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THE MUSICAL TIMES.-JANUARY 1, 1861.
THE MUSICAL
TIMES,
ent(
5in
g
tla00 eirtculat.
DECEMBER
1st,
1860.
MOZART'S
SUCCINCT THOROUGH-BASS SCHOOL.*
TRANSLATED FROM THE GERMAN BY
SABILLA NOVELLO.
(Continued from page 381.)
THE FOURTH.
The
fourth
is
three-fold;
the
diminished,
perfect,
and
augmented, b4
or
t4--4--4
4.
The first consists of two
major semitones,
and one
whole tone. The second or
perfect,
of two whole
tones,
and one
major
semitone. The
augmented,
of three whole
tones;
for
example,
over D
and Ct:-
No. 11.
t'4 4
a4
44 4
t_4
d r f f 1l-; ;
sJ
r
1st. 2nd, 3rd.
1st, 2nd, 3rd.
To the diminished is
usually
added the minor
sixth,
and then this sixth is doubled as fourth
part (see
No.
12).
Should the diminished fifth
be written above the
fourth,
the diminished sixth
may
also be used as fourth
part (see
No.
13).
Should an author wish a diminished seventh in
this
chord,
it must be marked
by
its figure
(see
No.
14):-
No. 12. No. 13.
1g cJ t[
J
Jr-I
I r
I
t
C':
j.
i
,
O
l I
v1-
r_
With the
perfect
fourth is also
played
the
perfect
fifth and
perfect
octave, especially
in
counterpoint
passages;
but in free
style,
the sixth is often taken
instead of the fifth. Good authors indicate this
sixth
by
its
figure;
for
example:-
No. 16.
4f-
lot4- 3
-
4 3 4 3
-
r t rz \
- f - B
V a or 6 5
^I
*r
l
vi,
-J
IIS^r
j
It
To the
augmented fourth,
when it is not
pre-
pared, belong
the
major
second and
major sixth,
or in minor
keys
the minor third instead of the
second;
this
third, however,
should be
indicated,
unless the bass
already
form a minor third
pro-
gression;
in which case it need not be
figured,
as
it
may
be known
by
the
progression
of the
bass,
(see example
marked
NB.).
When the
augmented
fourth is not
prepared,
it rises a semitone or whole
tone, as the bass descends into a sixth. Should
the fourth be
prepared,
it descends a
third,
while
the bass remains
stationary;
for
example:-
The sixth
may
be doubled with the
fourth,when
the
diminished,
instead of the
fifth
follows;
for
example:-
No. 15.
*
Reprinted by permission
from Novello's
Library
for
of Musical Knowledge. Vol. IV.
395
THE MUSICAL TIMES.-JANUARY 1, 1861.
THE FIFTH.
The
fifth
is
three-fold;
namely: diminished,
perfect,
and
augmented,
b5
or
t5,
5,
$5.
The
first consists of two whole tones and two
major
semitones;
the second of three whole tones and
one
major
semitone. The third of four whole
tones:-
1st, 2nd, 3rd.
I
bJ qJ
J
II
No. 18. bs 5 5
r
r- r
I-
To the diminished fifth
belong
the minor third
and mimor
sixth, when the bass ascends a
major
semitone;
which is the case in all sevenths in
major keys.
But when the bass makes a
pro-
gression,
which is no
passing
note,
then the fifth
is
accompanied by
the minor third and
perfect
octave,
and
may
be used on the second of a minor
key,
and also on the
major
seventh of a
major
key;
for
example
:-
No. 19.
G minor. F
major.
A minor.
^
I
,,/I
.
I
E minor.
1 I
9
Z b-I L Io
I
1
6 6 I
6
Il .X ,
a t .
l
IIa , r F 1 tI ,-- -F-.F-
-t-
rIt- j I
F
'
[-,
'
11
r"
'
i I
6y
-
l
I
11 a l
?
d a a I
3 4l
32
5
fi--
5--- 4 3 .5 3 5 3 5
,
..~--
f | r-l
BI,
To the
perfect
and
augmented
fifth
belong
the
octave and the
third;
also in certain cases the
doubled third. For
example:-
No. 20.
1st. 2nd. 3rd.
<th^,Z_
r- rt
Or
11=
No. 21. h
P6 O
6ffe
<-r
tr r
r
11
To the diminished
sixth,
which in
general
is
only
a
suspension
of the
imperfect
fifth in the
chord of the diminished
seventh, belong
the minor
third and the diminished
seventh;
or instead of
this
last,
the diminished
octave,
which is
again
only
a
suspension
of the diminished
seventh;
for
example
:-
No. 22.
T6 65 tF6 A'5 $
d
Jlr- r Jll;-U r r
JllT
The diminished sixth consists of three
major
semitones and two whole
tones;
for
example:-
No. 23.
, and so
:
e rm:
rrt
i
,
r
r
W forth.
To the minor and
major
sixth
belong
the
perfect
octave and a third
according
to the
scale;
but
very
often the third and the sixth itself
may,
and
must be
doubled,
when it is not the seventh of a
major key.
Remark.-When the bass note is the second of the
scale,
major
or
minor,
it is
usual,
with a
major
sixth,
to substitute the
perfect
fourth for the octave and
minor third;
for
instance,
above D in C
major
and
65
minor,
4G.
The augmented
sixth is seldom
accompa-
nied
by
the
octave,
but often
by
the doubled
major
third;
or instead of the doubled
third,
the
augmented
fourth,
or
perfect fifth;
for
example:-
No. 24.
*I - I
6 6
6'B- 'p
t66
6 5 t
_c
r r'
r,-iJ
- r-E
,B
inr sixths. Majr sixth.
i'
Minor sixths.
Major
sixths. i
THE SIXTH
The sixth is four
fold,
na
ely: diminished,
ininor,
major,
and
augmented,
6-6, 6
;;
for
example
:--
Remark.-When the
augmented
sixth is followed
by
a full common
chord,
or a
suspended fourth,
with 5,
8
8
for
instance,
5
,
it is not advisable to use the fifth,
as
4 3
consecutive fifths would
ensue;
unless the fifth is made
to descend into the
third;
for
example;-
-, . zx I _ - -- II - _- .PI
-
-t- --f---.
I I - I
I
I
L-
-
I I J a
396
G
major.
,,,j -_ rII &
- a I I ei
/
!I 11
I fat
THE MUSICAL TIMES.--JANUAnY
1,
1861.
-
. l, w 1 dJ- ,1- I 1 I
y
I
1 ii -r -n- i *'
- nr -
I 4-tC ~ __ ~
-
r- o
"
d-7r-= -^r T r
,
T" r
Ib
6 b t7
6 t
s4 t
X
r rr
2Lt U1H
rr
iH
*
with 5 With a suspended fourth.
3
The minor sixth consists of three whole tones
and two
major
semitones.
Example:-
No. 26.
--.r
rTu
ri
r l r
rr
v -
;
-
I I
G
0
6 7
5
7 6
H
rI
--,U-Fr lrJr
[-%=
-
J
rI, -
~
Improved.
Bad.
Improved.
In the above
examples,
No. 31 shews the second
fifth
diminished, being
in the
major
sixth chord
in the
right
hand. No. 32 shews the fifth
perfect,
and therefore
erroneous;
for a
perfect
fifth
may
not follow a diminished
fifth,
although
a dimi-
nished fifth
may
follow a
perfect
one:-
No. 33.
L/. I I
gc r t4 j r a 10- it
H-
I I-?" d"pS74
6
4
6
!1
rcrSJr
r r
|J
J
|HH-J=L
r
11
'
Bad.
,\n
I I
Improved.
Allowable.
The
major
sixth consists of four whole tones
and one
major
semitone.
Example
:-
No. 27.
J ; o
~-i
r
r"
r
r
l
n
rr r
'
I
:
The
augmented
sixth consists of five whole
tones.
Example
:-
No. 28.
i
,
r-rPt
lli r r rtn ' I
I I
Bemark.-When
many
sixths follow each
other,
it
is usual to
play
them in three-note chords without the
octave, particularly
in
quick time;
for
example:-
No. 29.
k- N _ N . 1 I,
1- 44y
a
--
I I
j 11 -I
d
--i
1I(-(q~):
I
J
-I !!
!,PF 1~'
It/' t-
" - -
4 - ?' i
" "
6 6 -
,
6 6 666 66666 5
4V, I rr
Remark.-Accidental
major sixths, thirds,
and tenths
must not be doubled
(especially
in the
highest part)
when
they
are the
leading
note,
as is
generally
the
case. Neither
may
the octave of the findamentalbass
be doubled
(which may easily
occur in a minor sixth
chord)
as the fundamental note would be an
augmented
interval. The
following
are
examples
:-
No. 30. No. 31.
.
Bad . I
1 Bad. ,
IIJ
I "
4 I
11
i
J
1-
-6 d
6 I
v6
#
' -N 3 Ja
r
-Id
r
r
r
- -
Bad. Improved. B ad.
6v
-
:
.
-
:
..1..
t
,, ~, ,
rl
1 Bad. Good in
passing.
THE SEVENTH.
The seventh is three-fold-diminished, minor,
and
major:
1t7
or
t7,
7, t7.
No. 34.
The first consists of b
three whole
tones,
and
three
major
semitones.
b
r
b
&c.
Example:-
#J
No. 35.
The minor seventh b
-
,
-
consists of four whole
tones,
and two
major
7 7
&c.
semitones.
Example:-
:
i
--
,
No. 36.
The
major
seventh
'
r t
consists of five whole
tones,
and one
major
__
7 T &c.
semitone.
Example:--
I
1 b
--
-
To all three
sevenths,
whether
suspensions,
passing
notes,
or
unprepared,
belong
a third and
fifth
according
to the scale; or the
perfect octave,
instead of the
fifth,
and a
third,
or a
doubled
third.
Remark.-Minor and
major thirds,
minor and
major
sixths,
perfect
fifths, perfect
fourths,
and
major seconds,
may
all be doubled,
when
they
are not the
leading
note.
The third is
usually
doubled in a'chord of the
6,
or
7:
the sixth is doubled in a chord of the
4
or 6: the
perfect
fifth in a chord of the fifth: the
perfect
fourth
in a chord of
6
: the
major
second in a chord of
The
doubling
of intervals is
necessary,
to avoid con-
No. 25.
Good.
I
Bad.
I
Bad.
I
Ir Q
-,
I I ,I
n i i . 1 J i J n
_1-H t
r
"
r
6
t L: iI I R- ",
-
~ ~ ~ ~ ~ ~ ~ -
-
lr d 7 -
-
I - --r
, o . .. iI ... . . , ..
,} G I I A . .
~A
I- 1 r 1
i I
-! I 1-
.-,r I
-
km--
I _ f I
,, -- r . r-
it 4i
r
-
d-t;~ 1?' -
I
-l 1
I -
-
I .
IF
. . . I - I i
-' I
I
f I .
I
-f
I
397
t (
I
-11 ..^-
- -
. u _
I
.
0 I
I
I I ,.
T,- .
.-1
-0-1
I J - II
I
THE MUSICAL TIMES.-JANUARY
1,
1861.
secutive fifths and
octaves,
as will be seen in the six
hazardous
progressions
(see
chapter vii),
and other
examples.
All three sevenths are
prepared
in the
right
hand
by suspension,
and are resolved
by
descend-
ing
a semitone or a whole tone. When a
major
or minor
seventh is not a
suspension,
it is
accompanied
with a
major
second
(which
is
usually figured
with
it),
and the
perfect fourth,
and is resolved
by ascending
to the
octave, as
O ?. See the three
examples
in D minor:-
No. 37.
with 5 with 5
laeL
- J
T-l ri8
o wlh.a k4. J[T 7TI
TO CORRESPONDENTS.
We cannot undertake to return offered contributions; the
authors,
there
fore,
will do well to retain
copies.
We would
request
those who send us
country newspapers, wishing
us to
read
particular paragraphs,
to mark the
passage, by cutting
a
slip
in the
paper
near it.
Colored
Envelopes
are sent 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
possible after theoccurrence,
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 mus.
be authenticated
by
the
proper
name and address
of
the writer
7 6 * 7 6
'
*Diminished sevenths.
* Minr sevenths. '1 ?FI~~ Diminished seveiiths. * Minor sevenths.
with 8
5
with 3
3
or
*7
6
or
7 6
[-
* Minor sevenths.
*
Minor sevenths.
Better five-note $
chords with 5
3
in
-
ti
-I
4r ,"
F
-
1? I r
jl
i -J |d _||I
\ Minor and transient sevenths.
Remarkl.-The transient
seventh,
in all
keys,
is
that which occurs on the
dominant,
or natural fifth
note above the
key note,
with the
major
third and
perfect
fifth and octave:-
No. 38.
-
Jb
*1-:I,j|
I L GI
Major suspensions.
I I 1 I
I 1 1
#8
#&
#5t
8 7S
Unprepared major sevenths.
t"2 Unprepared major sevenths.
1|2
1 J _l
rJI-H J -
.
.
1
. . (, , 1 1 11
.
-
r
- -
r ' I v_.LL.J,i J
I ,'- I
6b r
-
r6
5 4
4 8
83-
7 8 7
5 6 2 3 3 --
65 43
Unprepared minor
Sevenths with
l
N.B. Transient sevenths.
briff throntcle of the last MIonth.
BASFORD.-The Messiah was
recently performed
at this
place
in the National School
by
the Basford Choral
Society.
Independently
of the local
talent,
the vocal
performers
who assisted were Miss
Bellot,
and Messrs.
Adcock,
Smedley,
and
Essex,
who
sung
with much effect. The
choruses were well sustained.
BATH.-Handel's oratorio Saul was
performed
on the
18th of
Dec.,
at the
Assembly Rooms,
by
the Bath Choral
Society,
assisted in the solo
department by
Miss E.
Spiller,
Miss
Macfarlane,
Mr.
Yates,-
Mr.
Cockrane,
and Mr.
Henry Phillips.
The
organ
was
played by
Mr.
Field,
and
Mr. Macfarlane was the conductor. The solo music was
admirably sung,
and the chorus and
band, consisting
of
120
performers
were
altogether
efficient and well
kept
together.
BRENTWOOD,
ESSEx.-The members of the Harmonic
Society
in the above town
gave
their last concert for the
season on the 11th of December. It consisted
entirely
of
secular
music, including
several
madrigals.
The
principal
soloists were Misses
Bartington,
Matz, and
Gouges.
The
concert was conducted
by
Mr. Arthur
Henry Brown,
organist
of Brentwood.
BURY.-The third
monthly meeting
of the
Apollo
Glee
Club was held on the 5th
ult.,
under the
presidency
of
Mr.
George
Lomax;
Mrs.
Brooke,
of
Manchester,
at-
tended in addition to the members of the
club,
and took
part
in the
glees,
which were well
performed.
Mr. W.
Leeming presided
at the
pianoforte.
CHELTENHAM.-On
Sunday
the 9th
ult.,
a new
organ,
just completed
for St.
Philip's
Church
by
Mr. H. Williams
of this
town, (late
of Messrs.
Gray
and
Davidson's)
was
opened by
Mr. J. O.
Smith, organist
of Christ Church and
the
College Chapel.
The instrument was
greatly
admired.
CLIFTON.-Mrs.
King,
a local
artiste, gave
a concert
at the Fine Arts
Academy,
on the 3rd of December last.
The
lady acquitted
herself to the satisfaction of her ad-
miring friends,
and was assisted
by
Mr.
Merrich,
of the
cathedral
choir,
and several
gentlemen
amateurs, who
rendered some
part songs
in a
very
efficient manner.
CROYDON.-Mr. Winscom's
evening
concert took
place
in the Public Hall at
Croydon,
on the 28th of November.
The vocalists were the Misses
Chirton,
Miss
Seymour,
and Messrs.
Cox, Fluit,
Lindon and the
Croydon
Choral
Society.
The
music,
which was of a miscellaneous nature,
was well
performed.
Miss Nichols
accompanied
on the
organ,
and Mrs. Winson on the
pianoforte.
Mr. Winston
was the conductor.
DovER.-The first concert of the Dover Choral
Society,
which was formed a few months
ago,
took
place
at the
Wellington
Hall,
on
Monday,
the 17th of December. The
object
of the
society
is the cultivation of vocal music,
both sacred and secular,
and
already
numbers about 70
members. It is under the direction of Mr. Barfield, who
has taken much
pains
in
practising
the
singers.
At this
concert the first
part
was selected from the Messiah,
and
(Continued
on
page 403,)
398
1
1--w'r
I
r
-
j
8.
Ii
a
J
'-tr, I 8
11
r ,-:l-
4
I -I H
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J
e I I
?Y 41~ 6 I
'
' ..e !
- - v -,
I-r- "J ; 1 _w
IWJ j <71 I ,?D
F- -
rJ I
O
--
rab:
I I
:
ll
, I
-
i 1 4-_-
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I I 11
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I 11i---L -
I .-
!I
1-
(To
be
continued.)