CONTENTS

Inkoduction

Chapter I - French Figured Bass from Roughly 1690 to \720

Excerpts from Michel de St. Lambert: Noutseøu Trøiti. de I'Accompøgnement du Cløt:ecin (L707)
Excerpts from Jean-François Dandrieu: Principes de |Accompøgnement du Cløt:ecin (1719)
1. The Triad or Basic Chord - Practicing the Basic Chords 10
2. TheSimple Six-Three Chord (Sixth Chord), or First-lnversion Triad - Practicing the Simple Sixth Chord . . . . 1.2
3. Petit Aæord: ó with 3 and 4 (the Four-Three Chord) - Practicing the Petite Sixte .
The 1.4
4. Diminished-Fifth Chord - Practicing the Diminished-Fifth Chord
The 1.6
5. TheSixth Chord with Permissible Doublings - Practicing the Sixth Chord with Permissible Doublings 18
ó. TheSix-Five Chord (Perfect Fifth with Added Sixth) - Practicing the Six-Five Chord 20
7. The Five-Four Suspension Chord - Praclicing the Fourth Chord 22
s. The Augmented Fourth or Tritone - Practicing the Chord with the Tritone 24
9. The Second Chord - Practicing the Second Chord 26
10. The Seventh Chord - Practicing the Seventh Chord 28
11. The Suspended Ninth - Practicing the Ninth Chord 30
12. The Fourth as a Consonance, or the Six-Four Chord - Practicing the Chord with the Consonant Fourth . . . . . 32
13. The Nine-Seven Suspension - Practicing the Nine-Seven Chord 34
14. The Augmented-Fifth Chord - Praclicing the Augmented-Fifth Chord 36
15. The Diminished-Seventh Chord - Practicing the Chord with the Diminished Fifth and the Added Major Sixth 38
1ó. Some Basic Remarks on Realizing French Basso Continuo . . . 40
17. Selected French Compositions as Praclical Examples of Thoroughbass Realization 54

Chapter II - Getman Figured Bass from Roughly 1710 to 7735

Excerpts from Johann David Heinichen: Der Generøl-Bøss in der Composition (Dresden,'1,728) and
Georg Philipp Telemann: Singe-, Spiel- und Generøl-Brst-Übungen (Hamburg, 1,733-4)
1. The Basic Chord 62
2. The Sixth Chord and the {Ch"rd 64
3. The Second Chord with the Figure 2 68
4. The Suspended Fourth 7'1.

5. The Six-Five Chord /5

ó. The Seventh Chord 76
7. The Suspended Ninth . 81
8. Unusual Dissonances, including Augmented Intervals 83
9. Another Way of Interpreting 7 or 9 (Passing Notes) 86
10. Unaccented and Accented Passing Notes 87
11. When Should Chords Be Repeated? . . . . 89
12. A General Example from Heinichen . . . 93
13. Some Basic Remarks on German Figured Bass . 100
14. Twelve Arias from Telemann's Singe-, Spiel- und Generølbøss-Übungen L04
15. Selected German Compositions as Practical Examples of Figured Bass Realizafion 121

Chapter III - Other Essential Aspects of Figured Bass Playing

1. Three- and Full-Voiced Realizalions, Recitafives, and Ornaments 't32
2. Playing Figured Bass in Recitatives 739
3. Ornaments (Agréments) in French Basso Continuo . . . 744
4. Ornaments in German Basso Continuo . . . 747

Postface 754
Sources and References 755
100 Ce qui c¡ncerne le goîtt ne doit nnus lccuper que lorsque nous possédons pørføitement le fond,
1"04 "Nothing that concernJtarte should occupy our attention until we have a perfect command of the rudiments."
121, J.
p. Iìameau , Dissertation sur les différentei Méthodes de I'Accompøgnemenl pour Ie Cløtsecín 0u pour I'Orgue (1732)

L32
139 INTRODUCTION
744
Bass figures in seventeenth- and eighteenth-century continuo parts were
147
This book is a detailed guide to the basics of figured bass playing on key-
frequentlliincomplete and somefimes nonexistent. That is why the historical
L54 board inskuments. Knowledge of these basics was considered essential for
treatises still offer excellent guidelines even today, for they present continuo
L55 all lrained musicians in the late seventeenth and early eighteenth centuries.
playing as a combination oitwo factors: an ability to read bass figures, and
Not being able to cover the entire age of the figured bass, nor even all of its
u k.,owledge of "standard harmonizations" for typical bass progressions.
nalional ityles, I have chosen to fotus on France and Germany in the years
This knowledge is very useful for today's players who wish to play from a
roughly be-twe"n 1-690 and 1,735. I chose these geographical and. chronologi-
modern "urteit" or facàimile edition while adhering to the characteristic fea-
.d tr.,it, for two reasons: firsl the range of major sources available for this tures of seventeenth- and eighteenth-century sfyle.
period is particularly broad; and second, it was only at the turn, of the eight-
The approach I have adopted is to let students teach themselves almost
eenth century that the teaching of basso continuo became kuly systematic
exclusively from historical sources. Chapter 1 offers complementary exer-
and rooted in u hur..ronic context as a series of chords. That is why this
cises and explanations from Michel de St. Lambert (1707) and Jean-François
period is especially well suited for novices today.
Dandrieu (I'i19). Chapter 2 combines excerpts from the writings of Johann
There are relatively few pre-1ó80 sources on figured bass. Those that exist
David Heinichen (172S) and Georg Philipp Telemann (17fi) alongwith sup-
do not convey a uniiorm and consistent picture; on the conhary, they tend
plementary quotations from many other sources (see bibliography). unless
to be confusing and thus cannot be recommended for beginners. Many later
ttherwise indicated, each exercise and sample realization presented in my
sources, on thã other hand, such as Carl Philipp Emanuel Bach's Versuch über
book has been taken from an historical source.
die wøhre Art døs Cløt:ier zu spielen (7753-62), describe a new gølønt style that
frequently has little in common with baroque music per se. These sources,
too, are ãf secottda.y importance for the music we wish to sfudy' The Layout of This Book
The Italian s$le of figured bass playing changed considerably in the course
of its history. In its day, it was unquestionably the most influential, if the most This lutor follows Dandrieu's principle of proceeding in small learning incre-
complicateá, of all the national performance styles. However, it was taught ments. Each new chord is inlroduced in a bass progression and a realization
unsystematically. The variefy, complexiLy, and special musical demands of provided by the original author. Turning the page, the reader will find the
the italian style not only make it the most challenging of all for today's play- ,u-" progr"ssion without realization. Now the task is to repeat the realiza-
ers, but plucl lt beyond the confines of my book. Most Italian music from tion directly from the figured bass part. I have also adopted this method of
i.690 to IT4O can,håw.ve., be played with the guidelines I present for the ad- inskuctionior exercises not based on this principle, i.e. those taken from St.
vanced German sfyle, which was heavily influenced by its Italian counterpart Lamberl Heinichen, and Telemann. This method helps to lay the corner-
(see Chapter II, sections 9-L2, and Chapter III, seclions 1-3)' stones of figured bass playing in such a way that, as Dandrieu explains, "one
Today, the inshuction in theory and harmony that music sludents receive learns, without noticing it, how to arrange the chords in a manner that is at
at colleges and conservatories falls far short of what is needed to convey an once both correct and beautiful, and how to alter the posifion of the right
adeq,raie picture of the problems of voice leading and harmonic struclure in hand in such a way that the resulting harmonies are well connected, this
figuied bass playing. My book is intended to filI thls embarrassing void. It being indispensable for attaining a perfect command of figured-bass-play-
does so by deliberately following the sources. i.9."

7
 For the sake of clarify, I have kept the national styles separate and disfinct. their various realizalions (the explanalions for the German style are generally
Students can discover the sometimes subtle differences between them by more detailed). Readers who choose the second approach will find the corre-
comparing the simple inhoductory examples in the French and German sponding seclions they need in chapters 1, and 2 and the table of contents.
sfyles. These differences become all the more apparent in the sections that To emphasize the above-mentioned pedagogical layout, the sample exer-
follow. cises appearing at the end of each subseclion are listed again at the end of the
My musical terminology closely follows eighteenth-century "thorough- respective chapter. Readers working their way through these chapters
bass argot." Some terms otherwise familiar today have been deliberately should follow the order of the subsections, since each new chord is inko-
avoided. In parficular, this means that every interval is calculated from the duced according to the eminently sensible arrangement of the sources.
bass and not in relation to a root-position kiad. For example, the 3 (third) in The "General Remarks" on the fwo national slyles (Chapter I, section 1ó,
a six-three chord really does refer to the interval of a third above the bass and Chapter II, seclion 13) are very important for playing the practical exam-
note. In today's theory books, this same note is often called a fifth, this being ples. They should be thoroughly studied and consulted time and again as
the position it occupies when the six-three chord is conskued as the first the need arises.
inversion of a root-position triad. Chapter III should not be attempted until the reader has a fair grasp of the
Moreover, to discuss the bass progressions, I have adopted the terms and material up to, say, Chapter I, section 8, or Chapter II, section 5. Some of the
symbols from the so-called "theory of scale degrees," in which the notes of French embellishments (Chapter III, section 3) may be tried out as soon as
the diatonic scale are identified by the symbols I, II, III, IV, and so forth. the reader has practiced a few of the brunettes (Chapter I, section 17). Another
Sometimes I also refer to the terms tonic, subdominant, and dominant, possibility is to work through a few more sections and return to the first
which were already in use in France around 1700. practical examples later in order to play them with embellishments. Avoid
The art of thoroughbass playing is, of course, mainly an art of accompa- starting out too soon on the German embellishments: they are considerably
niment. Only when the player has mastered all the elementary technical and more complicated than their French counterparts. Before launching out on
practical aspects of thoroughbass will attention be given to such "purely three- and five-voice realizations (Chapter 3, section 1), readers should prac-
musical" topics as rhythm, articulation, and supporting the soloist. However, tice the four-voice realizations-the bedrock of all thoroughbass playing-so
a heatment of these problems would go beyond the limits of my book, quite carefully that they becomes almost second nature.
apart from the fact that they can hardly be dealt with adequately in wriling. All these remarks are only meant to be general suggestions. It is my hope
(This may explain why so few seventeenth- and eighteenth-century treatises that the examples and exercises in my book will whet the readers' curiosily
discuss them.) To be sure, many aspects of performance praclice also apply and lead them to draw their own conclusions and impressions from it.
to thoroughbass playing; we need only think of French notes ínígøles. But I
have left them out since they have already been discussed at great length I wish to thank Bärenreiter Verlag (Kassel) and especially its editors
elsewhere by other modern writers. Dorothee Göbel and Dr. Jutta Schmoll-Barthel. My thanks also extend to
Stefan Altner (Munich) for actively participahing in the writing of this book,
How to Use This Book from its original conception to the finished product, and for typesetting the
German version on computer. And I want to thank Dr. Bradford Robinson
This tutor is not intended to be rcad "Írom cover to cover." On the confrary, for the excellent Enghsh kanslation.
it is laid out so that readers may choose and combine the chapters and
sections they need to suit their own interests and learning requirements. Basel,2oo2 Jesper Bøje Christensen
However, a few words on using the book are called for. First the two open-
ing chapters on national slyles may be worked through separately. Readers
may begin with either the French or the German slyle as they see fit (the
French sfyle, being less complicated, is perhaps better suited for beginners).
Alternatively, they can work their way successively through the chords and

8
rerally Editorial Note
corre- to be immediately dered inmodern clefs and follow modern usage in their handling of
The hanslations of all the sources are so conceived as
.tents.
Since eighteenth-century vwiting style may seem odd to many of u."id""tulr and thoroughbass figures. The words of the French arias have
".."*iUf". All the not been translated; in ih" G"r-ãn arias, only the htst sta'o,a is reproduced,
t"a"Vt rã"a"rr, *"iu,r. refrained iro* p.*iding literal hanslations.
e exer-
along with an English kanslation. In many cases we have retained the
sepa-
of the
,"*rå.r q"rt"d in my book are easily obiainable so that the originals may
I be
the parts.
rapters ren- rate iote-stemr, ,,lhi"h make it much easier to follow the motion of
,""ãll, .fr,r,rlt"d. Át tn" newly engraved music examples have been
r infro-
rq

ion 1ó,
. exam-
gain as

r of the
e of the
¡oon as
mother
he first
Avoid
derably
out on
ld prac-
dng-so

ry hope
uriosity
r it.

editors
ctend to
is book,
;ting the
obinson

'istensen

9
 I
French Figured Bass from Roughly tîOO to 1720
Excerpts from Michel de St. Lambert: Nout.,eøu Trøité de l'Accompøgnement du Cløoecín (1707)

(All citations from the source are enclosed in quotation marks. All music examples not expressly marked 'J.B.C.'are taken from St. Lambert. In Chapter I,
excerpts from St. Lambert are reproduced on the left-hand pages.)

1. The Triad or Basic Chord

"The placement of notes in a chord is determined by the initial position of most important basic rule of figured bass playing. Even when the top voice
the accompanying [right] hand. Here the rule is that the hand, once placed in repeats the same pitch, it is left to the inner voices to supply the contrary
its initial position on the keyboard to play the first chord of an air [piece], motion (mm. 2-3). Occasionally one voice will remain on the same pitch
should play all subsequent chords as close to that position as possible. Thus, while the other fwo move in conkary motion or even parallel with the bass.
the placement of voices will change each new chord, the upper note being This latter option usually occurs when the bass rises a fourth (as in mm. 2-3
given to the octave, fifth, or third as applicable." and 4-5 of the example) or descends a fifth.
"When playing a figured bass, it is important to observe a few rules for the Skict contrary molion must always be applied when a bass harmonized in
movement of the two hands. The hands must always move in contrary mo- root-position chords (as in the preceding example) proceeds in stepwise
tion. In other words, when the bass rises, the accompaniment [in the right motion within the diatonic scale (mm. 3-4). Otherwise, the result will be
handl must descend, and vice versa. This will prevent any voice from form- parallel fifths and octaves at once.
ing consecutive octaves or fifths with the bass, which is strictþ prohibited."

0.8.c )

f* -rg-€- {{_--+{- {}---€-

a)

Æ -Tt-

This, to quote St. Lambert, is "shictly prohibited."

Note, however, that Si. Lambert expressly speaks of "consecutive octaves or

As St. Lamberfs own example shows (see above), the principle of contrary fifths with the bass." This implies that greater leeway is sometimes granted to
mofion cannot always be strictly applied. Nevertheless, it remains the single the voice leading in the middle parts of the right hand, as we shall see later.

10
 I
French Figured Bass from Roughly t}OO to 1720
'**o,f'nl:iJffi '¿:iî:"3i#l;î"ir':::l:::::îtr:,#':L:if '*T;:n(171e)
ìapter I,
Adopting Dandrieu's pedagogical approach, we present each exercise twice: 1) Dandrieu's realization, in which the exact placement of the notes in each chord
is indicated in the bass figures (e.g. $ means that the third appears in the top voice, the octave in the middle, and the fifth in the lower voice of the right hand,
each interval being defined exclusiveiy by its relation to the bass); and 1a) an unrealized version with standard baroque thoroughbass figures. In the latter case,
the figures are incomplete and the voice leading is left unindicated. First, however, you should play this version with Dandrieu's inilial realization. Memorize this
realiiattonin order to grasp its inner workings and to "get it in your fingers." Each new chord in the sections that follow is indicated by a lozenge-shaped note
head (¡r) and an asterisk (") at its first occurrence in the bass figures.

)p volce
rontrary
L Practicing the Basic Chords
ne pitch "The basic or root-position chord consists of the third, the fifth, and the octave. It is generally played on the first degree of the scale (1, the tonic) and on the fifth
he bass. (V, the dominant). Basic chords are seldom indicated by bass figures. However, as the dominant always requires a major third, we often find one of the following
mm.2-3 signs: #, il3, \3.'Sometimes the bass figure may also read s, !, or I .

,nized in
stepwise
:will be 3 3 3 5 s 3
oo It g wg ú3
"8
I
.5
J
(l

-t (r.
6
J I .t
3
I
5
r1
4s
ts
*!J I 3 I
lt
JI ;l
¡l
tît
€.
x 5 5 s I 5
ö
J
J
B
3
I t 3
I I
5
3
a'l 3
I3
l
jt ?t
ctaves or J

ranted to
see later.
-e
11
Repeat St. Lambert's realizalion of the following bass line Now hy the two other oplions of the first chord, placing either the third or
the fifth in the soprano voice.
Remember "to play all adjacent chords as close to each other as possible.
Always check to see whether some of the notes in the previous chord may be
retained in the next one. If so, leave them unchanged." But skike them again,
of course. More on this point can bè found on pp. 40-42.
Remember the rule: play chords in conkary molion with the bass wher-
ever possible.

2. The Simple Six-Three Chord (Sixth Chord), or First-lnversion Triad

In conkast to the teachings of modern theory, musicians of the early eight-

eenth century had no qualms about doubling the octave (in relation to the
bass) of a sixth chord, not even when it was in the soprano. Later we shall see
that other doublings are of course equally possible. The choice of which note
to double generally depends on the voice leading (see section 5).
Thus, Dandrieu's contention that the simple sixth chord is normally
66 6 666 played only on the third degree of the scale (lll) should be taken with a grain
of salt.

L2
Lhird or Ia: Repeat of example for practicing basic chords:
*
,ossible.
may be
n again, T
is wher- * * I *.
IN
E

+
2. PracLtcing the Simple Sixth Chord
"This chord consists of the sixth, the octave, and the third. It is usually played on the third degree of the scale, the so-called mediant (lll). Its figure is
wrltten:6."

6* 8*
3
I 3

rly eight- {6
on to the
: shall see
hich note
3 .t
t It 3
normally * I
th a grain

13
 i'
')

6 6 Repeat St. Lamberfs liftle example on all possible bass_notes.

l
I

3. The Petit Accord: ó with 3 and a (the Four-Three Chord)

i

il

ti

l
-4- d-t- __*H{_¡}t__ -:J-t----i!+----.{- --.t#l-

trt -+l--
t tt rTr r rr
.

a
I I
l
i
r
r
rj
---J--------------l- --F1fr
6 6 #e fie 6
I

The reason for inkoducing this relafively complex chord so early in the book It is important to remember this, for normally the chord (although it is
I
is probably that it, too, is indicated by the number ó. Conhary to modern {
never written with these figures) is always played when the ó occurs-on
I
theorists, who explain it as a second-inversion dominant ,",r".rih chord, the the
second degree of the scale (ll) and leads to I or III, as in the above
I

I
petit øccord belonged to the family of sixth chords in the eighteenth example.
century. The 3, here played along with a 4, is a dissonance that must be resolved
I
downward by one step.
i

$lB: Th9 third quarter-note in bar 3 is, of course, not vl of c but II of G.)
I

I
I This is the first example in which the bass figure omits a defining note of
li the harmony. Dandrieu and such later writers ãs
Jean-phirippe Rarrieau and
Michel Corrette regarded the 4 as mandatory; st. Lambert sá-eH*es lea.,res
I it out,
I

1.4
 2a:Repeat of example for practicing the simple sixth chord
- 6 6

x 6 x

6 6

3. Practicing the Petite Sixte

"This chord, comprising the sixth, the third, and the fourth, is generally called the petíte sixte.lt is usually played on the second degree of the scale when
[the bass]
proceeds downward to the tonic. The sixth is almost invariably major. It is normally left unfigured except in one of two ways: il6 or O." Another alternalive is !ó.

* ó
g
c
I ö c
I I
o +!6,
c
I4 *-3 ù3
3
I
3 5 I I
11 €--
.t 4 I
T
e *3
ts
*
3
I *3 3
I 3
6?

b
ü6â'
I
cugh it is
lrs on the (t
TI
example. Íl

, resolved €-
bt 4
I( 6* 5 I I6
rt II of G.) 7
I 6*
f-)
rg note of tt
tl
meau and
nes leaves
-€-

1.5
 Repeat St. Lamberls realization and learn all
6 6 il6 #o 6
three positions of the petit øccordby heart. Then
practice the example using the other two posi-
tions, beginning first with the third in the so-
prano, then with the fifth.

i
I

4. The Diminished-Fifth Chord

I
a

S-#
t
c
rtl
4
r r r r
t-----------l--
r r tl
--l--
rr rr
----l--------F-
r
---f---

ilhbr
l

bs bs
I

In this figure , players are tacitly expected to add a ó although thts digit does tone marked .l does not function as a leading tone to the tonic, the ámust be
not specifically occur in the figure. However, the chord is often written cor- played as notated, namely, as a diminished triad.
rectly as I in the sources.
", ,Erefers
Modern theory to this chord as a first-inversion dominant seventh.
The diminished fifth (.8),beingthe 7 in a dominant seventh chord, is a disso-
nance that must be resolved stepwise downward. In his preface Dandrieu
says: "The 15 beneath the bass note means that the player must not only
shike the diminished fifth, but add the third and sixth as well." In short, the
ó is mandatory.
St. Lambert mentions one important exception to this rule: "The dimin-
ished fifth is combined with the third and the octave (in lieu of the sixth)
a
I r
whenever the bass line, rather than rising a semitone (as usually happens),
moves either up or down by a larger interval." In other words, when the bass il

1.6
I learn all 3a: Repeat of example for practicing the petite sixte:
:art. Then
6 6 { *
two posi-
in the so-
-* +
T
6 .*
6 * *
* .--€_ ---€--
(,
+
b
6 6 6 6
(l

+
4. Practicing the Diminished-Fifth Chord
"This chord consists of the diminished fifth, the sixth, and the third. It is usually played on the seventh degree
of the scale - the leading tone - provided that it
proceeds to the tonic (VII-¡. The dlminished-fifth chord is written in one of tlre iollowing two ways, g oíbs.,

ê* 3 It
g 3 *l 3
* t It 3
I
t (t at (t
-{-F at
Zmustbe

.f
3
I
6
3
I I
s

xI<)

* uso 3 ,f 4 s
8" 3 3
4
(t
I 36

:+
t t)
(t

17
 Repeat St. Lamberls realization and hy out the other two positions:

t-
bs pt f bs

5. The Sixth Chord with Permissible Doublings

very poor
allel octaves at once. The
Harmonically, this chord is the same as the one described in secbion 2, that ts-à-g-
is, a first-inversion kiad. Besides the bass note doublings menlioned in sec-
rule can also be applied tLt î --10-

hon Z, other permissible doublings and their associated problems are dis-
cussed below. Although it does not alter the basic harmony, the choice of
to other bass progress-
ions. The realization re-
ferred to as "poor" in the
a)
t- I r-r
doubling has a considerable impact on voice leading, for it may easily pro- #-
second example above
duce parallel fifths or octaves. Accordingly, St. Lambert discusses it in great 6 66
may easily be corrected
detail.
with the aid of this rule,
even when the bass does not proceed in
1) "When the bass ascends from the
or stepwise motion:
'------e- ---+----------- = -_{-
leading tone to the tonic, the third I B.C
or the sixth must be doubled."
The position of the hand deter-
mines which note to double. This
a)
r r r r a
t r

rule implies that you must never 66

6
double a leading tone in the bass.
poor good a) The same VI- or
2) "Never play
VII-l progression lb--,t----Å-
i

i
I
two consecufive
sixth chords with
doubled voices
d r-r
::::::fr- can be played
"with a simple or
doubled sixth on
a)
I' r
l*----------4ø-
t rT r
I
unless the dou- --1-
the first note and a
bled notes remain 66
the same."
--(t- 5 on the second," 6
66 even when the fig-
ures read 6-6.

3) "When the bass ascends in stepwise motion, play a simple sixth chord on This is exactly what happens in mm. 5-7 of Dandrieu's example a). Note also
the first bass note and a doubled sixth chord on the second." the parallel fifths in the middle voices of example b). They occur fairly fre-
This is a very important rule, especially for all VI-MI-I progressions, since quently in this form in Dandrieu's next examples. St. Lambert seldom shows
lwo consecutive doubled sixth chords would produce parallel fifths and par- parallel voice leading of this sort, although he permits it in principle.

18
 4a: Repeat of the example for the diminished-fifth chord,

& 6 6 é tc
(l II I a.rl
', a-l I
.l It al

--
bs
b" 6 # 6 6
y poor t ()
(l ¡t at ft I.I
--

6
5. Practicing the Sixth Chord with Permissible Doublings

"This chord is formed entirely of the sixth and the third. However, depending on the position of the hand, one of the notes may be doubled at the octave. Such
doublings are usually applied to scale degree VII or VI insofar as the bass notes rise or fall, as is illustrated in the following examples. The chord is identified by
the number ó."

a) t
.,
I 36
* I
J
6 It 3 3
)3I
5 3 ao 3
3
I 3
85 It

Íl
(! (-)

6 ã3. g
b)
I 4
Dt
ú, * o 3
I,'3
,

,€- T 4- T
5 J I3
c) 3 6
Note also B
I i*
ó
n'l
*
:t
f I
fairly fre- (l
,I..5 I
I
om shows rxl t I
(l I
ple.

19
 Dandrieu apparently regards or
In bar 3 of example c) Dandrieu, with no previous explanafion, inlroduces
the { chord in a minor-mode C# --I+------+l-- --z*-
another version or the petite sixte inwhich a 4 is added to the customary 6 and
3 while the bass descends from VI to V in the minor mode. (Modern theo-
rists refer to the resultant chord as a second-inversion supertonic seventh, or
VI-V progression as mandatorY.
St. Lambert, in contrast, allows
a
r tf *r
II?.) Note that the fourth is augmented. Like the petit øccord we have already
players to choose between a
4r!# --l-------|=l- --t-
met, this chord is generally identified by the number ó. It is tacitly assumed doubled sixth chord and a Petit

that the thoroughbass player will add an augmented fourth' øccord: tî tr

(See p. 1.46 regarding the hill in
the bass.)

ó. The Six-Five Chord (Perfect Fifth with Added sixth)

leading tone and is sometimes likewise written I
This chord must not be confused with the chord indicated by !s (see section 4), which occurs only on a

-f--f-i-¿-
l-l- n
t- r
ç
-----t--f-
6 6 6 {>
6 5 6 Ð
b
$il6 5 ü

However, St. Lambert emphasizes that "the omission of a voice does not
Note that st. Lambert invariably prepares the six-five chord in a IIIIv-v
progression by preceding it with a simple sixth chotd (with doubled S). In actually imply that it is absent, but only that two voices have coincided on
one and the same string [i.e. key1."
ihis"pol"t he is in agreement with Dandrieu. Moreover, the 5, which forms a
Incidentally, the thirã and final oplion for playing the petite s_i¡fe is demon-
dissånance with 6, î, always prepared by the preceding chord and resolved
downward. The figure b3 is missing in the original Éigure 3 in bar 2.7t ts, skated in bars 1,1,-72-1.3-'14 of Dandrieu's examples a), b), and c). Dandrieu
passes it by without a single word!
however, tacitly asiumed in the modulation shown here (to D minor).
In the V-Vl-lV-V progrãssion typical of the petíte sixte, the { chord- on VI is
In Dandrieu's example c) we encounter three-voice chords for the first
clearly an inversion of tl* following I chord on IV. All three examples show
time (see right-hand páge). Sometimes the reduction to three voices results
that the petite sixte, indicated simply by the number ó, can occur in both major
when the bãss note is fãirly high and the hands are so close together that
and minor.
there is no room left for a fourth voice.

20
 5a: Repeat of the example for practicing the doubled sixth chord:
6 é 6 6
tl
-t Íl II
t\

6 6 6 .& 6 *
T
(l
+ T + T
6 6 * & 6 * {
,' (l

fl Í\

en 65. ó. Practicing the Six-Five Chord

"This chord is formed of the fifth, the sixth, and the third. It is generally played on the fourth degree of the scale, the subdominanl when followed by the
dominant. The corresponding figure is !. As the third is frequently lowered, the figure may also appear as uu ot uu.'

X6 6 J* lÍ.3 It 3 3
I *3
8" J 3 *
a) 3 6 6 6 "8
4
I 3
6* ,' 6 Yt
3 3 3 5 .+ 5
I .Y, - t'^(, (t
(, (t (,

5 ,f -+
3 8, 6* be b.r c 6 4 * ,, 3
does not
b) It
3
.f *
3
3
I b36
3
6
I
I
3
6
3
6
3
I * 3
I *
Lcided on
a, (t
It
sdemon-
Dandrieu J 4 3
I6 3
6i
I
.t 6
6
É t3 6 *r4 6
4 3 I
5
+ Í3
c) 3
I 3 c
-+ 3 6,
ionVlis 6 .t * c .) 3
(t
3 5* 3 I
>les show , (, .5

,
rth major

2'1.
 chord. Then play the entire example using the other two positions
Repeat the realization and memorize the three different posilions of the six-five
6,
6
c
þ 6 9nüG 5fi

{>
book to the first of the brunettes (p. 44). Before proceeding with your realization'
Having mastered this section, you can now play a real composition. open the
however, read the introduction on page 40'

7. The Five-Four SusPension Chord

rr
4
L--ffi1- -f2t-q---'ît-
d \.'/
rt
_----.a

-
r t- r tt r
I
ì

I
- -ffi ,, I

-+--
4 ab 4 4

-
"ln this chord progression, known as a cadence , a 4 is always playe{ on the In this example, St. Lambert shows that the five-four suspension chord is not
limited to caãences. It also shows that the 4 must be prepared by the preced-
first of the thráe bãss notes and a 7 on the second... Regardless if the notes
a." figu."d or not, the chords illushated in the above example must be ing chord and resolved stepwise. dornmward. Outside of cadential pro-
The only exceplion is to use an I in lieu of the 7 that I generally play grirrio.tr, the resolution may be either a half step or a whole step downward
ftuy.ã depending on the context.
ã"î" penultimate ci,o.d. The T, however, sounds much better. Always
make sure that the third in the penultimate chord is major"'
ñot" tñut in Dandrieu's examples, the five-four chord is prepared with a
Remarkably, only once in thà examples that follow does Dandrieu add a
six-five chord on IV. This sequence of chords is a very common cadential
voices- (section formula.
Z in the final cadences, allowing the right hand to play in four
15). Rameau and Corrette toot the fãur-voice dominant-seventh chord for
granted.
(A detailed healment of the 7 can be found in section 10')

22
 óa: Repeat of example for the six-five chord

6 g x 6 é 6 o { 6 * *
I ilr¡ I t\ (t
---+- (, ft
+ I I

ilization, -o-
b
6 6 s6
be b.r 6 bc ,'6
-€-
-+
6 I
6 6 é -€- 6 *a 6 6
J

7. Prachcing the Fourth Chord

"The chord with the fourth also includes the fifth and the octave. It is a dissonant chord that very frequently occurs on the dominant, but only when it can resolve
to a major third on the same bass note. Its hgure is 4."
r 8- * I., 3 ,'
.)
4
3
*î 4*
I
t -=€-
t (t
--+-
-U
rrd is not 5 g *
* 3
e preced- I 3
,5
rtial pro-
rwnward
-# <)

-e-
ed with a
bs-
* .t 4 3
cadential o
4
3
I Io 8-
ó
Bt

4*
J
B

-€-
ã
23
 4 4b 4 4 Repeat the realization for the example to the left. Then play the exercise in the
other two positions, beginning at one of the following starting points:
Make sure to prepare
and resolve the 4 cor- or
rectly.

Now you can practice Brunettes Nos. 2 and 3 on pages 44 and 47 and
Hotteterre's Courønte on page 59.

8. The Augmented Fourth or Tritone

a)
t
-àr-_¿flf-
r [l r
ln
rr rr rrtr .¡Þ

il+ ï4 fi+ -------L

"The tritone (*4) is found in conjunction with 2 and 6 when the next bass St. Lambert mentions one exception in which the resolution in the bass is not
note descends by a half step or a whole step." This chord almost invariably stepwise and thus requires a different realization: "The hitone is joined by
resolves into a sixth chord. the octave and sixth when the next bass note descends a fourth and supports
Modern theory refers to this chord as a third-inversion dominant seventh. a root-posilion triad occurring on the first beat of the bar."
In this case, the 7 of the dominant seventh chord lies in the bass. As shown
in the above example from St. Lambert, it results from two similar bass &rtffi- +-
progressions: either the bass prepares the dissonance by repealing the note
and resolving the dissonance into a ó (see the first four bracketed passages),
or it introduces the il4 chord by descending stepwise from an exisling domi-
a
rrr |rI t tr
nant, likewise resolving into a ó (see the final bracket).
Somewhat confusingly, several different figures exist for this chord: il4,
r+, and sometimes merelY 2.
l+ 4 ill+
*, t, In Dandrieu's examples to the righl note once again the petit øccord found in
bar 3 and just before the cadence.

24
se in the 7a: Repeat of example for practicing the fourth chord
rts:
6 g 3 ç
) +
T
6
î
b

5 4 { 6 +
47 and -{- <)

-+- -€-
b
6 6 4 ó 6 J
6 4 3

() I

-€-
8. Practicing the Chord with the Tritone
"ln this chord, the kitone is combined with the sixth and the second. It is generally played on the fourth or subdominant degree of the scale (lV) when followed
by the mediant (lll). Its figure may read il4 or 4." Another alternative is h4.
a
uz 8"
6 3 tg
I 6 6 J
+ 3 4
3 3
+3
(, 6
ó

(t
4-

not
ìss is
rined by
supports
I 6 4
bs 6 ,ta 8- I
¿
o_
J
4-
+ +
6
s .t
-L rf J
*3
J

+ 4-

3 bs 3 ,'
8 6 at
ó 8"
I
I
(, I I I L. (l (l at
found in I (t (, I

25
Having practiced St. Lambert's example, ky out the two other positions as before, using the unrealized bass given below.

Itr l+ f+ l+ ï4,

Once you have mastered this section, you should carefully study Brunett¿s Nos. 4 and 5.

9. The Second Chord

The complete figure for the second chord is f. fnit may seem confusing in 2) "The second is joined by the fourth and the fifth whenever the next note
view of the preceding sections. However, the-crucial difference between the descends a half step and has the figure !5":
figures is that in this case the 4 is not augmented. The second chord also
oã.utt in the form of a more or less incomplete figure, i-e-, t, l, or simply 2.
These chords can be distinguished only from the perspective of the bass.
1-*- Å-t- 4--.<- ÅÅ- fr--T =t-
Normally, as both Dandrieu and St. Lambert demonshate, the second chord a)
t-
rlrt t-t- il t-
is played in a IJ-VII(I) progression.
Dandrieu maintains that the 2 is played along with 4 and 6' In conkasl
e ?â .a-
4
# --# --l.--t- ---.{.-_-.t- --f--
the rules in St. Lambert (and in Delair and Boyvin as well) are more elabo- ----l-

rate: 2b6 2b5 zbe

1) "The second is doubled and coupled.with the fifth whenever the next
bass note descends a half step and has a ó or no figure at all. The fifth may -
also be doubled in lieu of the second",

or
4
-*---t1-

a
t I r I r r r r
___+____---+-
--t+ -+-
26 6

26
 8a: Repeat of the example for practicing the chord with the kitone:

+ 6 e, 6 t + 6 I
xd f 6 6 6 6 ,)
Ía
t a, I'
tt

9_ 6 6 {
b
6 { 6 ¿ L * 6 6
b

4- X+ 6 *a 6 I I *

6 6 I 6
b
6
b
6 6 I ba b5 be
6
.f
aa (t
rext note (t

9. Practicing the Second Chord

"The second chord is composed of the second, the fourth, and the sixth. This dissonant chord is quite frequently played on the tonic whenever this note is
prepared and resolved as shown in the following examples. It is given the hgure 2.'

5
4
(l
I
'I
-l a, I' (l

lr
be
4
I4 It6 I4
,* (t
5
5 I .:t
(l l
N\(t
(t (t
€-
5 ,'
b+
6
2* I
3
,4
I
3
I
3 5t
I
3
g !
4
II
,
L (l 74, () tl {t

-+ +
27
 First, repeat the realization for the example to the zbt zbs zbs
right. As always, practice the other posilions as well'

Next, practice the other forms of the chord and their

.o..".i resolutions, l.e. f or å. goth resolve onto the ó'
You are now ready to fearn BrunetÍe No. ó and Hotteterre's Gøt¡otte enRondeøu.

ii
10. The Seventh Chord
l

The seventh occurs in one of two ways: "lt is better to play the third and the fifth
either it is added to an existing chord as a with the seventh rather than the third and a)
a the octave. The 3 and 8 should only be
t r r
passing note, as very often happens on the
ll
ì

dominant in a cadence (section 7):

r r played when otherwise unavoidable."
I
As for example:
or it may occur as a suspension prepared
I

7
i
in the preceding chord and resolved "Nevertheless, a third and fifth may also
be played with the seventh as follows,"
lt

stepwise dornmward, 4t-

-6ì--

Tf-tn- eà----a- Å--tr -+-l' -+-

+
"This possibilily does not, however, "r
rr r
-+F--------+r-
skictly satisfy the rules of composilion,
a)

?
t- t-
I r r whereby the 7 must always be prepared in
one and the same voice. Granted, it be- 7
## --1 comes permissible when explained as an
--'-"+ -]+-+- --t---------+ -+:---+
example of voice crossing (voice ex-
7
change), but it should be used sparingly.
Although composers were not always particular in vwiting out the figures, "Wh; the bass line ascends in stepwise motion, it sometimes becomes nec-
- dissonant 7 must always be resolved. This can be seen in the above
the essary to double the third so as to avoid parallel fifths:"
example, where the 6 is regularly omitted following the 7.
Like Dandrieu, St. Lambert gives two ways of constructing the seventh

rt
chord: 7 wlth t, and z with !. He explains: æ+- -z1F-1F- _láÞ-
4-------4>*- -F1-
--41-
a
( r r r 4
--4rr---1- _4F-
-l+
76 7b6

In Dandrieu's example on the right-hand page, you should carefully study the consecutive seventh chords alternating between å and !- This chord progression
(p. 110).
is very common. To add a fifth to each oi these chords, you will have to expand the realization to five voices. See Telemann No. 10

28
 9a: Repeat of example for practicing the second chord
:f 6
2 I 4 3 2 a J 4 *
'l G.) <,
-- U
b
bo 6 .6
2 é .f 4 { 2 ¿ S 4

x (l
'tl tt 'Íl

-ê
b+
2 bs
g 4 3
g 4 3
I
'!
.fl t

4- 4-
10. Practicing the Seventh Chord
"The dissonant seventh chord is formed in either of two ways: the seventh is combined either with the third and the fifth, or with the third and the octave (the
so-called petite sètíème). The examples below illuskate the various forms and their application. They are identified with the hgureT.'

6 & 3 6 .t ó
ç3a*
3 7*. 4
I
5
3
6
t J
3
2
6
3
.6
.t
,3
4
I *.a
I *
(t
-. JI
rmes nec-

a*
3r
It I6 .) 3
a*
*3 I 2
6 .f 4
3 3
3
.,*
,r +
3 üs3
t
.f
4 3 I,.1
,

<eÞ

3
î Ê

*
r
3 t
I
6
42
<) .t I

:ogressron
'l rt ft n .t
I

29
 7 7 7

Repeat St. Lambert's realization' Pay close attention

i. iÀ" leading when you practice it in the other
"ãi..
- posifions, as idcan be quite.kicky'
two ..
Ñt* pf"V BrunetteNo' 7 and the Petit Air' Sørøbønde'
anð, Gigue bY Hotteterre'

11. The Suspended Ninth

a) b)
"Themajorninthiscombinedwiththefifthandthethird'theminorninth
observed'l It
r æu
;tüì th;t""*th and th" tttit¿"' lThis distinction is not always minor. o a- a g
d

T:i*-
is major or
ir-"oi.i.", from the bass figure alone whether the ninthNBI
înir ¿..itit" must be left tã the thoroughbass player'"
ól- ---<r-
8
.Ì) 4 5
3 I5 Ð 8 5
I5 3
5
I 3
3
I
c
3
b3
I
b3
8 I
c)
.......].-ll
Tl el -¿ffi rt €t EL-

õl TT
---
TI t-
are
-ô!
þti <>

t- -I-
T_-l- __---4r- r7t
=F------1- 8
-,_e I 3 b btt
í)
I Iit 3 I
8 8 5

being a dissonance' must

Like the other suspensions dealt with above' the 9'
stepwise downward'
;;
- - ñp";"à by the
p."..ái.,g chord and.resolved
of voice exchange in section Note that the voice exchange occurs simultaneously with
the resolution of
éi.ïu*U"riul."ady b.orrglt up the technique
example' His examples. thedissonance.Inexamples"b)andc),afifthvoicehasbeenaddedsoasto
10. Let's now examine it mo"re clls"ly in Dandrieu's
tü;i" Itigl-t". register. The dissonances have been resolved
cor-
are at once so importaJu"á r".p.iui"g that I have written out the three brief iiiË "
to as to help the reader to,acquire a rectþ in all three examPles.
ourrun., dealine with voice "*tl'u'tg" Remember, as St. iä..,bert already pointed out'
that the voice leading
åiìt'i' t".n"tiue. rhe in question are bracketed
ä""#;"d;;;;;ffi; bars
d"r.rlb"d here, although permissible, should be seldom applied'
in óandrieu', ."u..,pI"t on the right-hand page'

30
 10a: Repeat of example for practicing the seventh chord
6 t
6 7 7 r 2 I ^f 4
T' 11 (t tl at
,

T
6 n
()
+ 7
7
2 é
T'I
î 4
il
*
() ' (,I
rl
¿

11. Practicing the Ninth Chord

,,The
dissonant ninth chord consists of the ninth, the third, and the fifth. The only rule we can state is that this chord should be used as shown in the following
examples whenever the same circumstances apply. It is indicated with a 9."
5
3
g o* s
8
I
3
3
*6
9Jt
3. 3
î.
J
(s
3
3"
(l
T'
at
't tl (l (t.
a, (l
at

.,
E
5
3
I x () o:a T' (t
;t
,1
xxf, t.

3 I3 3 5 I¿
lution of
lsoasto I I 9rt
.,
4
I il
n
lved cor' (t

leading 4- T -e-
31
 I I Having repeated St. Lambert's example, you should play it in the other posi-
tions. Practice the use of voice exchange and the addition of a fifth voice in
order to change register in the cases Dandrieu mentions.

72. The Fourth as a Consonance, or the Six-Four Chord

Surprisingly, neither Dandrieu nor St. Lambert discusses the six-four chord In the absence of examples from St. Lambert and Dandrieu, I have written
in its most common form, namely, as a substitute for the suspended fourth some examples of my own to illustrate the two basic patterns for inkoducing
chord in a cadence (i.e. as a cadential second-inversion hiad). six-four chords in cadences. The six-four chord should either be prepared
St. Lambert even uses it this way in one of his examples without so much beforehand (like the five-four suspension) or reached by stepwise motion. In
as mentioning it: both cases it must resolve dor,rmwards:

]BC

a)

2 +L- ,L-
l- r
.t(tl--€-
a

.+-
t- r
-1--
t- r rr
rffi6# -J<-

r
7 413 6
4 il
Here the player might just as easily have played a suspended fourth chord, Occasionally we find the figure ft on a passing note between VI and IV. In
which is likewise often indicated with a 4. Note the five-voice final chord, most cases, either a middle voice or the top voice must proceed in conkary
which St. Lambert occasionally uses after a dominant seventh. motion:

],8 C

f Lrr f r r rr
ffi -----+--1.-.-+r-

Qr
rr
-{-----------Ê
6
6
4 ,*l 6
4 6
6
5

JA
:her posi- 11a: Repeat of example for praclicing the ninth chord
r voice in
ê I 6
2 9 4 3 9 '8
4 3 9 I 4 3 5 4 2

t
T () al T' (-, tl
Ít

H--
bo
2 9 3 43 9
I b+ 3
b
9
()
3 I b

4 x

xxf.| + I' (l

Íl
,e wriften
roducing b+
prepared
2 bs B 4 3 I I + 3 9 B b+ 3
g 4 3
rotion. In
t
+
-e
T T -+ +
T 4-
12. Practtcing the Chord with the Consonant Fourth
"This chord consists of the fourth, the sixth, and the octave. It is frequently used on the tonic and the dominant in the manner
shown in the example. The chord
with the consonant fourth is identified with the hgure f."
* 4 *
2 *
6
a-l T'

:nd IV. In
.'...¡€_ +- ---€-
conhary
r
T
t tr I, * 4
* 3 g
ft'
It

-+
f
t t* 3
3 *
I
,
() Íl at _€-

3i
 Repeat the example to the righl once again in all posilions. 6
4 6 ån
Having finished this section, you can now study Brunettes Nos. 8, 9, and to,
where you will encounter everything you have learned to this point.

13. The Nine-Seven Suspension and the ! Chord

Dandrieu describes the complete nine-seven chord with both 3 and 5,

tr rr
-4H+- -J.¡------lt-
41--_-t1Þ- --I-----+-
thereby producing a five-voice chord. St. Lambert, in contrast, retains a four-
voice texture in his examples, dispensing with the fifth but retaining the (
third:
a)
r r
--{-------f------ ---1-
98 98
_H.{- 7E 78 7
-æ+-

rr
--1*--------€:l- 4--I-1*-
t{*#
a
-z*
t tr
-t¿at-r4¿- --ã)*------+1# 4{-

r The! chord is often simply indicated with a ü2. Take care not to confuse it
¡li-+ --ê---Et- with a "normal" 7, which must be prepared and resolved stepwise down-
------ ---{------t---- --+---t-- ---l--'------'--
-+- ward. Not only is the [Tunprepared, it must resolve upward on the same bass
98
76 note. In other words, it is a passing dominant-seventh chord above a pedal
poin! a progression that occurs very frequentþ in recitatives:

+t>+-
Note the strong similarity between this example and the first example in a)
Iru

Dandrieu on the right-hand page (mm. 7 ff.). What we have here is in fact t- t- t
two authenfic realizations of the same bass notes and the same figures, one
in four voices and the other in five! -€-
St. Lambert continues: "lnstead of adding a third to the T it is permissible 4ils$
ï24 6
to repeat the entire preceding chord on the bass note marked with i. This is b
more convenient and at times even more pleasing to the ear." NBl Neverthe-
less, his realizah.on is a rare interpretation of the 7 figure' It gives us an Note the unprepared five-four chord in the cadence. Normally this would be
inkling of the harmonic colors that thoroughbass players were allowed to considered a mistake. The correct solution would be a six-four chord, as in
add to a predefined figure by applying their skill and personal taste. the above example.
I

34
 12a: Repeat of example for practicing the chord with consonant fourth
6 6
4 J 2 * I I { 6 4 4 *

+ _T
?
& 9 6 6
d\ * 7 4 4 x
, tt

-ê
6 6
4 3 2 -, I 6 7 7 7 4 4 3

t ., (-l tl

13. Practicing the Nine-Seven Chord

"The chord with the seventh and the ninth consists of these two notes together with the third and the fifth. In order to use it correctly, pay attention to the
circumstances under which it arises in the examples below. The nine-seven chord is identified with the hgure1z."

+f a-3l"t
t .t
I
.t
I6 I
ó
6
3 *
j
a) *
it 4- 4 ô t I i
cnfuse
e down- (t 4- + I'
rme bass
: a pedal *
b) J
I
b6
2
I
3
5'
3
I
* ?r
{3
5
3
I
* # {- 4 -+ +
Dandrieu describes the "superfluous" seventh as follows, "This chord is composed of the seventh, the second, the fourth, and the fifth. It is usually played above
a tonic in the manner shown in the examples below. Its figure is f7." (*See the next secfion regarding the il5.)

6
V I, 9s
ô
Iô It *3
4
2 3 3
I
3 I
I
¡¡ould be
() (t (t (l (l (t
>rd, as in
+
I

i5
 98 986 Once you have repe-ated St. Lamber(s realizahons, carefully practice the
76 i64
other positions. The 7 - 3 progt"ssion illushates better than any other the
.,".d to choose the right posifiãn at the beginning of a phrase. Since the ?
must always be resolved downward, it will inevitably collide with the bass if
you place the first chord too low on the keyboard, leaving no room for the
989898 chord of resolution. Once again, the voice-exchange technique can be ap-
7ð7676 7
plied to resolve the 7 in a higher position (see seclion 11).
Try out Dandrieu's five-vãic" realizatton of theT chord in example 2, if
,,...rru.y saving the fifth voice for the å resolution.

14. The Augmented-Fifth Chord

We have already encountered this chord in the preceding section (see "The augmented fifth is combined with the 7 and 9, both of which occur as
Dandrieu, Ex.b, p.35). Basically, it is idenlical to the nine-seven chord. We major intervals."
discuss it again here as it is often identified solely by the figure $5: Note that St. Lambert, unlike Dandrieu, does not expressly call for the 3.
Nor is it always necessary to prepare the fl5 as shown in bracket a. It can also
a
be inkoduced with a stepwise motion, as in bracket b.
Since the fi5 assumes the funclion of a leading tone, it should resolve
upwards when played in the top voice, as shown in Dandrieu's example at
a)
r rnr the bottom of page 35.

7 6
b ï4 5[6 ü

4+-
'l
a) I
t- t r
¿-------**---{---- --ts--l----# ---?

" sü
6
b il 5il6 il ü

36
:tice the 13a: Repeat of example for pracficing the nine-seven chord
rther the z¿? I
.+ 6 9 I7 g
rce the ? + -+ I 4 3 7 6 6
--+- 4
7 4 3
Le

n
bass
for the
if ff al
-{¿- at
n be ap-
*.r *
ple 2, if I
I6
ba 9
bc
2 .ã 9 I 4 3 7 7 6
()
7 + x
() a,
à 1'
(l

Repeat of example for pracficing the chord with the "superfluous" seventh

6 *¡ 9, *
*z 4 3 2 .& B 6 7 + {(

,
occur a5
I Íl îl (l rl at I' TI I'

Éor the 3. +
can also
:
6 6 *
{
4 3 2 ,é 9 I *6 6 I 7 4
I resolve
:ample at TI
I' (,
T
74. Prachcing the Augmented-pifth Chord
"The augmented fifth is combined with the seventh, the ninth, and the third. Occasionally the seventh or the ninth may be omitted, depending on the position
of the hand. The augmented-fifth chord is normally used on the third degree of the scale (lll) in the minor mode. Its figure is 15."

*)
,' J
t (q 4
I
at
1'
T
*) See
the next seclion regarding the ló

3/
 7 7
b
6
4 fl b 5ü il 43[ f

Having practiced the various positions, try adding the 3 to the $s chords either by playing a five-voice texture or by leaving out the 7 or, more rarely, the 9.

15. The Diminished-Seventh Chord

"ln this chord, the diminished seventh is combined with the minor third and St. Lambert only lreats the root position of the diminished-seventh chord,
the diminished fifth. Taken by itself, the figure does not say whether the probably because it is by far the most common. Dandrieu, on the other
seventh is minor or diminished. This decision is left to the thoroughbass hand, takes great pains to explain the three inversions. The following over-
player." view may be useful for the sake of clarity. The diminished seventh chord
a) b) a)
consists of three minor thirds stacked above a leading tone in the bass:

ÉHt# Eá,---------4*- ----*---------:9-

al
r
It generally occurs in minor keys. The leading tone is useful in identifying
------ .--él-
the key, for by definition it represents the seventh degree of the scale. The
6
inversions on scale degrees II, IV, and VI are thus formed as follows:
47b b7b zb

2nd inversion
1st inversion
3rd inversion
a)
t- t-
r fe
t-
DJ
il 4
b 3 $z bz

D minor

IIIIVVIVII
f
The above example clearly illushates this point: a) is a diminished seventh Occasionally the diminished seventh chord will occur on an interpolated
taken from the diatonic scale, while b) is a lowered seventh, i.e., it only leading tone. Although this may change the harmonic context, it does not
becomes diminished through the addition of a flat sign. alter the nature of the chord.

38
 14a: Repeat of example for practicing the augmented-fifth chord

4r 6 *

-.-F
,the9 -o-

15. Practicing the Chord with the Diminished Fifth and the Added Major Sixth
,'This chord consists of the major sixth, the third, and the diminished fifth. Its hgure isif ."

* ,f
3
I
h chord,
he other
....€_ +- ---e- +
ng over-
th chord
)a95:
Chord with hitone and minor third: "This chord consists of the tritone, the sixth, and the minor third. Its figure is [a."

s3 bs- I )
I ô
.t t I ó
I I
---ê- 4- + +- +
-ê- 4-
entifying
cale. The Chord with the augmented second: "The augmented second is combined with the hitone and the sixth. This chord is indicated by the hgrre il2."
VS:
I 6 46 h3
üz
ô tJ
(1
-e * 6s 4
2 I
+ -+
-þ+- (t
-o-
Chord with the diminished seventh: "ln this chord, the minor third and the diminished fifth mustbe added. ltsftgtreisbT."
Í J bs
6
j J
5 bs a A ?6
J 3 J 6 -f e
B^
o x4 I Í *3
4
I
erpolated
(t + *() -+ -4* -€-
does not +ê- (l (l

v-
39
 Praclice all three posilions
6
47b b7b 7b ü

Now learn BrunettesNos. 11, 1-.2, and13 as well as Hotteterre's Allemønde "Lø Cøscøde de St, Cloud." They provide a useful summary of all the difficulties encountered
in sections 1,3 to'L5

1ó. Some Basic Remarks on Realizing French Basso Continuo

l

Before you set out to realize figured basses in actual pieces of music, it is ally high or unusually low (although the latter possibility has little effect on
essential to take note of a few basic questions that we have not yet discussed, the realization). This will help the player to find the right position from the
I

ji very outset.
i' How high can I play the chords? Somelimes, of course, players will have a certain amount of leeway to
make their decisions. In such cases, pay attention to the tessitura of the solo
l

According the St. Lambert, "the upper voice of the chordal accompaniment
l must never go beyond e" or l' except when the bass moves into the alto part: if the top voice is generally high, play the chords in a somewhat higher
I
register, in which case all the notes become very high." Indeed, e" is the register (but not beyond the permissible limit); if it is generally low, play
them in a lower register. This does not imply that you must slavishly play
l
I
I normal upper limit. Usually, however, chords in the French slyle of continuo
playing are played shghtly lower, if we can believe the many sample tealiza- beneath the melody. Rather, this practice will help you roughly to follow the
I
I
fions not only in St. Lambert and Dandrieu but in d'Anglebert Delair, and course of the melody.
I Boyvin. The ambitus seldom goes above c" or d". The lower limit normally If some high notes in the bass happen to coincide with a low passage of
i
Iies around d', with c' and b represenling exceptional cases. the melody, reduce the number of voices in the chords to three. However, as
we have already seen in Dandrieu's examples (sections ó and s), you should
Does the solo part influence the position of the chords? never play more than three or four such chords in a row.
I
No French source provides confirmation of the commonly held modern When and how often should chords be repeated?
view that the chordal accompaniment must always lie beneath the solo part.
!

Indeed, it is nowhere stated that the position of the chords stands in any The best way to answer this question is to point out the differences between
I

I relation at all to the solo part. Nor is there any warning against occasionally the organ and the harpsichord as a thoroughbass instrument: "On the organ,
i doubling a note in the solo part. The position of the chords is always keated all dissonances must be tied by leaving the finger down lon the keyl. On the
exclusively in relation to the bass. The important thing is to find the best harpsichord, in conhast, everything is clearly articulated" (Boyvin). On the
ì

I
voice leading and "to connect the harmonies in the best possible manner, this harpsichord, in other words, not only the dissonances but all other notes
I being the sine quø non of perfect thoroughbass playing" (Dandrieu). between the chords must be skuck again. St. Lambert agrees: "On the organ,
I As we already mentioned in section 1, once you have chosen the initial one does not repeat the chords, nor does one play arpeggios. Instead, the
il
li
ì
position at the beginning of a phrase, the other chords should follow auto- lchords] are connected very closely by allowing the hands to glide smoothly
ti
matically from the natural course of the voice leading. One of the player's from one to the next."
i
i
most important tasks is, therefore, to "anticipate" the course of the bass line Quite apart from this extremely important rule for playing on different
at the beginning of a phrase in order to determine whether it will be unusu- -
keyboard instruments a rule that has a decisive effect on the rhythmic
I
I

40

l
 15a: Repeat of examples for chords
with major sixth and diminished fifth'

.â {
l¿\( I
'untered

with hitone and minor third:

:ffect on
6
b
6
I * 6
b
x4 *t *
bc *
*7 7
iom the at 1'
I

.t

eway to
the solo
rt higher
rw, play with augmented second:
hly play L
rllow the 4 + 6 6 {( fiz
6
4
TI
6 * I
v

,* 4 x

of , &)l
Lssage
vever, a5
I
I T' # Íl

u should T

with diminished seventh:

between
re organ,
É b 6 \z 6
l. On the Xó- 6 x4 4 v 7 i 6 * 4 *
. On the at I
ft I' tt I
rer notes
ìe organ/
(t (, II

tead, the T
rmoothly

different
rhythmic

41
"drive" and the general sonority of the continuo - the problem of note repeti- In a quick lriple meter, it even suffices to play one chord per bar, again
lion should also be viewed from the standpoint of harmony. Here the assuming that the bass line is stepwise:
question is: Which notes in the bass have to be harmonized, and which,
depending on the tempo, meter, bass progressions, and bass figures, can be
ffi -4?- -ëi- -1È-
skipped? The discussion of this point in Delair and St. Lambert can be
summed up in the following rules' a)
Whenever the bass proceeds in stepwise motion, it suffices to harmonize
r
the notes that fall on the main beats of the bar and to heat the notes between +
them as passing notes. If the unaccenluated notes have bass figures, they -4--# --?-I-----*- --t---
should be harmonized in the usual way, even if the bass should suddenly
proceed in larger intervals instead of stepwise (St. Lambert):

H1- -+t--+-l{- ---r**-

a)
t- t- t
a
tt I

+ ta

(ln St. Lambert's example, note that the two hands proceed in strictly con-
trary mofion. This helps to prevent parallel octaves or fifths from occurring.
The top voice of the chords is taken to its upper limil f". In this case, there is
-€- no other alternative unless you start with three voices.)
a)
t- I I It also suffices to play one chord per bar in fast triple meter when the bass
+ intervals move inside the harmony (Delair):

6
4
ffi. -4-- -+- -#. -zri-
a) Y
t-

+'
-*----1------- -
-+--+------{------

42
rr/ agaln Normally, only the first and third beats of a kiple-meter bar are realized

a)
--+++- ---J1È- +++-
t- t I
t,r -4t:-
r +
.)
t
r*:1.
I r
t:
t r l t.
r
_+_- --=---+- ---Ð- 6
6
4
--=J- ---|--- -+-
'âF- ----+.----

This example, of course, merely illuskates one of several ways of harmoniz-

In this example Delair, like Dandrieu, occasionally uses five-voice chords ing this bass. The harmonies may be deduced either from the bass figures or,
and even one with only three voices. The latter obviously results from two in the absence of such figures, from the relafion between the solo and bass
parts.
voices coinciding on a single pitch due to the relatively high bass.
In the last two examples, the chords marked with an asterisk (*) are not That said, most French composers roughly between 1,690 and the end of
the Age of Thoroughbass were fairly fastidious about figuring their basses.
shuck again with each change of harmony in the bass. Delair offers the
following explanation: "ln pieces in a quick tempo, it is sufficient, for those Like Dandrieu in the following brunettes, they even used a horizontal dash
(-) to indicate the exact duralion of a harmony, thereby rendering superflu-
lbassl notes falling on the latter half of a downbeat, to skike only those
pitches not found in the harmony occurring on the downbeat, thus retaining ous the quesLion of how long to harmonize unaccented bass notes. Accord-
every note in the previous chord that fits the new harmony." ing to Dandrieu, the dash also meant that the right hand must hold the
As only Delair describes this practice, we can make no pronouncements chord without repeating it. His remark should, however, only be regarded as
ctly con- a rule of thumb. Sometimes the voice leading makes it unavoidable to
as to its universal validity.
ccurrinS. change the position of a chord, e.g., to avoid parallel octaves or fifths or a
By the same token, it should be expressly emphasized that eighteenth-
:, there is poor harmonic progression.
cenlury thoroughbass players never lied notes over the bar line from an
upbeat to a downbeat.
L the bass
Finally, it must be slressed that this technique of reducing the number of
chords is closely related to the piece's meter. For example, if the first example
were in slow common lime rather than cut time, every guarter-note, and
indeed several of the eighths (in the VI-VII-I bass progression), would prob-
ably have been realized: Due to their common subject matter, the following pieces should be
practiced after the seclions indicated:

].B.C Brunette(s)
No. 1 after sec. ó
Nos. 2-3 and Hotteterre: Courønte after sec.7
a)
r t[ [ r I LJ
Nos. 4-5
No. ó and Hotteterre: Gøootte
No. 7 and Hotteterre: Petit Air, Sørøbønde, Gigue
after sec. 8
after sec. 9
after sec. 10
Nos. 8-10 after sec.-12
Hotteterre: Prélude after sec. 13
t' 66 6 Nos. 11-13 and Hotteterre: Allemønde ,,Lø Cøscøde de St. Cloud" after sec. 15

43
J. F. Dandrieu: Thirteen brunettes fuom Principes de I'Accompøgnement du Cløttecin (1719)

x x
tì l) ll
+
I tì I

L f) I -l a ) ìt I I
.Ò
a
1 J -l
a

Twct¡ et C/t:ri¡ ¡ hlt.rentent c/za q u e ¡'o u r' ã e /euL tto up eaur,E t to t t/ o tu:r C¿ranã¡dttítent A /bn4uç àe¡ cu'!,r¿¡¡cr¿u.t'
6- 6 6.-
I
I
I I I -p-+
a
I
a I at a
I

6-
x

) I ) a
.a

l4a Clor¿¡ /"gr- ,J[onTircts nb.rt po int lcA cr. Ah't q ue ¡''aune rna Brye-re Ah.lt7ue ¡hinte nt,':t ßugct'.
* 6-
.l

6 6- ,.

l\l
2 -) -l I'
-# 4-
T (ut tre lour u-tle .lJer 1frc l\,nt1c ltc¿r.ï.ltt¿urc L" /o¿' , l4c ãí -¡ott r¿¿r |a-
¡fru gclz'Tira^¡

t
) a -t-
6 '-ç

I
I

/c /t'Au??,e (/¿¿e tol , Jc nc Jc're¿ ltoint /e 'it C .TC , Ah: tt( /a ri.r t'a.r¡'ot(/' tttcr -

I
I
a t,
,|.: 7

st- *d- o 6- c 43

44
 The following realizations were all provided by the author (J.B.C.). They make use of the typical chord positions and voice leading found in Dandrieu's
examples.
+ .f +

a) a) a)

r r r rr rrr r
-----F-----
--l---+l-t--
a)
rr rr rrr r r rr r r r
-f----'T--ï--
6
---T---f-- -r---ï---T--d- 1--.-1-¿+
6
-ffi _]_
c 6- 5 6 6-
+ + t
------_
-J-*

a)
b) a)

rr r rr trrr rr rr t
H ----1#l- -----Fl----|,l-- l-----F

a)
Yr *)
C¡- , C- FFFI FI-FI
rr r
---{------)-- f4 '+
-
66 6
5 6h6
r^6
l
a) Petite sixte
b) The addition of a 5 above ihe leading tone in the bass results quite nalurally, being prepared by the preceding chord. It goes without saying that instead of
the 5 you can also play a síxte doubláe (doubled sixth) by substiluting d' for f.
*) Another alternative using the lowest possible register:

,.)
u
r +-
r r 4¡
r r r 4f rrl--Ft
r rr -+F-
r
ffi
6 6
665 6_ 6 h6
A-

**) Here, for once, the sixth chord on the supertonic (lló) is not heated
as a petite sirte. Otherwise the tenor would have to play a c', which would make the b'
in the top voice seem harsh and unprepared.

45
 a) b) a)

rr
4 -d1L-i

r fI
4
a)
f r r r t- r
-#1
r I I
---t-
-l-- -1-
flo ,8 65

+ +

a) c) d) a)

---J+
a
r I i r t-t
r¡-
r f- rlr rf?+* - r I r/r'r (
---+--------+i-+-- ---i--

6- f6- 6 6 6- 6- 6 43

a) Petite sixte
b) Always add a 6 to the 5 on VII.
c) You could also play a petite sixte here

d) Here the three-voice texlure is a consequence of the very high bass

46
 I

3
z-:*Ç- -*e----'r

'It¿¡r/¿¿'lci ùLcJ Jo¿n.f ct /Ì?A y'rei - ttc Prà.r àc t,ctt¡ t¿'ot?t y''a¡ re - uJ - J¿
{ 6 *
+ +
a)

Af;rþ-

t4ai¡ ,ri 1'e /,etû¡ {c tem¡ - n¿e -nc Nc /c ¡terâez uo¿¿r' pal a¿¿J -J¿
+ü ù *r- ü

.a
b) b)

a) sixte b) Add a ó to the 5 on a leading tone.

Petite
l+
x x
x X X

ú c/¿armante lrrunePour qui/e nleltÆ,Jt ¡'e uou^ritnVo¡-fu'n¿ De nze¡ largtu.eurc, Ia

r ßeúLÊ
6- +

é *
x x x x x

;futte a¿ ert conzul¿e A tour 1z¡ creur¡ La,-rftutc e/'t e¡t- cotn¿¿n¿ A to¿t¡ [e¡ c&¿Lrc
4 3
6.& î
¡r(--
\¡

(A realization of thls example can be found on the next page.)

47
 0.8.c.)
a)

a I f
t t t I t- t
?'+ ---*'- e?
*ti*- -----!-------._-
-{--------+-------
_-----.---------

í / 6 6- I

10 b)

-4----------4- ----,1---------- --#------------- '-+--

a
t t i t
L--sJ
IV t I I r[ t

-t_________-+- --#
6 6
4s_6ú 66 5 6 5

a) Here you have to change posilion in order to avoid parallel octaves between
the bass and soprano (c$-d). A
b) See sec. ó of Dandrieu regarding the i chord to be played before aIV g.

c) Alternatively: (see St. Lamberl sec.5,4) or with the parallel fifths typical of Dandrieu
Continue playing in this register

kffi --#-
a)
r T r: r
+-----r-
8í

48
 x x x r(

5. I
.J -l

1" , nrcb et Clo-ru

Dan¡ frn2 ce ca. 3e P"rb bnt
/^e
u.tL 3e
é ,/o¿ü"
6 *6- é

a) b) a) b) a)

}-
ht//' a-n?DLY, 0 D¿lctæ te -7re kngage-
6 f

c)
.v +
a)
6
a) Remember to add the ó. b) Petite sixte 4 c) Petite síxte onthe VI-V progression in minor' {
3

; between
x x x
alY 9.
6. t-
T
I
; (,
rÌ (, a

0nà¿t elt ¡i ¡'/t,t tlt t t t t t :\; t'i tr t tt i ¡'c tai.r ut¿ i¿nmnt ! lbut et¿ p[alt mênrc /¿' tounnenl, A/t!1åut¿,¿,

..v,n t\
2-& 6 --- * 6 x & *- _f- 6
I

x x

.t I I, t'
+?
1,tr.fr \_ e. imt-/( ¡ttrnaù ttn an?ant/-lWot îrr¿ Jur.r .,1 ¡o -1r c
î- *6 x *a

6ú 4
J

49
 x x x
f a
(t
7.
.a- -d-:--
-Iþ.toi¡ ,zt-nt¿'
6
ãI¿ nc. /eun-e ßa'.,¡e-r'e,t[at¡ ,\ lrl'cJent.n¿tjtt a - mour /ut àè¡t/rt it. .4h.'7tt'c//e a¡t
6 ói .- ,1 x
tJ ^ a
a

1, ,'/1, c'ètc inJ -?i la Q t ¿'c.11c nic ¡,/ait [irttte it¡ t/f{Z' 'r11t c¡t.
x 6,* 6 '; '/t(
( I r --|-

x X x
I
8. a I Ç!

Dan¡no¡ óoi¡ .f¿l-t,tuzìrc ¡b - u'ic,I),tt¿"'nrr-r lroir' il raòt t ,rn/

.-á-- 66 6 6 6 .iàu; .ficÞ¡tutznt,tl ?iurt7c.rxu,r" r1trc /,i4',

tr
I a
7 7
x
x
# a I I ?--z;=

ntourHe-/a¡./ /ze-hrl'L'rtuaù¡scrârc/a t'i.a,.ficc¡tttrtrturl?,1yerrt,.t'r¡ttcl)4nnurt{e/a¡! /tc/at)tnrtt.,¡ r¡¡1)1 7,

6 *e .e- -ç -- .Í6 J

-r--?- +

50
 x
x

Ia ßer-ge -re tTttt nlc,4gqge, E¡t ¡etz - ¡i - /rla a . Da¡ u"¡ àe ce 2,t.=
a) b) cc) {ra-\
?
X
I x x
tEt
x x

-h +*
I

{rgte, Ell,: l',: rlrit tat lctt! /r'r' t,cvttæ. rt/¿! ¡i mon cæ,ut' n'etc,¿t z,o Lt-,7c, [l ¡e -roit ót¿n mn//zanrat,r
6 43

d) e)
6 6 *ó' .& 46 e)

Compare the exercises in Dandrieu:

a) Simple sixth chord on III before IVÉ (secs. z and 6)
b) Petite sixte '0, on VI before IVf (sec. ó)
c) Doubled-sixth chord on VI before VII5 (sec. 5)
d) Doubled-sixth chord on III before IIüó (sec. 5)
e) Petite síxte on II before I (sec. 3)

57
 x x Y

Y
10.

L'rznrc¿¿r î t¿t rne y''re¡'re Catt¡a nta lattgtmu', "Íe nte /-) /tirt¡ ¡c¿n¡ ce¡¡e I)e z,o -tre /'l
a) î -* x

#
..-.H.
6- 6 6
J r b)l
x x

(/o ttctu'ùla óel/e ma¿'lre¡¡e Ruu)ez tnnL t/L('tz cætLr.

I'

a)
6 6- -ç x

a) See sec. 5 regarding voice leading. b) See sec. 10 regarding voice leading (final ex. by St. Lambert)

Sarabande de Mr. LullY x

x
f,
T I I
11. *- a a
-l

D Er/r à a E gfrrs Ee/n"r !2,

91,
u nLer ¡ei¡l¿¡, Ce/le que ¡'c raïLatqtuitãã¡zto¡ c/tahø.rl/tfircez ãu fuq:ru La¡ {oùr c¿'u ,
6 * ã ó;- 6

I
x x x x x x
l
x

ffi
\
)uo d
I

cl/e.çEt nz ,reparez pa.îDcu, ,"turgÊ-3e/1ar.0u ront¡'cz tu lìcn.r,Ou lrrucz [u n¿|at.r.miens0u

l
nre'z Jer /tcruoul,{ez þ¡mtan.
l
= Í-1 6 6
I
l
t I

6 4
'I

52
--l-

t2 ) a )
-4
Pour utz ¡et^y' úa¿¡a', ?oti-te , .Ic ¡t re.n2 rc
u /e .ro tn A eg ar? er z¡o¡ mnu.ton¡. toru. AouVourøz a/er ¡u oj,,,
* 6 6 *
I I
-t- I

x 6
X x
T I\
t' tt Àt t, I Ll lt t.t^l ll
I
II
a
À
I. tì -'F
-l a. )

¡ A/t./ ¡i ce inàEt arà cl' t,oJ t t ¿o ¿¿to tt.c.

9ere, Chantcr à /o rt u"'u o atnm^b /e¡ c/ta¡o n.¡. /c.ro

I I ) +
6 *4 6 x
b

x x
t) - -a
13. tl

Jat Py* 'âeua: lirurL' JznLJ uo¿¿J z,otl'Púu a"urJ¡ /t¿'otl nc ¡ts¡¿ -¡¿ ; -[c ¡a^ou nutrt àc à ere.t'¡,o i¡' ¡1itt t c
¡' ú u
6*o-ã +

---i-
x x X l-l
a a .a --o-

lnry uz a^lr¡'en-ce . Hc/rulBrtt'tzc - te ltLCJ alfttttttt,Ne 't,trtu t,oit' to¿t¡ /tr /()u./:r. /ott/t,
6 66 6 6+*
r
4_+- I
--ê-

53
 17. Selected French Compositions as Practical Examples of Thoroughbass Realizahon
Hotteterre's Table of Embellishments (for the execution of ornaments in the solo part):

Coulement Accent Port de voix

double
Figures des ^
agréments

Démonstra-
tion

Demie Cadence Tour de gosier Double Cadence Double Cadence

apulee coupée
A <\9
+ J

+ +

Battement Tour de chant Port de voix

I + Y

54
(paris, 1"71-5). One very useful exercise is to transpose them upward by a minor third. Hotteterre suggests precisely this transposition for performances with
recorder.

Petit air tendre

+ V

a) I + f /

6 Þ tutl 7 6 ú il6 ú

6
+ v + + V

a) IJ
+J¡ ) --
.ffi --¿-+1È---l- ----i-i

ho I lù)7 4 3 fr+6 í [u)]7 4 3

Delair:

a) In cadences, sometimes only the 3 of the unaccented IV? is played, the 7 and 5 being tied over
from the preceding chord. Delair shows how this is done. Note that his example even omits the 7 -.e)--
a
in the bass figure. I I
I r

43

55
 From Suite No. 2: Gøootte en Rondeøu "Lø Møilleboís"

a) l-'l +\t I + iJ

-*t -
q
í 66 I 2l

6 +

I
lJfv- +

l-l-l-l

66
6
ã 4g í g il- 6 il6 I

12
+ V + v

u rlJ

c.til + l+--

6
il
4
t ø 3p6fi6 54f, 2l

18 +
I

I
d#vt r{ I v? +

lìì ^l+ - - h FFI-I

-----Æ ---4-
6
I 66 e 6 2t 66 6 43

56
From Suite No. 3: Allemønãe "Lø Cøscøde ãe St. Cloud"
+

a)
x
Pique.
+ - + )
6 6
e6 7 3 43 ì 5
x

ft
5
+ +
1t- ---"'#
a,Ll
-+- r.-¡t
x
- rTï'] Fr-Frt

6 x
üe - 7 5 +à 6

I + + + + + + cr9 +
--=a=- æ^ llrrrrr

a x L_J...LJ LJ.+r
Reprise.
+ +-- ?ç ^ + +
---t----
-Ð- I I I 8
z 6-
7 6 6 ü il 6 fr 6 664 il 6-
5
x

t3 + t
+ +

a) l-)
-J
+ ç -

6- ? 4$ 6- 7- 7- 6-
\z- 6 il * ã

-l 57
 18
+ ut l. lu -_l
[+]
ffi
a) r{ È*{ I I

- x
+ -
- -
-*

7 6- 7-
6
- 7
6
+$ x
6 Ð 6 i) Õ 6

From Suite No. 3: Sørøbønde "Lø Guimon"

t t + + + +
--atl
a) f f + I IJ¡ J

,.- llì
--ffii
4q 6 4
.6 i) 6 I Io 4ï

9
+
-
+
-¡--j-l---r- -T.r-r-?-? . ?. . l

a xf L..LJ..¡.J-J f f
<ì9
+ +--/-
-- ¡î¡
6
x 5+ Ì) fl 6 a 6il6

17 c\9 t. 3. 2.
f v +

a + +
x x Ipetite reprise]
[petite reprise]
_+ zl- z ^
___l_-_.{___t_ -¿;--- -T--.-¿-¿J
X8 6- 6fl
t
5-66 4 X fnetite renrise]
Ipetite reprise] 6 7

58
 From Suite No. 3: Courønte "L'indit'erente"
+ V +
+ V
*-+l#):
õ
Lege¡ement.

-r.r v Y tì

.8 6 6 6

-
7 + + +
+ + +
-?-t-?Í-l--f- +---t---.t- 1p--1-
d+ |--.J4.LJ l4 ---V-
+
---J--+- _.i-
6
6
i) #
6
5 6 6 64 6A

15 +
+ + + +
,f I I r v #O1
a)

6,
.F¡ il 6fi6 B 6 54il t

23
+ +,.---\ t+ v
--.-_7-?- --+-
)prise] a) .t

--7+-_---t- +-
:prise] -l-----1-
+
6 E 6 e 6 4

59
From Suite No. 3: Gigue "L'lfalienne" V
t
1-4-4s-+
YÐlll
t
a)

-+
+
:¿:!-ffiìÈ
6
6 6 I 3 I Ð

ç + V +
V

ü t-,.L¡ t+r
Fl-r C t

6 6
l.u üzt fe Ð ü í fl6 I

9
+

*J l-¡ 4
u
-¡J
\ - \

ü ã 6ü6 4il 6 7 77 77 7 7 7 7 67

13 +
V t -¡ l/--\ ¡í

a) r+J
l-l-l

6 6 6
5 66 6 5 6 5

60
From Joseph Bodin de Boismortier's Cøntøte ø Voíx Seule: t'Etl l"summer'l Gzzs); see also the notes on recitative style on p. 139

Recitatif: + +
ffi
f I 7 r I f 7f7f
L'ar- den - te cule a ta-ri nos fon- tai -nes, Des-ech é nos bois et nos champs. Les doux Ze- phirs, ref - fu-sentleursha

3 a' 6

6+ + +
ffi
,ftf
a) I

lei - nes;Toutlan - guit, tout lan - guit, tout pe-rit dans ces cli-mats bru-lans Une e-pais - se va-peurqui por-te le t
+l- l-ì
6
6 6 a 6 i) 43

11
+ +

a) I r TI
77 r r I 77
ner rê, S'a - xa - le du Sein de la ter - rê, Pour al-lu mer mil - le feux dans les airs; Et l'on di -roit qu'unnou-veau te -me-

6 ¡¡
Ð Ë 6 ã-

14 +

a) r f 7rr t \--jz
rai - re, Va con- dui-sant 1e char duDieuquinousé-clai - re, u ne Se-con-de fois em-bra - zer I'u -ni - vers.

<>
t 6
4ï 6Û fi 6t a' 5 4 il

6T
 il
German Figured Bass from Roughly 1770 to 7735
Excerpts from johann David Heinichen: Der Generøl-Bøss in der.Compositíon (Dresden, Í728)
and.Georg Philipp Telemann: Singe-, Spiel- und Generøl-Bøss-Llbungen (Hamburg, 1733-4)
(For the sake of easy reference, I have adopted Telemann's original numbering of the examples and songs. Unless otherwise indicated, all music examples and
all citations enclosed in quotation marks are taken from Heinichen.)

1. The Basic Chord

Generally speaking, the basic chord, or root-position triad, does not have a The first example involves a bass to be realized enlirely in root-posilion
figure. When it does, the figure may be any of the following: kiads:

3, 9, ,t,s, z, z*, 3b, 3\, il,b, \

The three isolated accidentals at the end relate, of course, to the third.
Thus, the basic chord is only given a figure when it resolves a dissonance,
where doubts may arise regarding the harmonizalion of a bass note, or when Two rules must be observed: "The poor
the bass line is completely figured. Frequently, however, the figures are quite first rule is that, in music, two voices
sporadic, and players are' expected to determine the progression of the har- must never proceed in octaves or ---*{-
mony themselves. It is in this context that you should view Heinichen's and
Telemann's sometimes exkemely detailed explanations and descriptions in
the sections below. Their remarks also prove that pieces with sporadically
fifths with each other. Such parallel
octaves and fifths must be avoided,
a)
I r r
especially when they occur between
figured bass lines were not necessarily meant to receive the simplest of the outer voices." (See St. Lamberl
harmonizations, and thus pose an even greater challenge to the figured bass Chapter I, sec. 1).
player.
To begin with, players should take note of a basic tenet that Heinichen "To avoid these and other clumsy and inadmissible progressions, pay heed
merely conveys in a footnote: when practicing the examples below, it is ex- to the second rule: the hands should never make unnecessary leaps, but
tremely important to hanspose them into all twelve keysl As Johann should always find the nearest chord, using small movements as often as
-173L),
Mattheson explains inhis Grosse Generøl-Bøss-Schule (Hambwg, even if possible."
very few pieces are set in the most remote keys, these keys will always crop
up in modulalions, not to mention recitatives, which are not subject to rules ffi ä--ü-ä-Å- ffiffi
at all. a)
t t- fItl I t

J-IF

62
 The right hand should also be "played an octave lower" The preceding examples demon-

rr
skate that the hands may move in --4--------e}_-
parallel as long as they do not pro-
w
duce parallel fifths or octaves:
e *= +
tl rI
a)

J ) rl I r,r, I'lt)¿
---=--------4
rples and
r r However, when played on a stepwise bass, basic chords in parallel molion
do indeed produce parallel fifths and octaves. In such cases, they should
As you can see from the above example, the "bass notes may be played one therefore always be played in conkary motion:
octave higher or lower than written, especially when the hands get in each
other's way. Occasionally they may even be taken in unison with the lowest poor good
voice in a chord." It is interesting to note that Heinichen alters his realizalion
:-posilion at the very spot where the bass is hansposed an octave lower. He probably
--1:-#
did so to heighten the contrary motion and to keep the realization from a a)
becoming too low in register. t t r t-
As in most of the following exercises, the same bass line is now presented
with Heinichen's other two realizations, i.e., with either the third or the fifth
in the soprano:

aa -' -' -a aF+ -1---1#1- "All in all, conhary molion is extraordinarily advantageous in thoroughbass
{-€-¡r---+------+- playing, for it automatically avoids all poor progressions. As this principle is
a)
of cardinal importance... the next example should be studied very closely:"

ffi i<ä4- ãffi Å-ü-t-

pay heed
Praclice this realization too an octave lower, altering the bass as in the above
a
t rrr t rr
leaps, but
example.
s often as ---l:l;----..t...--.ì- --+------t-----i----+--- -----+-----+-----+-----F -----+------t--

rlr
--t+-+-11.- *+--Jl--t-

r rt
11---H]---J]-
a
I r [r t r rr
----*1-

63
 Repeat the examples for the basic chord. Practice the chords in the other two
positions as well, beginning in either of the following two ways:

or

a
t- I t-
-

2. The Sixth Chord and the f Cno.a

The Sixth Chord:

(Note the similar parallel
"When a lbass] note is given
-44j_ sixth chords in Telemann
the figure ó, the resultant har-
No. ó, pp. 1Í5-16. Orna-
mony usually comprises
third (3) and an octave (8) in
a a I
t ments are discussed in
a)
f- t- I t-

Chapter III.)
addition to the ó. The octave
To play such progress-
may be taken in any kind of
ions in a four-voice tex-
conkary and parallel mofion 6il ture, you have to double
6666 6666
provided that no incorrect
either the sixth or the oc-
progressions ensue:"
tave, as can be seen in the
"However, use conkary motion when the sixth chords ascend or descend
l
following exercise by Jo-
I
stepwise":
a
hann Sebastian Bach. In
essence, this rule applies to
t I
t f-
út I
all such progressions, de- +
ffi __)4#1_
a
Ir I I
scending and ascending
alike: 6 6

66 666 66

"Omit the octave in a sixth chord whenever it causes poor and thus clumsy
progressions, e.g. in ascending or descending sixth chords, or where made
necessary by the convenience of the hand, the voice leading, an added em-
bellishmenl or some similar factori'

64
 Indeed, the best and most natural way to play sixth chords is by doubling Finally, never double a chromatically altered note that funclions as a leading
the sixth or the third, as illustrated in the following
examples from tone. This rule is extremely important:
Heinichen. These examples also demonstrate how to avoid parallel fifths and wrong right wrong right
octaves and poor voice ieading:

a a
correct or t J t 'I r
a)
f- r
6 6
Ð-a 3a ? 6 6

6 6
The following realization is correcl the note in the bass not being a leading
6
tone (observe Heinichen's elegant voice leading):
correct or
good

a) rt lr a
t
66 6 66 6
-----+i:----
poor correct flo

trr
Most of the principles discussed up to this point can be found in the follow-
a
lll ing excerpt from a realization by Telemann (No. 3Z):

6 6
.nicht ver - rin-gern, die man für haus und kin-der
6
poor correct
-)4"1- -*.{---}-
lÊ-Å_fr+- a)
t)
+t L-J I-J r U
rr f- t-
a C

66 6 6 6

6
Now transpose all the preceding examples of the sixth chord. Make sure to
play the good versions rather than the poor onesl

65
 the {chord' lowing three excerpts from Telemann's realizations, where none of the fig-
,,lt ures (all supplied by Telemann, of course) contains a 4:
shãuld also be mentioned, in connection with the chord consisting of the
minor third and the major sixth, that a fourth can be played instead of the
octave, provided that this note occurred in the preceding chord'" This is
Dandrieu's and St. Lamberfs petíte sixte, or what modern theorists call a sec-
ond-inversion dominant seventh (see Chapter I, sec. 3): Gelddeckt zwar maî '- chen feh ler

TT)t | )t ,r
T
I tr a)
r t a)
r ''lr I
a)
I t-I r

6 6B t
66 6B
6

Note that Heinichen adds a fifth voice to the 6 chord. Although expansions
I

Magst du, was mei - ne fehler

I
from four to five voices frequently occur in Heinichen's realizafions, he has
I I F
nothing at all to say about them. You should regard such expansions as an
ever-present oplion in four-voice texture, comparable to the occasional -ÆtH- -1,----1+
l
omission of a voice for reasons of voice leading, as discussed above.
a t tJ -.-
IJ
L-
"similarly, the major third may also be played with an augmented fourth
in some instances. This augmented fourth is likewise taken from the preced-
L

I
ing chord." Here Heinichen is referring to VI-V progressions in the minor 6- h6-
I
mode:

i, der al -ler-ehr-lich -ste

,'r [nr
,---{.]_--{l-l-l-
d
-t---Æ-
4]--_4{- '1l--
{ffi -&tÞ-
a 1
V t t
;r--a----t-r- -+------f-----+-- __*____1-----F-
t* 6 4 +l#æ *-----4-- ---F
3 ü $ 4l 63 il M
6
Ìt

"This irregul ar 4 or 4* in sixth chords is not always expressly specified on

the lbass] note in question. It must be found and properly applied by the In facl considering Heinichen's and Telemann's unequivocal explanations,
thoroughbass player himself." This point is amply demonshated by the fol- failure to use a f chord in such situations must be regarded as a mistake.

66
f the fig- The following two realizations, both by Heinichen, summarize all the preceding rules governing the sixth chord. They also inkoduce passing notes to fill an
interval of a third between two chords. In both examples, these passing notes are found in the upper voice. However, as we will see later, they can also be played
in the middle voices, provided that they produce no parallel fifths or octaves or any other errors in voice leading. Pay special attention to Heinichen's
"unnecessary" changes of position, especially in bars 2-3, 5, 7, and 9 of the second example. They allow him to give a more melodious character to the upper
voice.
Test yourself to see whether you have understood all the permissible options of voice leading, doubling, and the occasional addition or omission of a voice,
and finally the á chord itsell whether figured or unfigured. And don't forget to transpose the examples!

a) I
I ttrt I I
r t

6
6 4
3
6 4
3
Ë 6fl t66
6

a)
t I I
I
r t t I r t-

ilo t4 66 b 666b 6il 6 666

3
I T

a
t- t- r I t t tf r
'r I
6 6 6 6 t4 $ 6 û66
6 -1 T I 3
T -l

planations,
a)
r t l-
r t t rÍr I I
ffi
t I rl (í
mistake.
û
4
66 6
b 666b6 6il 6 666
3
ô'/
Repeat of examples for the sixth and { chords. As in actual practice, the { chord is sometimes marked i or simply
ó:

When playing from the bass pu.t gí,ren below, hy to adhere as .lor"ly'us possible to Heinichen's realizations. It is more important to understand the inner
workings of í.,irîot.. leading u.,ã htJ.hoi.e of .ho.ä position than to l"ãrn thu- by rote. Practice the third position as well
by starting with the fifth in the top
*,
voice of the opening chord. Try to add a fourth on the b marked the only VI-V progression in the minor mode. Don't
forget to transpose this examplel
t
4
6
4
3 6 3 $
6f 6 û 6.6

t
4
6il 6 I 66 b 66ab 6$ 6 666

3. The Second Chord with the Figure 2

"The second is used in either of two ways:

the bass tied over from the pre-
I. As a suspension or syncopafion, with ffi --4-
-l.t--
-tY
ceding note and
three ways of
resolved
harmonizing
downward
the
by
suspended
a half or whole step'" "There are
second: b)
a)
r r
sn
al -lbl
z1
c¡ t
5 5
4 4
"Each of these three chords usually resolves into a sixth chord'" 2 6 t 6
"The figure is often abbreviatei, the chords b-eing merely indicated by i
or 2. SomãHmes you can choose between iandto. The figure \4 or 14
always refers to a.,d e,r"r, the figure may indicate i'
f, ¡

-----Ð- -#-
a {>
+ <ì--------i- ----€+- Ë'ffi c) t r
¡{i-----{-
a)
a)
I I
r t-
4t--

5 D

4-------J- ---ê- ----* ---ê- 2 2 6

6
4 .4 6 4
q 6 ilb2 b 2 û

68
 A---

Occasionally the I or i chord resolves into a ! chord

the inner
n the toP
mple!
lThe I chord js discussed in secfion 5.)
a)
r r r
+ì.!-_f- ...._
---?-
-#----4F-
,6 if
b+ 6 4 6
o bs t 5

'the ichord may also resolve into a f chord *-11-

ül

}l'#

6
4 t)
2 $

2. "The second is also used as a passing note (trønsitu.Ð when the bass de- --rü--q-t
scends diatonically by three steps. In this case, the first chord, a root posi-
tion triad with the figure !, is repeated on the second note:"
a)
I r[ t

6 6
*a 4 4
2 6 t 2
$

In such cases the figure on the second bass note is often replaced with a
dash. This dash is very common in the French music of the period. Also a)
Telemann uses it extensively: [''[ [

4
n-
Now and then, rather than resolving one step downward after a l, the bass
leaps to a different note. Although Heinichen does not expressly condone
such progressions, he adds that he "wished to include them so that the
a)
t I r
beginning thoroughbass player will be aware of them, however rare their
occurrence." (NBl) .z------1-----z-- -----+------
8 -
.6t
5H44
323
69

-¡-
Heinichen's example illustrates all the variants of the second chord. Pay special attenlion to the two standard sequences in bars 2-3 and s-g
-l

ffi ffi ffi ffi

a)
!t I
I r-r r I t I I t- t

6 6 5
4 4 4 6
2 6 6
l++
2641 6 3 he 6h+lfs \z 5 4+6

7
4
ffi ffi
a
t I I i
+ --

5 6 6 4t 6 8 t 6 8 ü fl
2 6 6bû
l++
4i4
2g
Play this realization once again an octave lower, occasionally hansposing the bass down an octave
as discussed in section 1. The two other positions, with Heinichen's realization of the opening, are
W
shown at the right. a)
it
Repeat of the example for the second chord:
I

--ø=------F-
6 6
4 4
26 2 6
6 6
6
4 r*+ 4 46
2 6 6 26\463 le \+ üszí t*6

I I t4
4 6 h 6
i)
7
q
6 6 6 fi+ t 6
lL+
2
I # il

Study Telemann's Arias Nos. 30 and 44 (p. 105) in connection with this secfion.

70
 4. The Suspended Fourth: tnot l
Heinichen discusses the five-four and six-four chords in a single context. He "lf only the 4 is written on a note [i.e., if the bass continues without wait-
regards them both as opfions for realizing the 4. ing for the resolutionl, it is resolved on the next bass note in accordance with
the rule and without voice exchange - that is, one step downward:"
The Five-Four Chord,
"Pay special attention to the rule that the fourth occurring in the upper or
middle voice of the preceding chord is always sustained in the same voice tÉ ' ü '!¡ \ --r--9------{td-
and resolved downward to the neighboring third (¿-¡). In this case, voice
exchange is prohibited. The fourth is usually combined with the fifth and
the octave."
a)
l'"1 r rr | 1"7
"Good resolutions" --Ë-----r--?-ñr-
46 4 rt+ 46
Ê---ç- --Jr,- -T¡_ _{l-
----<ts ---r- -#ra
The Six-Four Chord:
"The fourth may also be combined with the sixth instead of the fifth. In this
_<+ case, it is not necessarily tied over from the previous chord, but it is resolved
--f-
downward as usual":
43 43 +fi
"Bad resolution" "Voice exchange"
a)
r I rl i I

tÊ î- -Å-Ê- -.-{E'-- ____€_1_

"Poor"
r 65 6 6 l) 65
43 4 3 6 4l
6
"Moreover, it may also occur as an ascending passing note, which, of course,
need not be resolved [downward]:"

Note that Dandrieu would probably have accepted the "bad resolufion" as a
_18Æ9- L
proper instance of voice exchange (see Chapter I, sec. 1I, p. 31). a
I l-

6 l) 6
4+ 3 4

71
 when not expressly
Both the five-four and the six-four chords occur most frequently in cadences. As Telemann explains, they should be played in cadences-even
"At (r) the six-four chord is pluy"i ur an ornament [suspension] since the singer clearly and forcefully emphasizes the g' [the fourth]
called for in the bass figures:
before starting the hill."

No. 5
Telemann probably assumed that the melodic tl
cadence would sound as follows:
gu - tes an mi¡ findt H

t tlt t t tt tt --41'-:
d f'Íf
â I I r No. 19

oft am ru - der zieht

-]_-.--.+.
fl W -)'l-
G)

The final cadence in Telemann's Aria No. 19 shows that a five-four chord may also be played in lieu of the
a)
t r
six-four chord,
Note that Telemann's figure in the first example shown above is merely a $ although he obviously expects ----+¿
a six-four chord!
In the next example, from Heinichen, pay close attention to the very fine voice leading, especially in bars 5-8

ffi
T t- T I I

6 t) Ð 6
43 66
6
4 4 4+ 6 4 fl66 3 4+ 46

W --{---ü--7Íf.fr- -{D-

a)
t- t- t- I I
-?---t¿---l--a-
6
4 6 65 6 6
$6 2 6 4 6 4g s 4 4

72