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 […]

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

Contrary to what one might expect, a thoroughbass player does not always have to respect the figurings as they are indicated. In fact, as Telemann presents in his Singe-, Spiel- und General-Bass-Übungen, alternative chords and/or settings are in certain cases not only possible but even preferable. Telemann explains how and when certain expected/figured chords can

This essay is the fifth and last in a series examining Telemann’s views on chordal rhythm in a thoroughbass realization. Here, I discuss chordal rhythm in a 6/8, 9/8 and 12/8 time signature, as presented in his Singe-, Spiel- und General-Bass-Übungen, whose principles are the same. In arias in 6/8, 9/8 and 12/8, Telemann usually

This essay is the fourth in a series examining Telemann’s views on chordal rhythm in a thoroughbass realization. Here, I discuss chordal rhythm in a 3/8 time signature, as presented in his Singe-, Spiel- und General-Bass-Übungen. Telemann often writes a single chord above each bass note in arias in 3/8 when the note lasts a

For Telemann’s definition and use of the Querstrich, see The Querstrich in Thoroughbass Figuring: What Can It Mean?.

In this essay, I discuss various ways in which accented passing notes were indicated in eighteenth-century German thoroughbass figuring. An accented passing note may be figured either literally or indirectly. In the latter case, the composer may omit figures over it or place an oblique line above it; only the following consonant note is figured,

A Querstrich is a horizontal line in thoroughbass figuring indicating that a chord should be held or repeated. For more information and nuance, see The Querstrich in Thoroughbass Figuring: What Can It Mean?.

In this essay, I discuss what a continuist should or can do when a Querstrich (literally “cross-stroke”, a horizontal or slightly oblique stroke used in thoroughbass notation) appears in thoroughbass figuring. A Querstrich in thoroughbass figuring can imply that a chord is to be held for all of its span or for part of it