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THE MUSICAL TIMES.-FEBRUARY 1, 1861.THE MUSICAL TIMES,tntr ingitng alas Qitrcular.

FEBRUARY 1st, 1861.MOZART'SSUCCINCT THOROUGH-BASS SCHOOL.*

TRANSLATED PROM TIlE GERIIAN BYSABILLA NOVELLO.(Continuedfrompage 398.)THE OCTAVE.The octave is two-fold, amely: diminishedand perfect, 8 or48, and 8. Beneath thefirstis usuallyfigured heminor ixth,to whichmustbe added the minorthird n four-note hords.

Whentheperfect ctave standsalone, or followsa ninth r a seventh, third s added in three-note chords, nd a thirdand fifthn four-notechords; for xample:-No 39,,- I ., ,I- 1 I 111 I J L I I I LKIf0% -j . ye6ti f t75.534 ~ . 7o 27

with

6 6- &C5 9 5 4 3 7 5 9 5- 9 8): I If IH ,I .EF I I1'- - I,I I Ji I 1-14 i -1 " i ,j --i P -J l"'~ MaJor. ~ Mi~r:~MaJor.

1,J -J-HLL-$H-4'4u- J ? i,aJ-J-nf5 64 4 5 1I N 1 4 I ^9 _OBtter7 8'--J *11 *n-;-l-J11"iJ Hransient. Major ninth. Augmented.Remark.--When the fifths figuredwiththe sixth,( ; the sixthwiththeseventh,7 ; or theoctave withtheninth, ; whichoftenoccurs,especiallyon pedalnotes tasto olo), heseconsonantsound ike disso-nants, nd require oberesolved ydescending;forexample:-No. 41.[-, I I

I I'i 94 5[fl j G 4 3 4 5;J - p - - a I-.=_ I.p ,i rJ [r i ,, , , , --n- Diminislled Octaves.

A

Jt,cd , J Hl--e - - - ' 5 I -1w I-- ^ i -r -=U-"Perfect ctaves.

THE NINTH.ThLe inth s two-fold: minor ndmajor. Toboth belong a third nd a fifth; ometimes hethird s doubled nstead fthefifth. Bothninthsare prepared n the righthand by suspension,and are resolvedbydescending whole tone ora semitone.Remark.-Theminorninth s the nearestmajorsemitonebovetheoctave; themajorninth s thenearestwhole one bove heoctave.When heninthoccurs s a passingnote, hemajor eventhmaybetakenas a fourth art, nless hewholes played nthree-notehords. Thestudent eed notfearto useanaugmented9 with ,whichs only he ugmentedsecond. Somecomposers ake hemistake,lso, ofmarking he augmentedctave nsteadof theaug-mentednison. Thefollowingre ome xamples:-No. 40.

-5,,,- ' ,] d ' ,S.-.- 7-~-v------- - -.-7 6 6 5 6 -3 4 2 3 5 4 4 3

Remark.-A pedal noteis seldomfigured,nd is notto be accompaniednless igured.THE TENTH.The tenth is threefold-diminished, minor,andmajor; and isnothing lse than third bovetheoctave: therefore,ll that has been said re-specting hirds s applicableto tenths.IV.All chords have three movements,namely:directmovement,n which both hands descendor ascend; this s the worstmovement,s in itconsecutive octaves and fifths re prohibited.The contrarymovement,which s better,s pro-duced whenone hand ascendsand theotherde-scends. The oblique movement is producedwhenone hand moves,while the otherremainsstationary,nd is the best movement. Forexample:-No. 42.

movement.It is good in progressions ftheperfect ourthnlleprintedbypermission from Novello's Libraryfor thevof Musical Knowledge. Vol. IV.

411

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- -=?1-w-t-w--40 _ do S ks 14

2---- 1' I I I r ' I -I I I .

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THE MUSICAL TIMES.-FEBRUARY ,1861.ascending nd descending; ndinprogressionsofminorrmajor ixths,nascendingnly:-No. 43.

Remark.-In thedirectmovementt s allowable ousea concealed onsecutiveifthr octave,whentheupper artprogresses third,r the bass progressesan octave,fa melodyra preparationequiret; forexample:-No. 44.I~r

Every hord anbe takenn three ositionsntherighthandalone, xceptingndividedhar-mony,nwhich achhand akes woparts n afour-notehord,rwhen he eft andplayshreeparts,nd he ight and nly ne; for xample,aboveF:-No 45.

' Octave, Thlird,ifth osition. ctave, Tlhird,ifth osition.Thefirsthree re calledF major, hethreeothers minorhords. The sameruleappliestoall other ull ommonhords. Imperfectnddissonantlhordslsomay e takennthree osi-tions:the ixthbove, eneath,r nthemiddle;thefourthbove,beneath,r inthemiddle, c.;for xample:No.46.

I 6 #or 7 6 N.B.t' N.LB.L~l N.B.

Better.ood- --posit o-r-rBetter. Goodposition.7 6 7 6

Or high. or &C; .7 6 76 ;e i~ I: )trrrC I-il46Q:X4 s ^ J L _ 31 ,I - P- - -- - C- IIti P Cr Vj

9 S 5 9 8- . P rr ,r Ir II : '-, I oJ-'1- ~ J,ry adUJ J I IJvd"'i Ve-r r-6Very bad. Improved. Verybad.

-t#6 6 t7 17Improved.ad. Goor rImproved, Bad. Goodi.

6 (66 4 3 4 3 4 3

It is notwell, speciallyn fugueplaying,omovetheposition ftherighthandby eaps;brutfcourse t mustbe changedwhen he wohands retoonear ach other,r toofar part;also on a longbass note,or after pause; forexample-No.47.-& ._-'I---- 4.f4 d-Af_

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J6 9 6 6Too near. . 65Too near.

9 6 9 6 6- T_ o -? - -45

.t _Better. 6 66 6'l . 5 9 5 94Ii [F1 L L-g[- _- 5

IL-- IT i I I I

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I

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THE MUSICAL TIMES.-FEBRUARY 1, 1861.V.It is not necessaryto accompanyall funda-mentalnotesbyfour-notehords, speciallywhenthe bass lies high,and takes a tenor character;orwhenconsecutivefifthsre to be avoided; in

bothcases,someof thenotesmaybe accompaniedby three-notehords, ven when the passage isin fourparts; for xample -No. 48.

No. 50.

Whenthefollowing ign (- ) is placed overone or morefigures,hefundamental otesaretobe accompanied by three-notechords, as inNo. 51. A pointedcurve A) signifieshat hedi-minished ifthA, or t, or 6, is to be played infourpartswith third nd octave; as in No. 52.This sign s alsoplaced above 8, when hefunda-mentalnote is to be accompanied by a three-note chord, that is, without the third; as inNo. 53-

When the tenor s figured, hree-note hordsare played, nd the alto is usually ccompaniedin two parts; but when the followingdashesyt t areplaced over thenotes,they re playedby one hand withoutaccompaniment,whateverkeymaybe marked. In choruses, utti-passages,and symphoniesinforte orfortissimo), notesbedring hese t t t ,maybe playedwith ctavesin unison; this is not allowed in leading offfugue; for xample:No. 49.

No. 51. No, 52.| [I la A . i3 3 5. &cdIIIf rrrr-r?t--

(To be continued.)ERRATA IN LAST NUMBER.Page395,No. 15, econd ar, rebletave, econd rotchetshouldbe , not

Page 396,No. 19,firstar,treble tave,E minimhouldbeD.Page 396,No. 23,firstar,C sharp hould e D sharp.- 'f fpA dashthrough figure ignifies he same asa sharp, nd sometimesa contradictedflat; itthereforemakesan intervalmajororaugmented.A flatora natural when contradicting sharp),placed before figure,makes the ntervalminoror diminished.Reinark.-Preparedotes renotgenerally arkedbyaccidentals,s thepreparatoryotes ndicate hechange. A straighttroke-) placed fter figuresignifiesthat the chord,or sometimes partof t, sto remain in therighthand,until newfigures ccur,or until the notes underthe strokes ave ceased. Adiagonal stroke nclining upwardsfrom eft to right(/- ), signifiesthatthefundamentalnote is an irre-gular passingnote,and must be accompaniedbythefull chordof the notewhichfollows; forexample;-

TO CORRESPONDENTS.A YoungProfessional,hose bject s to ascertain owhe may etabout acquiring "a thorough nowledge f thoroughbass, theory,and all that is necessary to make a perfectmusician and com-poser,' is advised toplace himself t oncewith mastercapable ofteaching him. If he requires books, he will find that Catel's" Treatise on Harmony," and Albrechtsberger's ThoroughBass," containall he can desi e toknow.Wecannot undertake oreturn fferedontributions;the uthors,there.fore,will do well to retaincopies.tWe ould requestthosewho sendus countrynewspapers,wishingus toread parlicular paragraphs, tomarkthepassage, bycuttinga slipin thepaper near it.Colored Envelopes aresenttoall Subscriberswhose ayment nadvanceis exhausted. Thepaper will be discontinuedwheretheSubscriberneglects orenew. Weagain remindthosewhoare disappointed ngettingback numbers, hat only the muisic ages are stereotyped,and ofthe estofthepaper, only ufficientreprintedto supplythecurrent ale.Notices ofconcerts nd othernformationuppliedbyourfriends in thecountry,mustbeforwardedas earlyas possibleaftertheoccurrence,otherwisethey annot be inserted. Our correspondentsmust pe-cificallydenote he date of each concert,forwithout uch date nonoticecan be takenof theperformance. All communicationsmustbe authenticated by theproper name and address of thewriter;

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