Mozart's Succinct Thorough-Bass 3

8/13/2019 Mozart's Succinct Thorough-Bass 3

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THE MUSICAL TIMES.-JANUARY,1861.THE MUSICAL TIMES,ent(5in g tla00 irtculat.

DECEMBER 1st, 1860.MOZART'SSUCCINCT THOROUGH-BASS SCHOOL.*

TRANSLATED FROM THE GERMAN BYSABILLA NOVELLO.(Continuedrom age381.)THE FOURTH.The fourth is three-fold; the diminished,perfect, nd augmented,b4 or t4--4--4 4.The firstonsists ftwomajorsemitones, nd onewhole tone. The second orperfect,ftwowhole

tones, nd one majorsemitone. The augmented,of three whole tones; for example, over Dand Ct:-No. 11.

t'4 4 a4 44 4 t_4d r f f1l-; sJ1st. 2nd, 3rd. 1st, 2nd, 3rd.To thediminished s usuallyadded the minorsixth, nd then this sixth is doubled as fourthpart see No. 12). Should the diminished ifthbe writtenbove thefourth,he diminished ixthmay also be used as fourth art see No. 13).Should an authorwish a diminished eventh nthischord, t must be markedby its figureseeNo. 14):-No. 12. No. 13.

1g cJ t[J Jr-I Ir I tC':. i , O I v1- r_Withhe erfectourths alsoplayedhe erfectfifthndperfectctave,speciallyncounterpointpassages;but nfreetyle,he ixthsoftenakeninstead fthefifth. Good authorsndicate hissixth y tsfigure; or xample:-No. 16.

4f- lot4- -4 3 4 3-r t rz \ - f - BV or 6 5^I *rvi, -JIS^r j It

To theaugmentedourth,hent s notpre-pared, elong hemajor econd ndmajor ixth,or in minor eys heminorhirdnstead fthesecond;thishird,owever,hould e indicated,unless he bassalreadyorm minor hird ro-gression;n which ase t neednotbe figured,sitmaybe known ytheprogressionf thebass,(seeexamplemarked B.). When he ugmentedfourths notprepared,trises semitonerwholetone,s thebass descends nto sixth. Shouldthe ourtheprepared,t descends third, hilethebassremainstationary;or xample:-

The sixthmaybe doubledwiththefourth,whenhe iminished,nsteadfthefifthollows; or xample:-No. 15.

* Reprintedbypermission fromNovello's Library forof Musical Knowledge. Vol. IV.

395


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THE MUSICAL TIMES.-JANUARY 1, 1861.THE FIFTH.

The fifth s three-fold;namely: diminished,perfect,nd augmented, 5 ort5, 5, $5. Thefirst onsists of two whole tones and twomajorsemitones; thesecond of threewholetones andone major semitone. The third of fourwholetones:-

1st, 2nd, 3rd.I bJ qJ J IINo. 18. bs 5 5r r- r I-To thediminished ifthelongtheminor hirdand mimor ixth,whenthebass ascendsa majorsemitone; which is the case in all sevenths nmajor keys. But when the bass makes a pro-gression,which s no passingnote,thenthefifthis accompanied by the minorthirdand perfectoctave,and maybe usedonthe econdofa minorkey,and also on the major seventhof a majorkey; forexample -No. 19.G minor. F major. A minor.^ I,/I . I E minor.1 I9 Z-I L Io I

16 6 IIl .X , t . lIa , r 1 tI -- -F-.F- -t-rIt- j I F ' [-, '11 r" ' i I6y -l I 11 ? aI 3l 32 5fi--5--- 4 3 .5 3 5 3 5,..~-- f | r-lI,

To theperfect nd augmentedfifthbelongtheoctave and the third; also in certaincases thedoubled third. For example:-No. 20.

1st. 2nd. 3rd.


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THE MUSICAL TIMES.--JANUAnY, 1861.- . l, w dJ- ,1- I 1 Iy I 1 ii -r -n- i*' -r -

I4-tC ~ __ ~ -r- o" d-7r-= -^r T r ,T" rIb 6 t7 6 t s4 tX r r 2Lt U1H rr iH*with5 With suspended ourth.3

The minorsixthconsists f threewholetonesand twomajorsemitones. Example:-No. 26.--.r rTu ri r rrr

v - ; - I IG 0 6 7 5 7 6

HI -,U-FrrJr-%= - JI, -Improved. Bad. Improved.In the boveexamples,No. 31 shews he econdfifth iminished, eing in the majorsixthchordin therighthand. No. 32 shews hefifth erfect,and therefore rroneous; for perfect ifthmaynot followa diminishedfifth,lthough a dimi-nishedfifthmayfollow perfect ne:-No. 33.L/. I Igc r t4 j r a0- it H-I I-?" d"pS746 4 6 1rcrSJr r |J J|HH-J=L r 11' Bad.,\n I I Improved. Allowable.The major sixthconsistsof fourwhole tonesand one majorsemitone. Example :-No.27.J ; o~-i r"r l n r r ' :The augmentedixthconsists f fivewholetones. Example-No.28.

ir-rPt lli r r rtnI I IBemark.-When manysixths followeach other, tis usual toplay them n three-note hordswithout heoctave,particularlyn quicktime; forexample:-No. 29.k- N _ N . 1 I,1-44y -- I j 11 -I d--iI(-(q~): IJ I ,PF 1~'It/' t-- - - ?' i " "6 6 , 6 6 6666666 54V, rr

Remark.-Accidentalmajorsixths, hirds,nd tenthsmust not be doubled (especially in the highestpart)when theyare the leading note,as is generally thecase. Neithermaytheoctaveof thefindamentalbassbe doubled (which may easilyoccur in a minorsixthchord) s thefundamental otewouldbe an augmentedinterval. The following re examples -No. 30. No. 31.

. Bad . I 1 Bad. ,

IIJ " 4 I11 J --6 d 6 I6 #' -N3Ja r -Id r r - -Bad. Improved. B ad.

6v - :. - :..1.. ,,, ,rl 1ad. Good npassing.THE SEVENTH.The sevenths three-fold-diminished,inor,andmajor:1t7 rt7, 7, t7.No. 34.The first onsists f bthreewholetones,ndthreemajor emitones. b r b &c.Example:- #J

No. 35.The minor eventh b - , -consists f fourwholetones, and two major 7 7 &c.semitones.xample:- : i --, No. 36.The majorseventh' r tconsists of five wholetones, and one major __ 7 T &c.semitone. xample:--I 1 b -- -

To all three evenths, hetheruspensions,passing otes, runprepared,elong third ndfifthccordingothe cale; orthe erfectctave,instead f thefifth,nd a third,r a doubledthird.Remark.-Minor and majorthirds,minor ndmajor

sixths, erfect ifths,erfect ourths,ndmajorseconds,mayall be doubled,whentheyare not theleadingnote.The third susually doubledin a'chordofthe 6, or 7:the sixth is doubled in a chordof the 4 or 6: theperfect ifthn a chordof the fifth: theperfect ourthin a chordof6 : themajor second in a chordofThe doublingof ntervals is necessary, o avoid con-

No. 25.Good.I Bad.I Bad.IIrQ -, II n i i . J iJ n1-H t r " r t: iI R- ",- ~~ ~ ~ ~ ~ - lr d 7 - - I--r

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