1hls arLlcle ls one of nearly 300,000 scholarly works dlglLlzed and made freely avallable Lo everyone ln Lhe world by !S1C8. known as Lhe Larly !ournal ConLenL, Lhls seL of works lnclude research arLlcles, news, leLLers, and oLher wrlLlngs publlshed ln more Lhan 200 of Lhe oldesL leadlng academlc [ournals. 1he works daLe from Lhe mld-sevenLeenLh Lo Lhe early LwenLleLh cenLurles. We encourage people Lo read and share Lhe Larly !ournal ConLenL openly and Lo Lell oLhers LhaL Lhls resource exlsLs. eople may posL Lhls conLenL onllne or redlsLrlbuLe ln any way for non-commerclal purposes. 8ead more abouL Larly !ournal ConLenL aL hLLp://abouL.[sLor.org/parLlclpaLe-[sLor/lndlvlduals/early- [ournal-conLenL.
!S1C8 ls a dlglLal llbrary of academlc [ournals, books, and prlmary source ob[ecLs. !S1C8 helps people dlscover, use, and bulld upon a wlde range of conLenL Lhrough a powerful research and Leachlng plaLform, and preserves Lhls conLenL for fuLure generaLlons. !S1C8 ls parL of l1PAkA, a noL-for-proflL organlzaLlon LhaL also lncludes lLhaka S+8 and orLlco. lor more lnformaLlon abouL !S1C8, please conLacL supporL[[sLor.org. THE MUSICAL TIMES.-FEBRUARY 1, 1861. THE MUSICAL TIMES, tntr Singitng alas Qitrcular. FEBRUARY 1st, 1861. MOZART'S SUCCINCT THOROUGH-BASS SCHOOL.* TRANSLATED PROM TIlE GERIIAN BY SABILLA NOVELLO. (Continued from page 398.) THE OCTAVE. The octave is two-fold, namely: diminished and perfect, b8 or 48, and 8. Beneath the first is usually figured the minor sixth, to which must be added the minor third in four-note chords. When the perfect octave stands alone, or follows a ninth or a seventh, a third is added in three- note chords, and a third and fifth in four-note chords; for example:- No 39, ,- I . -, , I- 1 I 11 .1 I J L I I I L KI f I 0% -j . y e6ti f ~ t75 t.5 034 ~ . 7o 27 with 3 6 6- 7 &C 5 9 5 4 3 7 5 9 5- 9 8 ): I I - - f j IH , I I .EF I I1 '- - -I, i I I Ji I 1 -14 'i -1 ! " i! ! ,j -- ,i P , -J a l "'~ MaJor. ~ Mi~r:~ MaJor. 1^ ,,J .-J-HLL-$H-4'4u- J ? ? i,aJ-J-n f5 64 4 5 1 I 9 N 1 54 I ^9 _OBtter7 8 '--J * 11 J * n-;-l-J '11 r"iJ H Transient. Major ninth. Augmented. Remark.--When the fifth is figured with the sixth, ( ; the sixth with the seventh, 7 ; or the octave with the ninth, ; which often occurs, especially on pedal notes (tasto solo), these consonants sound like disso- nants, and require to be resolved by descending; for example:- No. 41. [-, ! I I I I'i 9 4 5 [fl j G 4 3 4 5 ;J - p - - a I- .=_ I. 1p , ii rJ [r ii , , , , , --n '- Diminislled Octaves. A 1 1 1~~~~~~~~~~ Jt ,cd , J Hl- -e - - - ' 5 I - 1w I i -- ^ i -r -=U- " Perfect Octaves. THE NINTH. ThLe ninth is two-fold: minor and major. To both belong a third and a fifth; sometimes the third is doubled instead of the fifth. Both ninths are prepared in the right hand by suspension, and are resolved by descending a whole tone or a semitone. Remark.-The minor ninth is the nearest major semitone above the octave; the major ninth is the nearest whole tone above the octave. When the ninth occurs as a passing note, the major seventh may be taken as a fourth part, unless the whole is played in three-note chords. The student need not fear to use an augmented $9 with , which is only the augmented second. Some composers make the mistake, also, of marking the augmented octave instead of the aug- mented unison. The following are some examples:- No. 40. -5,,,- ' , '] d ' , _ I J S.-.- 7 -~-v------- - -.- 7 6 6 5 6 - 3 4 2 3 5 4 4 3 Remark.-A pedal note is seldom figured, and is not to be accompanied unless figured. THE TENTH. The tenth is three fold-diminished, minor, and major; and is nothing else than a third above the octave: therefore, all that has been said re- specting thirds is applicable to tenths. IV. All chords have three movements, namely: direct movement, in which both hands descend or ascend; this is the worst movement, as in it consecutive octaves and fifths are prohibited. The contrary movement, which is better, is pro- duced when one hand ascends and the other de- scends. The oblique movement is produced when one hand moves, while the other remains stationary, and is the best movement. For example:- No. 42. movement. It is good in progressions of the perfect fourth in * lleprinted by permission from Novello's Library for the v of Musical Knowledge. Vol. IV. 411 -? II- r_ I - - =?1-w-t-w--4 -0 _ do S ks 14 2---- 1' I I I r !' I -I I I . ' l 1- I I THE MUSICAL TIMES.-FEBRUARY 1, 1861. ascending and descending; and in progressions of minor or major sixths, in ascending only:- No. 43. Remark.-In the direct movement it is allowable to use a concealed consecutive fifth or octave, when the upper part progresses a third, or the bass progresses an octave, if a melody or a preparation require it; for example:- No. 44. I~r Every chord can be taken in three positions in the right hand alone, excepting in divided har- mony, in which each hand takes two parts in a four-note chord, or when the left hand plays three parts, and the right hand only one; for example, above F:- No 45. ' Octave, Thlird, Fifth position. Octave, Tlhird, Fifth position. The first three are called F major, the three others F minor chords. The same rule applies to all other full common chords. Imperfect and dissonant clhords also may be taken in three posi- tions: the sixth above, beneath, or in the middle; the fourth above, beneath, or in the middle, &c.; for example: No. 46. I 7 6 # or 7 6 N.B. t' N.LB. L~l N.B. Better. Good- - -posit o ? -r-r Better. Good position. 7 6 7 6 Or high. or &C; . 7 6 76 t ; e i~ J : I: f) trrrC f I-il l4 6Q:X4 s ^ J j L _ 31 l , I - P I - - -- - C- II ti P Cr Vj 9 S 5 9 8 - . . P r r , r Ir I I 0: '-, I oJ [ -'1 1- ~ J , ery adUJ J I IJvd l"'i Ve-r r-6 Very bad. Improved. Very bad. -t #6 6 t7 17 Improved. Bad. Goor r \ Improved, Bad. Goodi. 6 (66 4 3 4 3 4 3 It is not well, especially in fugue playing, to move the position of the right hand by leaps; brut of course it must be changed when the two hands are too near each other, or too far apart; also on a long bass note, or after a pause; for example :- No. 47. -& . _ -'I---- 4.f4 d-Af_ - 6 K'oj- [L5E--4V-A .'~- _ . ~ fLi t~ff~~ff~~ff~~ff~~ff I , z~fi_i J6 9 6 6 Too near. . 6 : 5 Too inear. 9 6 9 6 6 - T _ o -? - -45 .t _ Better. 6 66 6 'l . 5 9 5 9 4Ii [F1 L L -g[- _ -- 5 IL-- I ,T i ! I - I I - - -'I r . *I I a I 412 THE MUSICAL TIMES.-FEBRUARY 1, 1861. V. It is not necessary to accompany all funda- mental notes by four-note chords, especially when the bass lies high, and takes a tenor character; or when consecutive fifths are to be avoided; in both cases, some of the notes may be accompanied by three-note chords, even when the passage is in four parts; for example :- No. 48. No. 50. When the following sign (- ) is placed over one or more figures, the fundamental notes are to be accompanied by three-note chords, as in No. 51. A pointed curve (A) signifies that the di- minished fifth .A, or t, or 6, is to be played in four parts with a third and octave; as in No. 52. This sign is also placed above 8, when the funda- mental note is to be accompanied by a three- note chord, that is, without the third; as in No. 53- When the tenor is figured, three-note chords are played, and the alto is usually accompanied in two parts; but when the following dashes yt ! tt are placed over the notes, they are played by one hand without accompaniment, whatever key may be marked. In choruses, tutti-passages, and symphonies (in forte or fortissimo), notes bedring these t t t , may be played with octaves in unison; this is not allowed in leading off a fugue; for example: No. 49. No. 51. No, 52. | I [ - I la A . i 3 3 5. &c dIIIf r r rr-r ? t-- (To be continued.) ERRATA IN LAST NUMBER. Page 395, No. 15, second bar, treble stave, second crotchets should be , not Page 396, No. 19, first bar, treble stave, E minim should be D. Page 396, No. 23, first bar, C sharp should be D sharp. - ' f f p A dash through a figure signifies the same as a sharp, and sometimes a contradicted flat; it therefore makes an interval major or augmented. A flat or a natural (when contradicting a sharp), placed before a figure, makes the interval minor or diminished. Reinark.-Prepared notes are not generally marked by accidentals, as the preparatory notes indicate the change. A straight stroke (-) placed after a figure signifies that the chord, or sometimes a part of it, is to remain in the right hand, until new figures occur, or until the notes under the strokes have ceased. A diagonal stroke inclining upwards from left to right (/- ), signifies that the fundamental note is an irre- gular passing note, and must be accompanied by the full chord of the note which follows; for example;- TO CORRESPONDENTS. A Young Professional, whose object is to ascertain how he may set about acquiring "a thorough knowledge of thorough bass, theory, and all that is necessary to make a perfect musician and com- poser,' is advised to place himself at once with a master capable of teaching him. If he requires books, he will find that Catel's " Treatise on Harmony," and Albrechtsberger's " Thorough Bass," contain all he can desi re to know. We cannot undertake to return offered contributions; the authors, there. fore, will do well to retain copies. tWe would request those who send us country newspapers, wishing us to read parlicular paragraphs, to mark the passage, by cutting a slip in the paper near it. Colored Envelopes aresent to all Subscribers whose payment in advance is exhausted. The paper will be discontinued where the Subscriber neglects to renew. We again remind those who are disappointed in getting back numbers, that only the muisic pages are stereotyped, and of the rest of the paper, only sufficient are printed to supply the current sale. Notices of concerts and other information supplied by our friends in the country, must be forwarded as early as possibleaftertheoccurrence, otherwise they cannot be inserted. Our correspondents must spe- cifically denote the date of each concert, for without such date no notice can be taken of the performance. All communications must be authenticated by the proper name and address of the writer; 413
Journal of Interdisciplinary History Volume 22 Issue 1 1991 (Doi 10.2307/204587) Review by - Patricia Herlihy - Politics and Public Health in Revolutionary Russia, 1890-1918by John F. Hutchinson Hea