n ts wi t h th ei r p er fe ct o r i m p er fect a cc o mpan i

m ent m ay be sy n c o p a t ed The th ird o r sixth wh en
.
,

n o t l ead i n g n o t e s a re o ft en d o u b l e d fo r the s a k e Of
,

an easy o r gr ac e ful m el o d y b ut wh en t he sixth i s

d o ubl ed ca r e mu s t b e t a k en n ot t o r es o lv e it o n the
,

perfect fift h b y w hich a ch o r d o f t he fifth and si xt h

,

w o uld o c cu r o n a n u na cc e n t e d divi s i on wh er e on l y
,

p e rfect tri ad s o r ch o rds o f t he si x th sh o ul d a p p ea r .

If t he sixth be r es olv ed on to a di m i nish ed fift h it ,

m a y be t o l e rated as this l a st ch o rd o f the fi ft h an d

,

si x th is no t so s t rong l y disso nant for exa mp l e

“ he.

EX 7 4 6. .
Tlr l
o e ab e .

Li ce n ce .

Ex . 7 47 .

Ex . 7 47 in fr ee c ompositi on , b ec a us e i n th a t
is
styl e onl y w e m a y pr epa re one d iss onan t by ano t h er,
an d r e solv e it d e c e pti v ely o n to a n o t h e r d iss o nan t .

E x 7 4 6 is al s o go o d i n fr ee styl e, fo r t he s a m e
.

r eas on T he c o u n te r po i n t must c o mm en c e w it h a res t

.

equi v a l e n t t o a wh o l e di vi si o n
. Th e r ema i n i n g pa rts
wi t h th e c o u n terp o i nt m ust fo r m t h e p e r fect ch o r d
1 30 A LBRECH T SBERG ER S
’

Ex . 7 52 .

I Ace nce .

Id ce nce .

I Ace nc e .

C X L VII —ON T H E FI F T H C u es o r S TRICT

P
.

C OM O S ITI O N I N FO U R P A R T S .

T his admits o r n am en tal cou n t erpo i n t whi c h may

b e w r i t t e n i n t h e u pp er l o w es t o r i nn er pa r t —be
,

, ,

fo rm ed fr o m a ll the previ o us c l as s es ( the first is o nl y

e mpl oy e d fo r t h e l ast ba r) —a n d ma y c o n ta i n s o m e

sh o rt no t es eq uiv al ent t o h a l f a divi si o n T he

,
.

c o u n t erp o i n t m ust c o n ta i n this o rn a m ent ed m el od y

t he o th e r t w o p a rts must m ov e with t he c h o ra l e i n

n o t e s o f equ a l dur a ti o n i n strict but n ot i n free
, ,

styl e T he fo u rth pa r t as in t he pre c edi ng cl asses

.
, ,

wil l co n ta i n alt ernat ely t he oc ta v e do ubl ed third

, ,

d o ubl ed sixth a n d d o u b l ed pe r fec t fifth T he ca

, .

dence s are t he sa m e as i n t he ea rl i e r c la sses 4 3 , ,

1 e a nd g 3
, b u t th ey m ay be v a ri ed at pl easure
i n t he c o u n t e r po i nt wh ich ma y c o m me n c e wi t h a r est
,

eq uiv a l e n t t o a wh o l e or h a l f d ivisio n ; for ex .

Ex . 7 53 .

The l ic en ce f‘
of , i n Ex d
. o es n ot in th e
7 5 4,
l east Offen d t he ear as chro mati c an d diato n ic p as
,

sa g es may alter nat e in o rd e r to e nliven the h a r m o ny ;

but too grea t use o f t he ch r o mati c g enus is bad i n
t he c o u n te rp o i nt e xc epti ng i n fuga l chr o m atic sub
,

ec ts which are expr es sly s el ec te d on ac cou n t o f t he

‘

lugub r i o us ch a ra ct e r t h ey giv e to the th eme T he

,

a bo v e l ic enc e is l e ss O bj ec t i on abl e as the u n ha rm o

,

n i o us t r an sv erse pos i t i o n f— f ,
fi d o es n ot fo rm a
,

di m i n ish ed but an a ugm en te d oc ta v e wh ich is mor e

, ,

t o l erabl e Las t l y this ac c idental l r ais ed f is a

.
,

l ea di n g n ot e whi c h re nd ers t he fol owi ng g easi er to

,

th e si ng er a n d m o re a gr eeabl e to t he b ear er I n suc h .

a l i c enc e h o w ev er c a r e must be ta k en t ha t the b a ss

, ,
 GUID E T O C OMP OS IT I ON .

s houl d not d es c en d so as to c r eat e a ch ord o f th e

fo urth an d si x th or s o m e disson an t ch o rd sti ll mor e
,

h a rsh an d di ffi c ult of r eso l uti on The c h o r d o f t h e

.

fo urth an d si x th i n mi n or an d m aj o r k eys is for

, ,

bidd en as a com m en c em ent and ev en i n fr ee c o u n

,

t erp oin t is pr ep a r e d by an d r es o l v e d o n a c o n s on an t
,

wh en Obl iqu e mov em ent is n ot emplo y e d i n t he b ass

for exa mp l e
Ex . 7 55 .

E x a mp l e i n E m in or .

Ex . 7 57 .

The fou r N B poi n t out that stri c t sty l e wou l d

p e rmit su c h sy n co pa t ed n ot es whi ch r en der
,

s eco n d di v isio ns too st ag nant .

Ex . 7 58 .
 A LBREC H T SBERG E R S
’
1 32

In E minor
’

Ex . 7 60 .
.

0 6

Wh en th e c h o r al es h a v e be en sufi c ient l y p ra c t i
wit h c o u nt e r po i n ts o f e i g ht n o t es t he fo l l o w i ng
,

mi x tur es Of t h e fo ur c las s es m ay be studi e d in

co nclusion ; for i nsta n c e i n C maj or’
,
Li cen ce . Li c e nc e .

E x am pl es i n u n equ al or tripl e tim e .

 A L BRECH T SBE RG ER S
’
1 34

The four N B poi n t out th at free style all ows us to

skip fro m or on to a disso na nt

Wh en the stud ent h as a tta i ned the d esir ed d eg ree

5 3 1 3 7 0 5 4 2 3 4 0 7 55 6
o f c e rta i n ty a n d prac ti ca l e x e cuti o n of t he stri c t

styl e i ncl udi ng the transp o siti o n o f p a rts he may

, ,

proc eed t o t he fr ee st y l e Of which ex a m pl es fol l o w

, ,

i n t he fiv e c l ass es of t w o th ree fo ur a nd fiv e pa rt
, , ,
-

co m p o siti o n with t he l ic enc es gr ante d to this sty l e

,

o f w rit ing .

C h o r a l e a n d fr e e c o u n te rp oi n t t he ch ords of wh i c h
,

m ay be us e d i n al l free co mpo sitio ns

An up pe r pa rt may commenc e a nd c on cl ud e with

t he th ird a b ov e ; a l o w e r p a rt m ay co mm en ce but ,

n o t en d with it as i n three or fo ur p arts t he bar

, , ,

m ony o f the six th would en s ue a n d fo rm a h al f

,

ca d en c e i n st ead of a satisfac to ry co ncl usion .

NB .
 GUID E T O C OMP OSI T I ON .
1 35

Ex . 7 70 .

C ho rl
a e .

Ex . 775 .

3 3 0 7 7
5 B 3 1 3 5

T he two NB poi n t out th at c hrom ati c p ass ag e s

may no w be i n tro du c e d .
 A L BREC H T SBERG ER S
’
36

The u nh arm oni ous tr ansv e rs e p o siti on i n Ex 779

Ex 777 —the Mi co nt r a F a dia bol us i n musica as an
.

. .
"

ci en t t each ers ca ll ed i t —is n o l o n ge r fo r bidd en i n

, ,

fr ee styl e pro vid ed t he pr og r essio n s do not offend

,

t h e ear by u nm el odi o us h a r sh n ess

.

V F;
1 38 A L BRECH T SB ERG ER S
’

NO 1 . .

T r
eno .

Ex . 7 90
.

or th us

NO 1 . .

T r eno .

Ex . 7 88 .
 GUID E T O C OMP OSI T I ON . 1 39

Ex 7 9 1
. .

Ex . 7 94 .

in 4 pr
a ts .

Ex . 7 92 .

Ex . 79 Ex . 7 95 .
 A L BRECH T SBERG E R S
’

Ex . 7 97 .

Ex . 7 96 .

Ex . 7 98 .

Li ce nce .
 A LBRECH T SBERG ER S
’
1 42

Ex . 803
.

We n eed h ardl y r emi nd th e stud ent th a t h e will

fin d it a us eful e x erc is e to re writ e t he prec edi ng
-

ex a m pl es i n t he dou bl e t r anspo si t i o n o f pa rts ,Of

wh ich th ey are all c ap abl e If h e h av e atta i ned

.

c erta i n ty i n tw o thr ee a n d fo ur p art c o m pos i ti on

, ,
-
,

h e m ay at tem p t wri t i ng i n fiv e p a rts which r equi r es

,

p r i ncip a lly a judicious do u b li n g o f i nt erv al s a nd i n

,

which a fiv e fold t rans po si t i on of p arts may be

-

prac tis ed ; for exa mpl e

Ex . 8 05 .
 GUID E T O C OMP OSI T I ON . 1 43

L 1 c e nc e .

Ex . 807 .

Th ird l
c ass .

C hora l e.

Li c en c e .

Ca p bl
a e of t wo m ore p
t rans osi t i ons
.

Ex . 808 .

S l
ec on d c as s.

Li c e n ce .
13 A L BRECH TSBERG ER S
’

44

Ex . 810.

f our t h c l
as s.

F rom c o mb i nation of the first four cl ass es w e

a ,

ob t i n t he fift h cl a ss or o r n am e nt a l c o u n t erp i nt
a o in
,

wh i ch e v er y p ar t mam t in s its appropri ate equi v a l ent

a

n otes ; fo r e x ampl e

( Four p
t ran s os i t i ons .
)

Ex . 81 1 .

f l
Fi t h c as s .
1 46 A LBRECH T SBER G ER S
’

or

st h pr t
pr
p
a
5 th
.
a t
6 th art .
.

5 th pr a t .

Di s s onan t r
manne .

&c . &c .

7 th pr
a t .

5 th pr
a t .

o r asce n di n g .

6 th pr
a t .

6 th pr
a t .

st h pr
a t .

5 th pr
a t .

st h pr
a t .

5 th I a!
st h pr
a t .
 GU ID E T O C OMP O SI T I ON .
Q
1 47

Ex . 81 7 .

S l
ec ond c as s

5 6 6

D e s c e ndi n g l
sca e .

The N B p oi nts out the o c t a v e, e d o ub l e d at th e

,

e n d, as t h e m aj o r third of t h e p e rfec t c h ord , whic h

i s p e rmitt e d i n t h e upp er or i nn er p a rt , as it is n ot
t h e s e v en th m aj o r to n e ( l ea di n g n ot e) , but t h e th ird
m aj o r t on e Of t h e fu nd am enta l n ot e 0 Our c on .

Ex 8 1 8
c l udi n g ex a m pl e sh a l l be a c h o r a l e, I n stri c t styl e,

whi c h t he stud en t may pr ac tis e i n its furth er

transpositio n s .
Thi d l
r c ass.
 A L BR EC H TSBERG ER S
’
1 48

6 —5 0

r
Fou t h l
c ass .

L astly , as an e ssa y , th e i ngenio us admixtur e Of all

cl a ss es .

Ex . 82 1 .

Ex . 8 20
.

f l
F i th c ass .
1 50 A LBRECH T SBE RG ER S
’

8 rd su bj t
ec .

On the third .

1 st su bj tec .

EX 8 28
Ex ‘ 8 25 °
1 st su bj ec t .
. .
zud sub .

Ex . 8 29 .

4 th subj t
ec .

8 rd su bj ect .

On the sec o nd .

4 th su bj ec t .

On the fo u rth .

Ex . 8 30 .

zud su bj t ec .
 GUID E T O COMP OSI T I ON . 1 5]

l et su bj ec t .

EX 8 35
EX 8 3 1 bj t
.

2n d su ec .

On th e fifth b el o w .

On th e s ev enth abo ve .

Ex . 8 36
.

2 nd su bj ec t .

EX 8 33
. . 1 st su bj ec t .

Li cence .

2 nd su bj t
ec .

Li c enc e.

On t h e s ixth ab ov e or b el ow
bj
.

l st su ect .

Ex . 8 34 .

On t h e s ev enth b el ow .

zud su bj ec t
. EX 838
. .
l st su bj ect .
 A L BREC H TSBER G E R S
’
. 152

Or, in thr ee pa r ts 2n d i
l ub ec t .

Ex 8 39
. .

ard su bj ec t .

On t he fo urth in thr ee p ar ts .

3 rd su bj t
ec . 4 th
‘

j
s ub ec t .

On the o c ta v e b elow .

1 st su bj t
ec .
 A LBR ECH TSBER G ER S
’
154

2n d “ i n On the fou rth , i n fo ur pa rts ; with two c ompl em enta ry

Ex 84 9
. .

Li ce n ce .

T he t w o foll owi n g ex ampl es i n fo ur p a rts are b y

Ca lda r a . T he N B i n Ex . 8 5 1 p o i n ts out t he
V ari o us imita tio n ; in fo ur pa rts . imit a tio n aft er h al f a divi si on , i n al l fo ur pa rts
.

I . On t h e 5 th .

1 . On t h e 2 n d .

in oc t a v e s .

3 . On t h e 5 t h .
GUID E T O C OMP OSIT I ON . 1 55

T he a d v an t ag e s which may be ga i n e d by a cl ev er
c om p oser from t he use o f s uc h imitations , are al m o st
i n cal cul a bl e T h ey h el p h im to a c erta i n u n ity o f
.

pl an— to an ec o n omi c o r der Of tho ughts , whi ch

w o ul d n ev er for m an aesth etically b eautifu l c omposi
ti on if h eap ed tog eth er w it o ut c o nnec ti on th e
s ep a rat e c o mp on en ts o f an i n cr esti ng id ea are w o v en
i nto a c o m pl et e wh ol e by b ei n g th em atic all y work e d
o u t i n diffe r en t p a r ts — b e c o m e cl ea r t o the p erc epti o n

o f t h e b ea r er — a nd, th o ugh c on st a n tl y t he s am e,
Li c enc e . d elight by t h e v a ri ety o f u n exp ecte d c o m bi n atio n .

W e may say, wi t h o ut fea r of c o n tr adi c ti on , th a t

i m ita tio n pl ays a p r i ncip al p a r t i n al l c omp o si ti on s
n o t m e r el y th row n tog e t h er with o ut pl an or m ea n i n g .

I h av e qu ot e d eight si m pl e i m itatio n s , v iz ,— on the

.

u n i so n ; t he s ec o n d a b o v e o r b el ow ; t he th ird above
or b e l o w ; t he fo urth a b o v e or b e l o w ; t he fift h a bo v e

o r b el o w th e si x th abo ve or b el o w ; t h e s ev en th ab o v e
or b el o w ; a n d o n t h e o c t a v e a b o v e o r b elow W h en
.

t h e a n sw e rs r et a i n t he id en tic a l no t es unc h ang ed i n

o rd e r , t h e i mita tio n s ar e c a ll ed I mi ta ti ons i n si mi la r

mo ti on ; wh en t h e an sw er i n v erts t he s ubj e c t so th a t ,

t h e risi ng i n t e rv als d esc en d , or v ic e v ers a, th ey are

-

c all ed I mi ta t ions i n con tr a ry motion B esid es t h e

.

simpl e, th er e exist t he foll o wi n g s c i en tific i m ita tion s

Stric t ly i nver ted i mi ta t ion, i n which h alf a n d
wh o l e ton es must b e pr ecis ely answ er ed , i n c o ntrary
moti on ; for ex a mp l e

F r eely i nver ted i mi ta tion , i n wh i c h the ord er of

succ e ssi v e n ot es is n ot pre cis el y r etai ned ; for
ex a mpl e

R etr ogr a de i mi ta ti on i n , whi c h the subj ect i s

mm en c ed b a ckw a rds i n t h e a ns w er for e xa mp l e
£ 1 56 ‘

A L BRECH T SBERG ER S ’

R eversed r etrograde imi ta t ion, i n which c ontra ry Ex , 85 9 .

N I , 8 ini p e inversions.

ot ion is us ed i n a dditi o n ; fo r ex a mpl e

S bj
u ec t .

N o 2, . on t h e 5 th . N o 3, . on t h e i th .

N o 4, on t h e 2 nd N o 5, on t h e un i son
T his l ast sm ac ks of p ed anti c el ab oration and t he
. .
. .

m ost c ulti vat ed ear w ould fi nd s om e di fficulty i n

r ec ogn is i ng t he subj ec t thus disguis ed .

T he s ec ond i n v e rsio n is c all ed str ic t , an d is ma d e

A ug mented imi ta tio n i n wh i ch t he an sw er is
, giv en si m il a r ly to t he fi rst, but r equi res th at wh ol e t on es
i n n otes o f gr ea te r v alu e— for i nsta n c e ,
mi ni ms sh o uld be a nsw ered b y wh ol e ton es a n d s em i t on es ,

i ns tead of cro tc h ets ; for ex ampl e by s emit ones T his c an on ly b e effected by c om.

menc ing t h e i nv ersi on on t he m aj o r s ev enth , m aj o r

si x th , o r m aj o r thi r d, abov e, whil e t he wh o l e and h alf
to n es mus t be u nal ter ed in t he an swer ; for exa mpl e
Ex . 8 60 .
N o 6, . S tri ct in vri e s on s .

S bju ec t . On t h e ma j or 7 th .

No 7, . on the j
ma or 6 th . N o 8,
. on th e jr
ma o 3ra .

W h en th em e b egi ns on a fifth th es e two

the ,

i n v e rsi on s are differ en tly e ffect ed If the subj ec t be .

. Dimi nished i mi ta tion ,

in wh ich the an sw er is ex a mi n ed w e sh a ll find th at t h e first n o t e m o v e s t o
,

g i v en i n no et s of l ess val u e for exampl e t he s eco n d by a n as c en di n g skip o f t he p erfect fourt h

— t he s econd to th e thi r d n ote by a d esc en di n g ski p
o f t he mi n o r third — a nd t h e third no te m ov es a

wh o l e t o n e up t o the fou r th n ote W h en this is .

pr ecis ely r ev ers ed in the a nsw er as in N os 6 7 an d , .

, ,

8 it is i n strict i n v ersio n
,
Wh en all th e i nt er v als .

are n ot pre cis el y r e v e r s ed as i n N os 1 2 3 4 an d ,

.
, , , ,

'
5 the i n v ersi o n is si m p l e i n the l ast qu o ted e x a m
,
-

I mi ta tio n on difi er ent di vis ions ( p er a rsi n et pl es it is tru e th at t he r ev ers ed skip of the fo u r th is
,

t hesi n ) , i n which t he s u bj ec t is answ ered on a n 0 p a ls o p er fec t but N os 3 an d 5 h a v e a skip of t he .

,

p o sit edivisi on of t he ba r for in sta nce th e subj ect , m aj or i nstead of t he mi nor third fr om th e s ec on d to
, ,

b egi n s on t he acc ent ed di vi sio n and t he answer fol

, th e third n o te a n d i n N 0 2 1 2 a nd 4 t he th ird n o t e
,
.
, , ,

l o ws o n the u nacc ente d di vis i o n ( T he G r ee k wo rd

.
m oves a m i nor i nstea d o f a m aj o r s ec o nd to th e , ,

A r ms sign ifi es t he up b ea t or unacc en te d di visi o n

'

-
, , fourth note The third i nv ersi on is c a ll ed r etrogra de
.
,
a nd Thesis the d o wn b ea t or ac c ent ed di v isi on )
,
-
, .
an d is m a d e by c omm enci ng on t he l ast n ot e o f t he
T he fo l l o wi ng is an e xampl e of th is ki nd o f su bj ect and writi ng it ba ckwa rds to t he fi r st not e
,

imita tion som etim es high er and s o m etim es l ow er as must , ,

h a ppe n in r ela ti ve k eys

rg
Ret o rad e i nversion
Ex . 8 61 .
No 1 . .

S bj
u ec t . On t h e t
o nic . On t he st d bl e o w.

T his i n v ersio n may be m ad e as s een abo v e on , ,

t h e pri n cip al key n o t e or its third b el o w T he

V
.
,

C X L IX —C N IN ER S ION fo u r th i n v ersi on is ca ll ed con tr a i y r etr oqra de an d is ,

m a de b y a g ai n r ev ersi ng the r et ro grade i n v ersi o n

. .

T h er e ar e four k i nds of i nv ersion The first is .

b egi nni ng with the first n ot e and proc eedi ng to the ,

cal l ed si mp le an d is m ad e by r ev e rs i n g t h e n o tes o f
,
la st i nclus iv ely
,

a fuga l or o th e r subj ec t in its an sw er so tha t th e

a s c en di n g n o te s o f t he origi na l p assag e d es ce n d i n
,
Ex . 8 62 .
C on t ry tr g
ra re o r ade i nv e si on s r .

o rN o 1 Of N o 2
t he an sw er an d v i c e v ersa ; t he i n te rvals or skips
. . . .

-
, , ,

howe v er are n ot v ery p r e c is ely re pro duc ed It

,
-
.

m ay be m ad e o n t h e o cta v e o n t h e fifth on th e fo urth

, ,
&c .

o n t he s eco nd and on t he un iso n

,
fo r ex ampl e T h es e two l ast i nv ersions ,
in whi c h h al f a nd
1 58 A L BRECH T SBERG ER S
’

S bj t
u ec .

A nsw er.
A n sw e r .

No 1 . .

S bju ec t .
or, bt re te .

A nn a ,
or r e v ers ed wh en , a skip of t he sixth an sw ers to a

p o f t he s event h
.

skl

Ex 8 66
S bj t
. .

u ec .

A ns we r .

No 2

S bj t
. .

u ec .

A ns we r .

S bj
u ec t .

No 7 . .

A ns w e r .

S bj t
u ec .
e r.

A nswe r .

Wh en t he s econd part comm enc es with the subj ect

S bj
,

u ec t .
t he firs t pa r t m ak es t he c o u nter subj ect but not wit h -
,

equi v al en t n ote s as i n th e first cl ass but with m an y

, ,

sh o rt e r o n es whic h usu ally fo rm a m el o dy crea ted

, ,

A nswe r . by c o u nt erpo i nt pri ncipally o f t he fi ft h cl ass I n .

fugues o f t w o p arts t he fi rst h a lf c ad enc e 1 e or ,

,
3 is i ntro duc ed o n t he d o mi na nt o f t h e pri nci p a l
bj
2 ,

Su ect . key a ft er a sh o rt m o du la t io n or imita ti o n of b o t h

,

pa rts ; o n t he l ast bar o f this cad e nc e o n e o f t he ,

An s we r pa rts m ay m a k e a fr ee m odul atio n for t w o thr ee o r , ,

fou r d ivision s u n ti l t he o th e r ca n i n t r o du ce th e
.

pri ncipa l subj ect a b o v e or b el o w ac c or di n g to t he ,

c o m pass o f the i ns t rum ent which ex ecut es it eith er

Su bject . o n t he do mi na n t o r to n ic : i n sh o rt t he fi r st p a rt ,
,

ad Op ts t he ke
y o f t he s e co nd p a rt on th e s am e n o t e ,

o r a n octa v e a bov e or b el o w ; a nd the s e co nd pa r t

An sw er .
ado p ts t he key o f t he fi rst p a r t if possi b l e b efo re , ,

t h e s ubj e ct has been c ompl et ed b y it T his has b een .

ca ll ed b y s om e m ast e rs ha lf str et to Wh en the

S bj
-
.

u ect . s ubj ec ts h a v e b een c om pl eted twic e an oth er h alf ,

cad ence is mad e a ft er a sh o r t a nd free m odul at i on or

,

imi ta tion on the thi r d a bo v e t he to n i c which cad enc e

, ,

A nsw e r .
m ay r es t or not by m eans o f a p a u se i n b o th pa rts
,

th en sh o uld b egin the stret to i n whi c h ever p a rt is ,

b est adapt ed fo r it eith er on t he to nic o r domi nant ,

S bj
.

I n v oc al fu gu es it is usu a l t o r ep eat t h e o rigi nal

,
u e ct .
i ntrod ucti o n o f ea ch p a rt b ut m o r e c omp ress ed than ,

at t he c om m en c e m e n t or i n t he c ou r s e o f t he fugu e
.

La stly t he t w o p r i nc ipa l su bj ec ts ar e fo ll o w ed b y a
,

few bars of mod ul atio n or imita tio n an d t he fu u e

g ,
 GUID E T O C OM P OSI T I ON .
15 9

i s c o ncl ud ed on the to n i c with th e 7 a a b o ve or

, , cl a ss . I n th e
s ev enth bar the e of th e alto c om ,

with 2 17 3 b el ow i n t h e m anner of the fourth or fifth m en c es a n imitati v e modul a tio n

'

,
( p er a r si n et
cla ss for ex a m pl e t hesi n ) a n d i n t h e s am e bar t he tr ebl e a n sw ers
, , ,

w ith t h e l a st n o t e g the third a b ov e T he el ev enth

, , .

No 1 . . T w o -p art fugu e in F m aj o r .
a n d tw elfth b a rs co n ta i n t he first c a d en c e o n th e do

Ex . 8 67 .
m i nan t 0 A ft er a sh o rt m o d u lati on by t he a lto
.

a l on e whi ch d o e s n ot s o u n d ill a ft e r this fi r st c a d enc e

1
,
,
t he tr ebl e i n t h e fourt e en th b ar b e gi ns t h e subj ect
, ,

i n th e p r i n cip a l key l o w e r th a n for mer l y it m i ght

(,

b e gi n high er i f m o r e su ita bl e t o t he p ar t ; a n d t h e
,
)
a lt o i n t h e sixt een t h ba r a n sw e rs o n t h e d om i n a n t 0
, ,
,

with a l ess c o m p r ess ed stret to th a nt h e l a st I n t he .

n i n et e enth ba r b o th p a r ts c o m m e n c e m od ul a ti n g by
,
,

a sho r t i m i t a t i o n t o t h e s e c o n d c a den c e i n A mi n o r
,
,

wh ich is t he third a b ov e After this c aden c e whic h .

,

m ay r est i n eith e r pa rt t he a lto i n t he tw en ty fift h , ,

-

bar c o mm en c es a str et to o n t h e t o n i c whic h is the

, ,

m ost c on v eni en t th e t r ebl e m ay an sw er imm edi a t ely

i n th e tw en ty sixth bar i n its a p pr opri a t e pl a c e a n d
-
, ,

o n t h e fift h a b o v e Som et i m es i t is p er m itt ed— n ay

.

is oft en n e cess a ry—to b egi n t h e h al f or wh ol e stret to

,

on t h e d o m i n an t a n d t he an sw e r on t he to n ic
, In .

t h e tw en ty eight h b ar c om m en c e i m it a ti on s o f th r e e
-
,

k i n ds n ot n ec essar y but us ed to pr ol o n g t h e fugu e

Li cence .
,

wh ich c on ti n u es till th e l ast c ad en c e I n a t w o p a rt

,

. -
,

fugu e it i s fo rbidd en t o empl o y t h e b ass c ad en c e i n -

,

which the lowest p art d esc en ds a fifth or a sc en ds a

fourth whil e th e p en u l ti m at e bar o f the upp er p a rt
,

c on ta i ns the su sp en d ed fou r th r es ol v ed o n t he m aj or ,

third— for i nst an c e 4 3 I 8 ll an d so forth ,

: .

No 2 . . F ug ue in D mi n or .

C omes .

T he N B th irty th i r d a n d thirty s ev enth

on th e - -
2 nd c ad enc e.

b ars p oi n t out th a t it is a ll o w ed b oth in st r i c t an d

, ,

fr ee s t yl e t o ski p as a tran siti o n o n to th e domi n an t

, , ,

s ev enth a nd its i nv ersi ons .

E x p la na t ion of t he a bove

T he l eadi n g th em e ( D a v ) b egi n s on t h e to n i c ] ;
i n t h e first fo ur b a r s o f th e a lt o , a nd en ds on m f
t h e fo ur t h b ar th en t he t r eb l e o n t he dom i n an t 0, ,

m a k es t h e a ns w er ( Comes) wh i ch ends on t h e first ,

n o t e o f t h e s e v en t h ba r
,
The a l to b egi n s th e c o u n
.

t er su bj ect o n a i n t h e u n a cc en t ed d ivisi on o f t h e
- '

fou r th bar with a c ou n t erpoi n t be l ongi n g to th e fift h

.
 A L BR EC H T SBE RG ER S
’

1 60

s ec on d poi nts out th at a ft er the first c ad ence

NB , , ,

t h e tr e b l e b egi ns by e o n an u n a cc en t ed divis i on fo r ,

t w o r ea s o n s ; fir st ly b e c a us e a pri n c i p a l o r nam ent is

,

fo rm ed by i nt r o duci ng t h e su bj e ct or a rsi n et
t heei n th a t is o n e p a rt i n a cc en t ed an th e o th er i n
.

, ,

u na cc en ted di vi si ons— s ec o ndly in o r de r t h at t h e ,

The stud ent sh o u l d a nalys e this fugu e in th e s am e t h em e sh o ul d s oone r a p p ear a s a stret t o T he third .

N B po i nts o ut t h a t t he a lt o an sw e r s a not e l o w e r
m a nne r as w e d id t he l a st in o r de r t o cl ea r ly p er c e iv e ,

t h e fo u r th i n st ead o f b t h e fi ft h which i s
,
v iz
the l e a d s i n t e r v eni n g h a r m o n i es c aden c es a nd . a
, , , , ,

s tr et t os
,

B o th fugues ar e wri tt en i n t he an ci en t
, ,
p e r m it t ed i n the c o u r s e o f a fugu e T he fo u rt h N B .
,

a b o v e a i n t he t r eb l e p oi n t s o u t t h a t t he l a s t n o t e
.

di a t o n ic g en us i n which bl? is n o t m a rk ed a t t he , ,

o f t h e su bj e c t 1 s o n e gr a de l o w er which i s a ls o p er
,

cl e f It i s usu al i n c o m p ositi on s o f anci en t d at e t o ,

m i t t ed i n o n e p a rt wh en fo r mi ng a s tr e t to I n a fugu e
.
, ,

find G m i no r m ark e d w ith o nly bl) C m i n o r w ith

.
,

o f m a n p a r ts s o m e m a y b e slightly ch a n g ed pr o vi ded
,

o n ly bl ? a n d e b F m i no r with o n ly bl) oi) a n d a b y , ,

t h e p a r t wh ich en t e r s l a s t c o n t a i n t h e w h o l e su bj e ct
, , , .

a nd G m aj o r w ith o u t t he
ffl T he fo ll o wi n g e x
,

a nd c o n clu de l ik e t he fi r st ti m e T he fi ft h N B p o i nt s
a m p l e i s i n E m i n o r w it ho u t f j fl which key is c a l l ed
'
.

A pl a g a l o r E p l a g a l
.

t he fi rs t is m o r e c o rr ec t o n
o u t t he pr o lo n g e d c ad e nc e which is effectiv ely and ,
,

a cc o u n t o f t he i n dic a t i n g cl e f but t h e last is m o r e

,
p r o pe r ly em p l oy ed in t hi s m o de whi ch has a m o u r n ,

tu l a n d gl o om y ch ar a c t e r I t mu st he r em ark ed th a t
'
,

u su a l a s t he c o n c lu di n g n ot e also i n dica t e s t he
.

19
,

r eal to n ic
, ,
t h es e fugu es a re v o ca l a l t h o ugh n o wo r ds a re a dd e d
,
.

Fugu e s fo r v i o li n s a nd w i n d i n st r u m en ts allow a
.

No 3 F ugu e i n E pl agal mod e wi de r fi eld i n th em i t is no wis e n ec ess a ry to r estrict

t h e m e l ody t o t h e fiv e li n es a nd ski p s m a y be i n tr o
. . .

d uc ed wi de r t h a n t he o c t a v e which w o uld b e err o ,

n eo us i n w r i t i n g fo r v o ic es It is w ell t o gi v e a r est
. ,

o r a t l ea st a s kip t o th e p art which en t e rs with t he

,

p r i nci p a l su bj e c t i n t he c o urse o f a fugu e as t he

, ,

r e pet i t i on o f t he t h e me is th us r end er ed m o r e p er
c e p t i bl e a l t h o ugh m a ny e x a m pl es e xist
,
i n thr ee or ,

m o r e pa rts wh e r e t he su bj ect re e nt ers by grad es

,
- .

C LI — R U L E s
. FO R F uo us s IN T H RE E AND MO RE

Paar s .

It is no t p e r mi tt ed i n fugu es o f t w o th r ee o r, , ,

mo r e parts a ft er a c o mpl et ed su b jec t t o l ead u p to

, ,

t he fift h a b ov e i n a n upp e r p a rt or fro m th e fi fth u p ,

t o t he t o ni c i n t h e o th er p a rts a s the b earer is thus ,

fo r ew a r ned an d al l s urpris e is d es t ro y e d ; fo r
,

e x ampl e :

Li ce nce .

S bj t
u ec .

T he first N B p o i n ts o u t, th a ti n t hi s key , t h e fi r st
,

ca den c e must o ccur on c, t he s ix t h a b o ve T he .

[ 62 A LBREC H T SBERG ER S
’

T he t ra n sv ers e stro k e u s ed fo r fr ee l y struck

,
-

no t e s is a l so us e d fo r a n ticipa t i on i n a n u pp e r p a r t
,
;
a n d t he h o r iz o n ta l st r o k e us ed fo r re gul a r p a si ng s
,

b ass no t es is a ls o u se d fo r a n t icip ati o n i n the l o w es t

-
,

part in o rd er to a v o i d m any fi gu r es
, .

A n ticipati on i n t h e u pp er p a r t .

K1 a n s nnc e n.

Ex . 87 6 .

Wh en ch an gi ng n ot es o ccur upp e r pa rt it
i n t he ,

i s n o t n ec e ssa r y in quic k m easu r e t o fi gur e th e m

, ,

a bo v e t he fu nda m e n ta l pa rt ; b u t i n sl o w m easu r e ,

t h ey m ust be i nd ica ted espe ci ally wh en o ccur r i ng i n

,

t he b a s s I t i s i m ma te ri a l wh eth e r t he i n t e r v als o f
.

t he ch a n gi ng n o t e s b e figu r ed o r b e i ndic a t ed b y a
,

tran sv e rs e st ro k e a bo v e t he fu nd a m e n t a l n o t e
, ,

a n d t he fo ll o w i n g r eso lv i n g n o t e b e m a rk ed b y o n e

o r t w o fi gur es ; fo r ex a m p l e

A nti c ip a ti on in t he b ass .

Ex . 87 3 .

Ex . 87 7 .

Ex . 87 4 .

A c omp os er shou l d only figur e such c h rds as the o

o r g anis t c annot kn ow an d gue s fr o m t he rul es rela s

ti v e to asc endi ng and d esc endi n g sc al es a nd skips ;

th es e g eneral ly o cc ur i n d e c pt i v e c adenc e susp ene s,

si ons an d r et rd ati ons— also t he r es o lu t i n s f dis

,
a o o

T he ch a ngi ng n o t es i n t he a b o v e ex a mpl es are s o na nt susp ens ion s wh eth er na tur a l o r i nt erru p ted
, ,

cal l ed irregul a r t r an siti o ns ; th os e which fo r m r egul a r which r equire t o b e i ndicated T h o s e w h w o uld . o

t r an siti o n s a re m ark ed b y a h o riz o nta l li ne or ,

k no w m o r e o f c o rrect figuri ng sh o uld r ead C P E . . .

n o ne a n d o cc ur o n t he s e c o nd o r fo u r t h s ubd i
, si o n B ach essa y o n the t r u e m nner o f pl y ing t he
’
s a a

of A l la breve and t w o crotc h e t ba rs T h ey a re

- - pi an o fo rt e ( se c nd p art ) T he pri ncip l o rn m ents
o a a

o f fugu e a re— u g m en ta ti o n
.
.

po in te d o ut b y N B for ex ampl e d i m i n u t i o n a bb re
a , ,

co n tra cti on o f t he fugue sub

v i a t ion , syn c o p a t i on , a n d -

e c t ; but t h ey c a n s eld o m be a ll e mpl o y e d i n o ne

j
fugu e A ug menta tion is m ad e w h e n t he su bj ect
.
,

a p p ea rs i n t h e cours e o f th e fugu e i n n o t es o f l o n g e r ,

du ra t io n th a n th o se of t he o rigi na l th em e wh ic h ,

ma y be i n t ro duc e d i n a n o t h er p ar t a few ba rs l ate r ,

NB . NB .
to r en de r t he embel lishm ent mor e i ng enious .

S bj t
u ec .

NB . NB . NB NB NB
. . . NB NB NB NB N B N B
. . . . . .
 G UID E T O C OMP OSI T I ON 1 63

I n v e r s io n .

D imin u tion c c urs a s w e exp l ai ned wh en treati n g

o ,
Wh en t he subj ec t is short ,
an d c ons ists of a si ngle
of imitati o n wh en t he notes of t h e subj ect are
,
s ec tion it may be r ep eat ed
, entir el y asc endi n g or
,

c h ang ed t o th os e of l ess dura ti on and may b e m ad e

,
d es c endi ng ; for examp l e
o n t he t on i c or a ny ana logo us ke ; for ex amp l e
, y
J 8 B A CK
D
. . .

iminu ti on
.

A bbr evia t ion is m ad e by r ep eati n g p art o f t he

bj ec t tw o th r e e or a t m o st fo ur ti m es d e s c en di n g
, , ,

a s c en di n g a t o n e or a thi r d o r a s c en di n g but
, ( n ot

d esc en di n g ) a p erfec t fo urth for examp l e

Syn cop a ti on is m ad e by i n trod uc i n g th e th em e a

h al f o r whol e divisi on l a ter th an i n t he b eg inni ng by ,

bi nds or sync op ations for ex amp l e

,

Ex . 8 82 .

Con tr a c ti on, which is o f m any ki nds o cc urs wh en ,

two p ar ts c omp r ess t he subj ect c oun t er subj ect or

,
-
,

e v en an i n t e rv en i n g su bj ect But for this emb el

.

l i shm en t it is n ec ess a ry t o s el ec t or c ompos e a s uit

,

a bl e s u bj e ct a s al l th e m es are n ot cap abl e o f co n

,

t r a cti on A n ex a m pl e will b e gi v en in whi c h the

.
,

th em e is c on t r act ed i n th r ee di ffer ent w a ys N o 1 . .

is a c on t r a c t i o n at two ba rs distanc e whic h m ay b e

,

e m pl o y ed d u r i n g t h e c o urs e of a fugu e N o 2 is . .

o n ly at t he distan c e o f on e bar and is b est empl oy ed

,

a t a c on clu si o n N o 3 is a t the dista n c e of on l y a

. .

si ngl e divi si on i ntr o du c ed a n oct av e high er i n a rsi

, ,

et t hesi a n d i n sy n c o p ation ; this ma b e uni v ersall y

y
employ e d .
 1 64 A L B RECH T SB ERG ER S
’

No 1. . to ea ch o t h e r If t he third ab o v e be add ed it wil l

. ,

be fo u nd t h a t i n th ese si x m i n o r o r m aj o r a na l o go us
,

n ot e s th r ee m aj o r a n d thr ee m i no r k eys a pp ea r ; for

Ex 88 3 ,

in st anc e
. .

EX 8 8 7 . .
I n E mi n o r
jr
.

In G m a o .

6 6 6 6 15
- -
13 ! a ri a -
5 1 5 6
88 5 5 3 8 3 8 5 5 8 53
0 3
a h a- h u h hn i - h u b b
o o 0 0
3 73
0
i
n
3
~
5 5 w
2 2 2 2 2 2 2 2 2 2 2 2

T he s ev en th to n e is exclud ed in m aj o r k e ys and ,

No 2 . .
t he s ec on d t o n e i n mi no r k eys A fugu e i n t hr e e or .

fo ur p a r t s m ay ea sily b e p r o l o ng ed fo r six ty or
s ev en t y b a rs b y i n tr oduci ng i m ita ti ons o f t h e su bj ect
,

o r c o u nt e r su bj e ct i n d i f
fe r e n t p a r ts i n a na l o g o u s
-

k eys T he a n ci en t a nd i nsi p id pr og r essi o n o f t he

.

fi fth i n i m ita tio ns o f t he su bj ect c o u nt er or i nt er

, ,

v eni n
g su bj ect is no l o n g er u s ed a n d is e v en c e nsi
, ,

d er ed fa ul t y wh e n i ntro d uc ed mor e t h an t hr ee tim es

,

as l ea di n g fr o m o n e ke t o a n o th er ; fo r ex a m pl e
y

2
Ex . 8 88 .

In lo ng fugu e Of n i n ety o ne h undred o r mo r e

a , ,

b a r s w e m ay with o ut sc r upl e use dist a nt k eys i n

, , ,

i mita ti o ns o f t he subj ect c o u nt er su bj ect o r bo t h ,

-

tog eth er— als o o f s ecti on s or i nt e rv en i ng s ubj ects

,

Bu t it is n o t adv isabl e t o go fr om a p r incip a l key

A no t h er em b el lish men t is m ade by di vidi ng the m a rk ed by sh arps t o a fl at key o r fr om a p r i nc ip a l ,

n ot e s o f t he su bj ect by r es t s , b ut is n o t so bea u t ifu l key in fl at s t o o ne m a r k ed b y sh a rps as t he b ea rer .

as t he fiv e a b o v e m enti o n ed o rn a m en ts an d pr od uc e s
-
, m ay fo r g et t he o r igi na l key— fo r i nsta nc e fr o m
a pl ayful , d a llyi ng e ffe ct , by i ts ech o l ik e ch a r a ct e r
,
-
D m ino r p ri nci p a l key F m i n o r or A b m aj o r m o re
—i t may be c a l l ed i nt errup t ion ; t he foll o wi ng is an
, ,

t h an sufii c e as fl at k ey s for modul at ion ; or fro m ,

ex a mp l e ,
#
E m i no r pri ncip a l key C m i no r or E m aj o r equ ally ,

s ufii c e l t is n e c essa r y t o r eturn fr om th es e d ist ant

.

k eys t o th os e m o r e ana l og o us b y m eans o f im ita t i o n s

or susp ensi on s Many i nex p er i enc ed org anist s ima
.

Ex 8 8 6
. .
gi ne it a b ea uty t o w a nd er thro ugh t he t we nt y fo ur -

k eys b y fo urth s o r fifths ; but we h av e sh ew n a b ov e

th at m an y oth er a nd b et t er o pp ort u n i t i es m ay be
g a i n ed o f l eng t h en i ng a si mpl e fugu e ( with o ut t he
a id o f d o u b l e c o u n t e r po i n t i n t he o cta v e t en th or ,

tw el fth ) especially wh e n t he t h eme c o ns i sts o f two

,

or m o r e s e c t i o n s A fugu e ma y be pr o l o ng ed als o
.

by t he o c ca si ona l use o f ta ste solo or p ed al p o i nt in ,

t he ba s s w o r k e d o ut a b o v e by sus p en si ons o r i m ita

,

ti ons F ugu es a re g ene ra lly c ompo sed for t he o r gan

.

o r stri n g ed i n stru m e n t s o n ly or fo r v o i c e s wi t h or ,

I n a r e gul a r fugu e e v ery p ri n ci p a l key m ay hav e ,

, with o u t i ns t ru men t a l a cc o mpani m en t I n wri t i n g .

in i t s s c a l e, fi v e a n a l o g o us k ey s j
I n a m a o r key
.
,
o n e fo r wi n d i n st r u m en t s c a r e must b e t a k e n no t t o ,

t h e six r egul a r ly a s c endi ng n o t es — a n d i n a mi n o r e x c ee d t he c o m p ass o f ea ch i n stru m en t a n d a ls o as

key, th e six r egul arly d es c en di n g n otes— are r el at ed
, ,

i n v o w ] fu gu es to gi v e an o ccasi onal r est to ev ery

,
 A L BRECH TSBERG ER S
’
l 66

th e m el ody may n o t sta gna te and the o rnam enta l

,

c o u n terp o i n t be perc e pti b l e A few exampl es of

.

th r ee a n d fo u r p a rt fugu e fo ll o w c om p o s ed i n t he
-
,

m o d er n twenty f o u r k eys a nd c onta i n i n g l ic enc es

-
, ,

po i nt ed o ut b y N B which are p ermit ted to all

,

b egi n n ers
F ugue i n F m aj o r .

T he fi rst N B ab o v e 0 i n t he t en o r , po i nts o ut t hat

it i s p ermitte d t o com m en c e o r en d t h e ans w er of a
lW
EL l .
subj e c t with a n o t e o f l ess or g r eat er v a lu e T he .

se c o n d N B on t he sev en t een t h bar p o i nt s o ut th a t ,

betw e en t he t en o r a nd a l to p a r t a str etto o f t w o b a r s

o ccurs , n o t fr o m n e c essi t y bu t as a d evic e T he
, .

thi r d N B in t h e t w en ti et h ba r on a i n t h e b a s s , .

po i n ts out th a t it l ea ds t he su bj ect i nto B b maj o r

i n stea d o f C m aj o r which i s a l i c en c e p er m itted i n
,

t he middl e o f a fugu e e s p e ci ally wh en c a u s ed b y a

,

s t rett o
. T he fo urt h N B i n t he tw en ty fo u rt h b a r
,
-
,

o n f i n t he b a s s w hich c o m m en c e s t h e l as t s t r e t t o
, ,

p o i nts o ut t h at it is no t n ec essa ry th a t t he sa m e p a r t
wh ich c o mm en c ed t he fugu e sh o uld als o c om m en c e
,

t h e l as t s tr et to T he fi ft h N B o n t he an s w e r i ng
.
,

t eno r n ot e 0 p o i nts o ut t h at t he subj ect is equ ally

, ,

w ell i nt r od uc ed b y an a sc en di ng or d esc endi n g ski p

a s by a r est .

F ugu e in D mi n or .

ltB 8
. .

li ce nce .

li c en ce .
 GU I DE TO C OMP OSI T I ON . 1 67

Li cenc e .

T he l i cen c es wh ich al l occ ur on the 6b wh en t he

, ,

subj ec t c mm enc es on a are g oo d an d usu l b ec a us e

o ,
a ,

a n d is a l so a n o r am en t
n
fi
bl? i m o r e su i t a bl e th a n b t o t he key o f D mi n o r
b ei ng u n ex p ec ted T h e .
,

s a m e fugu es a re n o w pr es en t ed in fo ur p arts .

F ug ue 1 st, i n F m aj or .

Ex . 89 3.

Li cen c e.
1 68 A LBREC H T SBERG ER S
’

Goo d m aste rs h a v e also empl oy ed the t w o fo ll owi ng

hal f c a denc es o n t he thi r d o r fifth abov e b efo r e th e
, ,

last stret to for ex ampl e

Ex . 89 4 .

F ugue 2 nd, in D mi n or .
A L B REC H T SB ERG ER S
’

l uo -m o mi
'
0

l mo c h m i na il mi
’ ’
uo e - sa e di c a,
 G U I D E T O C OMP OSl TI ON . 171

-
O se -
ve ro

ve - ro
O se -

p ie to
- - so -
se ve

O se - ve - ro

p e r n oi sem pr e,
p er noi sem
'

p re se ve
g l ia
-
i l Sig n or ! 0 mi di ca

e mi di - ca
 no i se m p re se v eg - l ia il Sig n o r, se ve
g l ia il Sig nor !

Ex , 89 7 ,
F ROM G . F . H A N DE L S
’ “
T E DEU M , L A U DAMU S,
”
F OR TH E U T RE C H T P EA CE .

Tu R ex , tu R ex glo

Tu Rex , tu R ex gl o
 A L BRECH TSBERG E R S
’
17 4

p t
a- ris se m pi - ter es 6 li us,

tu p tri
a s se m pi -
tor n us ,

tu p a -
tri
s se m pi ter n us , se m pi ter fi li us .

5 8 6 7 3 7 9 6 ‘
7 6
3
3
SEC ON D MOV EME N T OF A N OFF E RTORY , DEXT ERA DO MIN I ,
”

Ex . 89 8 . BY J . G A nnunc nr ss s s a s s
. .

T l
re b e.

T r eno .

Th e li
v io ns con t in ue to acc om p l rp
any in sim i a assag el .
GUID E T O C OM P OSI T I ON . l l 5

re. 0 -
pe ra ,
 A L B R E CH T SB E RG ER S
'
176
178 A L BREC H T SBERG ER S
’

I n th is fugu e which al tho ugh i ngen i ously wo rk ed r eversum T w o short fugues wil l foll ow as examples
, , ,

o ut is p erfec t ly c l ear both v i oli ns i n u ni son c o n ti n u e i n which t he i nv e rsion a lways an sw ers t he su bj ec t

, ,

t he p ass ag es r e ma rk ed a b o v e— tw o vi o l as c om pl et e precis ely u n til the stret to , .

t h e i n te rv als o f t h e h a rm on y ; t r u m p ets and d r u m s

F o ur p art fugu e i n A mi n or with simpl e i n v ersi on
are add ed o n pr op er o c c a s i on s T h e w eighty b r oad
-
, .
.
,

th em e o f the b a ss is an sw e r ed st r ictly by the t eno r

l ength en ed a wh o l e bar t o prepar e r egul a r ly t h e ,

i ntrod uc t i on o f t he al to A s t he i nt e r v en i ng h a r m ony
.

e x ecut ed by t he fi r st p a rt is c o rr espo n d i ngly c o n

ti nned by t he o th er p a rts it may be c o n sid e red as a ,

n ew an d s e c on d su bj ect By t he em pl oy m en t o f .

do ubl e c o u nte rp o i nt which w e sh all t r ea t o f i n th e

,

n ex t v o lu m e b o th th em es r e c eiv e a m a n ifo l d sh a pe
,

th ey a pp ea r som eti m es s eparatel y a nd s o meti me s

u n it ed as i mita ti o n s pu r su i n g ea c h o t h e r er A r si n
, , p
et Tft osi n an d by a dd ed t hi r ds with c o u n t e rpo i n ts
, ,

i n th e o c ta v e an d t en t h T w en ty fo u r b a r s pr e vi o us
.
-

t o t he c o n clusio n th e r e b e gi n s a n e x c ell e nt s t rett o

,

b etw een t he b ass a nd a l t o by sy nco p atio n and a t , ,

t he d i st a nc e of a c r ot c h et an sw er e d on th e do m i n a n t ,

by the t en o r and tr ebl e ; the l ast str etto is tw o fo ld

th e s u bj ect i n th e t en o r and alto a n d t h e c o u n t e r ,

su bj ect in th e b ass an d tr eb l e alter nate o n a cc ent ed ,

a n d u na c c en t ed di vi si o ns a ft e r which a sol e m n pl ag a l ,

c ad en c e th r o ugh the m aj o r th ird l eads to t he p e rfe ct

a n d s a ti s fact o ry t e rmi na t io n The R ioerca ta is a .

sp ec i es o f fugu e h e l d i n mu c h esteem by o ur goo d

,

pr ed ec essors It is b egu n si mil arly to a usu a l si m pl e

.

fu gue with the appro pri ate an swe rs and re p erc us

,
-

si o n s ; i n t he s ec on d pa rt h o w eve r all t he p a r ts , ,

sh o uld c o m m enc e ( if p ossi b l e u n p er c eiv ed) i n ,

si mpl e or st r ict i n v ersi on by which t he upp e r p art ,

will b ec o m e th e lo west and c o ntra ry to the us ual , ,

rul e o ne p art must re c omm enc e al one i n ord er th at

,
-
,

t he re entry o f t h e l ead e r ( dam) a nd its c o m p an i on

-

comes) m a y be m o r e c l ea rly p e r c eptibl e in th e ir

(
n ew fo r m .Wh en the wh ol e of the fi rst pa rt has
b ee n t hus inve rt ed a c onc l udi ng free ca denc e is
,

a dd ed l en gth ened by anal o gous i mitati on s of t he

,

pri ncip al motiv e or by a pedal poi nt T h es e ki nd

,
.

of i n v ersio ns m ay be i n t w o thr ee or four p arts ; , ,

wh en in t wo p arts a th ird and fo urth i nd epend ent

,

pa rt m ay be a dd ed I n a compositio n o f thr ee pa rts

.
,

of c ours e on ly the upp er and l o w est pa rt can ch ange

pl a c es ; th e middl e p art simply or st ri ctly i nv ert ed , ,

n ote fo r n o t e mu st c onti n u e i n i ts i nne r pl a c e

,
ev en ,

i n a R ic orca ta Wh en t h e com men ci ng subj ect of

.

a fugu e is simply i n v e rte d wit ho ut r et a i n i ng th e ,

ord er o f h al f and wh ol e tones in th e ans vver it is sa id

'

t o b e p er con tr a ri a m si mp lex wh en the h alf and

wh o l e ton es are strictl y obs erv ed so th a t the i nv ersi o n ,

p r o duc es wh ol e t o ne fo r wh ol e ton e an d a F a n o te ,
-

for ev ery Al i note t he fug u e is p er c on tra ri a m

-
,
GU ID E T O C OMP OSI T I ON . 179

Fugu e i n G mi nor with stri ct i nv ersion

,
on th e fifth .
1 80 A LBREC H T SBERG ER S
’

The first N B a bov e the tr ebl e, po i n ts out a s l ight

an d all ow abl e c h a n g e which o ccu r s—t h e d is n o t
.

d otted , and the fo ll owi n g o is a mi ni m i nstea d o f a

cro tc h e t The N B i n t he alto a nd bas s o f the
.

fi fteen th bar, poi n t out th e crotch et r est , wh ich is

us e d to r end er m o r e pe rc epti b l e t he i nv ert ed subj ect ;
P ux presc ri bes this as a ru l e but it is no l o n g er ob
,

s erv ed as the re pe rcussi o n o f the t h eme if pro per ly

,
-
,

an d ef e ctiv e l y i n tr o duc ed , w i ll n o t e sca p e a n a t t en

tiv e l i st ener— and th ese i n genio us branch es of com

po sitio n are b eyo nd th e co m preh ensi on of u n i niti at ed
am a t eu rs T he th ird N B i n t he te n o r po i nts o u t
. .
,

t he i n v ert ed subj e c t o r r a th e r t he imita t i on o f t h e

,

trebl e an oc ta v e l o w er , i n an all o wa b l e fo r m of a ug
me n ta t ion, t he first t w o n o t es b e i n g of gr ea te r v al ue .

T he fo ll o w i ng is a R ic orca ta for the org an, i n thr ee

p a rts with strict i nv ersio n
,

By P m u r K t n ws z no c n .
1 82 A L BREC H T SBER G ER S GUID E T O C OMP OS IT I ON
’ ‘

I n thi s xampl e th e c h rom ati c subj ect c omm enc i ng

e , ,

on the maj o r s ev en th c onti nues u nti l the s ev en ty

,

s ec ond bar in t he unaccente d d i visio n of whi c h t he

,

u pper p a rt co mm en ces t he i nv e rsio n ,p er con tra r i a m

r eversum a n d this co nti nues i n al l thr ee p a rts j ust
,

as l o ng as t he subj ec t w ith its in v erte d a cc om an i

p
m ent until the on e hu ndr e d and twen ty th ird ba r i n
,
-
,

t he pur est h arm on y ; n i ne ba rs of sho r t imitati on s

fo ll o w an d th e co ncl usio n on t he t o ni c is mad e with
,

a p l agal cad en ce .

E N D OF S EC ON D V OLU ME .
 T H E OR E T I C A L S ERIE S .
— NO . 6 .

N OV E L L O S L I B R A R
’
Y FOR TH E D IF F U SI O N OF M U SI C A L K N O WL E D G E .

t u di
S e s se rv e l t r t
fo r de igh , fo r o n a m e n , a n d a bi i y lt . The r e is t
no s ond o r im p e di m e n t
in t h e w it , bu t
m ay be w o gh o u t by fi t ru t s tu di es .
”
—
L ord B a co n .

A L B R E C H T SB E R G E R S
’

J . c .

C OL L E C T E D W R ITI N G S ON

AN D

F OR SE L F IN ST R U C T I O N .

X X
W I TH MA N Y E PLA N ATO RY E AMPLE S V E R B ALLY C OMM U N I C ATE D T O A N D S Y S TEMAT I C ALLY A R R A N G E D
, , ,

E N LA R G E D A N D E DI TE D B Y H I S P U P I L
, ,

I G N A Z C H E VA L I E R V ON S E Y F R I E D ;
W I TH A S HO R T GUID E T O F U LL S C O R E PLAY I N G A N D A D E S C R I PT I O N O F A L L I N S T R U ME N T S EMPLOYE D
-
,

U N T I L T H E P R E S E N T T I ME .

IN T H RE E V OL U M E S .

V OL . I II .

T RAN S LATE D B Y SA B IL LA N O E L L O , V FR OM THE O R IGI N AL E R MA N E P R E SS LY FO R N OV E LL O S

G ,
X ’

L I B RA RY F OR TH E DI F F USI O N OF M U SI C A L KN OW L E D G E T H E M USI C AL PO R T I O N.

HA S B EE N R E VIS E D B Y V I N C E N T NO VE L L O .

LON D ON : N OV E L L O, E VV E R CO
B E R N E R S ST REE T A N D 80 81 QU EE N ST R EE T
B P H IL A D L P H I A
1 , ,

OS ONT , N EW Y OR K ,
AND E : D IT S ON CO .
 ’
A LBR E C H T SB E R G ER S

G U I DE TO C O MP O SI TI O N .

C L II . G
—ON F U U E WI T H A C HO R AL E .

F or a fugu e abo v e a chor al e it is us u al to t ak e,

s om e n o t es ( i n di m i n utio n) o f th e c h o r al e its el f as
a subj e ct which is i n tr o duc ed su cc essi v el y in th e
,

th r ee p a r ts a s in a c om m on fugu e u n t il th e fo u rth
, ,

p a r t wi t h t he ch o ral e m el o dy c an j o i n in W h en this
- .

c o mm enc es on t he t on ic an o th er p a rt m a y t ak e i t on
,

t h e d o m i na n t wh en a go o d o cc a si on p r es en ts its elf
,
.

W h enev e r t he ch o ra l e is i n t r oduc ed t he r em a i n i ng ,

p a r t s m ust b e w o r k e d out i n i m it ati o n s T hi s ki n d .

o f fugu e is c a p a b l e o f c on t r a cti o n a n d a d m its t he

,

u s e o f o t h e r i n g e n i o us an d or n a m en t a l c o unt erp o i nts ;

for e x ampl e

F ugu e i n G m aj o r .

C h oral e.

Ex . 9 02 .

Ch ora l e.

C h or a l e.
1 88 A LBRECH T SBER G ER S
’

t
T h e N B in t he tw el f h bar o n t he t eno r po i nts o ut th a t the r e - p erc ussi o n of t h e th em e is d imi n ish ed
,

a n d i n t o duc e d r b b
y a mi ni m m st ead o f a s em i r e ve Som e fugu es o n ly c o n a i n t he ch o a l e i n o n e p a t ,
. t r r
r rt
wh il e t he em a i ni n g p a s are c o m p os e d o f i m it a ti o n s i n o r na m ent a l c o u nt e rp oi n t ; a g o o d ex am pl e is t h e
A u : Ma ma by F i l m “ he n o n e p a rt a l o n e co n ta i ns t he ch o r al e a n d t he c o mpos e r do es no t ch oo s e to
.
,

rt
w i e i n fu v
gu e i t is su ffici e nt t o a dd th e r em ai ni ng v o c al pa rts , o r i o li n and organ p a rts i n o rr ect
, , c
t t t
c o u nt erpo i n i m i a i o ns , a s t he fo ll o wi ng e a m pl es sh e w : x
Ex . 9 03 .
II Y MN .

Tr l eb e.

ris

T r e no .

ve m aria s etl ve ma ris tl

se

B ees .

A
132 4 it 9: 1 1

O g
r an .

se m V ir

De - i Mater -
111 m a , De i Ma -
ter a] ma , q ue se m pe r V ir go ,

sem at
per ,
 A L BR EC H TSBER G ER S
'

g u est m ic h denn du se
, gu es m ich t denn , c
i c h l asse d ich ni h t , ich l asse di h c

l c h l as se c
di h

I c h l as se c
di h ni hc t , c
ic h l as - se d i h nich t , ch t
ni , c
ic h la s - se d i h ch t
ni , t
gu es mich

du as g u est , du m ich , d a se guest

 G UI DE TO C OMP OSI T I ON . 191

da se t
gu es m ich d e nn

T he m os t effe ctiv e ch o r al e fugu es are th os e i n -

T he tu r a l r esult o f th is tran sp o sit i on is th at
na ,

which the ch o r al e m el o d y p r og r esses i n s em i br e v es ,

- d imi n ish e d i n t er v a ls b e c om e a ug ment ed mi no r be
,

o r i n n o t es o f g r ea t e r v a lu e th a n th o s e fo r m i n g t he com e m aj o r whil e m aj o r i nte rv als b ec om e m i n or

, ,

a cc omp a n yi n g p a r t s i n fugu e F or on ly b y such a a n d a ug m en t ed b ec om e d i m i n ish ed Susp en sio n s o f

’

. .

c o ntrast ed c o m b i n a t i on wil l the p r i ncip a l ch a u n t st a n d t h e n i n t h a r e fo r b i d den h e r e b ec a us e i n c o rr e c t

, ,

o u t cl ea r ly a n d g r a n dly , whil e o n t he o t he r h a n d, c o u nt er p o i n t i n the o c t a v e t he r esolutio n s w o uld

,

sh o ul d al l th e p a r ts m o ve i n e qu al n ot es th e ear , cr ea t e 9 8— 2 1 ; and i n t he c o u nt er p o i n t i n t he
, ,

w o uld n ev er be a b l e t o d isti n gui sh ev ery i nt r oducti on fi ft een th w o uld c r ea te 7 8 E x am pl e 9 07 wh ic h

, ,
.
,

o f t h e ch o r a l e m el o dy , whic h sh o uld p r edo m i n at e a t

-
foll o ws is c o rr ec t ; but E x a mpl e 9 08 is fa ulty
,

e a ch re p er cu ss i on-
T his ki n d o f writi n g is w ell.

a da pt ed t o ch u r ch p i e c es a n d o r at o r i o s ; fo r i n st an c e ,
-

wh en a su bj e ct ha s b een r eg ul arly tr ea t ed a s a si m p l e
fugu e, it c a n be_u n ex p ect edly i n t er w o v en wi t h s ach
Ex 9 07
a ch o r a l e th e m e , a n d giv e t o t h e w h ol e pi ec e n ew
. .
-

vig o u r a n d a gran dly soa ri n g i m p etus Mo d els ex ist .

b y g oo d a nci e nt an d m o d er n m a st e r s .

C L I II — ON DO U . BL E CO U N T E R PO I N T IN OC TA V E OR

I F T E E N TH F .

A ll ki n d o f d o u b l e c o u n t e r p o i n ts m ay b e disti n
s

g u i h e d fr om si m pl e i n tr i n i c c o u n t e rp i n t
s T he ,
s o .

l tt er c o i t o f n ew a cc m pa y in g i nt er v als add ed
a ns s s o n

t o an e x i t i g r e ta i ed p r t : i n t he fo r m e r b o t h
s n . n a ,

p r ts r em i n u n alt r ed whil e th e ch an g e o f h a r m on y
a a e ,

is c r eated b y t r nsp si t i o n T he d oubl e c o un t e rp o i nt

a o .

o f t he ct v e t rea t ed o f in t h is ch pt e r is p r o du c ed
o a a ,

b y t he i n v er s 1 on o f t w o p r ts ; t he on e which in th e a

fi r t i n st an c e w s t he b ass b ec o mes th e u pp er p rt
s a ,
a ,

pl a c ed an cta v e h i gh er w h il e the oth er r emai n s

o ,

u lt e r d
na d fo r m t h e b as
e ,
an By this t r n p o i t i on
s s . a s s

o f t h e p rt s t he i t e r v a ls
a p pe r i n t he fo ll o wi g
,
n a a n

mutu l p r o p rti o — t he u is
a o I b e c om e b y
n n o n, .
,
s

tr n p o i t i n t he oct a v e ; t h e s ec o d t h e s ev enth ;
a s s o n ,

t h e t h i r d t h e si x th,
t h e fo u r th t he fift h t h e fift h , ,

t h e fo u r th ; t h e si xt h t h e th i r d ; th e s e v en th t h e , ,

s e c o d ; a d t h e o ct v e b c om es by t r an s p siti o t he
n n a e o n

u is o
n t he o c t v e h e ight e ed i n th is w ay is c ll ed
n a n a

o c ta ve o c u t a , a n d the l o w er ed o ct av e , oc tcw a
gra nts ;
fo r e x am ple
Ex . 9 05 .

O c t a v e, o r 1 5 th . O c t a v e , or Q u i n t a d e c i ma ac u t a .

Ex .
 A L BRECH T SBE RG ER S
’
1 92

9 1

T h es e fau lty tran spositi ons are caus ed by pl aci n g

t he c o un t erp o m t o ccas i onally a b o v e t he su bj ec t a n d ,

s om e t i m es b el ow i t T h ese t w o tran s p o s it io n s sh o uld

.

be i ndic a t ed by th e figur es o f si m pl e i n ter va l s a ft er,

t he fi r s t prese n ta ti o n o f t he subj ect ; n o ch a n g e o f

i nterv al s w o uld e nsu e as t he p assi ng n i nth s are i n
,

this case o nly s eco nds a b o v e an d t he t enth s ar e thi rd s

,

ab o v e & c &c T hi s fa ulty c o u n t erp o i n t i n the oc

t r ans p o siti on o f the upp er pa rt an octa ve
.
, , .

T he ta v e m ay be c orr ected ( mo r e easily fo r v i o li n s t h a n

b el o w t o fo r m the b ass whil e t he o t he r p a rt r emai ns
, ,
fo r v o i c es) by tra ns po s i ng o n e p a rt t w o o c t a v e s
i n i t s fo r m e r p o si t i o n a n d fo r m s t he u pp e r p a rt is
,
,
high er o r l o w er which is t he r eal fift een th a nd
c a ll ed I n verato i n Oc ta va m g ro om — i nv er s io n i n , ,

l ea vi ng t he o t h e r p a rt sta ti o na r y o r by tr ans po si ng
t h e o c t a v e b el w ; t h e tra n s p os i t i o n o f t he l o w r pa r t
o e
b o t h p a rts— the upp e r o ne an o c t av e l o w e r a nd t he
a n o ct a v e a b o v e t o fo r m t h e up p e r p a r t w hil e t he
,

, ,
u nd e r p a rt an oc ta v e high e r ; fo r ex am pl e
ot h er par t , u nt r a ns p o s ed fo r m s t he ba ss is ca ll e d
, ,

I n ver sio i n Oomm m c o nt a i n — i n v e r s io n i n t he o c

ta v e a b o v e T ra n s p osi t i o n s a re o f n o u se fo r do u b l e
.

c o u nt e rp o i n t i n t he o c t a v e wh e n a s e c o n d b ec o m es
,

a n i n t h ; a t h i r d a t e nt h
,
a fo u rt h a n el ev en t h ; a
, Ex 9 09
. .

fi fth a twelft h a six t h a th i rtee n t h a s ev en t h a

, , ,

fo u r teen t h an d t he o cta v e b ec o mes a fift een th as fi

ma y be s ee n i n t he fo ll o wi ng exam pl e

C h ora l e
. T p
rans os i t i ons.

10 9 8 9 10 1 3 10 1 3 1 2
 A L B REC H T SBE RG ER S
’

1 94

also as th e c h angi ng no te of F ux , wh en it b ec om es
a fo urth in th e i n v e rsi o n

Ex . 9 13
.

Q uin t a dec i ma grav i o .

or : I nv erci o d u pl ex .

Q uin ta dec i m a gr m
a .

Th e N B ou l ast s ecti on of Ex 9 1 1 po i nts out

t he .
, ,

t h at wh en ex p edi ent it is per m itt ed t o m a k e b o th

, ,

t ransp osi t i on s si m ul t a n e o usly t o t he o c t av e a b o v e ,

a nd t he o c ta v e b e l o w T he N B o n t h e si xt h s ecti on
.

o f Ex 9 1 4 po i nts o ut t h a t i t i s pr efe r a b l e t o use

.
, ,

t he fi ft e en th o cc asi onally i n o r de r t o a v o i d t h e un i ,

so n i n t w o p a r t h a r m on y -
R u le 4 t k— is n o t to .

i nt r o duc e t he t w o ni n ths as sus p ensi o ns o n a cc o u nt ,

o f i nc o rr e ct r es o lu t i o n B o th a re a dm i tt ed in r egul a r
.

tr ansi t i on ; b ut in this ki nd o f c o u nt e rpo in t th e y are ,

bett e r c on sidered a nd figur ed as se c o nds i t is a lso

b et t e r to fi gu r e t en t h s el ev e n th s a n d tw elfth s as , , ,

thi r ds fo urth s a nd fi fth s a s i t is a pr i n cipa l r ul e i n

, ,

t h is c o unt erp o m t n o t t o e x c eed t h e o c t av e W h en .

a n i n t h i s i n t en t io na lly i n t r o duc ed it is m o r e l eg i b l e ,

i f fi gu r e d cl o s e t o a n o ct a v e o r t e n t h — fo r i n s t anc e ,

8 9 o r 9 1 0 o r 8 J 1 0 and 1 0 9 8 ; this fi gu r i ng
, , , , ,
‘
, , , ,

i s m o re ea s ily r ead a nd p l ay e d fr o m th a n 8 2 o r , ,

2 1 0 o r 8 2 3 a nd 3 2 8
, , , , , F o u rt hs se v e n t h s and
, ,
.
, ,

s ec o nds are p er mitted as sus p e nsi o ns a nd as r egul a r , ,

o r i r r egul a r p as si n g n o t e s Ca r e must b e ta k en th at .

b o th pa rts sh o ul d po s sess a mu t u a lly h a r mo nio u s and

fl o w i ng m el dy a nd t h a t ea ch sh o ul d fo r m a c o rr ec t
o
ls o wh en suspen ded a nd p rep a red by a ch o rd
,
a o f th e fu ndam enta l bass wh en ch an g ed t o a di ffe r en t po si
thi rd si x th o r o cta v e
,

, , ti o n ; it is als o advi sa bl e to c o m po s e a su bj ect i n such

a ma nn e r t h a t a t h i r d o r fo u rt h c o m p l em en t a r y p a r t
,

m ay be a dde d wh e n n ec es sa r y W h en i n t he pr in .
'
,

e i pe l c o m po s i t i o n o f a t w o p a rt c o u n t e rpo i n t o n ly -
,

t he third si xt h a nd oct a ve a p pea r alt e rn a t ely o n

, ,

a cc en t ed div is i on s o f h a r e wh e n t w o s im il ar eon m -

Ot c ava g ra v u
s ona nt s ( such as thi r ds o r si x ths ) h a v e b een a voi de d
in succ ess i on and n o d iss onant em p l oy e d e x c epti ng
.

as a pa ss i n g n o t e— wh en l astly o nly o b l iqu e and , ,

co n t ra ry m o v em en ts h av e been e mp l oy ed such a .
,

co m p osi t i o n can eas i ly be set in three or fo u r p ar ts ,

an d i n t he c o u n t e r po i n t o f t he t e nth e v en wi t h o u t ,

n eed in g an i n de p en den t pa rt c onta i ni ng n e i t h e r

O ct a v a g
r av ia
s u bj e ct no r c o u n t e r s u bj e ct :
,

t h e o r igi na l ke y al so
.

-
, ,

o f t he firs t s u bj e ct m ay be r e t ai n ed ; it will be in
,

t h r ee p a rts if a third a bo v e be a dded thr ough out to

,

t he u p p e r o r l o w e r pa rt — i t w ill b e i n fo u r p a r t s if ,

a thi r d a b o v e b e a dded to t he u pp er as w e ll as t o t he

l o wer pa r t fo r e xa m p l e
Q ui n t a d ec i ma g
ra v i s .
 GU ID E T O C OMP OSI T I ON . 195

T his positio n o f th e h armo n y is b ett e r an d ful l er

th an t he form er , b ec aus e o cta v es ar e c r eat ed i n st ead
'

o f b a r e u n is on s T his ex am pl e m ay s erv e as pr eli

.

Or : to obt ai n r eal t en th s . mi n ary i n st r u ct io n o n d oubl e cou n te rpo i n t i n the

t enth if th e thi r d b el o w w er e a dd ed to both p arts
of this two p art compositi o n, t h e d o ubl e c o u nt erpoi nt
-

i n t he t en th wou l d b e m a d e for e x ampl e

Th e N B i n t he t en or poi nts out th a t a skip of the

,

augm en t ed fourth must o ft en be t ol er a t ed i n this and

t h e followi n g c o u nt erp o i n t i n t h e tw elfth I n this.

ex a mp l e t h e key is ch a n g ed from C m aj o r t o A
,

mi n or ; if d esir ed in t he first ex ampl e i n the t en th

,

a bo v e
,
m o dul ati on to man y a n al og o us k eys is p er
mi tt ed an d is u s efu l to l en gth en a fugu e
,
Doubl e .

c ou n t erpoi nt in the o c tav e is us e d with a c h oral e as ,

sh ewn abov e— al so to a fr ee or i nn er m el o dy or an ,

i n t er v en i n g subj ect i n wh atev er styl e th e c o m posi t ion

,

m ay be but m o stly i n fugu es in wh ich a s o ft en as

, ,

possi bl e it is em pl o y ed with th e su bj ect c ount er or

, , ,

i nt erv en i n g subj ect T he foll owi ng e x am pl e i n

.

G m ajo r wil l p r es en t an i n t erv en i n g subj ec t with its ,

R ema rk — A lth o ugh this pro c edur e app ears simp l e two trans po si t i on s set i n th r ee p a rts with an i nd e
, ,

a n d b as ed o n n a tu r al pri n c ipl es
p end en t trebl e and ulti mat el y with an i n d ep end ent
y et it is n ot a lw ays
, , ,
,

feasibl e be c aus e it som etim es p r oduc es un h a rm on i o u s b ass

,

tran sv ers e p o sition s or b ec aus e it nec essitat es t h e

,

d o ubli n g of a l ea di n g n ot e or i n c o rr ec t r es o l utio n s
,

o f diss on an ts ,
or the i n t r odu ction of un m el odious
s kips ; th is h app en s m o st o ften i n c on c l udi n g os
d en c es whi ch must on this a cc o u n t be modifi e d by
, , ,

i n d ep en d en t n ot es T h er efor e it is pr eferabl e to
.
,

e n ric h this a n d t h e en sui n g c o u n t erp o i n t with i nd e

p en d ent o r igi n al co m pl em en tary p arts —the m ore so ,

th a t a dd ed thirds form a full er h ar mon y but n ev er ,

p r odu c e a n ew m el ody T h e th irds i n th e t w o u pp e r

.

p a r ts may be t r an spos ed to si x th s whi c h are t he

,

sa m e as th e y also ori gi na t e from th e c o unterpoi nt i n

,

the o c t av e ; for ex ampl e

 A L B R EC H T S BE RG E R S
’
19 8

T he fo ll o wi n g exam pl e is a sh o r t o rgan fugu e i n

-

D m aj o r in which d o u b l e c o u nt erp o i n t in t he o ct a v e
,

is u sed th ro ugh o ut with the c o u n t er su bj ect -

so m et i m es ab o v e a nd s om eti m es b elow
Ex . 9 23 .
 A L BR EC H T SBE RG ER S
’
19 8

w h en on e o r t w o p arts m ov e th ro ugh o ut i n t e nth s o r

th i r ds abo v e a ny o f t h e a b o v e m en ti o n ed s u bj ects ; -

a n d Con t r a unc t u m i n decima ra vi wh e n t h e p a r ts

p g ,

m o v e i n t en t hs or thi r ds b el o w t he su bj ect S o m e .

ti m es i n fo u r p a r ts a s wi ll be s een fro m t he fo ll o w i n g
, ,

rem a r ks this c o u nt erp o i nt furnish es a t en th o r t h ird

,

a b o v e a n d a t enth o r thi r d b el o w a t t he sa m e ti m e fi r t s cti on o f Ex 9 28 w ould be f ulty i n

, ,
.
T he s e . a
Mo r e o ft e n esp ec i a lly wh en dire ct m o v e men t has
,

, t h r e e p r t s i f i n t he t e t h b l w ; a n d t he c on d
a n e o se
o cc a si on a lly b een empl o y e d i n t h e su bj e ct
,

it is n e , s ec t i on o f E x 9 2 8 w uld be fa ul t y i n t he t enth
. o
c essa ry t o w rit e a fr ee p a r t i n t hr ee p a rt a nd t w o
,

a b ov e fo r e x a m pl e
-
, ,

free pa r ts i n fo u r p ar t c ompo siti o n s th e r efo r e o ne

,
-
,

pa rt as i n a t w o pa rt pi ec e o n ly r ema i ns fo r i n v er si o n
,
-
,

i n th is c o u n t e rpo i n t .

R ema r ks — I n this c o u n te rpo i nt t he u nis on b e ,

c om es a tenth which is p e rmit t ed i n tw o pa rts o n

, ,

e v ery divisi o n or su b d ivi si o n o f a ba r A sec ond

-
.

1 0 0 1
b ec o m es a r ea l n i nth ; but w h en a s ec o nd is sus pe nd ed , 1
it must no t b e pr ec ede d by a thir d i n ord er th at ,

t ranspo si t i on may n ot giv e a susp en d ed n i nth p re ,

p ar ed by t he o cta v e whi c h w ould pr od uc e t w o

N os 3 4 o f E x 9 2 9 , i n thr ee p a rts w o uld b e
a nd
,

pr ohibit ed hidd en octa ves for ex ampl e t

.

b
.

j ust ol e r a l e i n t h e t e n h el o w , but i nad m issibl e i n t b

,

t h e t en th ab o e A t hir d ve c o m es
. a n o ct a e b v
t rh e efo r e, it is fo r bi dde n t o u se direct mov em en fo r t
r
a thi d , wh e n t h e co m o si i o n a n d i s tra n sp os i ti on s p t t
r ema i n i n t w o p a rts , as hidd en o ta e s w o uld b e c v
pr c
o du ed ( see N o 1 Ex W h en a pi ec e i s i n
.
,
.

Dec ima gr a v ic .
r
th ee or fo ur p a rt s a hi d i n di ect m o v em en t is
, t r r
t
p e rmi ted , as the third and fourth a t r ender the p r
D ec i ma acu a. t D ec i m a ac u e. t r
er o r l ess pe rc e pti l e ; b
but t w o h i ds i n direc t r t
t r
m o v em en w o uld p od uc e c on s e cu iv e o ct a v es i n the t
r
i nv e si o n s , a n d a re th e efo re stri tly fo bi dden (se e r c r
G
ood in 8
pi s l1 p)
n , wlt t h e te nt h a o
1 0
bv
e.
N o 2, Ex. .

l 0 g_ 6 8

o L
O c ta va gra v ls .
Ex . 9 29 .

No 2. . G ood .

T rti e a ac u e. t

3
‘ ‘ ’
s l s

A be com es a se v enth
ou r t h an d is p e rmitt ed as
f ,

a r egula r o r ir r e gul a r p assi ng n ot e i n t w o thr ee , , ,

an d fo ur pa rts it c an n o t b e employ ed i n t w o part -

or m any pa rt tr a nsp o siti on s as a s usp ens i o n i n the

-

up p er p art for it r equir es t o be r es olv ed on the third

, ,

a n d i n an un d er par t w o uld prod u c e t he for b idd en

sus pensi on o f th e s ev enth v iz 7 8 (see N o 1 ,

.
, , .
,

Ex . Wh en a fo u rth is s us pend ed i n th e lower

p a rt a nd r es o lv ed as usu al on t he fifth ( g enera ll y
,

d imi n ish ed ) i t may be twi ce transpose d i n t wo p a rt

, ,
-

cou n te rpo i n t but o n ly i n t he tenth b elow in th ree

,

pa rt c ompositio ns ( see N os 2 and 3 Ex .

, .
 G UID E T O CO MP OSI T I ON . 199

Ex . 9 30 .

D ec i ma g ra v i s.

3 4 5 6 8 4 5 8

G oo d . D ec i m a g rav i s .

3 4 5 6 3 4 5 6

Te n t h b l l
e o w a so g oo d in 3 pr a t s.

A fifth b ecom es a sixth A ccordi ng t o t he ru l es

o
.

o f st r ict c o mp ositi on t h e p erfec t fifth i n tr o du c ed i n

, ,

dir ec t mov em en t is forbidd en e v en in t w o p art

, ,
-

pi ec es al t ho ug h t he tr an spositio n s would produc e a

,

co ns ona nt sixth A six th b ec om es a fifth ; th er efo r e

.
,

a pri n c ip a l c o u n t e rp oi n t i n t w o p a r ts m u st n o t c o n

t a i n t w o o r m an y suc c essiv e si xt hs as th ey w o u l d ,

b e c o m e by i n v ersi on c on s ecutiv e fi fths (see N o 1

, , .
,

Ex . an d e v e n a si n gl e si x th must n ev e r b e

i ntrodu c ed i n dir ec t mo v em ent (see N o 2 Ex . .

Ex . 9 33
.

Ex . 9 31 .
B ad i n 3 p a rt s a s o .l

D ec ima g ra vi s .

D ec i ma g ra v i s .
4 B ad .

A b ec o m es a fo urth ; wh en a c o mp ositi on
seven t h
is i nv er t ed in two p a r ts o n ly t h e s e v en th may b e ,

em pl o y e d a s a p a ssi n g o r ch an gi n g n ot e a n d a s a ,

su sp ensi o n— ia three p a rts it c a nnot b e twi ce ,

susp en ded .

Ex . 9 32 .
 A L B RECH T SB E RG ER S
’
200

T he ca d enc e in t he dec imal gra vi o f Ex 9 33 m ay .

an d must b e alt e r e d i n t he uppe r or l o we r pa rt , as

follows
NB . th us

Ex . 9 34 .

0! t h us : NB .

T his cad enc e us ed by

,
F ax ,
is no t a d vis abl e

I n th e thi r d bar of Ex 9 37 , if t he b w er e omitt e d

.

o n e t he fo ll o wi ng tr a n spo siti o n s might b e employ e d

Ex . 9 35 .
,

three p a rts espec ially if a m o dul ati o n from

,

bmaj or t o D mi no r w er e d esir ed ; for exampl e

V
N B .

I sh all n o w giv e an ex a mpl e o f th e chan gi n g not es

o f F un) , i n a n upp e r p a rt which occu r wh en a mi no r
,

j
o r m a o r s e v en th pre c ed ed by t h e octa v e, d esc en d s
,

by a skip t o t he p erfect fift h ; this is w ell a da p t ed

fo r t w o p a rt c o mp o si t i o ns , b ec a u s e t h e t w o t ra ns o
-
p
s i t io ns p r o du c e t he s ec on d ch a n gi ng n o t e n a m ely ,
t he fo ur t h d e sc e n di ng by a skip t o t he s i xt h In .

three-part co u nt e rp o i n t o f this ki nd , it c a n o nl y b e
us ed wh en t he t e nth a b o v e is e m pl o y ed see Ex
( .

I n fo u r pa rts it c a n o nly be us ed wh en c o u nt e r po i nt
,

i n t he t en th ab o v e i s empl oy e d with a l o w er p a r t
m ad e b y t ra ns p o siti o n a n oc ta v e low e r a nd wh e n t h e ,

co u n terpo i nt i n t he t enth b el ow is m ade to an u p pe r

par t , m a d e such bv r eta i ni ng i ts o rigi na l po s mo n
( see Ex .

A l so bad .

Ex . 9 37 .
202 A L BRECH T SBE RG ER S
’

S ec on d Il lustratio n
Li c en c e .

8 1 6 8 5 6

Ex . 9 47 .

Li c e nce

l l
.

T he N B i n the ast ex am p e poi nt o ut , th a t th e

b t
d o u l e d l ea di ng not e is n o t fa ul y , a s n ec essity eu
r p r
fo rc es it T a ns o siti o n s t o t he th i d o r t enth a o v e
. b ,

r b r
a re p efe ra l e i n m i n o r k e ys , a s fe w e a ccid e n a l s ar e t
r x
r equi ed I n t he fo ll o wi ng e am l e, t he t e bl e is
. p r
b
t ra nsp os ed to t he o ctav e el o w ( oc ta vem g ra vem) ,

r b
a n d t he a lt o o n ly to t he thi d a ov e t er tium a cu tem ,
( )
In thr ee pa rt c o m po si t i o n s t he i nv ersi o n in t he
-
,
t
i n o rd e r th a th es e, as w ell a s t he pr e edi ng tran s c
th ird o r te n t h ab o ve a l w a ys pro d u ces a b ette r a nd t l
po si i o ns , may be emp oy ed for oi e p a rts v c .

m or e m el o dious effect th an t he t e nt h b el o w as t he ,

fo r m er s eld o m or nev er c a use M i co nt ra I h to a p

pear W h en a fo urth pa rt is d e s i r ed o r n ec e ssa ry
.
,

it may be i nd ep enden t a nd u nai de d b y t his d o ubl e

,
8 7 6 3 5 6 8 6 5
co u nte rp o i n t as sh e w n i n t he foll o wi ng ex ampl e ;
,

t h e fo u rt h p a rt a lla deci ma,

is no t us ed o n acc ou nt ,

of s us pend ed fifths

Ex . 9 48 .

Li a na .
A

Li c e nc e .
 GUID E T O C OMP OSI T I ON . 3

t en th a n d tw elft h u nti l the p en ultim a t e bar o f th r ee

a n d fo ur p a rt pi ec es
-
C o u n t er p o i n t i n dec i ma a cu ta
.

m a y b e us ed i n thr ee an d fou r p a r ts u n til t he l ast

b a r with o ut a fr ee p a rt if i n t w o p a rts t he c o mp o
, , , ,

si t i o u h a v e c ont ai n ed n o diss o na nt sus p ensi o n s o r ,

su sp en d ed fift hs— i f all di v isi o n s h a v e o n ly c o nt a i ned

a lt e r na t e thirds fift hs o ct a v es o r u n is o n s i f di r ect
,
-
, ,

m ov em ent h av e not b een em pl oy ed i n d ivisi o n s or

b ea ts — i f fifths h a v e on l y a pp ea red a s r egul a r t r an
siti on s i ntro du c ed by gra d es — an d if i n t he c ad en c e
, , ,

t he p en ultim a t e n ot e t h e m aj o r sixth hav e as c end ed

, ,

t o th e o c t a v e W h en n o thi n g is a dd ed a ft e r a
.
,

d o ubl e c o u nt erp oi n t t o fo rm a g en era l thr ee o r fo ur

,

pa r t c a d enc e t he fo ll o wi ng a re m o stiy us ed fo r
,

four p art c ompositio ns

-

Ex . 9 54 .

3 4 5 6

Ex . 9 52 .

( We h av e n ow c l earl y sh ew n th at th is c o un t erpoi nt
'

i s cl o s el y c onn ect ed with th at i n t he o cta v e ; an d

wh a t w a s r em ark e d o n t he thirds a b o v e an d b el o w ,

fur n ish ed b y th e fi rst app li es equ a lly t o t he pr es en t

,

ki n d of c ou n t erp oi n t ) .

T hird Ill ustratio n .

If th e ch an gi ng n ot e d in t h e p en ultim at e bar
, ,

sh o uld s o u n d t o o pi erci n g a slight c h a n g e ma

( )
N B , y
be m ad e e ith er in t he v io l i n part i tsel f o r in the bass ,

a s fo llows

Ex . 9 53 .

Li c e n c e.

T he b est a n ti do t e t o su c h er rors 1 8 t o a v o id fift hs

o n a c c en t e d di v isi o ns
,
i n the o rig i n a l th em e. We
h av e al r ea d y s a id th a t it is n o t n e c ess a ry th a t a l l
n o t e s — t h e l a st i n clud e d— sh o uld p r ogr ess i n t he
t en th it is su ffic i ent t o use t he cou nt erp o i nts in the
204 A LBRECH T SBE RG E R S
’

T he two fol l o wi ng fugu es wil l c on clud e our

obs erva ti on s o n th is do ubl e c o u nte rpoi nt
F ugu e a ll a D ec i m a in G m jor
a .

Ex 9 5 7
. .

D t
eci m a ac u a.

D e c im a ac uta .

F ug u e a l l a D eci ma
,
i n Eh major, for t he Org an
.

Ex . 9 58 .

Dec . ac u t a
.
A L BRECH T SBER G ER S
’

C LV .
— ON DOU B L E Co uur n a r o m r '
IN T H E T WE L F T H
o n F I F TH .

In this c o u n t erp o i nt bo th parts of a two p a rt -

c omp ositi on may be t ra ns po s ed—o ne r ema i n i ng in

,

its pl a c e o r key whil e t he o th er is pl ac ed tw elv e o r

,

fiv e n o te s high e r o r l o w e r I n t he pre vi o us d o u b l e
.

c o u n t erpo i nt s it has b een sh ew n how th es e t ransp o

,

s it i o ns a re e ffecte d — fo r i ns ta n c e a l t h o ug h t h e up e r
p ,

p a r t r ema i n u nc h an g ed y e t i t is l ow ered e i t h e r i n
,

na t u ra or a n oct a v e b e l o w a nd the l ow er p a rt is ,

ra i sed e i t h er a tw elft h o r fift h a b o v e as may sui t t he ,

p ar ts T he foll o wi ng ta b l e r e pr es ents th e i nt erval s

.

produ c ed by t he t w o t ran spo si t i o ns

I n t er va ls 1 , 2 3 4 5 6 , 7 8 9 1 0, 1 1 , 1 2
fl a nsp osi t ions— M 1 1 1 0 9 8 , 7 , 6 , 5 4 3 2, 1
.
, , , , , , ,

, , , , , , , .

T he ru l es this c o u n t e rpo i nt a re the foll o wi ng

of

R u le l at— is n o t t o e xc eed a tw el ft h wi t hout g oo d

ca u s e i n a t w o pa rt su bj ect R ule 2 nd—is n o t t o
,

-
.
, ,

i ntrod uc e a m i no r or maj o r sixt h by a ski p as the ,

i nv ersi o n w o uld p r od uc e an u npre p a r ed m aj o r or

m i no r s ev en t h ; i n fr ee styl e a n a ugm e nt e d s i x t h ,

ta k en by a sk i p is suita bl e as t he i n v ersi o ns pro d uc e

,

a di m i n ish ed s e v en th fo r ex ampl e

Ex . 9 59 .
D uod ec i ma ac ut a. D uod ec im a acu ta.

Mi nor m ajor s i xths m ay be i nt r o du c ed by

a nd

gra d e s ev e n wh en t he l o w e r par t fo rms a suspensi o n ;

,

but t w o si xt hs m us t n ev er fo ll o w eac h oth er u nl e ss , .

t he first b e m aj o r and t he s eco n d be a ugm e nt ed ( see

,

illustrati ons o f t he s ec o nd r ul e Ex R u le 3r d ,
.

T as te s ol o.
— is nev e r t o use i n t he up p e r part a suspend ed
, , ,

s even t h p r e pa r ed by a nd r eso lv ed on a si x th a s t he ,

i nv ersi on s giv e a s ev e nth fo r e v er y sixth ; it ma y be

us ed ,
wh e n pre c eded by a third fift h o cta v e or , , ,

t en t h a nd p r epa red b y o ne o f t h es e fo ur c on s o n a n t s
, .

It may al so be u s ed wh en r es o lv ed b y a skip o f t he
thi rd and pr ep ar ed b y a m aj o r si x th wh ich l ast i n , ,

the i n v ersi o ns b ec o m es a mi no r an d d omi nant

,

s e v e nt h a nd m a y be w el l empl oy ed in t h e t welfth
.

b el o w ( duodeci ma gra vi ) T his is b ett er don e in .

pi e c es o f m a ny pa rt s t h a n i n tw o pa r t c o mp osi t i o n s -

see i llu s t r a t i o n s o f t h e thi r d rul e E x R u le

(
4 t k—is to co mm en c e an d c on clud e t h e u pp er o f t w o
.
,

pa rts o n t he pe rfect fi f t h o r tw elfth esp e ci all y i n ,

tran spo siti on s to the tw elfth below wh en t he su bj ec t ,

 GUID E T O C OM P OSI T I ON . 207

i s to r em ai n i n the g i v en key , whic h is i ndi cat ed by

t he l ow e r o f t h e t w o p ar t s Wh en the transp o sitio n
.

of th e tw elfth a b o v e is us ed th e comm enc em ent a nd ,

c o nclusio n m a y b e m ad e o n th e un is o n third o r o c , ,

tav e ( see illustrati on s ) R ule 5 th— VVh en trans

.

p ositi o n t o t h e twelfth abov e is us ed and a t w o p a rt ,

- D u od ec i ma gr a vi s .

c o mpositi o n is set i n three pa rts th e first n o t e whic h , ,

i n t he p r es en t c a s e w o uld be t he d o mi n a n t i n t h e
u pp e r p a rt m u s t h a v e t he to n i c writt e n b enea th i t
, ,

i n t he fr e e third p ar t a s t h e c o u nt erp o i n t b egi n s b est

,

wit h a r est T he l ast n ot e of t he upp e r p a r t al s o

.
, ,

wh i c h is a gai n the domi nan t sh ou l d be pro lo n g ed ,

thro ugh a few b ars i n orde r th at th e oth e r tw o p a r ts

,

m a y m a k e an i n d ep en d en t cad en c e on t h e t on ic ( see
illust r ati on o f the fift h rul e Ex R u le 6 th
,
.
D u odec ima ac u t a, g o od .

W h en it is d esir ed to i n c r eas e a two p a r t su bj ect to -

a fo ur p a rt c om positi on whi ch is to proc ee d i n t en th s

-
,

thr ough o ut t h e two p art subj ect must n ot c o nt a i n

,
-

o th e r i n t erv a ls i n its divisi o n s th an a l t er n a t e t hi r ds

, , ,

fifths an d o ctav es ; n eith er m ay diss ona nt susp ensi on s

,

a n d dir ect m o v em ent b e e m pl o y e d i n it VVb en .

th es e r estricti on s h av e b een car efully obs erv ed i t is ,

o nl v n ec ess a ry t o a dd t en t hs or thirds b el ow t o t h e

u pp er p a r t a n d t en ths o r thirds a b o v e t o th e l o w e r
,

p a rt t o c r ea t e a fou r p a rt a nd c o rr ect c omp o siti o n

-

—
,

( se e Ex . R u l e 7 t h Wh en t he t r an s p o sitio n
t o t h e n a tura l fifth is empl o y ed i n st ea d o f the tw elft h ,

a b o v e o r b el o w an u n p r ep a r ed octa v e m ust n ot a p
,

p ea r ia a c cent ed d ivisi o n s or s ub div isio ns a s t he -

,

t r a n sp o sitio ns w o uld giv e an u nprep a r ed fo u r th .

T his e rr o r may b e r em edi ed i n two m ann er s ( see

illust rati o n s of the s ev en th r ul e Ex Susp en ,
.

si o n s o f t he fo urth s ec ond a nd n i nth m ay b e

,

e mpl o y e d i n two p a r t comp os 1 ti on s

-
.

Ill ustratio n of the s econ d Ru l e .

Ex 9 60
. .
s 5 3

D uodec i m a ac u ta.

T his x am pl e w o uld b e als o go o d i n duodeci ma

e

a eu t a th o ugh t h e fi r st v i li n s w o ul d b e r a th e r high ;
, o

t h e u i n ta a c u ta is m o r e suit abl e an d i n this p ro

Q ,

po r ti o n the tr eb l e ma k es an equ all y a d v an ta g e us

,
o

e ffec t
.
208 A LBREC H T SBERG ER S
'

Ex . 9 61 .

Ill ustrati on of the th ird R ul e .

Ill ustration of t he first and fou rth Rules , wi th
Ex . 9 62 . a C horal e .

“ 7
A

1 o

D t
uod ec i ma ac u a .

b r
et t e : 2 3

T p ti
rans osi on . G
ood .

I l l ustrat i on of the fifth Rul e .

 2 10 A L BRECH T SBE RG ER S
’

F rom this w e m ay see pr evi o us co u n t er

th at the
poi n ts i n t h e o ctav e a nd i n t h e t enth m ay be u sed i n
c o nj u n cti on with t he pr es ent co u nt erp o i n t i n the
tw e lft h this l as t c a n be t ran spo s ed in t h e en su i n g
,

t w o fo l d m a n n e r wh i c h fo r ms a t t h e sa m e tim e a
-
, , ,

m odula t i o n t o o t h er k eys .

T he foll o wi ng ex ampl es c o nta i n repr es ent ati ons of

al l p ossi b l e t r a n s p o si t i o ns

Ex . 973 .
 GUID E T O C OMP OSI T I ON . 211

1 st s ectio n of Ex . 975 set in t h ree p arts .

Ex . 976 .

S ec on d s ec ti on of Ex . 975 set in th r ee p arts .

Ex . 977 .

Li c e nce .

Ex . 973 set in fo ur parts .

Ex . 975 .

Ex . 978 .

Or D l
b y ic e n ce .
21 2 A L BREC H T SBE RG ER S
’

Ex . 9 81 °

em s 3 a s 3 s 4

Li c e nc e .

T he N B on t he s ec on d an d fourth ba r s po i nt out , ,

a t th e i n t e rv als r equ i r e d by th is tran sp ositi on

,

9 , 1 0 1 1 1 0 a re be tte r figure d i n t he c ou n te rpoi nt

, , ,

i n t he fifth 2 , 3, 4 3 , as t he ad m ixtur e o f th es e two

TWO pa rt subj e c t with out a cho ral e in onl y , ,
-
two
, ,
c o un terpoi nts is al ways advis ab l e
p a rts a lla 1 2ma
,
.
.

5 3 3 3 5 3 5 4
Ex 9 7 9
. .
3

1 1 1 0
5 A ? 3 3 5 3 5 4 3

N ot g oo d.

F uga a lla Du od eci ma by

,
F ox .

H ere , al so .
 A L BR E C H T SB ERG E R S
‘

21 4

or susp end ed by the sixth R ule 4 th— is o n ly t o . ,

p o i nt c ompos
i ntr oduc e t he si x th a cc om p ani ed b y 3 o r 3 i n fo ur , ,
b ei ng wo r ked
pa rts i n o b liqu e m ov e ment By n egl ecti n g t he fi rs t
,
. k eys sh o ul d
rul e b o t h tra nsposit io n s or th e c o u n te rp o i n t w o ul d
,
su bj ec ts i n a,

be fa ulty i n fugu e s wi t h th r e e su b je c t s ; o n e i n v e rsi o n Th e fo ll o w i ng fo u r p a r t d o ubl e fugu e w i t h t h r ee

-

w o uld giv e 3 3 a nd t he o th er 3 fi ll T he s ec ond ,

. su bj e cts wil l s erv e a s an ess ay ; th e p r i n c ipa l and
rul e is cl ea r b ut a dm i t s an e x c ep t i on ; wh en t h e
,
su bo r di na t e transp o siti on s are ex pl ai n ed b ut for the , ,

s ec o nd fo u r th is a ugmen t ed th e su bj ect m ay r eta i n ,

sa k e of b revi ty h ave n ot all b een empl oy ed i n the
,

it as i n o ne tr an sp osi t i o n t he ch o rd o f t he di m i n i sh ed
,
fugu e its el f .

will fo ll o w t h e p erfe c t fift h an d in t he o t h e r two S ec o n d su bj ec t .

ch o r ds o f t he si x t h w i l l succ eed ea ch o t h e r— fo r
,

i nsta n c e 3 33l | | 3 ,
By n egl ec t i ng t he thi r d rul e ,

w e p r o duc e t he p er mi tt ed chord 3 but a ls o t he , ,

ch o r d o f 3 which is fo rbi dden i n s t ric t styl e wh en

,

u n pr epa red I n o r de r t o a v o i d this err o r w e m ust

.
, ,

i n t h e su bj e ct i n t e nde d fo r tra n sp o si t i on a b sta i n fro m ,

a fift h a nd use i n its s t ea d t h e p e r fec t ch o r d wi t h 3

,

or
3 i t m a
y b e c o n ta i n ed i n t he fo urth fr ee p a rt as ,

w ell as al l o t h e r i n t e rv a l s I t is t o be u n de rsto od .

th at th is r est r ict io n d o es n o t ext end t o fr ee s t y l e .

By n egl ecti ng t he fo urth rul e the i n v e rsi o ns p r oduc e ,

Ex 9 85
Subordi nat e t ran sp osi tl o n ,

b t
. .

o n c e t he p erfe ct ch o r d 3 u al s o t h e ch o rd 3; , , ,

th er e fore i n t he su bj ect and r e pe rcussi o n it is ,

c e ssa r i n ch o r ds o f t he m i no r or m aj o r si xt h ( the
y ,

o t h e r si x th s a re pr ohi b i t ed ) t o subs t i t u t e for t h e ,

thi r d t he do ubl ed fu ndam en t al ton e or to d o u b l e t he ,

si x th i ts e l f wh en n o t a l ea di ng no te— thus 3 or 3
, , ,

e fo u rt h free p a r t ca n th e n c o n ta i n t h e
or
3 T. h
thi rd which c o m p l et es t he h arm o n y of t he si xt h
,
.

If th ese rul es a s w ell as t h o se o f d o u b l e cou n ter po i nt

,

i n t he o cta v e be r i gidly o bs er v ed i t is poss ibl e t o

, , Ex . 9 86
tran s p o se a fugu e w i t h th r e e su bj ects without c o u n
.

t e rp o in t s i n t he t e n th and tw el ft h i n six m a nn e r s , ,

i nclu di ng t he fi rst l ead ; a do u b l e fugu e with fo ur

subj ects m ay be t r ans p os ed in twenty fo ur m ann e rs -
.

T h i d bj
r su ec t .
B efo r e c omp osi ng such an i ngeni o us fugu e it is ad ,

v is abl e to put t he su bj ect i n t o a t l east three o r fo u r

tr an spo si t i o ns t o a s c e rt ai n wh et h e r it w o uld r em ai n
,

c or r ec t thro ugh o ut T he th r ee fo ll o wi ng i nv e rsion s .

sh o uld be essay ed fi rst as th ey a re t he p r i n ci pa l ,

trans p o si t i o ns o f a d o u b l e fugu e wi t h thr ee su bj ec t s

N o 1 N o 2
U pp er p ar t
.

L o w es t p a rt
.

Mid dl e p a rt
. .

. .
S ec o n d s ubo rdi nat e transposition .

Middl e p a rt Up p er pa rt L o w es t p a r t
. . . Ex . 9 87 .

L o w est p a rt Middl e p art U p pe r p a rt . . .

T h ese th r ee pri nci p a l su bj ec ts m ay succ eed i n t h e

o r de r b e s t pl e asi ng t o t he c o m po s e r a n d t he su bj ects ,

ma y en t e r a cc o r di ng t o N o 1 N o 2 or N o 3 i n
,
.
, .
,
.

sh o r t each p a rt m ay be t he fi rst s ec o nd or thi rd

, , ,
.

Ea ch o f th e s e p r i n ci pa l has its su b o r di na t e t r ans

positi o ns which m u st p r o duc e the sa m e i n terv a ls
,
.

Fi r s t subor di n a t e t r a nsp osi t i o n , w it h a st a t i ona ry

fun da men t a l p a r t Ex 9 88
I n ner p a rt . U pp r p rt
e a . Lo w e s t p rt
a .
S
.

eco nd su
.

bj t
ec .

Sec on d s u bor din a t e t r a nsp os i t i o n , w ith a sta t ion a ry i n ner

pa t r as fu nda me nt a l p a r t
pp r p rt
U e a . Lo w e s t p rt a . I n n er p a rt .

Thi r d b r di r
'

su o na t e t osi t i on , w ith a s t a t i on a r ppuer

a ns
p y
pa t r as fun da men t al pa t r
Lo w es t p rt
In n e r p a rt a U pp er p a rt
. . .

I t is n o wis e n e c essa ry to em p loy all t h es e sub o r d i n at e

tr a nspositions i n on e d o ubl e fugu e ; but a c o u n t er
 GUID E T O C OM P OSI T I ON . 21

T hird subord i nat e tran sp o s itio n

Ex 9 89
.

. .

S ec on d su bj t
ec .

W e see fr om th es e ex ampl es th at the thr ee pri n

,

e ip e l tra n sp ositi o n s ea ch p r o du c e d iffer en t i nt er v a ls

a n d ch o r ds whil e t h e su b o r di n a t e t r a n sp o si t i o n s o n ly
,

r e p r o duc e th o s e o f th e ir pri n c ip als

- N o w fo llows
.

t he dou b l e fugu e its elf

 A L BR ECH T SBERG ER S
’
21 6

A n oth er x m pl e
e a of a doubl e fugu e with 3 s ubj ects .

Ex . 991 .

Li ce nce .
 A L BREC H T SBER G ER S
’
21 8

T he s econ d su bj ect as fo ll o w s

T he thi r d is this

ft er c o m p oser ha s t r ea t ed th e fi rst subj ec t i n

t he
t he m ann e r o f a c o mm o n o r sim p l e fugu e d u r i ng
t hi r ty fo ur bare i t r est s o n the do mi nan t o f g — th a t
-
,

i s i n D maj o r
, T h e n t he s e c o n d su bj ec t b e gi n s
.

a l o ne a n d is w o rk e d o ut i n fo u r p a rts lik e a s impl e

,

fugu e for s ev en t y fo ur bar s and c o n cl ud es o n t he

-
,

to nic . T h e n i n the u na cc ent ed divi si o n t he third

, ,

su bj ect c omm en ces a l o n e a l so i n t he m a n ne r o f a

,

s i m p l e fugu e du r i n g t w en ty li v e b a r s a n d is w o rk e d
-
,
,

o ut i n t hr ee p a rt s up t o t he t hr e e l a t b a r s a n d c on s
,

e lu de s i n fo ur p a r ts wi t h a p e rfect c a denc e o f
,

B b m aj o r T h e n i n D m i no r t he fi r st a nd s ec on d
.
, ,

su bj ec t s a re c o mbi ned t hus

Ex . 996 .

I n t he s ev enth ba r ,
al l three su bj ects are u nited, th us

I n th e a b o v e d o u b l e fugu e Ex 9 9 1 t he nu m b e rs
,
.
,

1 , 2 a n d 3, se rv e t o po i nt o ut t he ent r i es o f t he thr e e
,

j
su b ects i n d i f fe r en t k eys a ll sh o rt a ddi t i o n s o r a o Ex . 997 .

c om p a n i me nts b el o n g t o t he cl a ss o f i n t e rv e ni n g

m el o di es t he a nal ogo us an d o ft - r e pea t ed ph r as e

may b e c o nsi de r ed t o a ce r t a in d egr ee as a fo u rth

, ,

su bj ect It wil l h a rdly esca pe the a t t en tiv e s t ud e nt

.
,

w ho ana l ti c a lly ex a m in es t he h a rm on ic c o ns tr uc t i o n
y
o f th i s p i ec e fo r his i nst ruc t i o n t h at b e sid es t h e
, , ,

c o u n t er po i nt i n t he oc ta v e th at i n t he t en th has oc
,

c as iona l l b een empl oy ed a nd i n te r wo v en for o rna L a te r , in t he i t th bar th e s ec o nd a nd th ird

n n e ee n ,

m en ta l eauty b y the a ddi t io n o f t h i r ds a bo v e o r

, su bj e cts a re co m b i n ed in t h e foll o wi ng m a nner
bel o w It is n ot a b s olute ly n ec essary th a t al l t hree
.

t he fi rst su bj ect b een j o ip ed t o th e sec o nd or t he ,

sec on d t o t h e th i r d & c,
a ft er a h alf or wh o l e ca d en ces
.
,

T h o s e w ho po ss e ss Ma t heson s fugu es fo r t he o rg an
’

may ta k e the fugu e i n G mi no r wi t h t h r ee su bj ects

, ,

as a n e xa mpl e o f wha t has j ust b een sa id I n it t he .

first s ubj ect is this

 GUID E T O C OMP OSI T I ON . 2 19

p en u l tim at e bar ( N B) , t h e thr ee s ubj e cts

I n th e a ns w ers c orrespo nd exactl y as to al l h al f an d whol e
a g a i n a pp ea r i n c o nju n ctio n a nd t h e c on clusi o n i n t on es alt h o ug h th os e o n th e fifth and fourth may b e
,

fo ur p arts is m ad e by t he i nt r o du cti on of i m ita ti o ns

,
m ade t o c or r esp ond suffici en t l y w ell A nsw ers on .

an d a fe w i nd e p en d e n t p a ss a g es W ith c a uti on and . t he s ec o nd thi r d si x th s e v en th an d n i nth c a nn o t

, , , , ,

c ar e ful provi ng pi ec es with fo ur fi v e and ev en six

, , ,
be m ad e i n e x a c t i m it a ti o n a s t o h a lf a n d wh ol e t o n es .

subj ects m ay he i n v ent ed i n wh ic h n at ura lly on ac , ,

A two p ar t c an on i n t he u n iso n or octav e m ay be
-

c ou n t o f transp ositio n a qu adrupl e fiv e an d si x fold , , ,

c o m p o s ed with o ut any p arti c ul a r study a nd wit hout ,

c ou n t er p oi nt a pp ears i n disp ens ab l e ; but th e subj e cts t he a id o f d o ubl e c o u n t erp o i n t ; al l th a t i s n e c ess a ry

must b e disti n c t ly ch ar ac t eris ed by the diffe r en t v alu e is t o writ e a g oo d an d w ell a d apt ed c on c ep t i on i n
o f t h e ir n o t es a n d th e p ecul i a r i ty of th eir m el ody
, ,
b oth p arts n ot e fo r n ot e ski p for ski p l et t i n g the
, , ,

th a t t he rep er cussi on of ea ch m ay be r ec og n is ed a nsw eri ng p art ent er aft er h al f or a wh o l e b ar or , ,

W h en v o c al fugues are ac comp ani ed by a n o rch estra ,

s o m eti m es l at er st i ll F o r a c an on i n t he u n is on or
.

t he i nstrum en t s e ith e r sust a i n t he v o ic es by m o vi n g o ct a v e ,

it is imm at eri al wh eth er the upp er o r l o w er
i n u n ison wi th th e m or h av e a s ep a r a t e a nd l iv e li e r
_ ,
part c omm en c e ; b ut t he ex ec uti on o f a c a rs—o n wo u ld
c o u nt er subj ec t wh en this also is r egul ar ly an sw er ed
- be fa ulty if a t r eb l e an d t en or or b a ss a nd a lt o w er e , ,

by t he r em a i ni n g p a rts on t h e t on ic and do m i nant a , to si ng a c an on i n u nison or on t he o th er h a nd if , , ,

mo r e c omplic a t ed work ens u es na m ely a d oub l e , ,

t w o si m il a r v o i c e s w er e t o si ng a c a n o n i n t h e o c tav e
fugu e wi t h t w o or m o r e subj ec ts Mo d er n ti m es h a v e . t h e effe ct w o uld b e dis agr eea bl e i n b oth c a s es T his .

pro v ed th at wri t i ng i n fugu e m ay be empl o y ed w ith

,
fa ls e ex ec uti on o f can ons n ot i n the unis on and i n, ,

ef fe ct i n a ny br anc h o f com p o siti on It fu r nish es a . thr ee or m or e pa r t s m a r k ed by different cl efis is o ft en ,

p r i n c ip al ornam ent for sy mph o n i es and qu a r t etts and ,

n ec e ssit a t ed b y t he w a n t o f fem a l e or b o ys v o ic es
’

produ c es a p o w erful an d ex citi n g effect on th e st ag e fo r i n sta n c e wh en fo ur m en s v o i c es p erfo rm a cl o s e

"
’
.
,

It o nly r em ai n s to r epl ac e d ry st e r eoty p e an d , , or o p en c an o n wh at ensu es — i nst ead of t h e p er fect

,

ha ckn i ed th em es by exp r essi v e an d c l ev er su bj ects ch o rd 35 a c h ord of t he 3 i s gen er ally su n g and 1 s

, , ,

( whi c h wh en r e quir e d by t h e s en s e o f t h e w ords

, , faulty esp ec i a lly wh en o c c ur r i n g u n p r epa red i n the
,

sh ou ld b ea r a d ecl a m at o r y and ch ar a c t eristic sta mp ) , firs t or l ast bar or in t he a c c en t ed di v isi on o f a ba r

,
.

as t he i m m o rt a l H an d el ha s d on e i n t h e gig an ti c Wh en a c an o n i s to be c orr ectly p erfor m ed it is n e ,

c h orus es o f h is oratori os an d w ho i n this as i n oth er , ,

c essary t o p r es erv e e x a ctly t h e cl eifs or v oi c es T he .

thi ngs s er v es us e s a brightly bur ni ng b eaco n

,
-
. fol l o wi ng thr ee ex a mp l es ar e i n two parts

CL VII —ON . CA N ON .
Ca n on e a due in u nison o with an acc omp an im en t
,

for t h e organ .

musi c a l t er m C a non d en ot es a ki nd of fugue

T he ,

i n whi c h t he st r ict est imitati o n is pr es erv ed We .

h a v e l ea r nt how ev e r i n C h apt er C X L V III th a t

, ,
.
,

s i m pl e i m it a ti o n i n skippi n g or g r a du a l n ot es is
a ll o we d gr ea t lic en c e C h a p t e r s C X L IX a n d C L . . .

e x pl ai n ed t he fugu e an d t h e lic en c e s n ec ess a rily us ed

,

i n r e p er cussi o n— a ls o t hat t h e su bj ec ts r equ i r ed a,

g am vir

st r ict er a nswer than c om m on i m itati o n I n a c a n on .

,

wh eth er in two or m o r e p arts t he entire th em e , ,

wh at ev e r it m ay co n si st o f m ust be ex a ctly r ep ea t ed , ,

fro m b egi nn i ng to en d T h e a n sw er i ng pa r ts m ust .

c orresp ond a s to not es of equiv al en t du rati on ( in

c anons o f t he u n ison and oct av e als o i n n o t es of t h e ,

s a m e l ett er) — as t o p aus es an d r ests t h e first r ep er ,

c ussio n e xc ept ed — a s t o all d ott ed an d su sp end e d

n ot es — as t o a l l ski p s a nd p r o gr essi on s by gr a d es

a s t o h a l f an d w h o l e t on es — a s t o a p p o ggi a tur as a n d

g ra c es ; in sh o r t a s to e v ery d etail T he canon m ay

,
.

b e fi n it e o r i nfin i te— r et r o gr a d e o r tr ea t ed l ik e ,

i ng en i o us fugu es by t h e em pl o ym ent of a ugm enta

,

ti on di m i n uti o n or i n v er si on i t m ay be do u b l e ( a
, ,

or qu a dru p l e
'

ua ttr o ) tripl e i ) (
g ( a se ,
a o t to voc i
) ,

i t ma b e a n sw er e d on al l i n t erva ls th ou gh n ot i n
y ,

o n e a nd t h e s a m e c an o n ; a n d l a stl y it ma y b e a , ,

C a n o n c li ma te o r p oly morp hus ,

T h o se w h o w o uld .

b e c o m i n t i m a t e with th es e ar tific es will find ev er y

e .
,

d etai l r esp e cti ng t h em i n M a rp urg s Tr ea tise on ’

I ug ue s ec o n d p ar t ( B erli n 1 7 5 4 — n ew editi o n
' ’

f
, , ,

L ei p zig T he tru e st ea si est a n d a t t he s a m e

, , , ,

t ime st r ict e st can on s are th o s e i n the un ison and

, ,

in t he o ct a v e ; f or o nly on th es e i n ter vals c a n t he

'
 '
2 20 A L BR EC H T SBERG ER S

th an thos e i n th e un iso n or o ctav e S om etim es ( but . .

K x nx n x n e x n.
r ar ely ) it h a p p en s tha t t he m e l o dy which is t o fo rm
a ca n on ,
co nc eals m an y answ ers especi ally if i t ,

prog r ess mor e by g r ades th an by ski p s as for , ,

i n s t a nc e t he cano n wi t h a n a ccomp anim en t for the

,

o rg an Ex
, 9 9 9 which is ca pa b l e of b ei n g set in t he
.
,

s eco n d a bov e th e third b el o w the si x th a b ov e the

, , ,

se v enth bel o w in the octa v e ab ov e and b el o w in t he

C ano n e a du e in t he fifth bel ow .
'
,

n i n th an d i n t h e t en th be l ow See th e fo ll o wi n g
.
,

ex ampl es ,
in whic h t he org an p a rt has b een n ec es
sa ril y ch an g ed it can r em ai n u naltered for a can on
i n t he oc tav e

Can o n i n t he s e c on d .

Ex . 999 is a fi n ite ca no n wi th a n ap p end e d or ,

p erfect c o nclusi on poi nted o ut b y t he N B i n t he

,

tr ebl e ; o n t his a cc ou n t it is no t rep ea ted Ex 1 000

,
. .

is i nfi n i t e as is i ndic ated b y t he sig n of r epetitio n

, ,

i n t he s ec on d a nd at t he end o f t he l ast bar ,

which m ak es no cad enc e Ex 1 001 is a lso i nfi n ite . .

,
Canon i n the third .

but has a p aus e or sig n of c o nclusio n m which , ,

i ndic a t es wh en ea ch par t is t o c eas e aft e r t he ca no n ,

has b een r ep ea t ed s o m e tim es It is equ ally i ng eni o us

.

t o ch a ng e a fi n it e c ano n i n t w o pa rts i nt o an i nfi nit e ,

c anon o r to rend er fi n i t e a n i nfi n i te ca no n the t w o

,

fo llowi ng advan tag es may be gai ned z— Firs t — VVhen g a in vi r

a c a n on is to be i nfin i t e t h e c o nc ludi ng n o t e i n each

,

p ar t may be o mit t ed and a sig n o f re petiti o n pl ac ed

,

a t t he b egi n n i n g o f t he s e c ond a nd a t t he en d o f t he ,

l ast bar Both p arts m ust b e so m anag ed as t o p ro

.

c eed i n an easy v oca l m anner from t he l as t n ot e of

, ,

t he co nclu di n g b ar t o t he fi rst n o t e o f the s ec on d

,

ba r ; w hi c h may b e s een i n E x 1 000 Sec o n dly . .

,

W h en a c an on is t o be fini te t he sign o f r ep e ti t i on
t , Can on in t he sixth .

is m ade but a c o n clu di ng n o t e is ad de d i n ea ch p art ;

,

th es e no te s may gi v e a n octa v e o r u nis on or a t hird , ,

thus tu t i m
V ir g am v i r-
-
s

T h es e l ast n ote s are, in po i n t o f fact the fi rst n o t e s ,

o f th e s ec o n d bar , on w hich it w ou l d b e n atura l to

fi nish , aft er som e rep eti t i o n s of t he ca no n , as ev ery

th in g must com e to a n end W h en t he can on is .
Can o n i n th e s ev enth
writt en with o ut a sign o f r e petiti on, an d t he fir st
.

p art is n ot to c ease b efor e th e s eco n d, i t 5l 1 8 t r ec eiv e

“

a n a dditi on a l i n de pen den t s usp en si on o f t h / c ond,

g
e

g
2 a l 1 ] or of t h e s e v en th , 7 a l e ” as w as p t x led out o

b y th e N B in E x 9 9 9 T w o p a rt can o ns i n the
. .
-

s ec o nd , t hird , fo u r th fifth , si x th se v en t h , and

, ,

ni nth , &c , are mor e di ff

. i cult to i n v e nt and com pos e
 A L BR EC H T SBER G E R S
) ’
Q
N [O
.

is t h e ca s e ab o ve ; th en wh en t his is c ompl et ed t he , ,

third pa rt is w ritt en I n o rd er t o a sc er ta i n th at al l
.

t h e tr a ns p o s i t i o n s be c o rr e ct a n d t o c o m p l et e t he ,

l o w e r p a rt with t h e th r ee pr i nc i p a l su bj ec t s it w a s ,

n ec ess a r y i n t h e a b o v e ex am pl e t o r e p ea t t he fi rst
, ,

a n d s e c o n d su bj ect s i n t h e up p e r p a rt an d t h e f i rst
n o , so n pe c ca to re , so n p cc
e a-to
su bj e ct i n t he m i ddl e p a r t A s t he upp er p ar t as .
,

w ell a s t he succ eedi ng t w o p a rts must fo r m a c o nti ,

n u o n s w h o l e fr o m t he t h r ee subj e cts of t he proj e ct

,

w e m u s t o b se rv e t h a t t he cr o tch et r est o f t h e s ec on d
su bj ec t is l o s t w h enev e r th a t seeo nd su bj ect r ecurs
, ,

a n d th a t th e mi n i m r e st o f t h e th ird su bj ec t is

ch a ng ed thro ugh o u t t o a crotch et r est F or p er .

fo rm anc e ea ch pa rt is writ t en o ut s e p ar at el y : t h at
which is t o c omm enc e is m a r k ed C a n t o p ri mo —th at
,

whi ch fi r st answe rs a nd which in this ex am p l e has

four r es t s is m a rk ed Ca n to secondo—th at whi ch
,
, ,

giv es t h e sec o nd a ns w er an d which ha s eight rests .

,

is m ar k ed C a n t o t erzo T hus t h e p erfo r m ers .

,

a lth o ugh t he ca n o n ha s n o sig n o f r e p eti t io n m ay ,

r ep eat it as o ft en as th ey d esir e a nd c o n clud e a t

S bj
, ,

ec o nd su ec t .
c h o ic e on any c ompl et ed su bj ect on this ac c ou n t
, ,

it is w ell t o i nd ic at e t he c o n clu d i ng n o tes b y a p a us e ,

m T he thr e e p a rts o f a cl os e c a no n m ay be wri t ten

.

i n o ne st a v e i n su c h a m an n er th a t t he en tir e fi rst
,

p a r t t he c o m p l et e s e c on d pa r t which fo rms t he b ass

, ,

cad enc e a n d t he ent i r e t hird p ar t foll o w each oth er

, ,

i n a c ont in u o us li ne ; thus o ne c o py s erv es for al l ,

t he si ng ers On e b egi n s t h e c a non ; wh en h e r eac h es

.

t he sig n 2 3 which o ugh t t o be w r i t t en a bov e t he

, ,

co mme nc em en t of t he s ec o nd su bj ect a noth e r s ing er ,

b e gi ns t h e c a non ; wh e n he r ea c h es the s ame s ig n a ,

thi rd si ng er c o mm enc es t h e c a no n — c ach m ust si n g

t he c o n t i n u o us li ne str a igh t th r o ugh T h ey may .

r e p ea t the c a no n a s o ft en as t h ey cho os e an d c an en d ,

it o n a ny o f the a b o v e na m ed sig ns b ut simulta ne -

,

o us ly T he c o mmand for c e ss a t i o n m ust b e giv en by

.

o n e o f t he p e rfo r mers u nl ess t h ey h a v e p r evi o u sly

,

ag r e ed u p o n t h e n u m b e r of r ep ea t s T he s am e .

p ro c edure i s to be o b s erv e d in c om p o si ng a c an on in
t he u n iso n i n fo u r o r m o r e p a rts ; for ex am pl e
,

p erfo rm an c e th e fi r st and s ec o nd parts w o uld

Fo r ,
Proj ect of a fo ur p a rt
-
C a n on i n t he u n is on .

b e w r i tt en out m e r e ly t o N B as al l t he th r e e su bj ects
,

h a v e b ee n c ompl et ed a t th a t s ig n T he sa m e .

e x a m p l e fo ll o ws in t h e sh a p e o f a cl o s e cano n

Ex . 1 01 2 .

Ex . 1 01 3 .

p en canons o f th is ki nd t he u p pe r pa rt —th at
In o ,
~

is ,
thepri n ci p al m elo dy— is writt en t hro ugh o ut i n
a ll pa rt s ; th en t he pa rt wh ich in th e proj ect f r med
, o
,

t he bass c ad en c e e v en sh o uld it b e t he i nn er p r t as
-
, a .
 G U I DE T O C OMP OSI T I ON . 22 3

In Op en c ano n the c rotch et of t he s econ d p a rt

an ,

shoul d be writt en a ft er t he last c r otch et an d t he ,

cr otch et r est b e o m i tt ed in t he a cc en t ed div isi o n

a l so i n st ead o f t he fi r st qu a v e r r est i n t h e thi r d a nd
,

fou r th su bj ects t he l ast q ua v er of t h e p r ec edi ng

,

ph ras e must be writt en an d as o n e p a r t c o mm en c es

, ,

a l o ne r ests mu st be giv en t o the r em a i ni ng p a r ts

,

u ntil th ey ent er ; for ex ampl e

Op en Can on .

Ex . 1 01 4 .

S ec o n d s u bj ec t .

S ec o nd s u bj e c t.
 '
224 A LBR ECH T SBERG E R S

c
F or p erfo rm an e, ea ch p art is writte n s ep a ra tely Wh en a canon is s w er ed o n the fift h o r octave
an

— p
t h e thr ee up er o n es , o nly as fa r a s N B, a t whic h ab o v e or o n t he fi fth o r o c ta v e b e l o w
, it is usu a l to ,

bj
sig n the fo ur su ects are c o m l ete d ; th e l o w er p a t p r pl a c e t he cl efs o f t he v o i c es in t h e o rder in which
p
must b e c o i ed all thr ough , a s n o su j ect is r ep eat e d b th ey a re t o succ eed b e fo re t he cl ef us ed for the,

r
i n it Such a ci cul ar c an on may b e r e eat ed a t w ill ,
. p c omm en c em en t o f t he canon a nd b efo re the to nic is ,

a n d c o nclu de d o n a p a us e, m I n t he O en c an o n . p m ark ed ; th en eith er this c ommon sign it o r a

, ,
”
,

a b o v e, E x 1 01 4 i t w as n e c e ss a ry t o ch ang e t h e fo urt h
. .
figu re wh ich i ndic at es t he dista nc e o f t he i nterv al ,

r
p a t Of t he proj ect i nto t he hi d , becaus e it m a k es t r sig n i fi es t he n o t e o n which t he suc c essi ve voic es are
b c
t he ass ad en c e , an d t o tran sfo rm t he thi d p a rt i nt o r to enter ; for exa m pl e
t he fo u rth , as if us ed as a hi d p a rt or su j ect , its t r b Can on a t re .

r
fi rst epe rcuss i o n w o uld h a e pro duc ed t he fo rbidd en v Ex . 1 01 9 .
Br eas t s.
ch o rd o f t he fo urth and si h , fr eely struck , n o few er xt
th an three ti m es T he first and s econ d pa ts o . r r
b
s u j e cts r eta i ned th e ir p osi io n T he s am e p oc edu e t . r r
c
is ne c essa ry in a l o s e ca no n ; with t he differen e, c
bj t
th at all t h e su ec s or s ecti o ns a re wri tt en i n
c o n ti n u o us succ essi o n fo r ex a mpl e
Can on a qu a tro
C lo s e Ca n on in t he u n is on
.

Ex 1 020
.

E x 1 01 5
. . . .
Sr d t zsn .

C an on a t re m ark ed with figures .

Ex .

In wri t i g a proj ect attenti on shou l d be paid

n
Ex 1 022
Can on a qu atro .

F i rstl y—th a t ea ch i ndi vi du a l p a rt fl o w pur el y

, , . .

Se .

co ndl y— th a t t h e t w o o r t h r ee pa rts m u t u a lly fo rm a

pe rfe ct dno o r trio ; o n which acco u nt o nly the most

n ec es sa ry c o mpl e ment a ry i nt e rv als sh o uld be chos en .

T hi r dly — th a t t he h a rmo n ic st ru ctur e sh o uld only be

p erfectly d e v el o p ed as a full qu a rt et t by t he ent r y o f F i rst R ema r k —C a n on s m ark e d by fi gu r es ma y
t he l ast p a r t T he th r ee fo llowi n g e xa mpl es a re
. be wr it t en i n o n e cl ef ; b ut p er for m er s m ust b e
c anons i n t he u n is on i nfor m e d th at the figu r es Ov e r t he no t es i ndic a te t he
i nt er va ls ab o v e and th o s e b en eath t he stav e i n dica t e
C an on t re
,
a
Ex . 1 01 6 .
.

t he i nt erv als be l o w : t he s am e a ppli es t o t he sig n ,

w h en n o cl e fs a re m a r k ed .

Seco nd R ema r k — The i nt erv a ls i ndic at ed b y

Je suis un fo u, Md a am e, o nme 10 g e-re z vous ? n umb ers mu st be c o u n t ed fr o m t he fir st no t e a n d n o t ,

fr o m t he not e ov er or b eneath wh ich th ey are pl ac ed

th ere fo re in E x ampl e 1 02 1 th e t eno r m a r k e d wi t h
, , ,

5 a nsw ers th e b a ss o n th e domi na nt g as in Ex 1 01 9

u
n o s so mmes d eu xf oux , Mad ame , l
o nh ona o - ge ez r vu o s?
-
,

t he a lto m ark e d 8 a ns w ers o n o t he o ct a v e a b o v e

,
.

, ,

t he b as s I n Ex 1 022 t h e al t o m a r k ed wi t h t h e
. .
, ,

fi gur e 5 an sw ers on a the 5 b el o w as i n Ex 1 020

, , .

u
no s so mm e s tr o is fo ux Madame o nno us lo g e- rez vous ? t he t en o r m a r k e d 8 ans w ers on e t he o cta v e b e l o w
—l astly the b ass m ar k ed 1 2 a n swe rs on a the
, , , ,

Ca n on qu a tro , , ,
a
E X 1 01 7
.

tw elft h b el o w Of c o u rs e it is u n d ers to o d th at t h e
.

. .

p a r ts w h ich ent e r l a te r m ust be tra ns p os ed a cc o r di ng

t o th e ir cl e f SO much o n circul a r or v o ca l c a n on s
. .

A s r eg a r ds c om p l i cat ed or c o u n t e r p o in t c an on s ,

which m ust always be op en and fin ite and i n whic h

C an o n cin qu e ,

e v e ry c o u nt er su bj ect b ec om es a n ew s ecti on a n d
a .
-

can on a t t he sa me t im e it cann ot be d en i ed th at th ey ,

are di f ficult to i n v ent an d r equire gr eat facility b as ed

, ,

on c o nsta n t pr a ct i c e o f this ki n d o f writi ng M any .

T um us descendet ad in fe -fc s, ad in fe ros . c el ebrate d mas t e rs o f the Itali an Fl emi sh an d , ,

 A L BRECH T SBE RG ER S
’

226

n it in mi A gn us De i i , q ui tO l - l is pee
qui v e- no

na no bis

cem , pa ce m ,

cem , na no-bis

mi ni .

do na no b is pa

do bi“
At th is sign 2 5 which is no t written i n the s ep a
, ,
“3 “0
Da
rate co pi es ma de for per fo rm ers the ca no n ends
,

th r o ugh o ut ; t he fo ll o wi ng free a pp end ed ba rs

,

m e rely s e r v e t o c o nstruct a p r o l o ng ed c o n cl usi o n .

T he fo ll o w i ng is a n ex am pl e fo r fi v e v o i ces i n ,

which do u b l e c anon is empl o yed u p to t he sig n s ,

Q : Q: t he three u ppe r p a r t s c on ta i n t he s e co nd
ca non and the two lo west pa r ts fo rm t he first can on
, .

Canon a ci n que v oc i .

P a u sr n rx a .

do - na no bis pa

ce m pa ,
. c e m, do us no
 GUID E T O C OMP OSI T I ON . 227

do - n a no b is pa

do - na no b is p a

pa c em , no bis c em .

T h o s e who ar e n ot i n iti a t e d i n to the myst eri es o f

c o mp ositi on , are Oft en misl ed by the ear, an d fan cy
c em, they are list en i ng t o a stri c t c ano n c omp o si t i on wh en ,

t h e pi ec e m ay b e m e r e ly fo r m ed Of t h em a tic c o u n
t erp o in t i m it ati on T he fo ll o wi n g hym n fur n ish es
.

a n illustr a ti on

Ex V Musu rg iae
. L ibr o . .

( T he Greeks us ed the t erm M usurgos i ndi ffer en tly,

to d en ot e an i n strum en tal pl ay er or a c o m p os er )
-
,
.

Ex . 1 02 5 .

Sit l aus

do -
na no bis
 A L BRECH TSBERG ER S
’

ummo
s r
Ch is-to

A men, A men .

T he pecu lia r ch ar m of canon c ompos i ti o n s four o f ,

which fo ll o w wri t t en b y our G erm an Orph e us c on

, ,

sists in t he gr adua l s tr uctu r e of a pi ec e which ta k es ,

pl ac e so to sp ea k in our p r es en c e ; w e b egin by
, ,

h ea r ing a si ngl e pa rt dev oid o f al l h a rmo n y— a

,

s ec o nd an d thi r d pa r t j oi n i n by d egr ees fill o ut an d , ,

ro u nd t he o utli ne mo r e and m o re un til t he la st pa r t ,

c ompl et es the w o r k of a rt an d pr es en ts a c l ea r w ell

, ,

c o m b ined picture o f t he system of h ar m o nics in a ,

s at isfac to r y manner h ar dly exp ec t ed fro m the frag

, ,

m ent ary s ecti o ns h ea rd at fi rst W e n eed h a rdly sa y .

th at o p eratic ca no n s i n which dissim ila r vo ic es suc h

, ,

as tr eb l e ,
t en or and bass r e pe at a m elody i n the
. ,

fo urt h a bo v e o r b elo w a ccordi ng t o the c o mpass of

,

ea ch v o ic e a re n ot comp r is ed i n this ru br ic ; th e y
,

may be c o nsid er ed as fre e m elo dio us imita ti ons an d

, ,

m erely require th at th e p ass ag es employ ed in the

a c co mpa n i m en t shou l d be in c orr ec t h a rmo n y .

F our Can ons by W . A . Moz A e ,

Ex 1 02 6 .
No l.
,
for four v oi c es .

.
 '

2 30 A L BR EC H T SBER G ER S

Ex . 1 02 7 . N o 2 , for 4
. v oic es .

pe r d u -t o

'
pe r du to ho
- l i dol mi

In th is ex a mpl e, t he ex c ell ent c ondu c t o f t he

d to d to h 1 d01 ml
pe r u
v o i c es des erv es p a rt i cul a r atte nt i o n ev e ry s ep a r at e
-
-
p e r- -

m el od has its p e culi a r ch a ra c t er c all e d fo r b y t he

y
pl a int i v e w o r ds—e v ery n ew v o ic e w hich ent e rs en
,

c i r cl es th e fo rm er p a rts a n d al l i nterwea v e sm oothly

,

i n c hroma tic co ntra ry m o v em ent .

N o 3, for
. fo ur v oic es .

Ex . 1 02 8 .

p e r-
d a - to , p er da - t o h o
GUID E T O C OM P OSI T I ON . 281

T he th em e is pr ecis ely a c c ordi ng to ch u r ch ch ant

-

— as en t one d b y t he pri est a t t he a lta r T he m o r e

.

r a pid c o u nt e r su bj ect s with th eir susp en ded diss o

-
,
~

n a n ts
,
c on tr ast effectiv ely wi t h t he w eighty l o ng
,

n o t es of t h e pri n ci p a l su bj e ct
.
 A L BR EC H TSBE R G E R S
’

23

Si e , die d ur h i hr Li ed den g an
c

Sie , d ie durc h ihr

ac h w en n ih r T on , w en n ih r T on

Lied den g an z en H a in, ac h W enn i ch am Bach , w enn i c h am

Si e, d ie d urch i hr L i ed den g an z en H ain, ac h l Wenn i ch am

L i ed i hn ,
ac h ! de n H ai n , den gan z e n H a in v er

W enn i ch do rt auf

si e , d ie May enlied er tonte , deren Lied

s ie die Mayan
 A L B RE C I I T SBERG ER S
’

2 34

F r o m t he s c o re o f the eight pa rts w e p erc e iv e th at ,

t he w h ol e c o nc e pt i o n a r i ses fr o m th r e e ch o r ds a b o v e
t he fu n dam en t a l B — E m aj o r A mi n o r a nd t he
, , ,

h a rm o n y o f a di mi ni sh ed fi ft h an d si xt h ; t he r esul t
i s a by n o m ea n s a tt r a c t iv e h a r m o n ic p r o d uc t i o n T o
'
.

d eci p h e r i t c o rr ec t ly i t is n e c e ss a r y t o p ut a
,
t o t he
no t es i n t h e a l t o t en o r a n d b as s A lto g et h e r
g , ,
. an ,

en ig m a i s b ut a n e n ig m a — w e puzzl e o ur br a i ns t o

fin d t he so lu t i o n a nd w h e n w e h a v e t r a c ed t h e s ec ret
, ,

w e ha v e g a in e d but l itt l e a s t he pr o v e r b sa ys , In this ex a m p l e r et r o grad e i mit ati on i s empl o y ed

,
.

T h es e sp ec ul a t iv e p as Ea ch ba r is a n s w e r ed b ackwa r d s b y t he fo ll o wi n g
"
P a r t u ri un t mo n tes J c ,
'
.

t i m es h o we v e r se r v e t o sh a rp en acu men a nd m ay p a rt T he r esul t o f the wh o l e pr o duc es t w o ba r

m o ni es to n i c a n d do mi nan t —D m aj o r a nd A m i n o r
, , ,
. ,

ti ll i nem o ra nda p ag es u seful i n fo r m i ng l a rg e r wo r ks

-
, .
,
.

T he c o mp o si t i o n r ead u ps i de d o w n m a r k ed i n ,

Ex 1032 N O 2, in
. e ight parts .
C m i no r a nd F m i no r is equ ally c o rr ec t but fa r
, ,

i nfe r io r a s r ega r ds m elo dv .

N O 3, m
‘ 6 18 1 “ p arts .

Ex . 1 033 .

So luti o n .

A s eco nd can o n m ay b e cr ea ted by rea di ng th is

b ackwa r ds ; a t h i rd by r eadi ng it u ps i de do w n
,
-

w a r ds ; a n d a fo u r th c a n o n m a b e m ad e b r ea d i ng
y y S o luti o n
it u psi de do w nwa r ds a nd b a ckwa rds
.

-
.
 GUID E P
T O C OM OSI T I ON . 2 35

S ol uti on .

Fi n e .

T he n ot e w h ich is e n t o n ed a s c by the tr ebl e,

s o u nds l ike f i n the al o , lik e d l? i n t he t en or, and g
t
i n t h e b ass. t c
T h e r es s n e ess a ry for t h e h ar m o n i o us
v
e n tri es , r eq u ir ed t o be disc o e r e d a n d t he th r ee a n
,

c r
sw er in g v o i es r equi ed o f ? t o b e ch an g ed to 3 m an y
c
ti m es, on a co u n t of m o dul ati o n s .

In four p arts .

Ex . 1 034 .

T his ex am p l e l i k e Ex 1 032 may b e d eci p h er e d

, .
,

b y r et r ogra d e i nv ersi on transp o s ed

, an oct a v e l ow er .

N o 5, in
. fo ur p arts .
 A L BR ECH T SBE R G ER S
’

236

Sol ution . T his canon pr o b l em is mo r e c omplic at ed in its

-

c on stru cti o n F i rs t ly— t he en try of t he an sw e r

.

r equi r es th e a ddi t i o n of a s emi br ev e rest S ec ond ly .

— i t must be p ut i n t o t h e b ass i n o r d er t o o bta i n

,

spa c e fo r p er fo r man c e T h i r dly— t he divi s i ons o f .

e ac h ba r with th ei r d o ts a nd r ests a pp ea r i n a lte r e d

, ,

successi on thus : t he thi rd cr otch et first t he fi rst

, ,

cr o tc h et i n t he m iddl e a nd t he s ec on d cr otch et l as t
, .

H e w h o d is c o v ers th es e su b tl e devic es will eas i ly ,

s o lv e t he e n igm a an d m a
y l ay cl a im to t he titl e of a
,

m usic a l (E dip us .

S U PPL E M E N T .

W h en J os eph H ayd n w a s pr ev ent ed by t he ,

w eak ness o f Old ag e fro m visi t i ng his fr i end ,

A l brec h tsberg er to wish him j o y on his p at r o n

,

ea in t s da y h e s en t hi m t h e w ell kn ow n m usi c al
’
-
,

c a r d A l t a nd sc kw ac k bi n ic h wh ich w as pri nt ed
,
“
,
”

with o ut his k no wl edg e u n de r the na me o f Ca non , .

A l br ec hts berg er a l so u n a b l e t o v isit his broth er i n

,
-

a r t o n t he e n sui ng St J o s e p h s Da
y on a c c o u n t o f
’
.
,

il l ness s en t H ay d n t he fo ll o wi ng r em emb ranc e

,

P ie ridu m Fra t er l
qui du dum n o s e A 0 110 dic e i a tr r
hun c C a n o n e m fe c i , e dic a tque Ti i t b
t
v e us et s in c eru s a m icu s
r
G eo g A l b re c h tsb erge r
.

J osep ho H
1 806
ay dn .

C a no n e p erpetu o a 4 v oci i n hypodi ap ent e , ed

h yp od i ap as on .

Ex . 1 036 .

So ~ la - t i- um se

ao -
ci os h a - bu -
is so do 10

mm , do rum .

ON CH U RC H , C H A MB ER, A N D
W e n eed h a rdly sa y th at th ese thr ee styl es ought
t o be cl ea r ly di s t i n gu i s h e d b y th ei r i ntri nsi c cr eati o n
by r eas o n o f th eir pecu l ia r dest i nati o n I n m odern
t im es u n fo rtu nat ely an u nj us t ifia bl e m edl ey o f th es e
, ,
cl a sses ha s b ec om e p r ev al en t m o st i nj u r i o us t o t h ei r
ul t im a te gra nd aim We c an h ardly warn yo u ng
m u s ic ia ns t oo str ongly aga i nst this d a ng er o us “ th ;
l e t ev e r y o ne w ho si n c e r ely r esp ec ts h ims el f a ndrea l
,
art ,
ch o os e th a t branch fo r wh ic h he feels d ec id ed
i n cl ina t ion t al en t and v o c ati on— th en l et him foll o w
, ,
fa i t hfully t he b an ner u nde r which he has enl isted
a nd n e v e r v a cill at e lik e t h e m e r c en a ry s oldi e r w h o
k no w s n o t wh at he will n or t o wh o m he b el ongs
A ll c an no t succ eed i n al l ; b ett er be t h e fi rst i n a
v il l a ge th a n t he l as t i n Ro me 3 A u n iv e rsal m ast e r
i n a ll br a n ch es is m o r e r a r e t h an th e fa b l ed P h oeni x !
o u r fil oza r t w a s such a brilli a n t m e te o r ! T o chu r ch
mu s ic b el o n g al l ki nd s o f m ass es g r adu al s Offerto r i es
p sal ms hy m ns ca ntatas o rat o ri os and a n tip honc s ;
, ,
c om p os ed i n st r ict o r fr ee c o u n te r po i nt with g r ea te r
o r l e s s i nstru m en t a l acc o m p a n im en t i n fo u r o r fi v e
p a rt s i n s ti lo a l la cap el la w ith o r without o rgan i n
, ,
a l la bre ve c o mm o n o r t r i p l e tim e
,
W e p o ssess
m a s t e r ly w o rks o f this ki n d by A i bl in g er A ll egri
A n g s t e n berg er A st o rg a B a c h B ai n i Baj Ball er o tt i
, ,
Ba i ly Beeth o v en Re nc lli Bene v o l i Be rn a b e i Bifii
s ,
, ,
B i li le r B o n n o Bo r o n i Br esc ian ell o Br ix i B tl hl c r
, ,
( Ja lf ro
a C a l da r a C a r issi m i Ca v all o C h e r u b i n i
, ,
C r uci a t i C u rsin o Da n zi D ell er D o l es D ro bi sc h
, ,
D a n i Du ran te Eybl er Fa g o Fesch F eo fi esc o
, .
b a l di Fux G a fii G alil ei Ga luppi (ca ll ed B ura nel lo
, ,
fr om his b i r th p l a c e Bu r a no a n i sl an d eight m il es
- V i o t ti W e iss Wo ldema r WOlfl dzc ( c) F or the
di sta nt fr o m V e n ic e ) G a nsbac herfG asp ari ni G a ss
G iro u st G r a u n Gr ec o G ua rn e rio H an d el
H
i i i a nn
, ,
a s se H a u p t m a nn J o e a n d M ich H a y d n H e in i c h e n
, ,
H esse H im m el H o fman n H om il ius H ue ber H um
, ,
i n e l J o m e lli Ki t tel J oh K o z el uc h K rot ten do rfer
, ,
L a ch n e r L a n zi Lasso ( Or l a ndo ) L eo L o tti L uz
, ,
z a sc hi M a nn i M a r c ell o
, M ajo Ma r otti P adr e Ma r
, ,
t ini Mich el M o za r t N a u ma nn Pa l er mi ta no P al es
, ,
t r i na ( a ls o P raen est ino ) Pas te r w itz P er a P er go l esi
P e r i P e r ti P o rp o r a P raut n er P rein dl R eich a r d
, ,
R en te r R iep el R igh i n i R i n k Roll e R o m b er g Sa
, ,
l ieri S a r ti Sca rl a tt i Schicht Sc h m it tba u er Sch na b el
, ,
F r Sch n e id e r Schulz ( Seyfr i ed)
. A bb é Sta d l e r
, ,
St Olz el T o n i n i T o zzi T rae tta T um a T ur k V a l o tt i
, ,
M U SI C
.
.
,
. te t t s & c ,
, ,
, .
, .
, ,
,
,
, ,
, ,
, ,
, ,
, ,
, ,
, .
, ,
. ,
, ,
. .
, ,
, .
, ,
,
, ,
, .
, ,
, ,
, ,
''
, ,
A L BRE C H T SBERG ERS
AP P EN DIX
D R A MA T IC
,
. all ki n ds o f v o c a l o r i n strum e nt al pi ec es
, w ritt en
, ,
,
, C a nn abich C l ement C o nti n Co r ell i D ur a nd E ek
. E ybl er
, ,
, ,
‘
, ,
, ,
,
, ,
,
. ,
, ,
,
. ,
, ,
, H ug ot
, ,
, ,
, ,
, ,
,
, , , .
’
.
Vi nc i V o gl er Wag en s ei l C M v Web er Gottfri ed
, , ,
. . .
,
W eb er Wei n l i ng W i nte r Wi t tasek Z el enk a Z elte r
, , , , , ,
l as t n o t l east by a sta r o f t he first mag nitu de
an d ,
—
, ,
no t ye t m e nti o n e d by t h e e dit o r t h e m em o r a b l e
J G A l brech tsberg er l Cha m ber music c om prises
. .
fi t t ed for ,
pri va t e c ircl es o r l arg e con c erts n amely orc h e s t ral ,
symph o ni es s ol o s du etts t erz et te qu a rtetts q ui n , , , , ,
& c for stri ng ed or wi nd i nstrum ent s ;
.
,
.
,
s o nat as v ari a t i on s c on c er to s ; a ri a s c o n c e rt ed pi ec es
, , , ,
ch o r us es c ant a ta s ( wh en not of a rel ig i o us ch a r acter )
. ,
overtures p o t p o u rris c a pric c i os fantasies dzc U p
,
-
, , , .
t o t he pre s e nt ti me t h e fol l owi ng c ompos e rs h a v e ,
ch a m b er m usic ( )
a S m
y p hon ies — A b el ,
A n dré B a ch B eeth o v en Boc ch eri ni B r a ndl Ca m , , ,
, ,
b i ni Ch er u b i ni Di t t er sd o rf G yro w et z H ay dn
, , , , ,
H ess e H ofm ei s t er K ro m mer Lach n er Mehul
, , , , ,
Mend elss o h n M o z a r t N e ukom m P l ey el R i em , , , , ,
R i es Ro ll a R o m b er g Ro s et ti ( S eyfr i ed ) L eop
, , , ,
So nnl e ithn e r Sp o h r Stami t z U l br ich VVan li a l l , , , ,
C M v We b er W il m a W i nt e r Wi tt Wra ni tz ky
,
, , , , ,
Wel fi & c & c ( b) F or t he violi n— A ndr e Baill ot
.
.
, .
, .
, ,
B eeth ov en Bends Blu menth al B o cch e r i n i Bohm.
, , , ,
Bo hre r B o uch er B r u ni Gam b i n i Cai n p agn ol i
, , , , ,
. , , . , ,
Fern y Fesca
,
F i o r ill o Fo d o r Fo r ste r , , , , ,
F ranz l G erk e G y ro w et z H ab en ec k H an del H a y dn
, , . , , ,
H e l mes berg er H en n ig H ill e r H o ffma n J al l J a nsa , , , , , ,
J an s en J arnow ic h K hy m K r e utz er K ro mm er
, ,
, ,
La fo n t L a b a n L u b an o w L ib o n L ipi n sky L o lli
,
-
, , , ,
L u b i n Ma t hei Ma ur er Ma yseder M est r i n o Mes e r
, , , , , ,
M o z art Onsl ow Pagan i n i P ich el P ix i a P l ey el
, , , , , ,
Po ll ed r o Prag e r P ug nan i Ri es Rode Roll a Ro m
, , , , , ,
b e r g Sch a ll Sc h miedig en Sch up p anz ig h Sp o h r
, , , , ,
. .
vi o lo nc eIZo— A rn o l d Ba ud io t Bi dea u B o hr er D a n z i
, , ,
, , , , ,
D o tz a uer Du p o r t H au sc hka H us D esfo rg es K rafit
-
, , , , ,
L a ma r r e L i ndl ey Li n k e Merk M Unz berg er P l ey el
, , , , , ,
R e i c ha Ro m b e r g Sch oneb e ck St ia st ny V o igt & c
, , , , , .
u te— A m o n B a yr B er bi g ui er C a ll
d
( ) F o r t ke fl , , , ,
Da n zi Devi en n e D r essl e r D r o u et Dul on F ti rst en au
’
, , , , ,
G a bri elsky G eb a u e r G y row et z H an s el H o fm eis t er
, , , .
,
K ell e r K ling enb runn er K o hl e r Kre ith
, , , , ,
K ro m m e r Kuhl a n Lindp a i n t n er Metzg e r M ull er
, , , , ,
Q u a n z S ch n e id e r Sch o ll T o ul o u T r o mlitz V e r n
V un derl i c h dve ( e) F or t he c la r i ne t t e— B a c k o fen
, , , , , ,
V
,
.
,
B armann C r usell Du ern o y G eba u er G Op fert
'
v
, , , , ,
K ro m m er L e fev r e M ic hel P urebl V an derha g en
, , , , ,
C M v We b er 6m ( f ) For t he based hor n
-
. . .
,
 GUID E T O COMP OSI T I ON . 2 9

B ack o fen K ii ffner, T aus ch , &c ( 9 ) F or t he ha u t boy . subj ec t ed t o t he c h ang es of fashion ; i n o ur o w n

— b ra u n
,

F r ohlich , G a r n i er H um m e l Kr a h m er, ti m e m a n y r eforms h av e b een i ntr odu c ed wh eth e r

’ '

-
, , , ,

K ro m m er, L ebru n L i ckl , S ell n er T hurn er , V an , . t en d in g t o w a rds ultim a t e b en efit or d epr eci a ti o n
d er hag en West en h o lz , & c ( h) F or t he bassoon . r em a i ns t o be pr o v ed T he i n disp ensa bl e r equisit es .

for a worthy t h ea tri c a l c omp o se r a re— a pr o v ed ex

,

D iett er, G e b a u er , K ro m mer, Ku mm er, Oz i , Sc hn ei

d er, Stu m pf, C M v W eb er, & c ( i ) F or the . .
p er i en c e Of dra m ati c e ffe c t i n rh et o ric a l d ecl a m a ti o n
F r en c h ho r n —A m on Dom n ic h, Dorn aus, Duv er n o y ,
. . .

-
,
a liv ely fa n cy i n music a l p a i n ti n g p r a ctic al k no w ,

l ed g e o f vo c a l a nd i n strum en ta l e ffect a n d a ju d ici o us

—
,

h
( ) F or t h e
fl a
g eo l et B ell a y , C h al on , D em ar , G e e mpl o ym en t o f a l l l a w ful a i ds We c ann ot d en y .
,

b a u er, L ero y , & c ( I) F or t he cza la n , or ca ne;flu te . th at s om eti m es c h a n c e pl ays a p r i n c ip al p a rt i n t h e

, ,

Di ab e lli , G eb a u er , H eb er l e, Kl in g enbr un ner, ul t i m a t e r esul t T h e d egr ee of succ ess o r u n succ e ss

K r ahm e r , Mat iegka , & c ( m ) F or t he t r ombone . is Oft en d et erm i ned by a s eri es of u n ex p ect ed ci r
B ra u n, F rohl ich , & c ( n) F or t he ma ndoli n e c um st a n c es trivi a l i n th e ms elv e s N 0 o n e c a n g ua
’

. .
,

A i c h el b urg , Bo rtol azz i , Ca ll , Oberl eit n er, V i m er r an t e e t h e ef fec t which m ay be c aus ed by th e b es t .,

c a t i , cit e
( )
o F t h u i t — B ev il a cqu a, Blum , writt en c o mp ositi o n o n t he public w h o a cts as j u dg e ;
o r e g a r
- .
,

Bo rnh a rdt , Bo rt ol az z i, C a ll , Ca rulli , Di ab elli , D o isy, a n d t he pr o v e rb F or tuna c ui j avet dc ,is n ev er

“
,
'

G ell i G iul ia ni , Graffer, K u c ffne r, L ehm ann , Mat i eg ka,

,
m o r e a pplic a bl e th an to this c as e U p t o the p r es e n t .

Mo li no , M o lit o r , Ob erl eitn er, R oto n di di d A rail z a, ’

tim e ( so fertil e its elf ) much has b een d o ne i n th i s ,

S p i na, Stali lin , T uc z ek, W olf, & 0 P F or t he . b ra n c h o f t he a r t Who is n ot a cqu a i n t ed with t he .

a n ofor t e— A d a m , A ssma r fo ll o wi n g n am es —A b eill e A g r ic ol a A l essa i i d ri

p i y , Ba c h (J B a ch , , ,

( J M ) B a ch ( P h Em ) , B ach
. . B eeth ov en, . A n dré A nd r eo zzi A n fossi A p el l
, A r n e A ub er , , , ,

B rix i , C h o pi n , Ch ot ek, C l em en ti , C r a m er , Cz e rn y A u din ot Ea sily B eeth o v en B e lli n i B en d a B e rt o n

, , , , , ,

C z e r ny Di a b elli , D ussek, E b erl , E b e r w ei n , Bier ey Bl an g i ni Blum B o i eldi e u B ra ndl Ca rafia

'
’

, , , , , ,

F i el d, F reyst a dtl er , G el i n ek, G yrow et z , H a l m , C at el C ham p ein C h e r u b i n i C i m a r o s a Dal l ay rac

, , , , ,

H a sli ng er, H a y d n, H er z , H i mm el , H u m m el , J o z z i, D an zi D ell er Dit t ers dorf D rech sl e r E b e r w ei n

, , , , ,

K alk br enn er , K ann e, K l ei nh ei nz , K l en g el , K oz el uc h, Els n er F esc a F i o r a v anti F l eisch er G a ll us G a v ea u

, , , , , ,

K rufft , K u ffner , Ku hl an , L an n o y L a uska , L e idesdorf, ,

G en era li Gl as e r Gluck G o ssec G ra u n G r etr y
, , , , , ,

L i c kl , L i p aw s ky, L i szt, L o u is F e r di n an d ( Pr i n c e Of Gugl i el mi Guh r G y r ow et z H a l ev y H a ndel H ass e

, , , , , ,

Pr ussi a ) , M a r ti n ell i, Masc h ek, Mendel ss oh n, Mo s H ayd n H er ol d H ill er H i mm el H o fm ei st e r H olz

, , , , ,

ch el es , Moz a r t, M il l l er ( A On sl o w , P ix i s,
'

. ba u er H u mm el I soua rd
,
K ais er Kra us, , ,

P l ey el P l a chy , B eich a , R i em, Ri es Ri ott e, R ud o l p h

, ,
K r eutz er ( Conn ) K uhl au K unz en L icht en st ei n , , , ,

( r chdu ke o f A us t r i a ) , R o m m el , Scarl atti , Sch m itt,

A L i ndp ai n t n er L ully Ma y e r ( Si m ) ,
Ma y e rb e er , , ,

Sch n e id er Schu m an n , Sc otz i, S t er z er , St eibel t,

,
Me h ul Me r ca dan t e Misli w ez ec k Mon si g n i Mo r
, , , ,

St e r k el , T ayber T o m eschek, V ag enseil , Wanhal l ,

V
,
‘
l a c chi M o s el ( J F
,
M oz a rt M ii l l er N a u m a n n
. .
,
’

, ,

W eb e r ( G M C l a r a VVi ec k, VVi n khl er , VVOlfl ,

. . N e efe P a i si ell o Pa er P a v esi P er sui s P hilid o r
, , , , , ,

W orz i sch eck W ii rfel , & c (9 ) F or t he ha rp , . P icci ni P o i ssl Freyh R a m ea u R eich a r d .

, ,

A lv a r s , B a ck o fen , B eda r d, B o c h s a , B o i eldi eu , D ema r , Ri ghi nl R i o tt e o m b e rg R os etti R Osl er R o ss i n i

, , , , , ,

J a d in , K rum p ho l z , N a derma nn , P o ll et , Sp o hr , V er R o uss ea u Sac c hin i S ali eri S a rti Sch en k Sch m idt
r ) F o r t he ha r mo ni ca —Masc hek Mu
, , , , ,

nier, & C
( .

, ll e r ,
b a u er Sch n ei der Sch ulz Schust er S c h w eitz e r
, , , , ,

N a u m a n n R Ollig & c S eid el Sey delm ann ( S eyfri ed ) S po hr Sp on ti n i

,
( 3) F or concer ted mi nd , .
, , , ,

i ns tr umen ts A m o n , F uchs , G eb a u er , G o p fer t , Starz er St eib el t Stu n z L e Su e u r Sii ssmay er T ay

, , , , ,

H a sl in g er , H o fm eist e r , K r ei t h K ro m m er, K u effner, ,

ber T el em a nn T om asc hec k T ra ett a U m l a uf V og el
, , , , , ,

L i c kl , M o z a r t , P a y e r , P ur ebl , R u m m el , Schi ede r V o gl er W eb er ( B W e b er ( O M VVeig l

'

. . .
, ,

m ay e r Sch w a r z S edl a k ( S eyfr i ed )

, , ,
VVeyse W i n ter Wi ttasek Wo l f W61fl Z i n g a r elli
, , , , , ,

( t ) F t h i ( i d — m on A n d r é Z um st eeg , &c
or e vo c e a r s u et t s
dj e A , , , ,
.

A sio l i B a ch m a n n B ee th o v en B e r gt Bl a n g in i Blu m
, , , ,
A n ex c ell en t pl a n fo r Obt ai n i n g a c or r ect i n sight
,
Bo r n ha rdt C a ll C resc ent i ni D an z i D i et r ichst e i n
, , , ,
i nt o t h e ab o v e -m en t i o n ed t h r ee s t yl es , is t o s t u d y
( C o u n t M o r iz ) Ei senh o fer F e sca H a k el H a ser , , , , ,
ca r efully the ful l s c or e o f cl a ssic a l w o r ks , a n d, i f
H a rder H a sl i ng e r H ayd n H i mm el H e nn eb erg
, , , , ,
p o s si b l e, to attend a p erfo r m a n c e Of t h em i mm edi a t ely
H u mmel H urk a K a nn e K r ufft L edesm a L eh m a nn
, , ,
a ft e r t h e e x a m i na ti o n Op i n i o ns s t ill d iffe r a s t o t h e .
, , ,
L il w e M a r s ch n e r Me t h fessel M illi c o M o sel ( J F
, , , , . .
fu n d a m enta l el em en ts o f t h e r ea l , p eculi ar chu r ch
M oz a rt Mii hl in g N ag el i P a e r Pr ch R ei ch a r d
, , ,
o st y l e t he v en e r a t o r s o f a n ci en t m a st er s only c o nsi der
c o m p o siti on s o f th a t p e r i o d as w o r th y— w h il e t he
, , ,
R e i ssig er R i g hi n i Run g en h a g en Sch i n n Sc h ny d er
, , , , ,

Sch ub er t ( S ey fr i ed) St er k el T om a sch ek v W a r , , .

d ev o t ees o f m o de r n fa shi o n pr o n o u n c e t h es e r elics o f
t e nac e W e b e r ( C M
,

, W eb e r ( Fr W e b er
. . .
c o u n t erp oi n t t o b e dry a r i t h m et ic a l p r o ducti o n s , a n d ,

Z elt e r Z um st e eg & c D r a ma ti c m usi c

, ,
. sch o l ast i c b o m b ast B o th p a rt i es, t h o ugh p r e u di c ed, . j
c o m pr i s es al l th a t wh ic h is a cc om p ani ed b y m u sic i n ,
m a y b e p a r tly r ight , a nd t h e t r u e o pi n i o n, a s u su al ,
a th e at r ic a l r e pr e s en ta t i o n s eri o us an d c o m ic o p e r a s ,
li e in t he m id dl e p a t h C h u r c h m u si c , w h en fir s t .

l o n g an d sh o r t o p er e tta s m el o d r am as b all ets ,

-
, ,
c r eat ed, w as c o n fi n ed to v o c a l pi ec es , w hich w er e
d i v e r ti s s em en ts & c 85 0 It w o ul d be d i ffi cult
,
.
, . r estric t ed b y t h e r ul es o f s ev er e c o m p o si t i on t o p er
n a y a l m o s t i m p o ssibl e— t o giv e a de t a i l ed de fi n i t i o n
,
feet a n d i m p e r fe ct h a r m o n i e s w h ich m o v ed i n s o l em n, ,

o f t hi s s t y l e a s a se p a r a t e i nd ivi du a l i t y is r equ i r ed
,
s l o w pr o g r e ss i o n a n dc o n t a i n ed l i tt l e m e l o d y
,
T h es e .

b y t he d iffe r en t ch a r a c t er s o f th e w o r k s t be c m o o l a w s w e r e e xp ed i e n t — n a y e v en i nd i s p e n s abl e— ia ,

p o s ed On th is a cc o u n t thi s b ra nch Of a rt is m o st
.
,
I t al y t | i e cr ad l e bf thi s m u sic w h e r e th e c ol o ss a l
, ,
-
,
 A LBREC H T SBERG ER S
’

templ es wh ich s er v ed as p l ac es of pe r fo r man c e

, , s ol o s for v o ic es with gra c es sh ak es and r u ns bra, , ,

rende r ed t h e si m p l est c on st r uc tio n o f h a r mo n y n e vura a irs with c aden c es ; c onc e rt o l ik e s ym ph oni es

- -

c essary ; t h e r a pi dly succ ee d i n g ch o r ds a n d d i sso n a n t fo r d i ffe ren t i n st ru m en t s ; to g e t h er w i t h o th e r a b us e s ,

p r ogr essi ons whic h b ec o m e fam ili a r to ou r ea r by

, i n tr o d uc ed i n t o chu r ch music d ur ing ano t h e r era ,

c o ns ta n t h a b it w o ul d h a v e o cc asi o ned i n t h o s e
, , which t he cl ear er i n tel ligen c e o f pr es en t t i mes is
e ch oi n g a isl es an i n d is ti n ct d i s orde r p e r fe c t ly c o n
, s tr ivi n g t o b an i sh Ev e r y chu r ch c om p o s e r sh oul d .
-

fo u ndi ng B esi des this t he s ing ers de p ended o nly

.
, giv e h is pri n ci p al a tt en t i o n t o th e s en se o f th e w o r ds
o n th ems elv es ; th er efo r e it w as exp edi en t t o exp e l ,
t o be set — s h o uld w o rk t he fo ur v o ic e p a rts i n fl o wi n g
e v e ry t h in g fr om t he st i lo a l la cap el la whic h m igh t h a r m o ny a n d i ng en i o us interw ea v ing s an d c on si de r ,

e nda n g er c o rr ect p erfo r m an c e o r tr u e i n t on a t i o n : o n a l l el se as em be lli shi n g a dd iti o n s T h o se w h o w o ul d .

this a cc o u n t t he pri nci p a l rul es of s t rict c o m p o siti on

, i ns tr uct th ems el v es deeply i n c om p o si t i o n sh o uld
s t ill r ema i n u nch anged A s t he c om po s er s o f t he . rea d t he fo ll o wi n g a uth o rs z— A delu n g A n dré A v i , ,

s ev er e sch o ol w er e t hus fet t e red and th e i r w o rks ,

so n ,Bull Burma n n Burn ey Bushy Cat el C hl adn i
, , , , , ,

r edu c ed to a c erta i n m on o t o n y t he o nly fi e ld l e ft ,

C h o r on C hristm ann F i n k F o rke l Forst er a
, , , , , ,
th em for t he displ a o f th e ir tal en t w as t he i ngen i o us G e rb er G erbert G r etry H a wk in s H e r ing J on es
c o m b i na tion a n d ey
, , , , , , .

a bor a t ion o f c o u n te r p o i n t i n m an y K i rn berg er K n echt K och Ma r p urg M at theso n

, .
, , ,

pa r ts ; a dm ira b l e s ampl es o f which h a v e desc en ded M ich aeli s Mitz l er M o s el , F o rt m ann R e ich a rd t , , ,

t o us fr o m t h a t e p oc h i n ar t A t a l a t e r p e ri o d th es e .
,
R i s p el Ro chli t z Sch ei b e Schich t Schu b a r t T ii rk
, , ,

V ogl er Wagn e r We b e r ( Fri edt

, , ,

s i m p l e Gr eg o r i a n churc h ch an ts w e r e su s ta i n e d by -
, , We b e r .

an o r gan ; b y d eg r ees figured a ccom pan i ment was G ) V en dt W ol f dt c V o c a l sch oo ls h a v e b ee n

V
ottf
, (
p ublish ed by—A sio l i C h o r on C resc en t in i D anz i
, , , .

d ev e l o p ed ; t he ba ss p a r t s w e r e st r eng t h en ed b y-
, , , ,

do u bl e bass es ; th en vi o li n s w e r e i n t r o duc e d i n t o
-
, G e ra udé H e ri n g H ill e r Lass e r N a g eli P r ein d l
, , , , , ,

chu rch ch o i r s ; a nd l a stly h a utb o ys t r ump e ts

-
, , , ,
t h e C o n s e r v a t o i r e de M usiqu e i n P a r is R ighi n i , ,

d ru m s t r om bo n es c om et s Z i nke) ba ssoo n s an d
, , , , P v . . &c .

o t h e r w i n d i n st r u m e n t s om o sers th en g a i n ed
p .

m o r e e xt ens iv e pr ivi l eg es as si ng e r s m igh t u n de r ta k e ,

A S OR TH D ES C R I P T I ON OF M USI C A L
g r ea t e r d ifficul t i es wh en supp o rt ed b y t hese a dj un c ts ‘
. I N ST R U M E N T S U SUA LL Y EM P L OY ED
I n m o d ern t i mes i n churc h s o l em n i t ies such as high
, ,
A T TH E PR ESE N T T I M E ; W I T H T H E I R
s e rvic es T e Deum s & c a c om pl et e o rch estra is us ed
, ,
.
, ,
S C A L ES .

a lth o ugh s o m e o b jec t i n g v o ic es ar e still up r a i sed

P E RC USSI ON
I nsr n uu a ur s '
or
a g a i n st t he i nn ov a t i o n b u t wi t h o ut a g o o d a nd sufli
.

The O ga n has m an y r egist e r an d a still g r eat er

,

c i en t r eas o n fo r di ssen t So m e t i mes t he h igh e r p itch

r s,

n u m ber f p i pes i t c o nt a i n s o n e t w o o r t hree m a

.

o f t he i ns tr u men t s p r ev en t e d t he c o o p e ra t i o n o f t he -
o , ,

n u ls o f fo u r o ct v es a d a p ed a l b oa r d c n sis t i n g
o rg a n which g ene ra lly w as a t l ea s t a qu a rt e r to n e a , a ,
n -
o
- ,
,

l o wer th an t he e sta blish e d o rch estra p it c h ; an d t hus -

of th i r t en l n g an d s ev en sh o r t w o d en n ot es Th e
e o o .

t he c ompl e men t a r y wi n d i nstru me n t s b ec am e n ec es

p r i n ci pa l r gi te r is a lw ays o f si xt een fee t ; b ut
e s

sa r y as a subs t i t u t e T he pri ncipa l o bj e ct of a r e l i s o m e t i m es i v e r y l a rge c on stru cti on s it i o f t hirty

,
n ,
s

t wo feet T he organ has v a lv es b ell o w & c

.

g io ns c ompo sit io n is to e x pr ess in n o t es t he t rue

.
, s, .

C h a p el and m a l l chu r ch e s g en e r ally p o s e s on ly

, ,
s s s s
s en s e o f t he wor ds which o ught t o be d eeply fel t
s tu d i e d w ith pi o us fa i t h
,

a nd r en de r ed wit h s e r i o us
,
small o rg an ( P os i t i ve) with t h r ee fou r fi e o r
s , , ,
v ,

d ign ity If this fi rst and o n ly requ isite is c o m p li e d

,
six a n d a t m o st e ight s t o p ; th es e h a v e on e m an u al
, s ,

The n o tes of t he o r g an a re t he
.

an d n o p e d a ls
w i th th en the w h ol e c o n c ep t i on wi ll sca rc ely be .

i njur ed b y any i nstru men t p ro p erly us ed F lut e s fo ll owi n g

fo r i n s t an c e —w i t h wh a t p a t h e t i c efiec t h av e t h eir
.
, ,
'

Ex 1 037
s o ft br ea thi n g t on es b een i n tr od u c e d b y M icha el
. .

:H ayd n a n d N a u m a nn ; o r hor n s— susta i n ed w h il e

o t h er h ar mon i e s pr ogr ess — w h a t a n u n sp ea k a b l e

c h a rm a n d p io us efiec t is giv en b y th is m o st b ea u
'

, ,

t ifu l o f a l l c o nn ecti n g to n es Of c o urse much de .

,

p en d s o n a k n o w l e dg e o f pe culi a r a da p t i bi l i ti es ; a n d
o n ly the fo o l is h w o ul d c o n de mn th e s e i ns tru m en ts to

s ou nd a frivo l o us h u n ti ng tu ne i n a h o ly pl ac e -
.

E v e r ythi n g h as i t s righ t a n d i t s wr on g— t o find t he

r ight is a d ifi c ul t a r t M an y u sa g es s a n ctio n ed b y
.

l on g c u s to m c an h a r dly b e j ust i fied— such fo r ,

E x c eption al n ot es
i nsta n c e a s n o isy v i o l i n p a ssag e s an d skip p i n g fun
, ,

d amenta l b as ses w hich so u n d to o mu n da n e ; or

,

t ro m bo n es w ri tt en in u n is on w i t h al to t en o r or b ass , , W h en the o rg an has an i n compl ete bass 8 v e, th es e

v o ic e : b y this mism a na g em en t th es e i ns tr um en ts , , t w o n otes ar e wa n ti ng ,
an d
w hich are effe c t i v e i n full sl o w ch o r ds l o s e th eir , ,

i n divi du al be a uty an d i m pe de ra th e r th an a id i n
, , ,

q uick fugu e s u bj ect s— b ec a use o n a cc o u n t o f th ei r

-
,

n at u r e th ey c ann o t e x e cut e precis ely t he p assa ges

,

w r i tt en fo r t h em E qu a lly u nj usti fi a b l e a re fr equ ent

.
 A L B REC H T SB ERG E R
'
242 S

brass or iron : it has a w ea k s o u n d b ut is w ell n rad G r aff

A l oys ) H as c hk e H eil , H i nd l e,
of , ( C o
) , . ,

a d a pt ed fo r t en de r s en tim e n ta l e x p r es s i o n T his ,
. H er w e r t h, H ey o fma n n , H o x a , J akesc h
,
( G eo rg ) ,

o b s o l et e i nst r um en t is s o m e t i m es ca ll ed Spi n e t t ; J a kesc h J a ns e n, K a t h o l n i g Kl e i n Kr ah

’

, ,

th o ugh if it be n ot t un ed a n o cta v e h i gh er t h r o ugh

,
me r, L a n dsc hii t z L a ng e n rei t e r, L a u te r er ( Franz ) ,
,

o ut th at is at fo ur feet pi tch b ut a t e igh t fe e t or

, ,
L a u t e r e r ( We n z el ) L esch e n , L e t et z ky , L icht ena u e r ,
,

n a tu r a l p itch it is not a s p i n e t t ev en sh o uld i t b e

, ,
M a r ks Masc hek
, Ma sc hek ( T i t u s) , Ma u r itz ,
fitt ed with o ne st r i ng i nstea d o f t w o or th r ee s tri ngs ,
. Mull e r Mii ll e r Mii ller ( Mat t h ) ,
S om e spi n etts res em b li ng h a rp sich o r ds w e r e m a de ,
P o r t sch e, P fa ff, P l oc km a nn , P rom berg er , Re in e r ,
which s o u nd ed an o cta v e high er and w er e si ngl e ,
Ro s e n be rg e r Sa chs , Sch affe r Sch an z Sc he dl , Sc h edl e,
, , ,

st r i ng ed thro ugh out b u t all th es e i nst r u m en ts h a v e Sc hm idt Sch m i dt Sch n e i de r,

fa ll en i nto disus e o n acc o u n t o f th eir chil d l i k e un ,
-
, Sch r a m m , Schuffenh auer Schuh m ach er Schulz , , ,

s u b stan ti a l t o n e T he fo ll o wi n g m a y be pl a c ed i n . Se i dl er Se idtn er , So mm ere r Som o n a i r St e i n

. , ,

t h e ca t eg o ry o f h a rpsichor ds a nd pi a n o fo r t e s Ste i n h a u se r Str e ich e r , S tr o b l , T e ic hma nn, Wa cht el,

,

Wei ss W er l e Z a m ba c h Z i e r e r & c
'

l A d i a p h on on
. 1 9 G eig en C l av ic ymbel . .
-
. , , , , .

2 A m enoc ho rd
. 20 Gl a s C h o r d . .
-
.
The P a n t a leo n is a m agn i fi c e n t b ut v er y ra re ,

3 A m o r Sc h a ll
. 2 1 H a rm o n ich o r d
- . . .
i nstr u m en t ; i t is nea rly t w o ell s w i de a n d is fitt e d ,

4 A rc hi c y m bal
. 2 2 H a rm o n ico n . . .
w it h v e ry ma ny st ee l s t ri ngs ( t he u pp e r treb l e is
5 A ug eu c l av i er
. . 23 . L aut c n C la v ecymbel -
.
thr ee s tr i ng ed) , s t r etch ed a c r o s s t he so u nd ing b o a r d
- -

6 Bog en fl irg el
.
‘

. 24 . M el odica .
by m ea ns o f i r o n p egs a n d sc r ews , o v e r w o o den
7 C emba l d am o ur
.
’
. 25 . Oed e ph o n e .
b r i dg es it is p l ay ed wi t h tw o w oo d en st i ck s The .

8 C e m b a lo onn ic ordo
. . 26 . Orch est ri o n .
D ul ci mer ( H a c kbret ) is a bo u t h a l f th e s iz e, a n d is
9 C l a v e ci n ac ust iq ue
. . 27 . Orp h e us H a rmo n i e -
.
pl ay ed i n a s i m il a r m a nner T he i nv e n t o r o f t he .

1 0 C l a v eci n h a r m o ni e ux 28 Pan h a r mon ic o n p ant a l eo n w as H berwt rei t T he a b o v e m ent io n ed e ' -

H a c kbr et —c a ll e d a ls o i n v ulga r p a rl a n c e
.
. . . .

l l C l a v e ci n o rg a ni se 29 Pa t e n t - C l a v i e r v o n w o o de n ,

l a ught e r — has b een so t o s pe a k r esu scitat e d i n t he

. . .

"
1 2 C l a v eci n a p ea u de
. St au ffe r und Strei , ,

b ufil e . c h er .
p re s ent c ent u ry ; a P o l ish m usici a n G usi hon) t ra , ,

1 3 C l a v eci n ro y al 30 P his harmo n ica v e l l e d t h r o ugh E u r o p e a n d a st o n ish ed l o v e r s o f a r t

. . . . , ,

1 4 C l a v eo l i n e
. . 31 . Sire n io n .
b y his w o nde r ful e x ecuti o n o n a s tr ingl ess i ns tr u m en t
1 5 Di t t a na c l as is 32 T e r p odi o n o f this n a t ur e c o n sis t in g o f s ma ll e r a nd l a r g e r sticks
,
. . . . ,

1 6 D o p p e l Fl ii gel
.
-
. 33 . U ra ni o n .
l a id a cross p a ck e ts o f stra w .

1 7 E uph o n
. . 34 . X e no r phi ca .
The ff ar monic a o w es i t s exist enc e t o t h e c el e
1 8 Fo rtbi en
. . 35 . X ul ha rmo n ic on .
. j
bra t e d Dr B e n a m i n Fra n kli n w ho g a v e t he fi r s t ,

Di st i nguish ed pl ay er s o n th e s e i ns t rum ents w ere i de a fo r i t s c o nst r ucti o n ; it be c am e b et t e r k no w n

and are— A b e ill e
A l me id a B a ch ( P h E m )
A da m A p el l A ue r n ha mm er t h ro ugh t he Mi ss es D avi s a nd Kirchg essn er , a n d its
B e ck Bee t h o v en B e ll e
, , , ,
p rese nt p er fe c t i on has b een o pe rat ed by the m usic a l
,
i n g e n uity o f M ess rs Frick v o n Ma y e r , N a u ma n n
.
, , ,

v i ll e Be n ds Ben ic kt St er n da l e B e n ne t Big o t Bihl e r

.
, ,

Ro llig We isc and o t h e rs

o

T hi s a gr e ea b l e i nst r u
, , , , , , '

Bla h et ka C h o p i n C i bbi ni K o z c l uc h C la s in g C l e - , , .

m en t c on sist s g e n era lly o f thi rt y s i x t o fo r ty gl o bul a r

.
, , ,

m ent i C o da C ra me r C z e rn y ( Ca r l ) C z e r ny
-

D a lb e r g Do hl er D usc h ec k D usse k E be rl Ed e r
, , ,
gl asses w hich m u st be b l o w n o n fo r m s e x p r essly fo r
,

T he c o m b i na t i o n o f th es e an d t h e ir
, , ,
t he purpo se
, , ,

F i e ld F i n k ( Ch a r l o tte ) F l e isch e r G eli uek l s Gra nd

H
.
,

G y ro w etz
,

IIal m H en s el t i mmel H o he na de l
, , , ,
fixt ure o n t he squ a r e i ro n spi n dl es , fu r ni sh ed a t o n e ,

e n d w i t h a b a l a nci n g wh ee l t o g e t h e r wi t h t h e t u n i n g
, , , , ,

H u mm e l H url ebusc h J uli e K a lk br en ne r ,

o f t h em giv es m o r e tro u b l e t h a n is r equi r ed i n

, , ,

K e il Ki efe r K l einhai nz Kl eng el K o z el uc h K r ufft .

K uh la u K a rpi n sky K urz biic k L a c om b e L a uska

,
,

,
, ,

,
, ,
m aki ng a ny o th e r i nst ru m e nt R ii l lig firs t added a .

se t o f k ey s o n w hich a cc o u nt it w as c a ll ed c la vi a t u r
.
,

L eidesdo rf Le mo c h L ess el Lisz t L o uis F er d in an d , ,

o r k ey ed h a r m o ni c a C h a p e l m a s t e r N a u m a nn a n d
, , , ,

( P r inc e o f Pr u ss ia ) M ar c h a nd M a rsch n e r Ma y e r
-
.

t he a bo v e-na m e d m usici a n first w r o t e c o m p o s it io n s

, , ,

L
( eo p M ay er (Ch ar l es) Ma y erbeer Mende ls
for i t a nd M ii ller pr i n t e d a g ui d e fo r s elf i n st r uct io n
.
, ,

S ll n
'i
Mo r a Mo sc hel es Mos e l ( C ath M o z art ,

o n t he h a r m o n ic a w ith illu s t ra t iv e pi ec es T h e
, , , .
,

M ii hlen fe ld Mirll er ( A N a t o r p N a u m a nn
‘
.
,

fo ll o w i ng a re n ame s o f g oo d r e put e — Jll asohek

.
, , ,

Onit c h ( N ina )
s On sl o w P a ra di es Pa r k P ix is ,

Ill a yer P ohl We a k an d Westenho lz & c

, , , , ,

P l ey el Po sch P ut ho n Reic ha R ies R z ehac z e k , ,

T he , , .

, , , ,

R i o t t e Ro s et t i R ud o l p h ( A r ch d uk e o f A us tr ia )
, ,
,
sca l e o f the h arm o n ic a is
,

Sal a m o n Sc a r l at ti Sch a d Sch m i t t Schul z Schu m a nn

, , , , , ,
Ex . 1 039 .

Sey ffer t St a ufie r St eibel t St e i n St erk el St rei c l e r

, , , , ,
i ,

Ry m a no w sk a T h a l be rg T e
p p er T o masc he k d e l l a
, , , .

V a ll e VVa n hal l W eb e r ( C M
, W i e ck ( C l a r a ) , . .
,

VVi n khl er W i nt e r ( Madll e , W it tas ek W ol fl

W o rz isc he k
, ,

A t p r es en t t h e b u il de r s
' I

fi rte l & c , , .
,

o f o r ga n s a nd p i a n o fo rt e m a k e rs i n V i e n n a a re t h e

foll o w i ng z— A ffal y A m b er g A n de rs A n gst Bau , . .

,

fel d Bo ba c z ec k B oh m Boj a rs ky B r od ma nn Bu de n
.
, , , ,

h a g c r Bu de r C o m ar y Co m c re t ta D em i an D eut s ch
, , .
, ,

m a n n Diir r Ed el ho fer E hl e r s E h r l a ch E h r lich

, , , .
, ,

E l w er kem p e r Fi sch e r F r it z Fuh r ma nn Gl a ss G ra ff , , , .

,
 G UI D E T O COMP OSI T I ON . 24 3

The G ui ta ris of thr ee k i n ds — the G er m an the ,

l i nes ar e c a ll e d a on t he l ut e
ltho ugh only th ree
,
a

It a l ia n an d the Sp a ni sh ; ea ch is t r ea t ed d i fferently
,
. r eally a re fo u n d on o p en stri n gs for ex ampl e
T he sc a l e o f t h e G e r ma n guit a r is Ex . 1 04 3 .

Ex . 1 04 0 .
A B C D E F G a . d f a d f

6 5 4 a l ll a l l a l a
T he l ut e is
i nst r u m ent most ri c h i n t on es as
t he ,

ea ch n ot e m a b e fou n d o r m ad e o n a t l ea st thr ee
y
stri ngs a c c o r di ng to con v en i en c e T h e fi r st fr et o n
si x stri ngs which
.

It has ,
are t un e d on th es e n ot es ,

ea ch stri ng is c a ll ed 6 t h e s e co n d 0 t h e third 03 t h e , , ,

Ex . 1 04 1 . fo u r th e 85 0 T h es e fr ets a s w e s a id b efo r e m a k e
,
.
, ,

on ly a s em it o n e ; fo r i n sta n c e if t h e foll ow ipg l ett ers ,

w er e pl ac ed o n t he fo u r th li n e of a l ut e p art— a b -
, ,

d 8 f; g h i h l m n — t he s o u n d wou ld b e th es e
, , , . , . , ,

It s ou nds an octav e l o w e r a n d is ad apt ed to c on

0

, no r lik e s e mit ones t h rough a who l e o c t a v e

-

c ert p i ec e s an d esp eci a lly to ac c o m p a n i m ent o f th e

-
,

v o ice F ull ch o rds may be t ak en o n it th us

.

Ex . 1 04 2 .

T he lute h a s e igh t r ath er l o w b ass stri ngs b el ow - ,

ith a c onj oi nt o ct av e— th e high er stri ngs g r adu all y

b ec o m e fi n er an d are u s e d for t h e m el o dy th e
,

tw enty fo ur stri ngs t og eth er fo rm t hi rt een c om p o

-

sites o r g r o ups It ma y be pl ay ed in al l k eys a nd

, .
,

er efore t h e sh a rp s an d fl a ts n e c ess a ry i n t h e b a s s

o c ta v e m ust b e tu n ed i n b efo r eh an d i n g ener a l i t .

is tu ned i n D mi n or .

Ex . 1 045 .

A B C D E F G

Th e foll o wi ng musici an s h av e b eco me c el ebra t ed

d Fm j r di g t t h l w t B
,
I D mi
p ar tly as w r it ers for a nd p ar tly as p erfo rm er s o n this n n or an a o , a c co r n o e o es a ss .

— a n d l o w est oct a v e is a lw a ys tu n e d with

,

i nst r u m ent so fa v or it e i n o ur day

, A mtm ann B e T his first ,
t h e sh a rps a n d fl ats r equir ed by t h e r eig n i n g ke
v il a ua
q Blum B ol z m a nn Bor t o l a z z i B o r n ha r dt y ;
e r gr o ups r em a i n un c h an g ed
, , , , ,

B r an d Bathioli Ca l l C arull i Catt a s C ram ol in i oth as t he fr ets ,

,

Di ab el li D o isy G ell i Giulia n i G ra fier H enri

,
,

,
produ c
,

,
,
e all s emit on e s
,
,
'

,
,

,
.

l H oyé H e i n rich Ku effner L eh m an n Ma ti egka

’

, , , , ,

Mende l Mo li n o Mo lit o r Oberl ei tn er R on to ndi

, , , ,

d A r ai lz a
’
Stahlin ,
S p i na Schar ic z er Sch ulz , , , ,

Sch eidl er St oll T ucz ek Wan cz ura Wol fWern er & c

a id th a t this i n strum en t w a s exc ell en tl y
.
, , , , , ,

A m o dific ati on o f this i n st r u m en t is t he G u i ta rr e It is s

pl a y e d b — G alil ei G a uthi e r G erl e H o fe r K o b s a t
d a mour i nv ent ed by Sta tgfier y
’
, , , , ,

L au fl enst ei n er L ogi Ma r i on de L o r m e M a r ti n
.
, '

The Theor bo is a pl ea si ng i n strum ent ad a pt ed to

, , , ,

P el ag rat z ky R e ggi o R o y Sch eidl er S c hi n d l e r

,

th o r o ugh b a ss pl ay i n g It is distin gu ish ed fr o m t he Setz korn Stra ub e We is s W elt er & c

-
.
, , ,
'
, ,

lut e by a lo n g er n eck an d s om e o th er tr ifl es and is

.
, , , ,

,
The Ma n dora a s m a ll e r ki n d o f l a t e i s pl a y ed i n , ,

l ik e t h is l a st i nstrum en t l ittl e us ed a t pre s en t

.
,

a sim i l a r m a n n e r b ut i s tu n ed diffe r en tly It ha s

, .

I he L u te is a r a th e r l a rg e r r o u n d ch a mb er
,

o n ly e igh t g r o u p s o f sh e e p gut s t ri n gs A g r o up
, -
.

i nstru m en t sh a p ed l ik e a t ort ois e a nd fitt ed with c o nsi sts o f t w o st ri ngs tu n ed i n t h e o ctav e or u n i son ;
, ,

sh ee p gut st r i ngs th os e o f t h e b a ss b e i ng m os t ly t he high est gro up h o w ev er ha s on ly on e stri ng

-
,
,

c o v er ed ; it is h el d up w a rd s by the l e ft h a nd the c a l l e d e It is tu n ed in E mi n or c o n form ably to the

, ,

fo u r fi ng ers o f which pl ay a t t he s am e ti m e : t he thr ee upp er stri n gs

.
,

l itt l e fi ng er o f th e r ight h a nd h el p s t o sust ai n it an d D ,

t h e r est st r ik e th e ch o rds ; t he fin g er b o a r d c o n t a i n s -

fr ets an d gut s t ri ngs fo r ea ch sem it one E v ery fr et

-
.
,

o r s em it o n e is n a m e d by a l ett er but on a cc ou n t
e n o t es fo r m ed by th e fr ets a re th e thirt een
, ,

o f t he divi s i on o f b a r s t h e n ot es a r e pl a c ed o v e r t h e
T h
er s— b c
,

l e tt ers a b ov e th e sixth lin e this i nst r u m en t r equi r es l e tt d e f, g h i k l m n an d o ; t h e , , , , , , , , , , ,

,

a s t a v e o f si x li n e s Th e m ea su r e is i n d ic a t ed but
.
Op en stri n gs are c a ll e d a .

The Ma ndoli ne i s o f tw o ki n ds —t he N ea polita n

,

n o ol etf is m ark ed T he thr ee l o w e st b ass t on e s are -

i nd ic a t ed by n umb ers—the fo u r fo ll owi n g by the a nd t h e M il a nes e b o th are sm al l er th an t h e ma n

. .

l ett ers a and p erp endi c ul ar l i n es t h e six ru l ed dora and a re di ffer entl y sh ap ed and tu n ed T he
, ,
.
 A LBREC H T SBERG ER S
’

fi r st has onl y fo ur gr ou ps tu ned l ik e the vi o li n , ,

GG so ft m utte ri n gs or m uffled beats dzc Fo rm erly a
, ,
.
,

d r u m pa rt w as a lwa y s w r i t t en i n c an d g ; at p res en t,
DD A A E E the s econ d has six g r oups the first o f , i t is usu al t o writ e i t i n the di ffer en t t u n i ngs —fo r
which has c o v er ed strin gs — th es e a re c o u nt i n g up , i n sta n c e b a ndf d and a eh and bb e a nd b drc
, , , , ,
.

A l t en b urg has w r it t en a guid e to t he pro pe r tr ea tm ent

wards g bb ee aa B o t h i n strum ents h a v e
dd gg
o f t h is i n st r um en t
.
,

v i o l in c fs and ef vi o lin n ot es T h e c om pl et e sc al e of .
.

t he m a ndo li n e is Bo w
Ex 1 04 8
.

Fi r
.

s t st ri g
n S eco n d st r g in . l b ea rs t he G cl efl on the
in g en erall
‘

s ec ond l ine an d i n fu l p r t m usic is divid ed i nto

.

- a
,

fi rst or s ec o nd a nd s om et i m es third v i oli n ; a l o

,
s
,

wh en us ed fo r a s o l o or c o nc e rto is c a ll ed p r i nci pa l ,

v ioli n It has o nly fo u r sh eep gut s t rings the l ow est

.
-
,

of wh ich must he s p u n o v er ; t ney a re call ed g d a 8

—th erefor e it is tu n ed by three p er fec t fi ft hs
A n d also al l t h e t ones lowe r ed b y a b A ec om , ,

lth o ugh on acc o u n t o f t he u n c erta i n t em p eram en t

.
.

a
n i ed b y a gu i t a r , this s o ft i n st r u m en t pr od uc es a
,

p o f o r g a ns a n d i n strum en ts of p e rcussi on i t m ust no t

a
p ecul ia r ly ch a r mi n g effect B o o k s o f i nst r ucti o n fo r .

to a c e r ta i n d egr ee b e tu ned p r ecis ely T h e sca l e

, ,

it h a v e b een wri t ten by Bort olaz z i and Fo u c h et t i

.
,

o f t he v i o li n i n cluding t he i nter veni ng an d b

.

V im erc ati a nd Oberl eit uer are exc ell ent p erfor mer s ,

t o ne s is
on t his i nstrum en t ; also Mora ,
.

The P sa l tery is a c ymb l lik e v ery an ci en t an d a -

,

r a r e i nstrum en t It is pl ay ed with bo t h h ands b y

.
,

put t i ng fla t ri ngs o ut o f whi c h proj ec ts a strong , ,

p o i n t e d quill o n t he fi ng ers ,
.

The c o mmon H a rp o n wh i c h it w as n ec essa ry t o ,

c r ea t e s em i t o n e s b y tu r n i ng t he scr ew duri ng per s,

fo rm an c e is o ut o f f hi n on acc ou n t o f its i c o m
,
as o ,
n

l t n ess ; but t h e En gl ish h a rp impro v ed i n this

p e e ,
thr ee strok e oc ta v e is use d especi ally b y
r esp ect by N aderma nn a nd E rar d b el gs to fav o ri te on
The -

ch m b er o r c o nc er t i ns t r um ents T he a ddi t io o f
a
,

n
c o nc e rto p l ay ers T he vi o li n not o nly i n s ol o s b ut
-
.
, ,

p a rticul a rl y as r ip ieno is o ne of th e m ost i m po r tan t

.

p ed ls which s e r v e t o c r ea t e al l ac cid ent a ls e na bl es

a ,
,

t he p erfo r m e r t o m o d ul a t e a t pl asure a n d l ea v es e
,
c o m p l em en t s o f ev e ry o r ch estra a nd ma y be em ,

fr ee use o f b oth h a d s T he p eda l h a rp has fo rty n -

,
ploy ed t o a m a nifo ld e x tent be st l ear n t by the stu dy ,

of sco res writ t en b y g r ea t m aste r s T he fir st vi o li n

.

o n e st r i ngs a nd t he fo ll o wi ng c o m p a ss
.

,
gen era ll y giv es t he m el o dy o r sh a r es it al t e rna t el y
1 04 9
,
Ex . .

wi t h wi nd i n st rum ents ; t he s ec on d g enerally giv es

-

t h e n ea r e st c o m pl e m e nt a r y i nt e r v a l s in c o n t i n u o us ,

o r d et ach e d n o t es o r i n t r emo l o sy n c o p a t ed o r i t e
ra te d mo v em enb —a ls o i n r a p id h arm o n i o u sly agr ee
, , ,

in g ru n s de ta ch ed full ch o r ds a nd oth er p as s ag es
, , ,

a da pt e d t o t he i n di vi du a l ch a r a ct e r of t he pi ec e In .

v oc al a i rs d u etts & c i n which t he m el o dy is giv en

, ,
.
,

Musi c for thi s i nst r u m en t is wri tt en o n t w o st a v es ,

b y the voic e b o t h vi o li ns may fo r m an ac com p a ni
,

b ear i ng t he vi o l in a nd b a ss cl efl s It is tu n ed i n e b m ent pr o p er ly a d a pt ed t o t he th em e Som etim es

'

. .
,

a n d chr om a t ic t on es a r e p r o d uc ed by sh o rt en i ng t he th ey ex ch ang e p a rt s wh en a d iffic ul t acc omp anyi ng ,

st r i ngs th r o ugh m ea ns o f t he ped al s which i n a l l

, , ,
p ass a g e is to be r end ered dis t i nct a nd t o sta nd o ut ,

o cta v es c rea te t he a ccid enta l sh a rps a nd fl a ts

, . i n st r o n g r eli e f ; it is th en u su al to writ e it for t he
U s eful i nst r ucti on b oo ks fo r t he h a r p ex ist by ,
first vi o li ns which are g enerally p l ay ed by the b est
,

Ba ck o fen Bo chs a H eys e Mad a de P o l et a nd

, , , , ,
perfo rm ers w h o s o m eti m es c o ns i de r it der o gat o r y to
,

W enz el T he fo l l o wi ng a re k no wn as com po s e r s fo r
’
ta k e th e ir pl ac e a t s ec on d d esks T his is a fals e .

a nd p e r fo r mer s o n th is i n st r um e n t z— A l va r s Pa r i s h
.
, ,
-
,
c o n d em nabl e a mb i t i on sp r i ngi ng fr o m erroneou s ,

Bac k o fen B eda rd Bo chsa Bo uch e r Bren ness el Ca

, , , , ,
v i e ws A n i nner pa rt which s el dom c on ta i n s a
.
,

si m i r Da l v im are D ema r D izi B r a es t i G a ll o G o u

, , , , , ,
m e l ody t o st r i k e t h e ea r is m o r e d ifficul t to ex ecut e , ,

j on ,
H a ck H i mm er J a di n
,
K a ts c hi rek K n o tt , , , ,
a n d i m pli es p e r fe ct i nt on a ti on d e x te r i t y a n d a b o v e , , ,

K rum p h ol z La n g L o n gh i Ma raz z ol i M a r i n Mi n oj a
, , , , , ,
a l l t he r a r e t a l ent o f j udici o us a cc o m pa n i me n t
,
be
d e l a M o tt e M il ll n e r G ol l enho fer N a de rma nn s i des this in a w e ll o rga n is ed o r ch e st r a n o r an k is
‘
- -
, , , , ,

N i em ez ec k P a sc al P etri n i P r est el Sp o hr ( D o r et t e)
, , , , ,
su bo rd i nate all are equ a l— o f s ma ll c on s equ en c e a s
Sim o ni n Po ll et St eckl er V e r n i e r U ep lin g W ebe r
-
, , , , ,
ite ms but i ndis pe n sa bl e i n t h eir o r der ed s p h er e— an
,

W olf dzc ,
. e s s en t i al li n k i n t he g r e a t ch a i n— an a b s olu te ly n a

The D rum which lik e t he trump et m ay be t un ed

, ,
i n m any k eys is o f m aj estic effect i n l o u d full ba n d
, ,
, c essa ry pa rt o f t h e wh ee l whi c h pr o p e ls th e wh o l e
- b od y A pe rfo rm er o ught n ev er t o h ear hi mself
si n gly o r wish t o predo mi nate abo v e o th ers —ia an
.

co m positi on s o r i n c onj un c t i o n with the tru m p et

, ,

c nl y a nd m a
, y be a lso add ed to pi an o p a ssa g es i n ,
i ns tr um ental ar m y th e stric test disc ipli ne and b li nd ,
 A LBRE CH T SBERG ER S
’

24 d

w i t h onl y a? an d ] # up to the fi rst s mall D strin g

th en i n t h e Vi o li n c l e ff fo r t he high er a nd do u b l ed ,
t h t c o r p as si na t e a nd is ca pa b l e
e i ,
o ,

n o t es a n d m a r k t h e t hi r ds fo u rt hs fi fth s & c a s br illi n t bra vu ra ca nt b i l e or susta

. a ,
a ,
, , ,
, ,

r ea l i nte rva ls a nd do u b l ed no t es c o rr ec t ly fo r t he ,
Its sc al e is
s ight a s fo r s o u nd T he fo ll o wi n g a re t h e t w o s ca l es
.

c o m p a r e d w i th a t hi rd which b ear s t he b a ss a n d ,
'
G - s m ng Dfi r ms
v io l in c l efl s .

E x 1 05 3
F irst S cal e .

r g
. .

A -s t i n .

a bb b c c g

T his xc ell ent i nst r u m ent c an be us ed i n a fiv e

e
pa rt c o m p os i t io n i n wh ic h i t ma y gi v e a n i nde p en ,

d en t middl e o r c m pl em e n ta ry p a rt ; it o ft en a p pea r s o

as s ubs t i t u t e o f t h e l o w e s t b as s i n s o ft p ass ag es o r , ,

as a m ea n s o f r en deri n g a m el o dy m o r e p r o mi n en t ,

by d o u b li ng fo r i nsta nc e fir s t vi oli n flut e h aut boy

, , , , ,

a n d such lik e p a rts “ h a t w as sa id o f t he vi o l a .

,

may be a ppli ed t o this i ns tr u m e nt wh ich b y i ts n a

S ec on d Sca l e .

tur e is c o nnected wi t h i t s l a rg er c o m pa n i on t he
, ,

, ,

d o u b l e bass I t s d es t i n y is t o giv e m o r e cl ea rn e ss
-
.
,

purity a nd disti nc t ness t o th os e passa g es which i t s

,

fell o w on a c c o u nt o f its h eavi er c o nst ruc t i on c an n o t

, ,

e x ecu t e with pr e ci s i o n ; t h e r efore a m a t h ema tica l ,

p ro p o rt i o n o ugh t t o e x ist b etw een th es e two c o

o p e r a t i on s A d o u b l e b a ss b y right o ught t o be
.
-
, ,

su st ai ned by t w o v i o l o n c ell o s t he pa rts o f wh i c h are ,

usu ally c o p ied in t he s am e b oo k ; t he d oubl e bass -

pl a y er ought t o o ccu p y t he c ent r e pl a c e an d t he ,

o th e r p e r fo r m er s sh o ul d turn t h e l eav e s as thus n o , , ,

h i atus o c curs i n t he fu nd amen ta l pa r t T he b est

S ca l e
b
.

C o m p a r ed .
sch o ols a re t h o s e o f the P a ris C on s ervatoire by
b i?
,
a
B aill ot Bidc a u Cat el a nd Ba ud io t ; by Dupo rt
, , , ,

Do t z a ner L e v ass e u r MUntz berg er an d St iastn y

, , , .

T he fo ll o wi n g a re e st ee m e d c o m po se rs an d p e r
fo rm ers A l ip ra n di A r no l d B ass et Baudiot , , , ,

Be n k e B e r g e r Bi dea u Bi rnba c h B o h m Bo hre r

, , , , , ,

Borza g e Bra u n Cal m us Ca ttus Cerv etto C h ri st

The E ng lish l is disti ngu ish ed fro m t h e , , , , , ,
e t to
D am o n D an zi D el am are D on t Do tza ner D rec hsl er
v i ol a d a mo re by h av i n g but six stri ngs the l ower
’

, ,
,

Du po rt Eg g erlin E is ert Eysel Fenz i Fe rr ari F ilz

, , , , ,

A st r i ng b e i ng o mitt ed
, , , , , , ,

F ra n c isc ell o G a nz i G atti Gi o r dan i G o ttli eb G r a ff

.

The Vio la da G a mba is s om ewh at sm a ll er t ha n a , , , , , ,

l s G ra n d Gre tsch Gr o ss H amm er H auschka

V i ol o nc ello a n d is als o o ut o f fashi o n i t has g en e
,
,

H a usmann H immelbaue r H itz elherg er H o fmann

, , , ,

ra lly only fiv e stri ngs which a re nam ed in des c end , ,

,

H us Deforg es J ag er K el z K rafl t L am ar r e L an
-
'
, , ,

, , , , ,

i ng d a e o C o r ac cordi n g to Mat theso n si x stri ngs

, , , , , z et t i L i n k e L ow e M a n g ol d Ma ra Meg el in Me i n
, , , , , ,

d a e c C D a n d bea rs t he vi o li n c l efl T he be st
'
h a rdt M er k Minarsky Mo ral t Mti n zberg er N oc hez
, , , , , ,

Or al er Pa x t on P echa tschek P iarell i P i tsc her

, .

k n o w n p e r fo r m er s w er e Gra ni er H e r tel H ess e , , , , ,

P ix is Pr ell
, , ,

H oll e r a nd M a rci a . ,
Radzi w ill Ra up e R eschn i R i ed l
, , , , ,

R i tt er R o m b e rg
,

The Vi olo nc el lo wh en a cc ompanyi n g o th er p a r ts , R oth e Sa n don a t i Sc het ky , , , ,

, ,
Sc hin dl o c ker Sch ma lz Sc li o n ebo c k Sc hrodl S i eg el
'

h ea r s t he b ass c l efl w h en p e rfo rm i n g so l os o r c o n
'

, , , , ,

c e rt o s it m ay a ls o b ea r t h e teno r c l efl ( C on t he
'
St o r i o n i T r ickli er V an din i V o igt
,
Wag en s eil , , , ,

VVe igl We rn er W ill mann Woz il ka Z a ppa Z ums

,
,

fo u rt h l i n e) which s o u n ds a fi ft h a bo v e t he b a ss o r
, ,
, , , , ,

t he vi o l i n c l efl A n a b l e p e r fo r m er c a n pl a y a ll fiv e
.
te eg , Z yka , & c .
, &c .

p art s o n this i n s tr u m ent —t h a t is the alto tre bl e a nd , , , The B a r i t on i s v er y agr eeabl e ch amb er in stru a

n a tu r a l vi o li n ; this l ast h o w e v e r m u s t g e ne ra lly b e , , m en t a bo ut t h e siz e o f t he v i o l da g a m b a ; its fin ge r

,

pl ay ed a n o cta v e l o wer in m o de r n c om po si tions T he . bo a r d is wi de r as it has s ev en sh ee p gut stri ngs ,

-
,

s tr i ngs a re C G D A o f w h ich t he t w o l o w est are

, , , , ,
which are gen er ally pl ay ed u po n i n d o ubl ed n o t e s .

o v e r s p u n ; al l fo ur so u n d a n o cta v e l o w e r th an th o se U n de r t he n eck it has s ev era l m eta l stri ngs which , ,

o f t h e v i ol a T his i nst r um en t is a d a pted t o s en ti

. a re stru ck b y t he thumb t he fin ger bo a r d has n i ne -

m e nta l e xpr essi on and i n i t s uppe r to n es r es em b l e s , , ,

frets w hich fo rm a s m an y s emiton es The ba rito n
,
.

a be a u t iful t eno r v oi c e ; it is ex cel l en t i n co n ce rt is t uned i n t he upp er strings

 GUID E T O C OMP OSI T I ON .
0 i
[ N
1
“

t he ao - a c ll ed dr um-b ass
Ex . 10

an d i n the low er stri ngs a c c o rdi n g t o a nci en t fa sh io n or th e p a ir of sp ec ta c l es

F r an z , H auschka , an d L i dl , a re c on sid ere d good

m a st e r s .
th us s ar c astically ba ptis ed by t he Ita li an s A n ex .

The D ou ble- B a ss has u su ally fiv e r ath er th ick p eri enc ed m usici a n p o ss essi n g i n v en t i on an d t a st e , ,

a l w a ys tr e a t s his b a ss i nd i v i du ally ; h e fo r m s it o f
s tri n gs o f sh ee p gut , wh i c h a re n a m e d , i n a sc en di n g ,
-

a ; fo r e x a mpl e
s om e u n ex p ec t e d t one ta k en fr om th e transp o s ed
F , a , dnf
fi
,

o rigi n a l ch o r ds — gi v es it a pri n cip a l p a s sa g e o f s o m e

,

m ea ni ng a m el o di o u s th em e or i m i t ati on s o f t he
, ,

upp e r p a r ts & c & c — o r i n c onj u n cti on W i t h bril

,
.
,
.
,

T he tw o l o west a re g en e rall y ov erspu n T his .

li a nt i nstru m en ta l acc ompan i m ent all o w s it to p a rad e ,
i n strum en t is an o cta v e l o w e r th an t he V i o l on c ell o , m aj esti c all y u p an d dow n i n w eighty strongl y ,

b ut fo r t his r eas on i t is n o m o r e n ec ess a r y t o r a is e

, , m ark ed no t es
i t an o ct av e wh en pl ayi n g in u n is on with a v i ol on
Ex 1 05 9
c ello th an it is t o do so for a c on t r a b a ss o on ; for al l
. .
-
,

b ass i ns tr um en t s wh en a cc om p an yi ng high er on es ,

fo r m t h e u n is on i n th e i r o w n t on es Ea ch s em i t on e .

is fo r m ed by a fr et on the fin g er b oar d T h er e are -

sh o r t h e all ots it a b etter ch a r act er th an th at o f

.

d o ubl e b ass es which h a v e onl y fo ur stri n gs an d n o

-
in ,

a m er e need ful a i d t o wa r d s k ee pi n g s tr ict ti m e T he

,

fr ets a n d ar e tu n ed i n a di ffer en t m an n er n a m ely .

m o st exc ell ent s tr in g e d i n str u m ents w e r e m an ufa c

, ,

E A D G or F A D G T h e s e a s w ell as do u
t ured by t he a n ci en t m a k ers — A 1na ti Willi a m
.
, , , , , , , ,

b l e b a ss es with thr ee strin gs a re n ow u n iv ers a lly

- ,

F o rst er Gu a r ne r i G i ug li a ni G u ad ag n i P o p el la
,

fo u n d in w ell o rg anis ed o rch est ra s T he sc a l e of . , , , , ,

t h e d o ubl e b ass with fiv e stri ngs is

R uggi er i J ac o b St ei n e r an d Stra div a ri A nd i n
Vi en na b y the pr es ent m ak e r s — Bran d st a tt er
.
- , ,
'

Buch er D ii rr F nz enberg E rtl F eil en reit er F i sch er

, , , , ,

G ot z H i ndl e K uhl au R i ess Saw i k Stauffer St o ss

'
D -
strl n g .
, , , , , , ,

W ern er a nd Z ettl er I n expl anati on o f t he w o rds

,
.
,

o n e st r o k e t w o str ok e o ct a v e
,
t he followi n g
-
,

t a bl e o f near ly all p o ssibl e t o n es is giv en i n a sc en di ng

F
gt ge t in A -s i ntr g .

o rd er m a rk e d with l et t e r s a n d li n es a ft er t h e m a nn e r
.

, ,

o f org a n build ers an d i n strum en t m a k ers

Fr o hl ich an d H a u s er h a v e writt en bo oks of

i n struc tion T his gi an t h as b een w on d erfull y sub

‘ c c fi n nfin F F fiG Gfl A a
.

jug at ed hy— Dimml er Dra gon etti G r a ms H i n dl e , , , ,

H o hlfeld Jan it sch I serick K ampfer K ell er K ohl er

G
, , , , , ,

L a n dy L a ss er L oz i n sky L udwig Me l z er d a ll Oc c a
’

, ,

P isc h elberg er R ich t e r Sl am er S edl e r S p er g e r

, , , ,
L ow e st b as s, or 1 6 ft . re a tb ass 8 ve.

, , , , ,

W i rt h & c Ra pi d ch r om atic an d qui c kly va ri ed

,
.
, ,
-

p a ss ag es o ught n o t t o be gi v en t o thi s i nstru m en t by

i n ex p eri en c ed c o mp os ers ; the fi ng er i n g o f t hi s c c
l e ssus is so ex tend ed th at it is h a r dly p o ssi b l e to ,
Smal i b a ss .

ex ecut e a p ass a g e of m an y c o m p o n en ts n ot e for n o t e

J E§ ? T E Q
E 7 133 ?
,

e xc e pt by m o vi n g t he cl o s ed h an d u p a n d d o w n th e
? E
stri ngs o r i n di stan t l eaps A n exp er i en c e d pl a y er
,
.
,

t h ere fo r e w ould m er ely giv e the fu n d a m en ta l n o t es

,

o f such p ass a ge s w hich might cr ea t e on ly a c on fus e d

,
One-st rk
o e 8 ve .

n oi s e a n d w o uld l ea v e t he i nt erv en i n g i n t erv a ls to

,

be e x ecuted by vi ol on c ellos We may k n ow the .

m ast e r b y t he b a ss says an old an d t r u e pro v erb

,
”

a n d i n fact a y o u n g c om p o s er c an h a r dly b e r ecom

t k
, ,

m en ded t oo st r on gly t o i n v en t a b eau t iful fl owi n g , ,

T wo -s ro e 8 ve .

o r igi n al an d i nt er esti n g b ass p a r t A sa d i nt el l ec

,
.

t u a l p au c ity an d wan t of mu si c al k no wl edge is he

t ray ed by t he m er e use o f t he t on ic o r d o mi n an t

Ex . ma m ELE B T hr e e- s tro k e 8 ve .
 24 8 A L BRECH T SBERG ER S
’

W I ND I N S TR U M E N T S - . sch o ol s for th e fl ut e by— B ayr Berbig ui er D evi enne , , ,

The F l u te ( or t ran sv er s e flut e) is a c omm on a n d F hr b a ch B ug o t a nd V un derl i c h M ull e r Qua nz

a
V
, , , ,

us e ful i n st rum en t i n al l k i n ds o f mus i c ; i t i s ma d e T r o m li tz V an de rha g e n an d o th e rs

, Ex c ell e n t p er , .

o f g oo d w o o d an d r each es fr o m t h e o n e st r o k e D u p
,
- fo r mers a re — A m o n A m tm ann A p p ol d A sch , , , ,

t o t h e th r e e str o k e G T he a n c i en t flut e c on t a i n ed
- .
B ayr Berbig ui er B e rn a r di B e s se r B og ner Bo ndi
, , , , , ,

a l l t h e n o t es o f t he v i oli n c l c fl w i t h t h e e x c e pt i o n o f
'

,
Bo rdo t Bo tg o rsc heck Ca p el l er l s C l e r c D ahm en
, , , , ,

c an d c It is usu a l t o wr ite for i t i n t he c o mm o n D ev ienn e Di mml er Dul o n Dressl er Drou et Fah r

, , , , ,

vi oli n c lefl the s a m e a s fo r m ost wi nd in st r u m en t s

'
-
ba ch Fur st enau G abriel sky G eba u er G ehri ng
, , , , ,
,
G i an ell a G ranser H a rtm ann H eberl e H ei ne H e
( b ass oons a n d t r om b o n es e x c e pt ed) T he sh ep h e r d s
’
, , , , ,

r o u x H ock el H ug o t K e ll e r K hayll K norr K o hl er

.
,

o r p a st o r a l flut e is b l o wn th r o ugh a l i p p i e c e a t t he - , , , , , , ,

e x tr em ity ; it is sh o rt e r t h a n t he first me n t i o ned -

K r a m e r K r eith K r ug er K u hla u L a nd o l t Li n dner
, , , , , ,
L o b p re i s Mac ha ud M e tzg e r M o n dra Mo n z ani
fl ut e and has l ess t on e I t ha s b ec om e o b so l et e as
,
.
,
,

M nll e r Muss a rd Pa isi b l e P eg ol d P e rra ult Pr i nz

, , , ,

i t is no t ad a p te d to sci entific m usic I n t he pr esent , , , , , ,

Quanz Ra pp Rei na r d Schl o t t er Sch o ll Sch ro ck

.
''

time th e transv er s e flut e h as b een e n r ich ed w ith , , , , , ,

,

s ev era l k eys which o b vi a t e m an y difli c ul t ies P ro Sch u st er Sedla c z ek S ol a S t ei nh a rdt T hu m er

, , , , ,

T o ul o u T r o mli t z T urn e r V o g el Wei ss Wendli ng

.
,

feaso r B ay r has i m part ed to t he i n st ru m en t m ak er , ,

Wolfra m Wu nde rl i ch & c

, , , ,
' '
,

K och a n ew v a r i ety ca ll ed P a nayl o n which has fiv e , .

,

T he F la geolet is a s mall i n strum en t which is

, , ,

wh ol e t ones bel o w a dde d t o i t s c om pas s T h ere a ls o ,

b lo w n i nt o a t t he end lik e t he past o r a l flut e ; i ts

.

exis t s a fi d a mou r which s o u nd s a m i no r thi r d

fl
’
t
sou nd is si m il a r t o a p ic colo—an o cta v e high e r b ut
,
e ,

b el o w— a terz ylbte which is a m ino r thi r d a b o v e

‘ ’

,
.

ua r t l bte which i s a fo u rth high e r— a i c co lo

‘ ’
,
much w eak er — its sca l e is
a
q y , p
hic is an o ct a v e high e r— t hr ee ki nds o f Ex 1 06 1
fl u te ,
w h . .

es d bee— a n d t he fi fi te deu ce for al t o t en o r a nd

fl fl t - -
, , ,

ba ss ; th es e a re all t reat ed in t he s am e m anne r as th e

past o r a l flut e T h e a b o v e m enti o n e d G fl ute
.
-
,
Bell a y C h al o n D avi n D em ar G av ea ux and
i n v en t ed b y Pr o fe ss o r B ay r is no w fur nish ed wi t h ,
,

L eroy h av e w r i t ten i nstruc t i o n b o o k s

, ,

-
, ,

fi fte e n k eys which en a b l e t he p erfo rm e r t o ex ecute

, .

,
The Cz a ka n t he c a ne fl ute ( St o ck fl ute ) whic h - -

p assag es fo rm erly co n si de red h a rdl y possi w a s t em pora r ily so gr ea t a fa v o rit e i n o ur d a

, ,

y has ,

gr eat di ffic ul ty ; its c o m pa ss is from l o w G t he fo ll o wi ng sca l e

,

Ex . 1 062 .

up to the four As a c uri osity ,

it may be a bo v e pl a y er ha s

succ eed ed i n p r o duci ng d o ubl e ton es as t hi r ds , ,

fo ur t hs si x ths &c w h ich lik e h a r mo nica gl as s es

, ,
.
, ,
-
,

s o u nd p er fectly m agical esp eci a lly in t he s o ft k eys ,

o f Eb A b D b,
T he flut e c a n easily ex e cute b ra
, .

v ura p ass ages o f all ki n ds — c h r om a tic r u ns th rough

-

al l sc a l e s asc endi n g o r d esc end i n g i n hu rrica n e T his i nstrum e n t wh ich a ffo rds such agreea b l e
swift ness — wide di sta nt l ea ps—sl o w a nd r a p i d sh a k es
, ,
,

— appa r ently c o nti nu e a m el o dio us th em e s i m ultane pas t i m e t o t he s o lita ry p ed es tr i an s o u nds a third ,

l o wer — th er efo r e, t he sc al e of O sou n ds lik e the

o n ely wit h a flyi ng acc o mp an i m en t w h i ch is a c c o m
, sca l e o f A b ; for ex ampl e
p l is hed by m ean s o f th e do ubl e to n gu e I t is ca pa b l e .

o f m a n i fo ld e x pre ssi o n — th a t o f ch e e rfu l

j o
y or ,

spo rtiv e pl ayful ness o r in t he l o w er to n es a nd i n , , ,

m i no r k eys tha t o f p ath e t ic c ompl ai nt o r gl oo m y

,

so rro w : t he to nes b etw een t he on e st r ok e t o t he -

t w o s tr o k e G so und u ns p eak a b ly t end e r a n d s o ft

-
,

i a pr o o f o f which w e may ob serv e ho w Gl uc k and ,

H a nd e l h a v e us ed th is i ns t ru m en t i n th at restric t ed
c o m p as s wi t h ch a rmi ng effect ; th e fo r mer i n his
,
B oth l o w er an d u pp er s em itones are ra r ely pu r e ,

A m ide for R i nald o s ai r i n D m aj o r a nd t he l att e r a n d sh o ul d th e r e fo r e be c a r e fully a v o id ed Kli n

’
.
, ,

i n his A lex a nde r s F ea s t We need h a r dly say t h at

'

g enbru nn er a n d K ah m e r ha v e furn ish ed bo oks o f

'

gr ea t di scr eti on is nec es sa ry no t t o o v er po w er t he i nst r uc t i on c o n ta ini ng c o pi o u s ex er c i s es ; als o pi ec es

m el o dy i n w r iti n g t he acc om pa n i m
, ,

ent t o a n a ir c on rondea ux po t po u r ris v a r i at i o n s p o l a cca s & c

,
-
, , ,
.

ta in ed withi n th e co m p a ss o f t he on e st r o k e o ct a v e -
. T he H a u t boy is a w ell k no w n i nstru men t w el l -
,

I n full i nst r um e nt a l tut t i passag es t he flute on l y c an

- -
,
adapt e d t o an y ki nd o f m usic ; it b ea rs t h e v io li n
b e po w e r ful i n t h e t w o s t ro k e oc ta v e u p wa rds ; t he - cl ef It is pl ay ed n o t by bl o wi ng t h r ou gh a h ol e
.
,

l ow er no tes would not be disti n guish ed Tw o o f . l ik e th e flut e but b y m ea ns of a sm all p i pe or r eed

,

th ese i ns trum en ts may be w e ll empl oye d i n a n i n s ert ed at t he top ; its c ompas s is fr om the on e
o r ch est r a i n pr o gr e ssi o ns o f thirds or s ix t hs an d i n strok e 0 to t h e three stro k e d ; th e l o w est or one -
, ,

i nter s ec t i ng h arm on i es and passages We posse ss . stro k e of is d ifli c ult to p r oduc e ; al so the one strok e -
 A L BR E C H T SBERG E R S
’

wi t h all i n ter v en i n g c hrom ati c sh arp a nd fl at s emi

t o n es .

m el o di o us i nstrum ent is cap ab l e of p r oduci ng

T his
m a n ifold efl ec ts and p ossess es a n i rresisti bl e ch a r m ,

wh en w ell pl a y ed Its p eculi a r p r ovi n c e i s the ex .

p res si o n o f p ass i onat e s o r ro w o r p a th et ic l am e nt a t i on ,

i n simpl e ad agi o s with o ut o r nam en ts and i n mi no r ,

k eys A sk i lful play e r m ay b o l dly ta k e t he m ost

.

d istan t n o t es ; s o a r a l o ft i n ch r o ma t ic ru ns a nd ,

d esc en d wi t h equ al i m pe t u osi t y ; al l sh ad es o f t one

m ay be p r o duc ed fr o m j br t issimo t o t h e slight est ,

in Dmj r a o .
w h i spe r ; a n d i n t h e s am e m ann e r a sh ak e m ay be
, ,

s w el l ed o u t an d di m i n i sh ed t o the s o ft est p ia no .

T he d ee p t o n es b el o w t he li n es e sp eci ally p oss ess an , ,

al mo st su p e r na tur a l effect t h ese h a v e bee n us ed i n

a n o r igi na l m a n n e r b y V ogl e r a n d his p up i l C M , . .

v o n W eb e r T he cl a ri ne t is tu n ed t o t he r equire d
.

pi t ch b y i ntro duci ng l o ng er o r sh o r t er m idd l e j o ints

, .

T he C cl a r i ne t wh ich has t h e m o st pi e r ci n g s o u nd
i n C ma o jr .
,

a n d li t tl e t en de r s o ft n es s is no w s el d m u sed a n d ,
o
,

th en o nly i n c onju n ctio n w ith t he so call ed T urki sh -

i nst r u m e n ts T he B and A m u t a ti ons a re t he m o st

.

u s u al a nd su ffi c e fo r all fl a t a nd sh a r p k ey s wi t h t he
, ,

a id o f tr a n s p o siti o n t o a s ec o n d o r t hi r d m a d e b y ,

u si n g t e no r a n d c a n t o cl e fs T he m o s t effec t iv e k ey s .

fo r t he cl a r i ne t a re — Tun ed i n B — C m
in G ma o jr .
w r i t in g i n D ) ; F m aj o r fo r G ) ;
(
E b maj o r ( fo r F) ; A b m aj o r ( fo r
— G m aj o r ( fo r pi ec es i n B ) ; D m aj o r for F) ;
(
A m aj o r ( fo r C) ; E m aj o r ( fo r G ) ; B m aj o r ( fo r D ) ;
a nd t he sa m e fo r a l l r e l a tiv e mi no r k eys A t t he .

T he fol l o wi ng anal ogo us k eys may be w ell us ed pres e nt ti m e mili t ary b a nds use als o sm all er cl a r i n ets
, ,

wi t h ea ch c l a ri net : for ex ampl e i n a l m ost a ll k eys Sch o o l s h a v e b e en c om p os e d b y .

Ba ck o fen Blasi ns L efevre M ich el V a n derha g en a nd

, , , ,

Ex 1 06 9 A s p er fo r m e r s o n thi s i ns tru m en t t he
'

Vl o l dema r
Pr
. .

fo ll o wi ng a re c el ebr at ed z—A hl B ack o fen Bar m a nn

.

l Th e ma j2 n a w i th t h e
or
,

i nc i pa key. C m i no r t hird , , ,

Ba rth Ba u mg a r t n er B ender B et z Bli esener Boufll l

.
.

, , , , , ,

C a no n g i a C rusell D ac o sta Do bihal Duv er noy

, , , , ,

Fa rn ic k F riedl o w sky F risch G eb a u er G op fe rt

, , , , ,

Th e m a
t he
j or srd ,
min o st dr
l
a so wi h t
The 4 th wi th th e ma j or 3 rd
de G r o ot H a rt m a nn H ermstii dt H ess e H offm a n n
,
,

Kl ein e K rah mer ( Ca r ol i n e n é e Schl eich er ) L a n t er

,

,
, ,

,
,

b ach L e fev r e Ma h o n M a ur er Mey e r Mich el

.
.

, , , , , ,

M ull e r ( l w an) N ol te Og insky ( Co u n t) P urebel , , , ,

Pr o ksch B a the Ehs er Roth e Rubb Schick S ehl o

, , , , , ,

m ilch Sc hb ng e Sch o tt S t ad l er Ta mm Ta usch

’

, , , , , ,
'
l he p rf t
e ec st h wi th t h e ma j rsa
o r . T he 5 t h wi th th e m i no 3rd r . T hi rey T r o y er ( C o u n t F erdi na nd ) W a g n er W erl e
, , , ,
'

Vi i p pe r, & c .

The C om o di bassetto is dist ingu i sh ed from t he

cl ar i net by b ei n g cu r v ed ( for which reas on it w as
t h e ma j r 6 h wi h t th e mi no 3rdr
Wh e n n ec es s ary . a s olj the m i no r fo r m erly ca ll ed K ru m m horn t h a t is curv ed h o r n) -
, , ,
o t 7 t h w it h t he ma or 3rd
a n d r ea chi ng a t h i r d l o w e r ; it is a v ery u seful i n
. .

s tr um ent an d has t he l a r g est c o m pa ss o f all Wi n d

,

i ns tr u m ents I t fo r me r l y o n ly c on ta i ned the l o w 0

.
,

t he s e c o n d s ma ll b as s n o t e th en e a n d a bo v e this , ,

A ll th ese k eys may be acc om p a n i ed b y cl a r i n ets co m m enc ed all se m i t on es ; b ut t he br o t h e rs A nth o n y

i n G A Bb B C a n d D ; b u t t he m st dafli c ul t a re
, , , , ,
o a n d J h a nn a Stad l e r i m p e r i a l m u sic i ans
o h av e by ,
.
,

t h o s e which a re cr ea t ed b y cl ari n ets i n G a n d i n D . t hei r i nv ent ion a dded t he l o w c# d an d d th er e

, , ,

T he sca l e o f t he cl a ri n et is °

for e it n o w c on ta i ns fo ur wh ol e o c tav es i n regul ar

 GUID E T O C OMP OSI T I ON 25 1

orde r : it b ears the v i ol i n cl ef but s o u nds four o r ,

The B a ssoon has b een i ntrod uc ed i nto orc h estra ,

fi v e wh ol e t on es lower th an t he vi o l i n T he p r i n cip al . wi nd , a n d milita r y b an ds it is a w ell k no w n i nst ru -

ke y F is m o r e a n ci en t a n d c o m m on th an G ; both
, ,
m ent of h a rd b r o w n w o od fur nish ed with k eys a nd
, ,

a r e writt en i n C for e x a m pl e ,
h o l es ; it fo r m s t h e medium t er mi na m to the viol on
c ell o a n d d o u bl e ba s s an d in pi ec es o f a l o ud n a t ur e
B lg
-
,

Co r
no di as set o t in F . A n a o o us key . 1317 m a jr
o . l end s st rength t o t h es e b ass es T he r eed b y whic h .

it is bl o w n is fix ed t o t h e l o n g croo k ed pip e o f m et al ,

call ed S b y r ea s on o f its sh a p e It bea r s t he ba ss cl ef .

,

a n d p r odu c es t h e n atur a l t o n es o f t he 8 ft b a ss T his - . .

H g é zz
i nstrum en t has b een ess enti all y i m prov ed a nd has
‘

z
fl n o w a s c al e o f th e fo l lowi n g comp ass
,

C om o d i B asse tt o in G . A lg
na o ous k ey . 0 ma jr
o .
Ex . 1 07 5 .

The s am e con n ex ion exists b etw e en the cl ari n et

a n d c o r n o di b ass e tto a s b e t w een t h e ha utboy a n d .

E ngl is h h o r n an d b ot h m a y b e t e r m ed b r an ch es o f
,

t h e sam e st em T he ex am pl e i n B b i s a ls o t o b e
.

m a r k ed Cor no al l basset to i n F : t he s a m e rul e

a pp l i e s t o a l l k eys a n d th ei r r el a tiv es T h er e als o . B o ok s i n st r u c ti on h a v e b een pu b lish ed by th e
of

e x i st l o w c o rn i di b a s s et t o i n E, E b, a n d D m aj o r , C onser va t oir e de M i mi{ ti e i n P a ris b y A l m en radcr

'

/
, ,

which , h ow ev er , are di fficult t o p l a y o n a cco u n t o f F r oh lich a n d Oz i ,

T h e fo ll o wi ng r a n k as g o o d p er
.

th eir l a r g e siz e A l l the rul es that h av e b een gi v en as fo r m er s A lm en rader A r n o l d B ar mann B a rt

' '

.
, , , ,

r e ga r ds fi n ger i ng fo r t he cl a r i n et , a ls o a p p l y t o the B en der Ben dl o c h B es ozzi B isch off B o h m er B r a n d t

, , , , , ,

c orno di b ass ett o I n o rd er to fa c i li t at e r eadi ng , it

. C z erw enka Cz eyka D e v i enn e Di ett e r D uri ng Du
, , , , ,

is usu al to w r i t e low p ass ag es o f s ec o nd a n d third v ern o y E ich n e r E i sl er E r nst Felix F ran cois
, , , , , ,

c orn i di b ass etto in the ba ss c l ef : for ex ampl e G eb a u er H en ry H i rt h

,
H ol l may er H u m a nn
, , , ,

H unt sc h Kum m er L a ng L an g en do rfl Man n Mar

, , ,
f
, ,

Ex . 1 07 2 . qu ardt M ich el Mi t t a g Oz i P a rki ns on P esch el

, , , , , ,

P feiffer Po ns P reumayer Rausch Rei neck e Reun er

, , , , , ,

Rh ei n er Richt e r R i tt er R o m b er g ( A nt ) Ru p p e rt
, , , , ,

Sch m idt Sc honi g er S chw ar z Sch w enk e S ecchi

, , , , ,

St ei n er Stum p f T i ago Wag ner VVei sse Vl est en

'

, , , , ,

h o lz Z ah n Z o bol i & c T his i n strum ent judi c i o usly

, , ,
.
,

em p l oy e d is v e r y effe ctiv e bu t is n o t i n its p r o p e r

T he l o w p a ss ag es of a s ec o n d cl ari net ar e written i n , ,

t h e vi oli n cl e f, an o ct a v e high er wit h t he w o rd pl ac e i n c on c ert o s a lth o ugh t he a b o v e m en t i o ne d ,

-

C ha l u mea u a dd ed , for ex a mpl e m ast ers h a v e di sp l ay ed gr eat p o w ers an d hav e by , ,

grea t practic e ex ecut ed bravu r a rapid a nd br ill ia n t

E X 1 07 3 . ,
Ch a l u m eau .
,
,

p a ssag es l eaps & c Si ngl e sus t a i ned n ot es e sp eci ally

,
.
,

i n t he high e r to n es ; ex pr es siv e m el a n ch oly la rg os ,

o r m el od i o us can ta b il es will t o uch t he h ea rt a s m uch ,

wh en giv en by this i n st r u m en t as b y a rich m eta ll i c ,

T h ese t w o p assag es would pl ay e d alik e be

t eno r v o i c e R e c oll ec t fo r i n s t an c e t he b eau t ifu l
.
, ,
.

p ass ag e in t h e o p en i ng a ir o f t h e Qu een o f N igh t

T h e sc al e o f th e c o rn o di b a ss ett o is t h e s am e as w h er e t h e is o l at e d b a ss oo n a p p ea rs
t h a t o f t he c l a ri net but it c o nt a i n s fo ur low e r n ot es
, , t o j o i n t he p l a i ntiv e v o ic e o f t he s o rro wi ng m o t h er ,
n a m ely i n ex c essiv ely p a t h etic t o n e s It a ls o p r o duc es a .

g o o d effe ct c om bi ned wi t h an d c om pl et i n g t he b ar
1 07 4
,
Ex . .

m o n y o f o th er i nstru m ents such as cl ari net s or h o r n s

, , .

M oz a rt th at g r ea t p sych o a r tist has i n t r o duc ed i t i n

,
-
,

its l ow er t on e s w i t h h um o r ous p a th o s wh en p ai n t
, ,

i n g t he p a n ic fea r o f L e p rel l o i n al fr e sc o t o uch es ,

-
.

T h e r e is a l so a d o u b l e b as s o on which s o u n d s an ,

A b o o k o f i nst r ucti on is writt en by V anderhag en ,

o c t a v e l o w e r ; c o n s e qu e n t l y giv es t he 1 6 ft t o n e ; it
A bl e pl ay ers on t h e c o r n o di b a ss ett o a re — Ba ck o fen
.
,

. i s u su all y e m p l o y ed in r egi m en t a l b an ds t o str en g t h en -

B etz Bl a sch k e Boh m e r Cz er n y D a vi d Friedl o w sky

, ,
‘

, , , ,
th e c o m mo n basso on a n d i s w r i t t en a l l u n i sono w ith ,
’

K u effn er L otz Spri nger t he br o th ers Stadl er

, , , , it It w as p l ay ed wi t h gr eat ex ecution by B arta
.
,
T a us ch T eimer & 0
, ,
.
L o r enz Melz er dzc, ,
.
 '

'
25 2 A L BRECH T SBERG ER S

The H whi c h is us uall y us ed in c oupl es

orn, ,
Ra pi d ch r omati c pass ages displ a y a gr eat d egr ee
n am ely fir st and s e c o nd h o r n i s a r o u n d i nstru m en t ,
o f t ech ni ca l a b ility an d m a y e x ci te w on de r b ut , ,
,

m a d e o f b ra ss and ra r ely o f silv e r ; it is b l o wn

, ,
l ittl e el se A h o rn sh o ul d si ng i t s m ost b ea u t ifu l
. ,

th r o ugh a m o u t h pi ec e o f t he sa m e m a t er i a l as
- a nd o n ly m a gic a l p o w er i s thu s pe r c e iv ed I ts .

t ru m p e ts a nd t r om b o n e s a re ; it b ea r s t he v i o li n cl e f n o t e s sh o uld d e v e l o p th e ms elv e s g r a d u a lly lik e th o s e ,

o n t he s e c o n d li n e ; bu t o n ly h o r n s i n C h a v e t he o f a h u ma n v oi c e i n a r ea l P or ta men t o di coc o o f ,

s a m e s o u n d as t he vi ol i n ; a l l oth ers a r e l o w e r T he . del ica t e sh a des ; th ese t o n es w ill a pp ea r t he i nt er pre

d ee per n o t es of t h e s ca l e wh en us ed c o nst an t ly for ,
t a t io n o f an o v e rfl o wi ng spi r it t h e a rt icul a t ed thr ob s -

s o m e tim e m ay b e wr i tt en fo r t he s ec on d h o rn i n
,
of a s ensi t iv e h ea r t a nd will c onj ure up u n b id den ,

t h e b ass cl ef a nd t he high e r t o n es ab o v e t he th r ee
,
t ea rs T he h o r n h ol ds t he first ra nk among co mpl e
.

s tr o k e 0 sh o uld b e r ese r v ed fo r a go o d fi r st pl ay e r . m ent a ry i n st r u m ents o f an o r ch est ra On e o r t wo .

I n t u t ti pa r ts c om p osi t i o ns sh o ul d n ev er ex c ee d t he
-
,
c o upl es o f h o r n s fo r m a p er fe ct h arm onic ch a i n and ,

sev en t h li n e fo r si n g ers a n d i n st r um e n ta lists

,
As . ca n o fl en i n th e ms elv e s s erv e as a fu nda m ent al b asis ;

horn parts a re a lways c op ied in C m aj o r i t is usees

- for i n sta n c e wh en on e ton e c on t i n u es u n ch ang e d
for i ns t a nc e z—Co rni bas si
, ,

sa ry to i ndic a t e th e ke th rough s ev eral b a rs a nd by the p rogr e ssi o n o f t he

(
,

i n B Co r n i b as si i n C Co r n i in D C o rn i i n E b b ass p a rt sta nds in di ffe ren t pr o p o r ti ons as an i nt e rval ;

,

C o rn i in F C o r n i i n G Co rn i in A C o r ni a lti a s e c o n d a t hir d a fo urth o r fift h & c

,
I nt ellig en t
, , , .

i n B1? Co r n i al t i i n C C o r n i i n E C o rn i i n B j c om po s e rs may thus prod uc e su r p r i si ng effec ts which ,

C o rn i i n F5 C o r ni i n A b C o rni i n D b We r em a i n u nus ed i n c o mmo n c om p ositi on T he b est

L
.

may see fr o m t his th a t the st a l s key o f C is ch ang ed

, ,
sc h o o ls for the h o rn are th o se b y D o m nic h D u v er no y , ,

by added pi ec es to p r o gressiv e dist anc es for i n s tan c e a n d P u n to On the n ewly i nv ent ed k ey ed b ugl e
.
-
, ,

i n Bb b a ss o it s o u nds a n i n th l o w e r ; i n C ba ss ao
, ,
h o rn it is far easi er to pl ay s emit o nes a s it is fu r ,

a n o c t av e h ish ed wi t h st o p h o l es as w el l as with k eys

in D a nd D b a s ev en th ; in E an d E b ; it has
-
, ,

a si x th a fi ft h ; in G a fo urth ; t he foll o wi ng s c a l e
1 11 F a n d F
fi in ,

A o r A b a thi r d l owe r an d o nly t h e r a r ely us ed

,

-
,
Ex
,
1 07 8
high C rema i n s in i t s r eal p ositi on T he fo ll o wi ng .
. .

m ay s erv e as a g er‘ e ral rul e — i n t he l o w e r mut a t i o n s

t he n ot es o n an d abo v e t h e fift h li n e a re easy a n d

w ell i ntrod uc ed but i n the upp er mutat i o n s su c h as
-
, ,

a a n d a b sh o uld b e us ed wi t h c a u t i o n as t h ey Its n atural k eys are C Bb and A b T he foll o w i ng

g , , , , , , , .

a r e di ffi cult t o pl ay and are w anti ng i n ro u nd full , , a rtists a re c el ebrat ed as s o l o pl ay e rs — A g the A m o n -

, ,

ton e T he s cal e is
. Ba ill y Ba m b e rg er Ba uc h i nger B e cc ari a Bel l onz i
, , , , ,

Bel o lli Bl iesen er Biic k Bo d e Bott ic her Bou r k

, , , , , ,

Ex . 1 07 6 .
For the fi rst H orn .
l a Bru n Buri C l a us C o lli n Dickhut Dom inich
, , , , ,

Dorna us Du v er no y Ei s en Fuchs G a r ci a G eb h a rdt

, , , , , ,

Gug el Haa s e H ab er H a nm ii ller H ans el H a rtm ann

,

H a us er H erb st erol d H eu mann H e se H ild e

,
,

, H ,

,
,

,
,

,
,
»

For the sec ond H or n .

brand H irschfeld H ra detz ky H u t zl er I is J ees er
, , , , , ,

J o ubert K ob s a t K bl bel K on ig K orb e r Kr etsc h ma r

. , , , . ,

La n g La uch e r L a u e r Lea nd er Len s L enz L ewy

, , , , , , ,

Lo t h e r M a r qu a rd t M e ng al Mieksc h l e Moy ne
, , , , ,

Mil li er N euhma nn N isl e Pal s a P anta P etit P fa fie

, , , , , , ,

A l l the to nes o f t he fi rst P fa u P ola ck P u n t o ( St ich ) P uzzi Raus ch Rep pe

, , , , , ,

Ro d olph e Ro th e R u do l p h Rue p p Rus t Sch a rfen

, , , , ,

berg Sc h m i ed Sch neid er Sc hrdder Sc hubank

, , , , ,

S emit o nes are m ad e b the h and in t he hell o f t he Sch a nk e Sch w egl er S eeba ch Soistm ann Sbmmer
h o r n an d sh ould th er ey
’

,
, , , , ,

o re b e i nt r oduc e d w i t h d is Stagl ic h St einm ii ll er S t olzl T anel l T hfi ersch miedt,

'

,
, , , ,
c r eti on ; t h e fo ll o wi n g a re ca ll ed natura l t o n es a n d ac k Walth er VVec ke r W i t t & c A b ass i nat ra
'
, .
, , , ,

m ay be b l o wn fr eely m ent o f t his cl ass call ed B omba rdone b y r eas on of ,

i ts s tr en gth is esp eci a lly ad a pt ed to mili t a r y b ands

Ex 1 07 7
,
. .

it has t en k eys a nd th is scal e ,

Ex . 1 07 9 .

T o t he sa m e cl ass be l ongs the Op hic leide, i n v ent ed

i n F ran c e an d a lr eady c o mm o nly em pl oy ed i n dra
,

m ati c, church , and chamber styl es o f c omposition .

 A LBREC H TSBERG ER S
’

In fo r mer days this wa r lik e i nstru men t w as us ed Ge n ar d H erbl e, H yd e, J enki n s , K hayll K ohaut
, ,

i n wis e m o de r a t i o n an d w ell ca lcul a t e d e c on o m y ; -

( w ho has a dd ed k ey s an d a slid e t o t h e trum p et , ,

its i m p os i ng effe ct w a s spa r ed fo r i mp or ta n t m o v e h o r n a n d t r o mb on e) L e wy , L u der s , Mer k e Mich el ,

, , ,

m ents fo r the e xpr essio n o f v ic t o ri o us ex ul t a t i o n , P e pusch , PV eschko, P lo ck , R eich a rd, V Vaiding er,
high s ol em n i t i es l o u d up r oa r i o u s j oy ; t o c e l e bra t e
,
W er ner, V ogg el , and Z enk e r '

I n Vi enna, t he .

m aj es t i c tr i u m ph & c & c It is different n o w m da ys

,
. .
-
, pre s en t m ak e rs o f wi nd i n s tr um ent s , h o r ns and ,

t h e d in o f t r u m p e ts m ust n ev e r b e a b sen t ; i t i s t he tr u m p ets are — H amm ig H am m ig ( Ca rl) H a r ,

s eas o n i ng an excit i ng ca y enne pep p e r s o rt o f s a uc e

,
.
rach K o ch K o r ner , K il ss La utterer, L emp , Mazz o
, , ,

Mo d ern o p e r a c o m po se r s m i s u se i nn o c en t br ass g ato , Me r kl ei n (sen and R e i dl ( We nz el ) ,

,
.

m os t pr e p o ster o usly U na cc om p a ni ed by fo ur h or n s
.
, Ro ra ri us , Schulz , T a u b er, Uhl ma nn , and Z i egl er .

th r ee t rom b ones t w o tru m p ets k et tl e a nd b ig d ru ms

, , ,
T he Ser call ed fr om its former s nak e l ik e
ea t, so
& c dzc i t is n o t p oss i bl e fo r a shy c o u ntry la ss t o
-

.
,
sh a p e is a u ed as r i fo rc em ent t o T urkis h
so s a e n
c oqu et ; fo r a t ende r c o u p l e t o sw ea r etern al l o v e an d ,

i n trum ent b ands ; it h s be en imp r ov ed and has six

s a
tru t h for a qu een to m o u n t a sca ffol d ; fo r a m o un t s k eys a nd th is sc al e
,

b ank to p r ais e h is a r ca na ; for a sta g e h e ro to b rea t h e -

his l ast sigh ; o r fo r i nn o c ent r ea p e rs to c el eb ra te a Ex . 1 08 3 .

m er ry h ar vest h o m e T he nec essa r y li ne of rest ri c

- .

t i on is p as s ed a nd neve r r ega r ded ; e v e ry thi ng must

s er v e as m ean s to t he great end w hich is— N ois e , .

T his a l o n e c a rr i es o n t he en tir e affa i r K ey e d .

tru mpets pro duc e s em i t ones a ls o b u t do not po ssess ,

t he sa m e c l ea r stro ng s o u nd ; th ey m a y b e had i n
,

n early al l to nes high a n d l o w G A Bb B C D b

I nstructi ons h av e b een writt en by F ro h li ch and
, , , , , , ,

D Eb E F a nd A b T ru m p et s t u ned i n C s o u nd
H ar di
.
, , , , ,

i n t he na t u r al posi t i o n ; a l l mu t a t i o n s di ffer fr o m i t .

asc e n di ng o r d esc en di ng h a lf o r a w h o l e to n e a thi r d , , ,

The Z in ke ( c o rnet) an o bs ol et e i n strum ent w as , ,

fou r th & c A ltenbu rg a n d F rii hl ic h h a v e w r i t ten

, . fo rm er ly us ed i n church es to sust ai n trebl e pa rts , ,

i nstructi o n b ooks A s p e rfor mers a re w el l k no wn

. - a n d has t he u su a l c om p ass of this v o ic e A bo o k of .

A ltenbu rg B a rth el Bra nd Buhl F r e sc ob ald i G r a f

, , , , , .
i ns tr uc t io n exis ts by Buh l ,
.

A S H ORT GUID E T O FU LL -S C ORE P LA Y I N G .

Wh en an i nv ente d pi ec e of musi c is to be per of all p eculia r iti es i n each pa rt a nd to se iz e the ,

form ed b y ah en tire o rch estra each i nstrum ent must , m eani ng o f t he compo s er i n h arm on y pro gressi ons ,

b e giv e n its i ndividua l sh a r e A s al l b ea r a p r o pe r . o f su bj e ct tr eatm ent o f div ers i nstrum ents and
, ,

h a rm on i c pro po rti on t o each oth er and sh oul d sou nd ,

g enera l ela bo rati o n T his is rea l full sc o re pl ayi ng—a .
-

t o t he b ea rer a s though fo rmi ng a s o l e i n stru m en t ,

mast erly art whi c h Ro uss ea u adm ir ed as a mi racl e
, ,

t he c ompo s e r sh o u l d l ay o ut a pl an o f his w o rk for an d wh i c h must a pp ea r such to t he u n i n iti a te d w ho ,

g eneral vi ew ; this is c all ed a ful l sc o r e It shoul d ca n sca rc ely co mpr e h end ho w a n entir e pag e ma
.
y be
be writ ten bar for bar a ll th e pa rts a bov e o n e a no ,
read a t o ne gl anc e wh il e b oth h ands r en der it i ntel ,

th e r ; by this m ea ns it is po ssibl e a t one gl an c e to , ligi bl e to a n a udi en ce It cann ot be d eni ed th at the .

j udg e o f a co mbi nati o n as w ell as o f h a rm o n i es , ,

t ask is di fficult an d ca n o nly be achi ev ed by l ong
,

p osi t i ons of ch o r ds s ep a r a te p ass ag es & c i ndiv i

, ,
.
,
p r actic e ; univ ersa l rul es c ann ot be giv en but w ell ,

du all y or i n mutu al r el a ti ons A n ci ent c om po se rs . i nt enti o ned hi nts a n d exp e ri enc ed results may be
ha d t he l a u dabl e h abit o f figuri n g th e b as s o f th e ir writt en d o wn fo r t he b enefit o f b egi nn ers The .

sc o r es ; this l ik e m any o th er us eful c ustoms has

, ,
first r equisit e fo r a full s co r e pl ay e r is a n i n timacy -

dis ap p ea r ed ; an d to s p ea k ca ndi dly w e fea r th a t with all fiv e c l efis ; n ex t t o this he must n ev er be

'

, , ,

m any a natura l c om po s er w o uld o cc asi on ally find it c on fus ed b y th e i ns t r u m en ta l p a rts wh i c h a re written

h a r d t o giv e stri c t r eck o ni ng o f his i nt ell ectu a l p ro i n a key di ffer en t t o t h e ir s ou n d— such as fo r i n sta n c e , ,

ducts — t o m ark t he fu n d am en tal pa rt with regul a r h o rns in D E b E F o A E h which lik e trum

, , , , , , , ,

fig ur es—an d b y th em o p en ly d e cl a r e
,
th is is wha t, ,
pe ts an d drums a re writt eni n C— cl a r i n ets in A or
,

I wish thus h av e I i n t end ed T o pl a y fr om B— b ass et an d E ngli sh h o r n s dzc h e m ust a l w ays ,

a sc o r e t hus fi ur ed
g m e r el y r equi r es a g o o d k n o w
, be pr epa r ed to tr an spo s e th em r ea d ily t o th eir p r o pe r
l edge o f th o r o ugh ba ss a nd the acc om pan i ment will
- p o si t i on Be fo r e pl ayi ng a full sc o r e it is a dvisa bl e
.
-
,

b e si m il a r t o th o ugh p o o r er th a n t h a t o f m an y
,
to exa mi ne th e o rd er i n which the i nstrum en ts are
i nst r u m en ts T o su pp ly t he p l a c e o f th ese a pl a y e r
.
,
pl ac ed it i s m uch to be d esir ed th a t s o me l aw sh o uld
fro m sco r e sh o ul d end ea vo ur to giv e a fa ithful sk etch be agr eed u po n on this su bj ec t whi ch w o uld gr eatly ,
 O M O
GUID E T O C P SI T I ON . 2O 5

fa c il ita t e p erform anc e ; un fortu nat ely this is not the , m ost 1 m p ort ant and wh at is b est omitted ; the l ess er
,

c as e and each c ompos er ac ts as he c hoos es —for

, of tw o evils m us t b e c hos en an d a pl ay e r sh o uld ,

i nstanc e Ital i an s usu ally writ e i n the fi r st pl ac e b oth

, , , r et ai n i n preference th os e p arts which would m a k e
, ,

v i ol in s —th en t he wi nd i nst rum ents the v i ol a trum -

, , most l asti ng i m pr essi on on th e ear if the pi ec ew ere
p ets drums v o i c es and the ba ss ; oth ers writ e the
, , , p erform ed bya full orch estra of which he is the ,

bra ss b an d at the t op ; som e i n s ert the voi c es i n the

-
r epr es enta ti on— his faithful sk etch must cl early r en
middl e —and so forth P erh aps the easi est and most . der d el i c at e sh ad es an d tou c h es as w el l as g en eral ,

n atural o rd er w o uld be this — th e t op li ne be gi v en o utli n e The full er t he h a rm on i es a nd th e mor e

.
,

t o t he flu t e s a s th es e i nstrum ents g enerally c on ta i n

, p erc eptibl e i n dividu a l p ec uli a r i ti es are m ade t he ,

high thr ee strok e and fo ur stro k e n ot es an d th er efor e

- -
, gr eat er th e pr a is e due to t he full scor e pl ay er We -
.

requir e t h e great est bl an k p ap er ; th en may fo llow n e e d h a r dly r emi n d a dis c r eet a c c omp an j st th at
,
y ,

h autboys cl ari n ets,

h orn s basso ons trombo nes
, , , ,
v oc al pi ec es are b est treat ed wi th d el i ca te a n d i nt s u
trump ets and dru ms by whi ch arrang em en t the
, , t ion al mod er ati on I n r e cit ativ es it may be a dv is
.
,

u pp er h alf o f a p a g e u n it es t h e en tir e w i nd b an d ; t h e a bl e to gi v e t h e c om m e n ci n g n o t e of t he v o i c e p a rt ,

r emai n i ng stav es m ay be gi v en to the v i o l i ns vi o l as , i n the co n cl udi n g ch ord of th e ac compan im ent a s ,

if a v o c al compositi on a l l t h e v o ic e s
) e v i o l on this will fac ilit at e i n t onatio n for the si ng er It must
( t h , ,
.

c cll os a n d doub l e b a ss
,
A s t h e stri n g ed i n str um en ts
- . b e cl ear t o al l th a t a ful l s c or e i s abs o lut ely n ec es
,
-

are oft en empl o y ed a l on e it c a n n ot be d en i ed th at it , sa r y ; by it a c ompos er is abl e to r evi ew his c r eati on

,

i s an ad vant a g e to pl a c e th em i n cl os e ju x ta p osition ; - - h e p er c e i v es b efo r eh an d the effect o f t he wh ol e ,

an d if t he fi rst m en ti o n ed ord e r b e fo ll o w ed it wi l l
,
-
,
an d j udg es t he mutu a l c onn e c ti on s of t h e pri n cip al

b e n ec ess a ry to s ea rch for th e two ess en ti a lly prin a n d sub o r di na t e p ar ts — he c an ex am i n e the c o rr ect ~

c ip al p a rts — b a ss and tr ebl e—at th e fa rth est opposit e n e ss of his work a n d i m pr ov e a n y a ccid ent a l d efect
, ,

pol es I n v o c al c omposition s a p l ay er fr o m fu ll
.
,
a n d thus gi v e up his pr od uc tio n of art i n c ompl et ed
, ,

s c ore must b e guid ed i n gr eat m ea sur e by the p re , ,

p erfecti on A full s c o r e o ffers gr eat a d v antag es to
.
-

s enc e or abs enc e of si n g ers sh o u l d t h e v o ca l p a r ts t he i n iti a t ed by th e m er e r eadi n g or pl ayi ng o f it ,

b e a ppropri a t el y su n g h e n ee d on ly o c cupy hims elf , on a pi an ofo rt e he b ec om es a s i n ti m a t e w ith a com

,

with the accom p anyi n g i nst r um en ts ; wh en th is is position as th o ugh h e h ad hims elf c r eat ed it H is .

not th e c as e h is first d uty is t o r en d e r p er c eptibl e

,
ea g er eye may d is c ov er th e d esign c on stru c tion , ,

v o i c e p arts c on t a i n i n g a m el ody an d if th er e should

-
, , el ab o r ati on an d i nt er w ea vi n g o f al l id ea s — t he u nit e d
,

b e t en or or b ass h e must pl a y th em an o ct av e high er

, re sul t o f m any c ompon en t p a rts n othi ng n eed esc ap e

with th e right h and i n ord er th at the fl o w of the ,

him If h e can i n additi on im agi n e t he charm of
. , ,

so n g m ay b e p erfec tl y disti nguish ed T he s am e . differ en t i n strum ent a l t on es h e enj oys a s high a ,

sh o uld be d on e wh en any i nstrum ent has t o p erform

,
pl easur e as thos e who lis t en t o a p erform an c e of the
a s ol o p ass a g e ; th e p a rt must b e i n di v idu a liz ed an d
-
,
sam e w o rk by a u nio n of musici ans But pr ecis el y .
, ,

t he a cc o mp an yi n g c o mpl em en t be subordi nat e It is . th is prop er j udgm en t o f the m an ifold effec t of di v ers

p erm itt ed to ev ery pl ay er t o a cc omm o dat e c o mp o ,
i n strum en ts is a stumb l i ng bl ock to m an y c ompos ers -
,

si t ion s to his h an d th at is to arr ang e p ass a ges whi c h ,

who c ann ot p ossibly be exp ect ed t o pl a y on all
ar e n ot ad a pt ed to pi an o fo rt e pl a yi n g so th at th ey ,
i nstrum ents o r t o b e famili a r with th eir i ndividu a l
,

sh o uld b e c on v eni en t to the fing ers— c ar e b ei ng tak en tr eatm ent o r ev en to be su ffi c i ently fur nish ed with
,

n ot to i nj ur e p e culi a r c h a ra c t eristics F or i nstan c e .

,
the k n owl edg e i n disp ens abl e to th eir appro p r iat e
wh en a c l ari net o r h orn c o n t a i ns an arioso whil e , em ploym en t with full est effect an d p ec uli a r b ea uty .

v iolin s ac c om pan y i n arp eggio s emiqu avers the right , Wh en w e c on sid er how d efici ent o rch estras w er e ,

h an d should p er form t h e c ant abil e an d th e l e ft t he ,

som e few y ears ago esp eci al ly i n t h e wi nd p arts ,
-
,

a cc om p an im en t pr op erly mo difi ed ; t he littl e fi n g er

,
which w er e stil l i n th eir i n fan cy— how i n m od er n ,

of th e l eft h and sh o ul d a l ways strik e the fu n d am enta l tim es n ot on ly th e i nstrum en ts th em s elv es h av e been
,

t on es o f th e b a ss th at th e p o siti on o f the chords

,
ess en ti a ll y p erfe ct ed but t h e p erform er s th er eon h av e
,

may r emai n u n c h an ged a nd th at t he r o lli n g un d er ,

so improv e d th at p a ssag es fo rm er ly res erv ed for
,

p art should n ot cr eat e by c h an c e a c h ord of th e , ,

c on c ertos are now en trust ed to ri p i en o play ers
,
-

fo u r th an d sixth i nstea d of the p erfec t tri ad It em a i ns u npro v ed ; wh e n

,
.
( wh eth er rightly or not r ) ,

oft en h a pp en s th at s ev eral obl igat o p ass ag es in dif

,
w e r ec oll ec t t he l augh a b l e b ut w el l m ean t w a rn i n g ,
-

ferent i nstru m en ts oc c ur simult an eo usly i n whi ch ,

of a certai n ch ap el dir ecto r who with the i m p ortant-
,

c as e it is impossibl e for two h an ds to r epres en t th em mi en of a fiel d marsh al c all ed ou t to his band-

, ,

al l
. Good j udgm en t must at o nc e d ecid e wh at is A ttenti on g en tl em en s emiqu av er n otes a re c o m
,
-
 A L BRECH T SBE RG E R S GUID E T O C OMP OSIT I ON
’
.

i ng ! an d co ntrast this with ape rfo rm an ce o f one not r ea l i z i ng his origi na l i ntenti on E very one m ust
.

of Be eth o v en s gig an tic sy m ph on i es ; an d wh en w e

’

p ya ,s o t o spe ak a,
n a pp r e ntic e fe e— err a nd discimua .

l os e o urs elv es i n admi rati on o f t h e u n imagi n ed effe cts
c r eat ed b y this h er o o f m usica l art who m aj estic ally
,
I ndividua l ex p eri en c e will i nstruct sch ol a r s b y de
grees an d l ea d th em i n to t he righ t pa th T he stu dy
, .

t r od t he p a t h prep ar ed b y H a ydn a nd Moz a rt and o f r ea lly cl assi c s c o r es —t he r e p ea t ed h ea r in g o f suc h

wo r ks —a car eful c o m pa ris o n o f effe ct an d t he w ays

,

fo ll o wed b y Ch eru b i n i Meh ul Sp oh r C a r l Ma r i a v

, , ,
.
,

We e b r wh en w e r efl ect o n all th e s e thi n gs —,who a n d m ea ns o f pro duci n g i t — fr i endly c o ns ultati ons

w o ul d n ot excl aim with h eart felt c onv icti o n
,
-
, i ta wi th prac t ica l musici ans as t o the c ap abil iti es and
,

brevis a re lo nga
,
I n t h e s a me m anner th a t n ewly tr ea tment o f th eir a pprop r i ate i nst r u m ents—c o nstan t
dis c ov ered c el est ial b odi es ev er p r es en t th ems e l v es e ssa ys which h o wev er must be c o nsid ered such
, , , ,

t o the a rm ed eye of astron om er s so al so d oes n ev er

,
a nd n ot pe rfect ed m ast erpi ec es — al l th es e thi n gs wil l
,

r esti ng T im e at m easured i nte r vals cr eat e b ea mi ng

, , r ende r st eady se r v i c e to a d iscipl e of the art—will
pl anets in the musi cal h o r iz on ; for art is eter na l an d ,
en l a rg e co rrect an d en r ich his v i ews— a nd l ead him
, , ,

on ly t h e r oy a l eagl e may g az e unh a r med o n t he sun a ft er h a ppily c o ncl u de d a nd us e ful ly i m pr o v ed a

.
p
It is c e rtai n th at one o f t he most dangerous ro c ks to p r entic e y ea rs to a r esti ng pl ac e from wh enc e he
,
-
,

an in expe ri en ce d co m pos er is t he ad v an ta g eo us em
,
pl oym ent of u n ited m a ss es o f i nstrum ents wh i c h ,
may v i ew h is musi ca l c r ea tio ns with an ass ured
gl an c e and may sa fely prog nosti c ate and gu arant ee
,

som et im es prod uc e an ef fec t q uite unexp ec te d an d t he enac ts c r eated i n th em

'

.
,

T H E EN D .
 O RA T O R I O S , & c — C on ti nued
. .

HA YD N . M OZ A R T .

T H E C REAT O N I TWE L P T H M A SS ( L t i d E l i h w d
i h w rd ;
a n an n
T H E C R EAT O N , o c ke Ed i i o n I P t t S M SS ( L ti
F IR T A d E gg a n an n
s

s
or s
o s
T H E SEA O N S S R E QUI EM M A SS
Di o tt
SP R N , S MME R , A T M N , I G U U U L I TA I A D E V
N L I A LTA I i E fl t
( )
E N E RA E I R n a
I
W N TE R, eac h L I TA I A D E V
N L SA C RAM E TO ( i
E N E RA SI I N n
FR T I S M SS
A I N B PLAT ( La in an d En glish) t B fl at )
TH R I D M SS
A ( I m e ia l) di o pr tt
TH E A P SSI
O N (TH E SE E N W O R o r OU R V DS
VI U
SA O R O N THE C R O ) SS P E R G O L E SI .

TE DE U u ( E ngl ish an d L a in ) t MATE R

STAEA T
(Femal e vo ic es)
DR . F . H IL L E R .

I ROM B E RG
N ALA A N D D AMAYA N T
A SO N o r C TO R Y G VI THE LA Y o r TH E B ELL
.

H U M ME L .

R O SSI N I
I S T MA S S B fl t .

;13
F R IN a 210
C OMM U I O SE VI E ditt N N R C , o STA EA T M ATE R wi th , La int an d E n gl i sh
SE O D M A SS C E fl t
N IN a 1 16 210 w ords 1 10 1 16 216
C OMM U I O SE VI C E di tt N N R , o 210
T H I D M A SS DR IN s 210
SE VI E d itt
F SC H U B E R T
C ON H U
. .
N I ON R C , o
MA SS i n A fl at
c . W A R W I C K JO R D A N -
. C OMM U I
N O N SE RVI C E ,
tt
di o

B LOW YE THE TR U MPET IN Z I ON 310 MA SS i n E fl at

C OMM U I O SE VI C E
N N R , ditt o
G A M A C FA RRE N MA SS i n B fl t a
C OMM U I O N SE VI C E di tto
. .

N R
M AY - DA Y
M A SS i n C
,

TH E OL DI E R S L E G A C Y
S
’

C OMM U I O N SE VI C E
N di tt o
O U TWA RD B O U N D M A SS i n G
R ,

C OMM U I O N SE RVI C E di tto

M E N D E L SSO H N
N
.
M A SS IN F
I C OMM U I O SE VI C E ditt o
E L JAH

H
S T PA U L
.

P A IS E
SO N G N N
OP MI I A M R
R ,

Ht b u Pr
YM N o r
Th e y mn
R
of a ise and
A S t h e ha rt R SC H U M A N N
THE H A T PA T S (
nd in o n e vo lu m e
.

p
.
an s, o

AS R N 4 2 n d sa l m ) P P A A DIS E
R AN D THE P E R I
C OME LET SI G, Us N P I L G I MA G E
R o r THE RO S E
WHE N S AEL O U T OP EG YPT CA R ( 4 th
I R E II MA N P RE D
P l m) ( Eigh t sa F A US T
N OT U o US ( 5 th P m NT 1 1 A DV E N T H Y H N, I N L OWLY G UIS E
LO D o w LO G W I LT T HO U P O G ET N E
R H N R
P lm) Y
,

HL AEAUDA SI OP AYE ( 1 3th

R HY
Pr i J h v h)
sa
R R
H EN R SM A R T .

N a se e o a T H E B RI DE or D U N E E RR ON 216 810 4 10
T FI ST
HE N IG HT
R AL P U R G I S
M N IG HT S D
’
M
I D SU N ER RE A H
A THAL I E SP O H R .

AN T IG O N E C AL V A Y
R 216 8 10 4 0
I S M O TAL (8 v c A BYLO
MA N
FE TG E S A G ym se )
R
H oi es F ALL OP B
L A ST l U D G M E N T
N 8 10 8 16 6 0

(
S f N ns o 1 10 1 16 2 18
Ditt M l ic o a e vo es T H E é H RI ST IA N S RA
’
R P YE 1 10 1 16 216
C H RI S T U S bv
T h e a o e w i th t h e o i gin a w o ds by r
o fe s so T ay l o l r Pr r r
L E VO I C E S
.

T H REE M OTETT S P O F R EH A L ASTJU DG ME N T , tran sl a t e d by R G Lo a ine 2 10 216 4 10 . . r

E c h M t tt i gly a o e s n G OD , T HO U A RT G RE AT
1 10
SO N ST A G E
AND R N R H ow LO V ELY A RE T H Y E N P R 016 D W LL I GS AI
L O LEY RE
(E S AT C OLO O S
DIP U
T THE SO S o A
o N r
N
RT
—
JOII N ST A I N E R
U DG ME 0 G O (4 3 d P l m)
E , D r sa G ID EO N
HY A G E E LY THE H EATH E N
R
( d
P IE R C an
P lm) sa
A R T H U R SU L L I V A N
MY G O WHY 0 WHY HA S T T HO U P OR
D,
.

d P l m)
.

SA E N ( E H E 22n sa F E ST IV AL T E DE U H 210
SI G o THE L O D (9 8 t h P l m)
N T R sa
SXA I C mp
N TH EH S d f t h C th o o se or e a
VAN B RE E
.

t B li a F 8 v ic errr g d n. or o es , a an e
.

4 p rts by D St gg l l IL IA DAY 1 10 210 810

’
a r. e a ST C EC S
A VE MAR I A ( savi ur f Si
.

) 8 vo ices o o nners .

ME YE RB E E R . C . M V ON . W E B ER .

N I N E TY P I ST - R P SA L H (L at in W o rds) M A SS (i n t
G ) w i h L a in t a nd En g i l sh words 1 10
D itto ( En gl ish W o rds) M A SS In E flat 1 10

LON DON : V
N O E L L O, E W E R CO .
, I , B E RN E RS ST RE E T A N D 80 81 . QU EEN ST RE E T (E C .
)