Johann Sebastian Bach - booksnow.scholarsportal.info

34^APPENDIX.3. A borrowed chord is one which consists of species other than theordinary ones, being placed over a fundamental note, as for instance,66657g4» 3. 5, 4. 5> 7. &c-2638334. A jjor 7 alone over a note shows that the third is to be major inthe case of a f and minor in the case of a I?, the other two speciesremaining the same.5. A 5 alone, as also an 8, betokens the full chord.6. A 6 alone may be filled up in three ways, ist, with the 3 and 8;2nd, with the doubled 3; and 3rd, with the doubled 6 and the 3.N.B.—Where 6 major and 3 minor occur together over a note, the sixthmay not be doubled, because it would sound wrong; but the 8 and 3must be played instead.7. 2 over a note is accompanied with a doubled fifth, and sometimesalso with 4 and 5 together; not seldom also — [here Bach seemsto have intended to add something, for which he left an empty spacein the book].8. The ordinary 4, especially when followed by a 3, is accompaniedwith the 5 and 8, but if there is a stroke through it the 2 and 6 areplayed with it.9. The 7 is accompanied in three ways: ist, with the 3 and 5;2nd, with the 3 and 8 ; and 3rd, with the doubled 3.ID. The 9 appears to have a similarity to the 2, and indeed by itselfit is the 2 doubled, but it is accompanied in quite a different wayviz. : by the 3 and 5 ; instead of the 5 the 6 is put sometimes, but veryrarely.11. The ^ takes the 6 as well, and sometimes the 5th in its place.12. With the ^ the 8 is taken, and the 4 resolves into the 3.13. With the the 3 is taken, whether it be major or minor.14. With the 7 the 3 is taken.With the ^ the 3 is taken.It;.J7The other points which ought to be remembered are better conveyedby word of mouth than in writing,XIV.(Ante p. 133.)Joh. Phil. Kirnberger's Elucidations of the third part of the" Clavieriibung."^^Analysisof several modulations and transpositions which occur in Herr Joh.Seb. Bach's hymns.^ Compare Kunst des reinen Satzes IL, i, p. 49.