Figured Bass Exercises
99 Songs, Arias, Recitatives, Chorales and Instrumental Pieces with Figured Bass
[org(hps)]
Description
The material contained in this volume is, as far as possible, arranged in progressive order. The three sections into which the work is divided correspond roughly to an elementary, an intermediate and an advanced stage of instruction. All the exercises, with the exception of the preliminary exercises, are excerpts from original compositions of the thorough-bass period; the majority of the chorales has been taken from old collections. The exercises should be carried out in accordance with the following principles:
- Chorales are played strictly in four parts; the given melody is always the topmost voice. The four-part texture includes the possibility that on occasion two voices may arrive at a simultaneous unison, so that in actual fact only three keys will in that case be depressed. On rare occasions, chords that demand five parts may be called for in chorales. (In this volume, chorales are distinguished by being printed with continuous bar-lines extending across both staves of each system.)
- Recitatives are normally performed in three to four parts. As the vocal line should not be duplicated in the accompaniment, the top line of the latter is determined in an easy and natural way by the smooth linking of the chords. The contour of the vocal line can from time to time provide the skeleton for the progress of the accompaniment’s top line.
- The accompaniments of instrumental pieces, songs and arias is in anything from two to many parts; the number of parts used can also vary during the course of a piece. In the case of rapidly-moving individual parts, a thinner texture is recommended, whereas calm harmonic progressions and isolated chords can be played more fully.
Good continuo style does not, however, consist of a plain succession of chords, but includes passages in which the part-writing results in an emphasis on the horizontal aspect, and in which the separate parts can acquire a certain individual Iife of their own by virtue of their rhythmic independence. - The exercises contained in this volume should be played on a keyboard instrument. Beginners are, however, recommended in addition to work out occasional ones of the problems on paper.
Since a secure feeling for style and a thorough knowledge and understanding of Baroque keyboard writing is essential for good continuo playing, the student is recommended not only to play original Baroque keyboard music, but also to study already-realized figured-bass parts and to play such parts frequently. The more recent collected editions of the important composers of the thorough-bass period include continuo parts that are, almost throughout, model examples of the art of continuo realization.
EB 6620
EAN: 9790004168400
76 pages / 27 x 19 cm / 228 g / stapled
Description
Description
The material contained in this volume is, as far as possible, arranged in progressive order. The three sections into which the work is divided correspond roughly to an elementary, an intermediate and an advanced stage of instruction. All the exercises, with the exception of the preliminary exercises, are excerpts from original compositions of the thorough-bass period; the majority of the chorales has been taken from old collections. The exercises should be carried out in accordance with the following principles:
- Chorales are played strictly in four parts; the given melody is always the topmost voice. The four-part texture includes the possibility that on occasion two voices may arrive at a simultaneous unison, so that in actual fact only three keys will in that case be depressed. On rare occasions, chords that demand five parts may be called for in chorales. (In this volume, chorales are distinguished by being printed with continuous bar-lines extending across both staves of each system.)
- Recitatives are normally performed in three to four parts. As the vocal line should not be duplicated in the accompaniment, the top line of the latter is determined in an easy and natural way by the smooth linking of the chords. The contour of the vocal line can from time to time provide the skeleton for the progress of the accompaniment’s top line.
- The accompaniments of instrumental pieces, songs and arias is in anything from two to many parts; the number of parts used can also vary during the course of a piece. In the case of rapidly-moving individual parts, a thinner texture is recommended, whereas calm harmonic progressions and isolated chords can be played more fully.
Good continuo style does not, however, consist of a plain succession of chords, but includes passages in which the part-writing results in an emphasis on the horizontal aspect, and in which the separate parts can acquire a certain individual Iife of their own by virtue of their rhythmic independence. - The exercises contained in this volume should be played on a keyboard instrument. Beginners are, however, recommended in addition to work out occasional ones of the problems on paper.
Since a secure feeling for style and a thorough knowledge and understanding of Baroque keyboard writing is essential for good continuo playing, the student is recommended not only to play original Baroque keyboard music, but also to study already-realized figured-bass parts and to play such parts frequently. The more recent collected editions of the important composers of the thorough-bass period include continuo parts that are, almost throughout, model examples of the art of continuo realization.
Table of contents
| 1. | Nun Gott Lob, es ist vollbracht |
| 2. | Alle Welt, was lebt und webet |
| 3. | Auf meinen lieben Gott |
| 4. | O wie selig seid ihr doch, ihr Frommen |
| 5. | Machs mit mir, Gott |
| 6. | Nun laßt uns Gott dem Herren danksagen |
| 7. | Wie der Hirsch im großen Dürsten |
| 8. | Frohlockt mit Freud, ihr Völker all |
| 9. | Nun ruhen alle Wälder |
| 10. | Jesus meine Zuversicht |
| 11. | Gen Himmel aufgefahren |
| 12. | Herzliebster Jesu, was hast du verbrochen |
| 13. | Gott des Himmels und der Erden |
| 14. | Ermuntert euch, ihr Frommen |
| 15. | Warum sollt ich mich denn grämen |
| 16. | Rezitativ aus der Oper Croesus |
| 17. | Rezitativ Nr. 24 aus der Johannes-Passion |
| 18. | Rezitativ aus La Gerusalemne liberata |
| 19. | Rezitativ aus dem Passionsoratorium |
| 20. | Rezitativ Nr. 22 aus dem Weihnachtsoratorium |
| 21. | Rezitativ Nr. 20 aus dem Weihnachtsoratorium |
| 22. | Rezitativ Nr. 25 aus dem Weihnachtsoratorium |
| 23. | Das träge Fleisch |
| 24. | O du Liebe meiner Liebe |
| 25. | Der Augen Schein, sein Schmerz und Pein |
| 26. | Die Liebesglut verkehrt den Mut |
| 27. | Aus der Kantate Ich sehe an alles Thun |
| 28. | Der fröhliche Ausgeber |
| 29. | Casta placent superis |
| 30. | Ciacona (Thema) aus der Sonate d-moll für Violine und B.c. |
| 31. | Sarabande aus der Sonate F-dur für Violine und B.c. |
| 32. | Sarabande aus der Sonate d-moll für Violine und B.c. |
| 33. | Allegro aus der Sonate d-moll für Flöte und B.c. |
| 34. | Lobe den Herren, o meine Seele |
| 35. | Fröhlich soll mein Herze springen |
| 36. | Jesu, deine Liebeswunden |
| 37. | Mein Jesu, dem die Seraphinen |
| 38. | Ach, daß nich die letzte Stunde |
| 39. | Auferstehung Gottes, du wirst sein |
| 40. | Ich steh' an deiner Krippen hier |
| 41. | Es ist vollbracht! Vergiß ja nicht |
| 42. | Rezitativ aus der Kantate Dennoch bleib ich stets an dir |
| 43. | Rezitativ aus der Oper L'inganno fedele |
| 44. | Rezitativ Nr.60 aus dem Weihnachtsoratorium |
| 45. | Rezitativ Nr.34 aus dem Weihnachtsoratorium |
| 46. | Rezitativ aus der Kantate Ach stirb, mein Herz |
| 47. | Rezitativ Nr.4 aus der Johannes-Passion |
| 48. | Rezitativ Nr.57 aus der Johannes-Passion |
| 49. | Rezitativ aus der Kantate Nr.176 |
| 50. | Der Kuß |
| 51. | An den Schlaf |
| 52. | Air |
| 53. | Air en Menuett |
| 54. | Ich freu mich |
| 55. | Pandorens Brust erstickt die Lust |
| 56. | Der Freund |
| 57. | Der junge Citronat |
| 58. | Adagio aus der Sonate g-moll für Flöte und B.c. |
| 59. | Adagio aus der Sonate A-dur für Violine und B.c. |
| 60. | Allegro aus der Sonate D-dur für Violine und B.c. |
| 61. | tz aus der Sonate C-dur für Violine und B.c. |
| 62. | Cortesemente aus der Sonate A-dur für Flöte und B.c. |
| 63. | Corrente (1.Teil) der Sonata da comera op. 2,2 für 2 Violinen und B.c. |
| 64. | tz aus der Sonate D-dur für Violine und B.c. |
| 65. | Allegro aus der Sonate B-dur für Blockflöte und B.c. |
| 66. | Herr, bin ich's, Chor aus Nr.15 der Matthäus-Passion |
| 67. | Eins ist not! Ach Herr, dies eine |
| 68. | Dich bet' ich an, mein höchster Gott |
| 69. | Nicht so traurig, nicht so sehr |
| 70. | Herr, nicht schicke deine Rache |
| 71. | Ich freue mich in dir |
| 72. | O Welt, ich muß dich lassen |
| 73. | Jesu Kreuz, Leiden und Pein |
| 74. | Dies hat er alles uns getan |
| 75. | Rezitativ aus der Kantate Nr.67 |
| 76. | Rezitativ aus der Kantate Nr.67 |
| 77. | Rezitativ aus der Kantate Nr.81 |
| 78. | Aus dem Rezitativ Nr.71, Matthäus-Passion |
| 79. | Aus dem Rezitativ Nr.32, Matthäus-Passion |
| 80. | Rezitativ Nr.18 aus der Johannes-Passion |
| 81. | Rezitativ Nr.30 aus der Johannes-Passion |
| 82. | Rezitativ Nr.43 aus der Johannes-Passion |
| 83. | Rezitativ Nr.47 aus der Johannes-Passion |
| 84. | Arie (1.Teil) aus L'inganno fedele |
| 85. | Arioso aus Die Auferstehung des Lazarus |
| 86. | il der Arie Ach wie süß aus der Kantate Mein Gott, warum hast du mich verlassen? |
| 87. | Aus Aria con Coro Nr.60, a.d. Johannes-Passion |
| 88. | Arioso aus der Kantate Nr.81 |
| 89. | Arie Nr.6 (1.Teil) aus Kantate Nr.211 |
| 90. | Presto (1.Teil) aus der Sonate für Flöte und B.c. |
| 91. | Siciliana aus der Sonate F-dur für Blockflöte und B.c. |
| 92. | Adagio aus der Sonate g-moll für Violine und B.c. |
| 93. | il aus dem Vivace der Sonate F-dur für Blockflöte und B.c. |
| 94. | Allegro (1.Teil) aus der Sonate a-moll für Flöte und B.c. |
| 95. | Laß ihn kreuzigen, Chor aus Nr.54, Matthäus-Passion |
| 96. | Arie Nr.15 Frohe Hirten, eilt (Ritornell) aus dem Weihnachtsoratorium |
| 97. | Arie Dein Blut, so meine Schuld streicht aus der Kantate Nr.78 |
| 98. | Arie Zion hört die Wächter singen (Ritornell) aus der Kantate Nr.140 |
| 99. | Arie Beglückte Herde, Jesu Schafe (Ritornell) aus der Kantate Nr.104 |