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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A term coined by Robert O. Gjerdingen. A Passo Indietro (It. “a step to the rear”) is a synonym for a clausula altizans or a ⑤/④–③ cadence. Gjerdingen explains: “A descent in the bass from ④ to ③ often preceded a stronger cadence. A deflection downward before reversing into the upward stepwise ascent of the
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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
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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
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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
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For Telemann’s definition and use of the Querstrich, see The Querstrich in Thoroughbass Figuring: What Can It Mean?.
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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,
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