This essay is the second in a series exploring Johann David Heinichen’s General-Bass in der Composition. Heinichen takes four-part thoroughbass realization as his starting point, achieved in the case of a triad by doubling its fundamental note. On the harpsichord especially, this setting can be expanded into a full-voiced accompaniment by doubling further notes in
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This essay is the first in a series exploring Johann David Heinichen’s General-Bass in der Composition. Heinichen’s General-Bass in der Composition (1728) is a monumental thoroughbass treatise in German-Italian style, covering not only technical topics such as dissonance treatment, the realization of quick bass notes and full-voice accompaniment, but also many aesthetic considerations. In this
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In this essay, I discuss Telemann’s views on which note can be doubled in a sixth chord. Since Telemann advocates a generally four-part realization, he gives several guidelines as to which note can be doubled. While each note can be selected for this purpose, doubling the sixth and third is preferable, with doubling the bass
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Fauxbourdon is a contrapuntal technique originating in the early Renaissance, often resulting in parallel sixths, though not exclusively so. Today this term is frequently used in a broader sense to indicate any passage of parallel sixth chords, regardless of the musical period. (Very) Select Bibliography Gjerdingen, Robert O. Music in the Galant Style (New York:
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The Greek term hemidiapente is used in music as a synonym for the interval of the diminished fifth, hemi meaning “half”, dia “over”, pente “five”. See also diatessaron, diapente and diapason. (Very) Select Bibliography Mattheson, Johann. Der vollkommene Capellmeister (Hamburg, 1739). Walther, Johann Gottfried. Musicalisches Lexicon (Leipzig, 1732).
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The Greek term diapason has several meanings in English. One of them is used in music as a synonym for the interval of the octave, dia meaning “over”, pason “all”. See also diatessaron, hemidiapente and diapente. (Very) Select Bibliography Baragwanath, Nicholas. Note-Naming, Galant Schemata, and the “Thread” of Vivaldi’s Concerto for Four Violins, Op. 3
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The Greek term diatessaron is used in music as a synonym for the interval of the perfect fourth, dia meaning “over”, tessaron “four”. See also hemidiapente, diapente and diapason. (Very) Select Bibliography Baragwanath, Nicholas. Note-Naming, Galant Schemata, and the “Thread” of Vivaldi’s Concerto for Four Violins, Op. 3 No. 10 (RV 580), in: Music Theory
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The Greek term diapente is used in music as a synonym for the interval of the perfect fifth, dia meaning “over”, pente “five”. Johann Mattheson, for instance, gives the following description: “The fifth is called diapente, i.e. “over five”, because it comprises five diatonic tones, of which the two outermost, as endpoints, are principally perceived.”
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In this essay, I discuss Telemann’s views on direct fifths and octaves. Telemann takes a stricter stance on direct fifths and octaves than his 18th-century colleagues —recommending to avoid them also between the bass and an inner part— yet remains flexible, occasionally even producing outer-part progressions that are downright objectionable. The musical examples are taken
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In this essay, I will discuss Telemann’s views on parallel fifths, both within the keyboard realization and between one of its parts and the vocal part. The SSGBÜ include rules and guidelines for the succession of two perfect fifths, of a perfect to a diminished fifth and vice versa. Telemann forbids consecutive perfect fifths within
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