Thoroughbass/Basso continuo

This essay is the second in a series examining Telemann’s views on chordal rhythm in a thoroughbass realization. Here, I discuss chordal rhythm in a 3/4 time signature, as presented in his Singe-, Spiel- und General-Bass-Übungen. In the SSGBÜ, Telemann often writes a single chord above each bass note in arias in 3/4, mostly when […]

This essay is the first in a series examining Telemann’s views on chordal rhythm in a thoroughbass realization. Because chordal rhythm depends largely on the specific time signature employed, I will discuss each time signature in a separate essay. Here, I discuss chordal rhythm in a 2/4 time signature, as presented in his Singe-, Spiel-

This essay explores Telemann’s views on the number of parts of a thoroughbass realization, as presented in his Singe-, Spiel- und General-Bass-Übungen. In the SSGBÜ, chords are typically four-part (bass plus three upper parts). For consecutive sixth chords, Telemann recommends three-part chords. In specific cases, five-part and full-voiced chords may be used. Additionally, when necessary,

This essay explores Telemann’s views on the range of the right hand and on the possible doubling of the singing voice by its upper part, as presented in his Singe-, Spiel- und General-Bass-Übungen. In the Singe-, Spiel- und General-Bass-Übungen, Telemann defines the standard range of the upper part of the right hand as extending from

This essay is the first in a series exploring Georg Philipp Telemann’s Singe-, Spiel- und General-Bass-Übungen. Telemann’s Singe-, Spiel- und General-Bass-Übungen (1733–1734) comprise 48 songs that include not only written-out continuo realizations but also instructions on how to create them. This collection is therefore an invaluable source for understanding German continuo practice of that time.