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The Indugio
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Abstract
court musicia ns in centra l europe wrote several major treatises during the 1750s and early 1760s. Those of Repel (1752, 1755, 1757, 1765) are still significant for their descriptions of compositional practice.1 The flute treatise of Quants (1752), the keyboard treatises of C. P. E. Bach (1753, 1762), and the violin treatise of Leopold Mozart (1756) are important for detailing performance practice.2 And the thoroughbass treatise of Johann Friedrich Daubed (1756) is valuable as a sign that gallant simplifications of musical syntax had begun to influence conceptions of the tonal system.3 Dauber’s General-Bass in dray Accordion [Thoroughbass in Three Chords] drew attention, as Rameau had earlier in France (1722), to the central roles of three distinct sonorities: a 6/5 chord above @ in the bass, a seventh chord above ®, and a simple triad above CD. Though Daube oversimplified galant practice for his readership of amateur musicians, as we saw in chapter 11, it is nevertheless true that one can produce a typical galant cadence using only these three sonorities:
Title: The Indugio
Description:
Abstract
court musicia ns in centra l europe wrote several major treatises during the 1750s and early 1760s.
Those of Repel (1752, 1755, 1757, 1765) are still significant for their descriptions of compositional practice.
1 The flute treatise of Quants (1752), the keyboard treatises of C.
P.
E.
Bach (1753, 1762), and the violin treatise of Leopold Mozart (1756) are important for detailing performance practice.
2 And the thoroughbass treatise of Johann Friedrich Daubed (1756) is valuable as a sign that gallant simplifications of musical syntax had begun to influence conceptions of the tonal system.
3 Dauber’s General-Bass in dray Accordion [Thoroughbass in Three Chords] drew attention, as Rameau had earlier in France (1722), to the central roles of three distinct sonorities: a 6/5 chord above @ in the bass, a seventh chord above ®, and a simple triad above CD.
Though Daube oversimplified galant practice for his readership of amateur musicians, as we saw in chapter 11, it is nevertheless true that one can produce a typical galant cadence using only these three sonorities:.