Teaching Figured Bass with Keyboard Chorales and C. P. E. Bach's Neue Melodien zu einigen Liedern des neuen Hamburgischen Gesangbuchs (1787)

Bach ◽  
2018 ◽  
Vol 49 (2) ◽  
pp. 205 ◽  
Author(s):  
Remeš
Keyword(s):  
Figured Bass

Automatic Chord Labelling: A Figured Bass Approach

2020 ◽  
Author(s):  
Yaolong Ju ◽  
Sylvain Margot ◽  
Cory McKay ◽  
Ichiro Fujinaga
Keyword(s):  
Figured Bass

Figured Bass Accompaniment in France

2002 ◽  
Vol 88 (2) ◽  
pp. 442
Author(s):  
Jean-Paul Montagnier ◽  
Robert Zappulla
Keyword(s):  
Figured Bass

Missa Superba

10.31022/b003 ◽  
1967 ◽  
Author(s):  
Johann Caspar Kerll
Keyword(s):  
Good Representative ◽  
High Esteem ◽  
Figured Bass

The Viennese composer Johann Caspar Kerll (1627–93) was well-known for both his sacred and secular music, writing keyboard toccatas and canzonas, instrumental sonatas, operas, sacred concertos, and masses. Trained in the Italian concertato idiom by Carissimi in Rome, his masses especially were held in high esteem. Sixteen of these works survive, the earliest (a Requiem composed in the old style) dating from 1669. The Missa Superba—scored for eight vocal parts with the accompaniment of two violins, four trombones, organ (presented with realized figured bass in the edition), and violone—is first mentioned in an inventory of 1674. It is a good representative of his concertato writing, based on a strong developmental technique. Though the listing of voices in the partbooks does not suggest grouping them into two choirs, the frequent antiphonal writing throughout the mass substantiates such a distribution.

Cantatas and Canzonets for Solo Voice, Part 1

10.31022/b014 ◽  
1972 ◽  
Author(s):  
Giovanni Legrenzi
Keyword(s):  
Basso Continuo ◽  
Religious Music ◽  
Printed Music ◽  
Figured Bass ◽  
The Many

Giovanni Legrenzi (1626–90) was most famous for his operas in his own day, though only five are known to survive, all in manuscript form. His printed music includes the greater part of his religious music (nine collections ranging from works for instruments and chorus to motets for solo voice and basso continuo) and his shorter secular works (six collections of sonate da chiesa and da camera for two to six soloists with continuo). The present edition is of his Cantate e Canzonette, opus 12, printed in 1676. Twenty-four works for solo voices with continuo are included, twelve for soprano or tenor, six for alto, and six for bass. The cantata forms used by Legrenzi in this collection are similar to short operatic scenes. Of particular interest are the many arias which open with a secco recitative section before moving to an arioso style near the close. A realization of the figured bass line is provided in the edition.

The slur in figured bass

Early Music ◽  
1979 ◽  
Vol 7 (1) ◽  
pp. 141-a-142
Author(s):  
JOHN WEALE
Keyword(s):  
Figured Bass

PARTIMENTO FUGUE IN EIGHTEENTH-CENTURY GERMANY: A BRIDGE BETWEEN THOROUGHBASS LESSONS AND FUGAL COMPOSITION

2008 ◽  
Vol 5 (1) ◽  
pp. 51-74 ◽  
Author(s):  
BRUNO GINGRAS
Keyword(s):  
Eighteenth Century ◽  
Common Language ◽  
Missing Link ◽  
Harmonic Progression ◽  
Figured Bass ◽  
The Way

ABSTRACTThe pervasiveness of thoroughbass in eighteenth-century German musical pedagogy is illustrated by the way that it extends from continuo realization exercises and chorale harmonizations to complete fugues. This article seeks to demonstrate how partimento fugue can be construed as the missing link between thoroughbass exercises and fully fledged keyboard fugues, by expanding on ideas first advanced by William Renwick. Through an examination of partimento fugues from J. S. Bach’s Precepts and Principles, Handel’s Lessons for Princess Anne, the Langloz manuscript and Heinichen’s Der General-Bass in der Composition, this study outlines a progression from basic realization exercises, in which the emphasis lies on the recognition and execution of continuo figures, to advanced recomposition assignments in which the performer is expected to project a rich contrapuntal texture from a simple figured-bass line, a task which is crucially dependent on the ability to memorize and reuse thematic material. The pedagogical value of partimento fugues also hinges on the acquisition of commonplace patterns such as the scalar descent and the harmonization of a chromatic line in alternating thirds and sixths. Although these patterns are often merely implied, they are found repeatedly in specific musical contexts, suggesting that they may function as generative melodic lines from which the composer derived both the harmonic progression and the underlying bass line, in a striking reversal of the standard compositional paradigm proposed by eighteenth-century theorists such as Niedt. Finally, the occurrence of these formulas in thoroughbass exercises, as well as in masterpieces such as J. S. Bach’s Well-Tempered Clavier, points to their ubiquitous character and demonstrates that they were part of a common language shared by many German composers of the period, thus emphasizing the need for an increased familiarity with the German partimento repertory and its conventions.

Again: Figured Bass as Improvisation

1969 ◽  
Vol 41 (3/4) ◽  
pp. 236 ◽  
Author(s):  
Fritz Ober Doerffer
Keyword(s):  
Figured Bass
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