staff notation) acquaint themselves with thoroughbass by first setting works `in their customary letter tablature, and see for themselves therein how it agrees with the basso continuo in every respect'.
Arnold prefaces his authoritative The art of accompaniment from a thoroughbass by stating his view that `a chordal accompaniment on a keyed instrument .
62, based on the translation and commentary in Arnold, The art of accompaniment from a thoroughbass, pp.
14) These harmonizations of a treble covering an octave by steps are, in a way, precursors of the harmonizations of bass octave scales found in Baroque thoroughbass treatises, and known as 'rules of the octave'.
The prevailing approach to chordal composition in the 17th century can be found in thoroughbass treatises, and these rely frequently on the same principles outlined in the Arte.
Schneider notices that Santa Maria's approach is based on the same principles that would later become the foundation for thoroughbass playing, stresses Santa Maria's use of vertical sonorities and of a soprano-bass structure filled in by inner voices, and outlines the technique of 'playing in consonances'.
The 'rule' became a standard device in 18th-century pedagogies of thoroughbass and improvisation.
The second part teaches thoroughbass
according to the intervals appearing between the bass notes (including diminished fourths and fifths) and the direction in which they proceed.
In her introduction the translator and editor sets this essay within the context of Daube's surviving prose works, suggesting its place as the second volume in what she sees as his major achievement, a four-part series (probably written in Vienna between 1770 and 1773, she believes, but only partially published then) that was designed to take the amateur composer from the principles of thoroughbass
to the composition of large pieces.
Fux, Johann David Heinichen, Jean-Philippe Rameau, Friedrich Wilhelm Marpurg, Johann Philipp Kirnberger, and Heinrich Christoph Koch, pertinent material is found in counterpoint tutors, thoroughbass manuals, critical essays, and speculative treatises as well as volumes devoted specifically to explanations of form and compositional technique.
Some device for guiding us through an eighteenth-century labyrinth of theoretical exposition, pedagogical injunction, and polemical debate is necessary, and Lester chooses to frame his discussion in terms of three theoretical traditions, separable in principle though typically overlapped in practice: counterpoint, thoroughbass, and harmony.
He shows how certain passages in Fux's Gradus ad par-nassum may be read as syntheses of contrapuntal and triadic points of view; traditional thoroughbass constraints become apparent as a factor in Rameau's determination to rationalize conchordal dissonance; and we see how idiosyncrasies in later eighteenth-century counterpoint and thoroughbass methods underscore the ubiquitous influence of fundamental-bass perspectives.
Following Danuser's introduction of sixty-four pages come three chapters of about sixty pages each: on medieval music through the thirteenth century (by Thomas Binkley), music between 1300 and 1600 (by Lorenz Welker), and music of the thoroughbass
period, 1600 to 1760 (by Silke Leopold).