J.G. Albrechtsberger's Collected Writings on Thorough-Bass, Harmony, and Composition, Ed. by I. Chevalier Von Seyfried, Tr. by S. Novello (Paperback)

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1855 edition. Excerpt: ...treble--or treble, alto, tenor--bass, tenor, alto--alto, tenor, bass; in a fourpart fugue--bass, tenor, alto, treble--or treble, alto, tenor, bass. These successions should occur alternately on the tonic and dominant; for example, in c: From this example, we perceive that when the first part commences on the tonic, the second must answer on the dominant, the third on the tonic, and the fourth on the dominant again; when the first part commences on the dominant, the second answers on the tonic, the third on the dominant, and the fourth on the tonic. Some fugue-subjects commence on the second, third, fourth, sixth, or seventh of the tonic; when this is the case, the answer must always be made a fifth above; that is, on the second, third, fourth, sixth, or seventh of the dominant; for example: --C major. Answer. Answer. Although the most beautiful effect is produced by answering the tonic by the dominant (fifth above or fourth below), and the dominant by the tonic, yet it is not necessary, in the commencement of a fugue in three or more parts, to employ at all times this repercussion, as the order of introduction is called. The following ten repercussions, in which the two first commencing voices are contiguous and the tonic answers the dominant, and the dominant the tonic, belong to the most usual and beautiful commencements of a fugue; for example: --No. 3. Treble, Alto, Bass, Tenor. No. 4. Alto, Treble, Tenor, Bass. No. 5. Alto, Treble, Bass, Tenor. No. 6. Alto, Tenor, Treble, Bass. No. 7. Alto, Tenor, Bass, Treble. No. 8. Tenor, Alto, Treble, Bass. No. 9. Tenor, Alto, Bass, Treble. No. 10. Tenor, Bass, Alto, Treble. No. 11. Tenor, Bass, Treble, Alto. No. 12. Bass, Tenor, Treble, Alto. The four following repercussions are more rarely used,