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2017 Patricia Carpenter Emerging Scholar Award J. S. Bach’s : Reconstructing Eighteenth-Century German Figured- Pedagogy in Light of a New Source Derek Remeš

In a recent study by Robin A. Leaver, the Sibley Choralbuch (Rochester, NY) was re-identified as likely stemming from J. S. Bach’s students in Dresden from around 1730–40 (2016). The manuscript contains 227 figured-bass chorales— with single figured basses—and thus matches the first part of C. P. E. Bach’s description of his father’s teaching method, where students first received a figured-bass and added two inner voices. Later, students composed their own basses and figures. Here, the plural “basses” is significant, because several “multiple-bass” chorale sources have also come to light in recent years, many stemming from J. S. Bach’s students, Kittel and Kirnberger, who discuss this technique in their treatises. These sources suggest that a little-known, keyboard chorale tradition also played an important role in Bach’s pedagogy. The present article attempts to reconstruct this pedagogical process using contemporaneous German sources.

For as much as we admire J. S. Bach’s , we know relatively little about how he taught composition. One thing we do know is that Bach began instruction with figured- bass chorales. Bach’s chorale harmonizations are still part of the curriculum today, but they are usually used to teach harmonic analysis, not composition—that is, we use the same materials (chorale melodies), but to different ends. Thus, developing a clearer understanding of Bach’s pedagogical methods can inform modern-day pedagogy. But since very few pedagogical resources by Bach are available for study, inferences must be made from writings by his students and contemporaries.1 Fortunately, new manuscripts from Bach’s circle of pupils have recently come to light, promising further clues.2 Among these new sources is the Sibley Choralbuch, rediscovered and assessed anew by Robin A. Leaver (2016). Contrary to Philipp Spitta and Hans-Joachim Schulze’s earlier appraisals, Leaver argues convincingly that the Sibley manuscript is indeed the lost Choralbuch that Breitkopf listed for sale in 1764. The description of the Choralbuch in Breitkopf’s original catalogue reads: “Complete choral book with figured basses for

1 Einige Reguln ([1725] 1899) is conclusively attributed to J. S. Bach, whereas the authenticity of Vorschriften und Grundsätze ([1738] 1994) is contested, though it likely stems from Bach’s immediate musical culture. See Braatz (2012) regarding its authenticity. 2 The recent discovery of a new multiple-bass source from Bach’s pupil Johann Christian Kittel (1732–1809) prompted Susan McCormick’s recent dissertation, which—with the exception of the Sibley Choralbuch— catalogues all of the known chorale books stemming from Bach’s pupils and grand-pupils (McCormick 2015, 4–9, 62–63, and 140). 30 THEORY and PRACTICE Volume 42 (2017)

240 melodies in use in Leipzig.”3 Leaver shows that the manuscript in Sibley Library matches Breitkopf’s description in four key points: 1) it is a “complete” book for the full church year; 2) it contains the same number of melodies (the difference due to how one counts); 3) it contains the same number of pages; 4) the melodies were common in Leipzig (ibid., 24). Only the price remains in doubt, as Schulze had pointed out—he believes 10 Thalers to be too low (1981, 129–30). It seems likely that the price was low because Breitkopf was uncertain as to the book’s value, the style being so different from Bach’s published vocal chorales. Indeed, this was the reason Spitta dismissed the Sibley manuscript, for he believed the style to be too simple for Bach. Spitta examined the Sibley Choralbuch in or before 1880, concluding that “The volume exhibits, neither in Bach’s handwriting nor in the composition of the chorales, a single trace of Bach’s style or spirit.”4 The settings in the Sibley Choralbuch are indeed simpler than Bach’s more harmonically adventurous keyboard settings for congregational singing,5 but that is precisely the point—the Sibley Choralbuch implies that Bach began his teaching in a much simpler, more homophonic style than is typically assumed. Leaver’s new assessment is that the Sibley Choralbuch likely stems not from Bach directly, as the Breitkopf description suggests, but from Bach’s circle of pupils in Dresden from about 1730 to 1740. The present article investigates the Sibley Choralbuch in a theoretical light following these findings.6 As Leaver has argued, the settings contained in the Sibley Choralbuch suggest that there were two separate Bach chorale traditions: the first is the well-known Choralgesang tradition based on four-part chorales from Bach’s and ; the second, Choralbuch tradition, is not vocal but keyboard-centered.7 Because the second, Choralbuch style was often improvised, there remains less evidence of its existence. The Sibley Choralbuch is therefore significant because it sheds light on this lesser-known, keyboard-based, Bach chorale tradition. While the Sibley Choralbuch provided the impetus for Leaver’s claim that there were two separate Bach chorale

3 “Bachs. J. S. Vollständiges Choralbuch mit Noten aufgestzten Generalbasse an 240 in Leipzig gewöhnlichen Melodien. 10 thl” (Schulze 1972, 166). Unless otherwise noted, all are my own. 4 “Das Büchlein zeigt aber weder Bachs Handschrift, noch auch im Satze der Choräle eine Spur Bachschen Stiles und Geistes” (Spitta 1899, 108n149). by Clara Bell and J. A. Fuller Maitland. 5 These include (BWV 729a), Gelobet seist du, Jesus Christ (BWV 722a), Vom Himmel hoch (BWV 738a), and Lobt Gott, ihr Christen, allzugleich (BWV 732a). 6 A modern edition of the Sibley Choralbuch is forthcoming (Leaver and Remeš, eds. 2018). 7 Leaver terms the Choralbuch and Choralgesang styles “keyboard” and “vocal,” respectively (2001, 62; 2016, 29). I prefer the names “Choralbuch” and “Choralgesang” because these styles are not necessarily bound to specific instruments (i.e., keyboard or voice), though they often are. Derek Remeš – Reconstructing Eighteenth-Century German Figured-Bass 31 traditions, I will draw on a variety of eighteenth-century German sources to substantiate and develop Leaver’s hypothesis, with a particular emphasis on reconstructing the pedagogical process of harmonizing chorales according to contemporaneous sources. My main argument is that Bach’s chorale-based pedagogy bridges from the homophonic Choralbuch style to the ornamented Choralgesang style through multiple- bass realizations. The implications for pedagogy today are that we, too, should begin in a simpler, homophonic style with a more consistent emphasis on outer voices and thoroughbass. The first part of this article describes Bach’s two-stage pedagogical method and illustrates the Choralbuch and Choralgesang styles of realization. The second part examines the first stage of Bach’s method, where the outer voices and and are given. The third part investigates the second stage, where students compose multiple original basslines and figures to a given chorale.

J. S. Bach’s Pedagogy and Choralgesang vs. Choralbuch Styles

C. P. E. Bach’s oft-quoted description of his father’s pedagogy is my point of departure: In composition [J. S. Bach] started his pupils right in with what was practical, and omitted all the dry species of that were given by Fux and others. His pupils had to begin their studies by learning pure four-part thoroughbass. From this he went to chorales; first he added the basses to them himself, and they had to invent the and tenor [what I call “Stage 1”]. Then he taught them to devise the basses [note the plural: “basses”] themselves [“Stage 2”]. He particularly insisted on the writing out of the thoroughbass in parts. [Presumably later,] In teaching , he began with two-part ones, and so on.

The realization of a thoroughbass and the introduction to chorales are without doubt the best method of studying composition, as far as is concerned (Wolff 1998, 399).8

The quotation tells us that after teaching the basics of thoroughbass, J. S. Bach introduced chorales in two stages, as outlined in Example 1. In Stage 1, students receive a chorale in the highest voice, plus a bassline and figures, and are asked to supply inner voices and ornamentation. Thus, Stage 1 focuses on texture, since the outer voices and harmony are given. Sources relating to Stage 1 have single basses, like the Sibley Choralbuch, which because of its water mark can be traced to Dresden around 1730–40 (Leaver 2016, 19–20). As Leaver mentions, Bach had three students active in Dresden around this time: C. H. Gräbner (1705?–1769), W. F. Bach (1710–1784), and

8 Interestingly, C. P. E. Bach makes no mention of chorales in his Versuch über die wahre Art das Clavier zu spielen (1753/62). 32 THEORY and PRACTICE Volume 42 (2017)

G. A. Homilius (1714–1785). Since no relevant sources survive from Bach’s Dresden students, I will turn to musicians outside the Bach circle to help illuminate Stage 1. These are Michael J. F. Wiedeburg (1720–1800), Justin Heinrich Knecht (1752–1817), and Johann Gottlob Werner (1777–1822). All three were contemporaries with Bach’s first generation of pupils, were active in central Germany, and at least two were admirers of Bach.9 Even though Wiedeburg, Knecht, and Werner were not Bach pupils, the fact that they describe, in detail, techniques which were likely common knowledge to educated eighteenth-century musicians like Bach makes them particularly suitable sources in the present context.

STAGE 1STAGE 2

STUDENT RECEIVES Chorale, Bassline, and Figures Chorale only

STUDENT PROVIDES Inner voices and Ornamentation Bassline, Figures, and Inner voices

PEDAGOGICAL FOCUS Texture & Ornamentation Harmony & Two-Voice Counterpoint

TYPES OF SOURCES Single-Bass Sources Multiple-Bass Sources

Dresden School (Sibley Choralbuch) C. H. Gräbner (1705?–1769) J. C. Kittel (1732–1809) BACH STUDENTS W. F. Bach (1710–1784) J. P. Kirnberger (1721–1783) G. A. Homilius (1714–1785)

MUSICIANS OUTSIDE BACH M. J. F. Wiedeburg (1720–1800) J. D. Heinichen (1683–1729) CIRCLE WHO ILLUMINATE J. C. Knecht (1752–1817) David Kellner (1670–1748) THIS STAGE J. G. Werner (1777–1822)

Example 1 Overview of J. S. Bach’s two-stage pedagogical method and related sources.

According to C. P. E. Bach’s quote, Stage 2 of Bach’s method focuses on outer- voice counterpoint and harmony; only the chorale melody is given and the student’s task is to compose increasingly complex basslines and inner voices. Sources relating to this stage contain multiple basslines for each chorale. The writings of Bach’s students Johann Christian Kittel (1732–1809) and Johann Philipp Kirnberger (1721–1783), as well a musician outside the Bach circle named David Kellner (c. 1670–1748), will help illuminate this second stage.

9 See Knecht (1795–98, 3:18) and Werner (1805, 4). Derek Remeš – Reconstructing Eighteenth-Century German Figured-Bass 33 Example 2. Nun laßt uns Gott dem Herren from the Sibley Choralbuch (anon. ms., likely Dresden, c. 1730–40)

Choralgesang style Example 3. J. S. Bach’s setting of Nun laßt uns Gott dem Herren from BWV 165 , O heilges Geist und Wasserbad Choralbuch style (ornamented) (homophonic) A. B. { T. S. { Nun laßt uns Gott dem Herren ?# & ?# & ¢ ° Translation (text for verse one; not in original): “ Now let us give thanks to the Lord and honor him on account of his gifts which we have received ?# & & & ‹ Translation (text for verse one; not in original): “ Now let us give thanks to the Lord and honor him on account of his gifts which we have received # # # # # # 11 # # # C C # Von # # # # Nun #6 œ ˙ # # # # ˙ ˙ c c c c Nun laßt uns Gott, dem Herr - en, Dank-sa en und ihm ehr Von weg-en sein er Gab Die wir emp-fang hab en. Nun laßt uns Gott, dem Herr - en, Dank-sa en und ihm ehr Von weg-en sein er Gab Die wir emp-fang hab en. Nun laßt uns Gott, dem Herr - en, Dank-sa en und ihm ehr Von weg-en sein er Gab Die wir emp-fang hab en. Nun laßt uns Gott, dem Herr - en, Dank-sa en und ihm ehr Von weg-en sein er Gab Die wir emp-fang hab en. œ œ œ œ œ œ œ œ œ œ laßt ˙ ˙ weg - en sein er Gab en, ˙ ˙ œ œ œ œ œ Original key: G major. Text replaced for comparison with Example 2. Continuo doubles bass voice and includes no gured bass. œ œ œ œ # uns Ë6 ˙ ˙ œ œ ˙ ˙ œ œ œ œ œ œ from Cantata BWV 165, J. S. Bach’s setting of 13 3 œ œ œ œ Gott ™ # ˙ ˙ œ 6# ˙ ˙ œ œ œ œ j U U U U from the Sibley œ œ œ œ [ ] dem ˙ ˙ ˙ ˙ œ œ œ œ œ 3 œ œ œ œ Herr - en, ™ 4# w w œ ww ww # œ œ œ œ œ œ œ j # # # œ œ œ œ Example 3 Example 2 œ O heilges Geist und Wasserbad Nun laßt uns Gott dem Herren œ œ œ œ UU U w w Choralbuch UU U œ #5 ˙ œ œ ˙ œ # œ œ 6 œ 16 Dank - sag en ˙ ˙ U U U U œ œ œ œ Die wir emp - fang en hab en. ˙ ˙ # (anon. ms., likely Dresden, c. 1730–40). œ œ œ œ 5 œ œ œ œ ˙ ˙ œ # 6 ˙ ˙ Tune Source: Selnecker’s Christliche Psalmen (Leipzig, 1587) œ œ œ œ œ œ œ œ œ # 6# ˙ ˙ œ ˙ ˙ œ œ œ œ œ # ˙ J œ œ ˙ # und ˙ ˙ œ œ Ä 2 6 ˙ ˙ . œ J œ U U U U œ œ œ œ ihm # 67 ˙ ˙ # œ œ œ œ 64 œ ˙ œ 7 œ œ œ œ œ 9 œ œ ehr - en ˙ w 19 œ œ œ œ n w w œ œ n œ œ œ œ 7 # œ ˙ # œ œ œ œ œ œ U ˙ œ œ ˙ w w # U # w w œ œ œ œ œ œ U U U U œ œ œ œ .” .” 34 THEORY and PRACTICE Volume 42 (2017)

Examples 2 and 3 illustrate the difference between the Choralbuch and Choralgesang styles. In general, the Choralbuch style is vertically oriented: it is more triadic, consonant, diatonic, and disjunct; moreover, it was often improvised in the context of organ accompaniment for congregational singing, where only the chorale was sung. In contrast, the Choralgesang style is horizontally oriented: it uses more dissonant figures, suspensions, is more chromatic, and has faster note values and more conjunct motion; in addition, the Choralgesang style was less often improvised, instead being written out for concerted music where each of the four voices were sung. All chorales in the Sibley Choralbuch are presented in the same manner and the same style as Example 2: the chorale tune is provided in the soprano part along with a figured bassline in a simple, unornamented style, as a student would receive in Stage 1 of Bach’s method. The student would then compose or improvise the inner voices, either in a lesson with Bach, alone at home, or during the church service at the organ. Example 3 is Bach’s vocal setting of the same chorale. Its numerous non-chord tones and tonicizations are typical of the Choralgesang style. Such settings, which are often used for harmonic analysis today, originate mostly from Bach’s cantatas and passions and were originally written for . C. P. E. Bach writes in the preface to the first edition of his father’s chorales in 1765 that he reduced them from four to two staves to make them easier to read at the keyboard.10 This condensed format has led generations of musicians and teachers to often mistake Bach’s vocal settings for keyboard music, even though the inner voices are unidiomatic for the keyboard. Indeed, Emanuel Bach makes special note of the “natural flow of the inner voices and bass, which are what above all distinguish these chorales” (Wolff 1998, 379). Given their popularity today, it is surprising to learn that C. P. E.’s first edition of his father’s chorales sold poorly. According to Matthew Dirst, the chorales were “controversial even among admirers, who questioned their style and utility while praising their creator’s mastery of Harmonie” (2012, 35). Abbé Vogler (1749–1814) and Carl Maria von Weber (1786–1826) even deplore Bach’s vocal chorales’ lack of “noble simplicity” and “dignity” (Blume 1974, 346).11 The newly rediscovered Sibley Choralbuch implies the existence of a second, simpler, keyboard- based Bach chorale tradition that was, in fact, quite similar to eighteenth-century norms

10 The chorales were “originally set out on four staves for four singers. They have been presented on two staves to accommodate lovers of the organ and the clavier, since they are easier to read in that form” (Wolff 1998, 379). Regarding the format of Bach’s chorales, see Dirst (2012, 44-47). 11 Critics of Bach’s vocal chorales may have also confused them for keyboard music, specifically congregational accompaniment, which was traditionally more conservative. For example, Johann Christoph Kühnau (1735– 1805) acknowledged Bach’s settings as masterpieces but considered them too difficult and inappropriate for church (1786, iv). Derek Remeš – Reconstructing Eighteenth-Century German Figured-Bass 35 for Choralbuch settings. In addition to its function in organ chorale accompaniment during the church service, the Choralbuch style was likely the starting point in Bach’s pedagogical method.

Stage 1: Adding Inner Voices and Ornamentation

In the first stage of Bach’s method the chorale and figured bassline are given, and the student adds the inner voices. The fact that the outer-voices and figures are predetermined focuses the student’s attention on textural matters—that is, the number of voices and their degree of ornamentation. Example 4 outlines five types of texture described variously in the writings of Knecht, Werner, and Wiedeburg. Types 1 and 2—the “Close [eng] Style” and the “Spread [zerstreut] Style”—are relatively straightforward. Type 3 begins to add ornamentation. The bottom of Example 4 lists Knecht’s subtypes 3.1, 3.2, etc. These add ornamentation to the bass alone, then to the lower three voices, and then to all voices, including the chorale melody, ending with Type 3.4, which uses imitative counterpoint in the accompanying voices. Type 4 is the “Full-voiced [vollstimmig or vollgriffen] Style,” where the player supplies as many notes as possible between the outer voices; as long as the outer voices move in good counterpoint, parallel and direct motion with the middle voices is tolerated. Thus, the “Full-voiced Style” affords organists and harpsichordists a degree of dynamic control by varying the number of voices. Type 5 is the “Unison style” [im Einklang], which is used exclusively in congregational singing and thus is not the focus of the current study. Examples 5 through 9 work progressively through the types given in Example 4. Example 5 provides three different types of realization using the same chorale tune as in Example 2, but in C major. Example 5a is Type 1, or the “Close Style.” Here the right hand takes the upper three voices while the left hand takes the bass (often called “keyboard style” today). Werner writes that the “Close Style” is the oldest type, already known in ’s time, but it is still in use in 1805. But according to Werner, the “close style” is not suitable to human voices because the tenor is too high; moreover, the “pleasing middle range of the organ lies unused” (1805, 4). Example 5b is Type 2, the “Spread Style,” which essentially moves the alto voice of 5a down an octave. Werner describes how this method is superior to the “close style” because it remedies the above- mentioned problems: the tenor is now low enough to be sung and the middle range of the organ is not ignored; moreover, according to Werner, the “spread style” is easier to read (ibid., 4–5). The “Full-voiced Style” appears in Example 5c, where, according to Knecht and Wiedeburg, parallel octaves and fifths are allowed (Knecht 1795–98, 3:76; Wiedeburg 36 THEORY and PRACTICE Volume 42 (2017) Example 4. Five textures for realizing a gured-bass chorale from Knecht (1795–98, 3:20, 36, 82–107), Werner (1805, 1–9), and Wiedeburg (1765–75, 2:293–96) TEXTURE

TYPE 1 2 3 4 5 ORNAMENTED NAME CLOSE STYLE SPREAD STYLE FULL-VOICED STYLE UNISON STYLE STYLE NUMBER OF Four Four Four or Five Five to Nine One VOICES EXAMPLES IN Ex. 5a Ex. 5b Exx. 6, 7, 8 Exx. 5c, 9 none THIS PAPER

- Homorhythmic - Simple in - More active - Usually parallel 5ths - Single voice with upper three opening position , still in and 8ves are allowed doubled in voices in close - Tenor is lower open position in the middle voices if three or four position than in the close - All voices may be the outer voices move octaves with DESCRIPTION - Wide gap style ornamented, even in good counterpoint pedal between bass and - Harder because the soprano - Avoid thirds in the - Used in tenor left hand and - Bach’s chorales left hand (too thick) congregatio - Older method, pedal are now from the cantatas nal singing for beginners independent belong to this for variety type - 3.1: Ornamented - 4.1a: Thick chordal bass & varied texture; middle voices harm. may have parallel - 3.2: Ornamented 5ths and 8ves A, T, and B - 4.1b: Variation: Hold - 3.3: All voices KNECHT’S chords half value, ornamented (also always sustaining the SUBTYPES chorale in soprano soprano) (3:82–107) - 4.2: Five or six - 3.4: independent Contrapuntal, ornamented voices canonic, or fugal without parallels ornamentation

Example 4 Five textures for realizing a gured-bass chorale from Knecht (1795–98, 3:20, 36, 82–107), Werner (1805, 1–9), and Wiedeburg (1765–75, 2:293–96).

1765–75, 2:293-94). Examples 6 through 9 begin to add ornamentation. Example 6 is Type 3.1, an ornamented bass. Here Knecht adds passing notes in smaller values than the chorale, which moves in half notes. In Example 7 Knecht offers three ways of varying the lower three voices, keeping the chorale in the soprano unaltered. Example 8 shows two ways of ornamenting all voices, including the chorale melody: Knecht gives the unaltered melody (for singing) in the top staff of Example 8a and the ornamented version (for playing) in the middle staff. Example 9 is Knecht’s subtype 4.2, a variation on the “Full-voiced Style” where parallels are not allowed. According to Knecht, five- and six-voice textures are possible in this style, as shown in Examples 9a and 9b, respectively. As these various harmonizations show, the types outlined in Example 4 introduce progressively more complex textures: we began with an unornamented, Choralbuch style (Example 5) and ended with six independent voices in a more ornamented, flowing,Choralgesang style (Example 9b). Were such ornamentation techniques unique to Knecht? Or is it likely that, after beginning Derek Remeš – Reconstructing Eighteenth-Century German Figured-Bass 37 { { { { { { { { { { { { Example 7. Type 3.2: Varied middle voices and bass using Nun danket alle Gott , from Knecht’s Orgelschule (Leipzig, 1795–98) Example 7. Type 3.2: Varied middle voices and bass using Nun danket alle Gott , from Knecht’s Orgelschule (Leipzig, 1795–98) Example 6. Type 3.1: Varied bass (and harmony) using Liebster Jesu, wir sind hier , from Knecht’s Orgelschule (Leipzig, 197–98, 3:83) Example 6. Type 3.1: Varied bass (and harmony) using Liebster Jesu,, wir sind hier from Knecht’s Orgelschule (Leipzig, 197–98, 3:83) Example 7. Type 3.2: Varied middle voices and bass using Nun danket alle Gott , from Knecht’s Orgelschule (Leipzig, 1795–98) Example 6. Type 3.1: Varied bass (and harmony) using Liebster Jesu, wir sind hier , from Knecht’s Orgelschule(Leipzig, 197–98, 3:83) ?# & ?# & ?# & ?# & ?# & ?# & ?# & ?# & ?# & ? & & ? Example 5. Three styles of realizing Nun laßt uns Gott dem Herren , from Knecht’s Orgelschule (Leipzig, 1795–98) & ? Example 5. Three styles of realizing Nun laßt uns Gott dem Herren , from Knecht’s Orgelschule (Leipzig, 1795–98) Example 5. Three styles of realizing Nun laßt uns Gott dem Herren , from Knecht’s Orgelschule (Leipzig, 1795–98) a) Type 1: Close Style (3:20) # a) Type 1: Close Style (3:20) # # # # # a) Type 1: Close Style (3:20) # # # CC CC CC CC CC CC C C C C c) (3:89–90) CC CC a) (3:87–88) c) (3:89–90) CC CC a) (3:87–88) C C c) (3:89–90) CC CC a) (3:87–88) Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Ó Ó Ó ≈ Ó Ó Ó ≈ ˙ ˙ ˙ ˙ Ó Ó Ó ≈ Pedal Pedal Pedal ™ ™ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ™ œ œ ˙ ˙ ˙ ˙ œ LH LH LH œ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ ˙ ˙ ˙ œ ˙ ˙ ˙ œ œ œ œ Pedal Pedal Pedal œ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ œ œ œ œ ˙ ˙ ˙ ˙ œ œ LH RH LH RH LH RH œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ œ ˙ œ ˙ ˙ ˙ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ≈ ≈ ˙ ˙ ˙ ˙ ≈ ˙ ≈ ˙ ˙ œ ˙ ≈ ≈ ˙ ™ ™ ™ ™ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ ˙ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ Type 3.2: Varied middle voices and bass using œ œ œ œ œ œ œ Type 3.1: Varied bass (and harmony) using ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ œ œ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ œ œ œ œ ˙ ˙ ˙ ˙ œ œ ≈ ˙ ≈ ˙ ˙ ˙ ≈ ≈ ≈ ˙ ≈ ˙ U U U U w w w w w w w w U U w w w w ˙ œ ˙ œ ˙ ˙ œ œ œ ˙ ˙ œ œ œ œ œ œ œ œ œ œ ™ ™ ™ [etc.] [etc.] [etc.] œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Three styles of realizing œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ from Knecht’s from Knecht’s œ œ œ œ œ œ œ œ [alto and tenor are near-exact inversion of those in Ex. 5a] [alto and tenor are near-exact inversion of those in Ex. 5a] œ œ œ œ œ œ œ œ [alto and tenor are near-exact inversion of those in Ex. 5a] œ œ { { { from Knecht’s œ œ œ œ b) Type 2: Spread Style (3:36) b) Type 2: Spread Style (3:36) œ œ & ? & ? b) Type 2: Spread Style (3:36) & ? œ œ œ ˙ œ ˙ œ œ ˙ œ œ œ≈ œ œ≈ œ œ œ≈ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ≈ ˙ ≈ ˙ ˙ ≈ ˙ Ó Ó Ó Ó Ó Ó œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ ˙ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ U U w w w w U w w w w w w w w œ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ œ œ Orgelschule Orgelschule [etc.] [etc.] œ œ œ œ [etc.] œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ ˙ ˙ ˙ ˙ œ œ Orgelschule Example 7 œ œ œ œ œ œ Example 5 Example 6 œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ ˙ œ ˙ œ ˙ ˙ œ œ ˙ œ ˙ { { { Nun laßt uns Gott dem Herren œ œ œ œ ?# & & ?# œ œ & ?# b) (3:88–89) b) (3:88–89) b) (3:88–89) œ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ # œ # œ # (Leipzig, 1795–98). (Leipzig, 197–98, 3:83). œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ Pedal Pedal Ó Ó Ó Pedal Ó Ó Ó Ó Ó Ó œ œ ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ œ œ (Leipzig, 1795–98). LH LH LH ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ œ ™ ™ ™ ˙ ˙ ˙w ˙ ˙w ˙ ˙ ˙ ˙w œ œ œŒ œ ˙ ˙ ˙ œŒ œ œ œ ˙ ˙ ˙ œŒ œ œ œ ˙ ˙ ˙ œ œ œ Liebster Jesu, wir sind hier œ ˙ œ w œ ˙ œ w œ œ ˙ w œ œ œ œ œ œ ™ ™ ™ Nun danket alle Gott U U U U œ U U w w w œ w w w œ w w w œ œ œ œ œ œ œ œ œ [etc.] œ [etc.] œ [etc.] œ J œ J œ J œ œ œ œ ˙ ˙ œ ˙ œ ˙ œ ˙ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙ ˙ œ œ ˙ ˙ œ œ ˙ ˙ ™ ™ ™ œ œ œ œ œ œ œ œ œ { { { J œ J œ J œ œ œ ˙ ˙ ˙ œ Œ c) Type 4.1a: Full-voiced Style with Parallels (3:75) ˙ ˙ ˙ œ œ œ Œ ˙ ˙ ˙ œ œ œ Œ c) Type 4.1a: Full-voiced Style with Parallels (3:75) c) Type 4.1a: Full-voiced Style with Parallels (3:75) & ? & ? & ? œ œ œ œ œ œ C C C C C C œ ˙ œ œ œ ˙ œ œ œ œ œ ˙ œ œ ˙ ˙ ˙ œ œ ˙ ˙ ˙ œ œ ˙ ˙ ˙ # Ó Ó œ œ # # Ó œ œ Ó œ œ Ó Ó œ œ œ n n n œ œ œ œ œ œ , ˙ œ œ ˙ œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ Œ œ Œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ # œ # œ # œ , ˙ œ œ ˙ œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ œ œ ˙ ˙ ˙ œ œ ˙ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ , œ œ œ [parallel fths and octaves] [parallel fths and octaves] [parallel fths and octaves] œ Œ œ œ Œ Œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ U U U w w w œ œ w w w w w w œ œ œ œ œ œ œ n n n w ˙ œ w œ ˙ ˙ w œ œ œ œ œ œ ˙ ˙ ˙ œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ Œ œ Œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ # # # œ n œ œ n n œ œ œ œ œ œ ˙ œ œ œ œ ˙ œ ˙ œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ U u ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ U u w w w œ w U u œ w w w w œ w w w w œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ u u w w w w u w w w w w w w w u u u ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ œ ˙ ˙ ˙ ˙ U U U U w w w w w w w U U w w w w w w w ˙ w w w w w w w ˙ ˙ [etc.] [etc.] [etc.] [etc.] [etc.] [etc.] [etc.] [etc.] [etc.] ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ 38 THEORY and PRACTICE Volume 42 (2017) ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ U U n n œ [etc.] [etc.] [etc.] [etc.] œ [etc.] [etc.] [etc.] [etc.] œ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ œ ˙ ˙ ˙ ˙ ˙ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ U U U U U U n n œ œ ™ ™ ™ œ ™ ™ ™ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ U U ˙ ˙ ˙ ˙ ˙ ˙ U U œ œ ˙ ˙ ˙ ˙ ˙ œ ˙ ˙ ˙ ˙ ˙ œ u u œ œ œ œ # # œ œ œ œ œ œ œ œ œ œ # œ œ œ œ # œ œ œ œ ‰® œ œ ‰® œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ œ œ œ œ œ ˙ ˙ œ œ # # œ œ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ œ œ œ œ œ œ J w œ œ œ œ J U w U ˙ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ ‰ œ œ ‰ œ œ ˙ w ˙ œ œ œ œ œ w ˙ œ ˙ œ œ œ ˙ ˙ œ œ # # œ œ œ œ œ J œ œ œ œ œ J œ œ œ œ œ œ œ œ œ ŒŒ œ œ ŒŒ œ œ œ œ œ œ ‰ œ ‰ œ ˙ œ ˙ # ˙ œ ˙ œ # œ œ œ œ œ œ r r # # œ œ œ œ œ J ˙ œ œ œ œ œ J ˙ œ œ Œ œ œ ˙ ˙ ˙ ˙ œ œ Œ œ œ j # j # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ # œ # ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ ˙ ˙ œ œ œ œ ˙ œ œ ˙ ˙ œ ˙ œ œ œ œ œ œ œ ˙ œ‰ œ œ œ R œ‰ œ œ ˙ œ R œ œ ™ ™ œ Œ œ œ œ Œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ œ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ œ œ œ ˙ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙ œ œ r œ œ r ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ J œ œ œ œ œ œ œ œ J ˙ # œ œ ˙ ˙ ˙ ˙ # ˙ ˙ ˙ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ (Leipzig, 1795–98). œ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙ UU u UU u (Leipzig, 1795–98). œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ œ ˙ ˙ œ ˙ œ ˙ ˙ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ R œ œ œ J œ œ œ R œ œ œ J ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œŒ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œŒ ˙ U U Example 9 œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ œ œ J œ œ œ œ J œ Example 8 œ Orgelschule œ œ œ œ œ œ œ œ œ œ œ œ Orgelschule œ œ œ œ ‰‰ œ œ ‰‰ œ œ œ œ ™ œ ˙ ˙ ™ œ ˙ ˙ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ œ ˙ ˙ œ ˙ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ ™ n œ J Type 3.3: All voices ornamented, Type œ n œ J œ œ n œ n ˙ ˙ ˙ œ œ ˙ œ œ œ ˙ ˙ œ œ Type 4.2: Five or six independent voices, 4.2: Five or six independent voices, Type œ ˙ ˙ w w œ w w œ ˙ ˙ œ œ ™ œ ‰‰ ™ œ ‰‰ œ from Knecht’s from Knecht’s œ œ œ œ œ ˙ ˙ œ œ ˙ œ ˙ œ j j œ ˙ œ œ œ œ œ œ œ œ œ œ œ ˙ from Knecht’s from Knecht’s œ œ œ œ œ Œ œ œ œ Œ œ b œ b Unadorned melody in top staff is not original. Unadorned melody in top staff is not original. œ ˙ œ ˙ ˙ ˙ œ ˙ ˙ ˙ ˙ œ ˙ œ œ œ ˙ œ œ œ œ œ œ ‰ œ œ œ ‰ œ œ œ œ œ œ œ œ ™ ™ j j œ œ œ œ œ œ œ œ w ˙ ˙ œ œ œ œ œ œ œ œ ˙ œ œ w ˙ ˙ œ œ œ œ œ ˙ œ œ œ œ ˙ w ˙ œ ˙ ˙ œ ˙ œ ˙ w œ œ # # œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ ™ ™ œ ˙ œ œ œ œ œ J œ œ œ œ œ œ J ˙ ˙ œ ˙ œ œ œ œ ˙ ˙ œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ ˙ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ ˙ ˙ w ˙ ˙ œ œ œ ˙ ˙ œ Mit obligatem Pedal. ˙ œ œ ˙ w ˙ Mit obligatem Pedal. œ œ ˙ œ ˙ œ œ ˙ œ œ ˙ œ Mit obligatem Pedal. Mit obligatem Pedal. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ œ ˙ ˙ ˙ Ó Ó Ó Ó ˙ ˙ œ ˙ ˙ ˙ œ ˙ ˙ Ó Ó Ó Ó ˙ ˙ ˙ ˙ ˙ Sechsstimmig. Ó Ó ® Sechsstimmig. Ó Ó ® Fünfstimmig. C C Fünfstimmig. C C C C C C C C C C C C # b b b # # b b Einfache Melodie zum Singen [”Unornamented melody to sing”] Figurirte Melodie zum Orgelspielen [”Ornamented melody to play on the organ”] b b # b b # b # Einfache Melodie zum Singen [”Unornamented melody to sing”] Figurirte Melodie zum Orgelspielen [”Ornamented melody to play on the organ”] Ach bleib mit deiner Gnade (3:79) a) Five voices: Ach In allen meinen aten (3:80) In voices: b) Six Ach bleib mit deiner Gnade (3:79) a) Five voices: Ach (3:80) allen meinen aten In voices: b) Six & ?# & & ? & & ?# & ? Allein Gott in der Höh sey Ehr (3:95–96) b) Allein Gott in der Höh sey & ? & & ? & ?# & & ?# Wie schön leuchtet der Morgenstern ] (3:93–94) leuchtet schön bei uns ein [ Wie kehr a) O heil’ger Geist, Allein Gott in der Höh sey Ehr (3:95–96) b) Allein Gott in der Höh sey ] (3:93–94) der Morgenstern leuchtet schön bei uns ein [ Wie kehr a) O heil’ger Geist, (Leipzig, 1795–98) (Leipzig, Orgelschule from Knecht’s 4.2: Five or six independent voices, Type Example 9. (Leipzig, 1795–98) (Leipzig, Orgelschule from Knecht’s All voices ornamented, 3.3: Type Example 8. (Leipzig, 1795–98) (Leipzig, Orgelschule from Knecht’s 4.2: Five or six independent voices, Type Example 9. (Leipzig, 1795–98) (Leipzig, Orgelschule from Knecht’s All voices ornamented, 3.3: Type Example 8. { { { { { { { { Derek Remeš – Reconstructing Eighteenth-Century German Figured-Bass 39 with the simple style of the Sibley Choralbuch, Bach challenged his students to write increasingly complex realizations that began to imitate the highly ornamented style of his Choralgesang settings? Two accounts of Bach’s playing and teaching would seem to suggest the latter. First, in Arnstadt Bach ornamented a chorale melody with such “strange tones” that he confused the congregation (Wolff 1998, 399)—clearly he was no stranger to varied harmonizations. Second, according to Johann Gotthilf Ziegler in a letter dating 1746, Bach advised him to play “not offhand but according to the Affekt of the words” (ibid., 336). If what Christoph Wolff says is true, that Bach’s genius lay in his ability to probe “the possible” in the art (2000, 338), then it seems likely that, at least with some students, Bach would have introduced chorale harmonization techniques similar to those given by Knecht in order that students’ accompaniments would have the potential to better reflect the meaning of the text at any given point. That a chorale harmonization reflect the meaning of the text was also a central point in both Kittel and Kirnberger’s treatises as well. Thus, the ornamentation techniques in Stage 1 represents both a pedagogical strategy for beginning and a means of textual expression for advanced organists accompanying congregational singing.

Stage 2: Composing New Basslines and Middle Voices

In the second stage of Bach’s method, students begin composing their own basslines and middle voices to a given chorale. Whereas Stage 1 addressed texture and ornamentation, Stage 2 focuses on harmony and simple two-voice counterpoint. According to Kirnberger, the bassline is written first, and then figures are added afterward (1982, 284). For this reason, the third section of this article has two parts, the first of which discusses the process of composing basslines alone, or what I call “Stage 2a.”

Stage 2a: Composing New Basslines Example 10 shows Kirnberger’s classification of harmonic types, which I label A, B, C, and D (Kirnberger 1982, 284–86). All four harmonic types rely on the idea of chordal inversion to identify the root, which shows Rameau’s influence on Kirnberger. Type A allows for triads in any inversion from scale degrees one, four, and five, with the possibility of the dominant chord having a seventh; Type B includes inverted triads on all diatonic degrees; Type C has inverted triads from degrees one, four, and five of neighboring keys within one accidental, and especially secondary dominants; and lastly, Type D includes secondary dominants from remote keys, enharmonic progressions, and sudden harmonic shifts. Example 11 shows some common types of basslines, a 40 THEORY and PRACTICE Volume 42 (2017) Example 10. Kirnberger’s harmonic types from The Strict Art of Musical Composition (1982, 284–86)

HARMONY

Kirnberger’s Types A B C D Dominants from remote Description 1, 4, and 5 from Triads from Triads from all keys, enharmonic (all types include neighboring keys 1, 4, and 5 only diatonic degrees progressions, chord inversions) (especially dominants) and sudden shifts

Example 10 Kirnberger’s harmonic types from The Strict Art of Musical Composition (1982, 284–86).

Example 11. Types of basslines in multiple-bass source of Bach’s pupils (after McCormick 2015, 23) classification which builds on Susan McCormick’s survey of several multiple-bass Diatonic vs. Chromatic (Bass itself) sources (2015, 25). Generally speaking, basslines may be diatonic or chromatic, conjunct Conjunct vs. Disjunct or disjunct, move in parallelParallel or contrary vs. Contrary motion to the Chorale to the chorale melody (a feature Kirnberger emphasizes [1982,Homorhythmic 305]), isorhythmic vs. Faster NCT with’s or Leapsthe chorale or in faster values, and the bass may have suspensions, pedalBass Suspensions points, or may even imitate the chorale. These factors—not Fuxian species counterpoint,Pedal Point Emanuel Bach’s quote emphasizes— Example 10. Kirnberger’s harmonic types from The Strict Art of Musical Composition (1982, 284–86) constitute the student’s introductionImitative ofto Chorale two-voice or Inner counterpoint, Voices where the upper voice is predetermined by the choraleHARMON melody, and the student suppliesY the bassline. Kirnberger

demonstratesKirnberger’s Types how basslinesA becomeB more smoothC and interesting Dby moving progressively through Types A, B, C, and D. Thus, there is a pedagogicalDominants progressionfrom remote Description 1, 4, and 5 from Triads from Triads from all keys, enharmonic implied(all types within include this four-fold classification, sinceneighboring the basses keys in Type A lack variety and 1, 4, and 5 only diatonic degrees progressions, chord inversions) (especially dominants) become smoother and more interesting with each progressive increaseand sudden in harmonic shifts resources. Since Kirnberger was a student of Bach, it is possible Kirnberger’s classification may represent the use of new ideas borrowed from Rameau to describe a procedure Kirnberger learned from Bach. Example 11. Types of basslines in multiple-bass source of Bach’s pupils (after McCormick 2015, 23)

Diatonic vs. Chromatic (Bass itself) Conjunct vs. Disjunct Parallel vs. Contrary to the Chorale Homorhythmic vs. Faster NCT’s or Leaps Bass Suspensions Pedal Point Imitative of Chorale or Inner Voices

Example 11 Types of basslines in multiple-bass source of Bach’s pupils (after McCormick 2015, 23).

An example from Kittel (Bach’s final and supposedly “star” pupil) demonstrates how this pedagogical progression may have worked in Bach’s pedagogy. To illustrate, Kittel’s harmonizations (Example 12) are labeled with Kirnberger’s harmonic types (Example 10) and bass types (Example 11). Composing the bassline (Stage 2a) is a Derek Remeš – Reconstructing Eighteenth-Century German Figured-Bass 41 { Example 12. Kittel’s harmonizations of Jesu meine Freude from Der Angehende Praktische Organist (Erfurt 1808, 1:30–32) { { { ? & ? & ? & ? & 13 b b 8 b b b bn b b c c œ œ œ œ [no gures] œ œ œ œ ‰ œ œ ‰ 5 [Type B; disjunct] “natural bass” [Type C; homophonic; disjunct] “natural bass” 1 œ œ œ œ œ œ œ ˙ œ œ œ ˙ œ n œ J œ “better ” [Type C; all voices chromatic; parallel; faster values] [Type A; diatonic; homophonic] “lacking variety in harmony” j 5 6 œ œ œ œ œ œ œ 6 # œ ˙ œ œ œ œ œ 6 # 8 œ œ œ œ # n # Kittel’s harmonizations of # b œ œ œ œ 6 7 œ œ œ œ œ œ œ n w w w w œ œ œ œ œ œ œ œ œ œ œ ˙ # b œ œ œ œ œ 6 14 ˙ œ ˙ 4 œ œ œ œ œ # ™ 5 œ œ œ ˙ ˙ ˙ ˙ # # [Type B; conjunct] “beautiful” # 3 4 œ œ œ # œ 6 œ œ ˙ œ 4 œ 5 6 œ œ œ ˙ œ ˙ j œ # 5 ˙ œ œ œ 9 ˙ ˙ ˙ ™ 8 œ œ œ œ # œ 7 œ n 4 2 œ ˙ œ # [Type C; homophonic] “good bass” œ n w w w w # 6 œ ˙ œ n œ J œ 2 Jesu meine Freude œ œ ˙ œ œ œ œ 15 ˙ ˙ ˙ [Type C; diatonic; parallel; conjunct] “richer in harmony” # œ œ œ [Type C; chromatic] “too foreign to the chorale” 2 ¢ œ œ œ œ œ œ ˙ œ n œ ˙ œ œ 5 6 œ œ œ 8 6 œ œ ˙ œ [no gures] œ œ œ 8 7 Chorale: œ Chorale: ‰ ˙ ‰ œ 6 Chorale: œ 7 # # œ œ œ 4 6 # # ˙ ˙ ˙ ˙ œ œ œ 6 œ J œ [Type C; pedal point; imitative of A/T; chr. gures] “even better” n j œ 5 œ œ œ œ œ ˙ 5 6 & & œ w w w w # n & 10 œ œ 5 œ œ ˙ œ # b b 8 œ œ œ # c n b from b œ n œ œ œ œ 6 œ œ œ 7 [Type C; chromatic bass] “more artful bass” œ œ n œ # œ Example 12 œ œ 16 œ œ œ œ œ œ 6 ˙ œ œ œ 3 8 ˙ ˙ ˙ œ œ n Der Angehende Praktische Organist œ œ œ œ œ œ b [Type B; homophonic] “clever” œ œ œ œ ˙ œ œ 6 b œ œ œ 5 6 œ œ œ ˙ n # 7 œ ˙ œ ˙ w ˙ œ œ œ œ 8 # œ ˙ 3 œ œ œ œ # # b œ 7 œ 6 œ œ ˙ ˙ [Type B; diatonic, parallel; conjunct] “good” w w w w œ # œ œ œ œ ˙ ˙ ˙ ˙ 6 # # œ œ œ œ œ ˙ œ 6 œ 11 œ œ œ œ 17 œ ˙ œ œ œ œ 6 4 ˙ ˙ ˙ œ œ œ œ [Type C; chromatic upper voices] “pure and chromatic bass” n œ œ œ 4 6 [Type C; suspensions in all voices] “harmonic” 3 4 2 œ œ œ œ œ œ ˙ œ 6 5 œ ˙ œ œ œ 3 8 œ b # 6 œ œ œ # [no gures] œ œ œ 8 # 7 œ œ œ œ œ œ 3 ¢ œ œ b # 7 œ œ [Type C; faster values; chromatic bass and gures] “rich in harmony” œ œ œ œ œ 7 w b œ 6 ˙ ˙ ˙ 6 ˙ ˙ œ ˙ œ œ œ # 3 4 œ œ œ œ § # # n œ § œ œ œ œ œ 5 3 # (Erfurt 1808, 1:30–32). œ n œ ˙ ˙ ˙ ˙ ˙ 6 # 4 œ œ œ œ œ n 4 œ œ œ œ # b 5 œ n œ œ œ Œ œ [Type C; chromatic, contrary motion] “pure, yet forcedly chromatic” # œ œ œ œ œ œ œ # 12 œ œ ˙ œ 18 œ œ œ 5 œ œ # n œ œ œ 6 œ œ œ [Type C; disjunct] “a little too sharp” 7 3 4 œ œ œ [Type C; chromatic bass & tenor] “chromatic” 6 4 œ œ ˙ œ n œ œ œ ˙ n œ œ œ œ # œ œ œ œ nb 5 6 5 6 œ œ œ # # œ œ œ œ œ # n ¢ œ œ œ 3 # n n œ œ œ œ œ œ œ œ œ 8 w # n 5 6 œ œ œ œ œ œ ˙ œ œ # 6 7 n œ œ œ œ # œ œ œ œ œ œ œ 7 # ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ 6 4 # ˙ ˙ ˙ ˙ # 5 3 œ œ n Œ Œ 42 THEORY and PRACTICE Volume 42 (2017)

separate step from composing the figures and middle voices (Stage 2b) in theory, but in practice, one assumes that a fluent knowledge of the Rule of the Octave (discussed below) would mean that the student already knows which figures are implied by a particular bass scale degree. That is, Stages 2a and 2b are only separate in theory. That is why Stage 2a is illustrated using Example 12, even though this example includes middle voices. Examples 12.1 through 12.7 all ornament the same chorale phrase, shown above in the single staff. The central point conveyed in these examples is that each harmonization becomes increasingly more complex, gradually progressing from nearer to Type A in Kirnberger’s classification to nearer Type C (never reaching Type D, however). That is, like Knecht, Kittel’s harmonizations transition from more Choralbuch-like to more Choralgesang-like. The difference is that the “complexity” now focuses on harmonic, rather than ornamental variety, as in Stage 1. After Example 12.7, the ornamentation “resets” for the next phrase of the chorale melody in Example 12.8, and Kittel starts over in a simpler style with the description “natural bass,” meaning diatonic and mostly triadic. Although Kittel’s path from simple to complex harmony does not traverse Kirnberger’s four-fold classification (A, B, C, and D) exactly, it is clear that for both Bach pupils, each chorale phrase functions like a , or stable reference point, for increasingly complex harmonizations.12

Stage 2b: Adding Figures and Middle Voices After having composed a bassline, students add figures and middle voices. Example 13 outlines the most prevalent types of figures in a manner similar to the bassline types in Example 11. (“N” stands for “neighbor” and “P” for “passing.”) Examples 14 through 17 come from a very important treatise by David Kellner (1670– 1748) called Treulicher Unterricht (Hamburg 1732). Though Kellner never studied with Bach, his treatise is relevant to the present article for several reasons. First, Georg Example 13. Types of gures (i.e., Middle Voices)

Diatonic vs. Chromatic Homophonic vs. Faster non-CT’s (N, P ) Suspensions Imitative of the Chorale/Each Other

Example 13 Types of figures (i.e., Middle Voices). Example 14. Kellner’s gures for the Rule of the Octave from Treulicher Unterricht (2nd ed. 1737, 31)

12 Kirnberger,Hypothetical Koch, realization and Wiedeburg after Rameau, repeatedly Traité de refer l’harmonie to the chorale, who uses as athe cantus same firmus gures (Kirnberger (1722, 232): 1982; Koch 1782, 231–374; Wiedeburg 1775). While one tends to associate the term with species counterpoint today, in the eighteenth century it merely referred to a melody—either a Protestant chorale or a Catholic chant. & % % % % % % % % % %% % % % % %% % ? w w w w w w w8 w6 8 6 8 8 6 8 5 4 6 5 5 6 5 5 3 3 3 3 3 3 3 3

{Hypothetical realization (my own):

& % % % % % % % % % % #% % % % %% % ? w w w w w w 8 8 ´ 8 6 8 w6 w8 5 6 4 5 4 6 4 5 { 3 3 3 3 2 3 3 3 Derek Remeš – Reconstructing Eighteenth-Century German Figured-Bass 43

Philipp Telemann (1681–1767), godfather to C. P. E. Bach, endorsed the second edition, showing Kellner’s basic accuracy and an indirect link to the Bach family. Second, Kellner’s treatise was enormously popular, going through eight editions between 1732 and 1791, the first of which sold 2,000 copies (according to Telemann’s preface). Such an impressive print run stands in stark contrast to Johann David Heinichen’s (1683–1729) monumental treatise, Der General-bass in der Composition, which only had one edition in 1728. But Heinichen is still relevant for us because Bach knew his treatise, selling copies of it from his home in Leipzig (Leaver and Zager 2017, 18). Yet Heinichen’s treatise is clearly aimed at the extremely gifted, would-be Kapellmeister, whereas Kellner’s treatise is intended for less gifted pupils who would take more modest positions. Because of this difference in intended audience, Kellner’s treatise is more representative of the average level of knowledge that most eighteenth-century German keyboard players possessed. Bach’s more famous pupils tend to be remembered, but one should keep in mind that he had a constant stream of students of varied abilities. This is all to say that one should not discount Kellner as a window into Bach’s musical culture merely because Kellner’s treatise is aimed at less talented students. Besides, Kellner borrows heavily from Heinichen anyway. In sum, Kellner’s basic accuracy, popularity, introductory level, and his connection to Heinichen and Telemann justify his inclusion here, even though Kellner was not a Bach student.13 Examples 14 through 17 provide the most important figures in Kellner’s treatise. All are taken from the second edition (1737) because this is the one Telemann endorsed. Example 14 is Kellner’s Rule of the Octave, which assigns normative figures to each bass degree in ascending and descending conjunct motion.14 The Rule of the Octave is the basic point of departure for harmonizing unfigured basses, but of course basslines do not always move by step and are not always this consonant. Kellner says that some variety (i.e., leaps) comes through chordal inversion [Umkehrung or Verkehrung], as shown in Example 15. According to Kellner, the unprepared dissonant bass note F at Example 15c is justified through an inversion of the parts in Examples 15a and 15b.15 Unlike Kirnberger, Kellner’s (and Heinichen’s) understanding of inversion exists

13 The first English translation of Kellner is forthcoming with a modern edition of the Sibley Choralbuch (Leaver and Remeš, eds. 2018). 14 The figures are Kellner’s; the ascending harmonization is borrowed from Rameau, but it corresponds exactly to Kellner’s figures. 15 Kellner writes, “Those who are not fully educated in this matter are confused, and ask ‘From where does this unprepared dissonance [at Example 15c] come?’ because, for all they know, this is the only way such an inversion may be allowed. The following example [Example 15] serves to explain this matter. At (c), the second note [bass note F] represents an inversion of the parts that had occurred in the second chords of (a) and (b)” (1737, 40). “Diejenigen, so in dieser Sache keinen vollkommenen Unterricht haben, verwundern sich, woher Example 13. Types of gures (i.e., Middle Voices)

Diatonic vs. Chromatic Homophonic vs. Faster non-CT’s (N, P ) Suspensions Imitative of the Chorale/Each Other

44 THEORY and PRACTICE Volume 42 (2017) Example 14. Kellner’s gures for the Rule of the Octave from Treulicher Unterricht (2nd ed. 1737, 31)

Hypothetical realization after Rameau, Traité de l’harmonie, who uses the same gures (1722, 232):

& % % % % % % % % % %% % % % % %% % ? w w w w w w w8 w6 8 6 8 8 6 8 5 4 6 5 5 6 5 5 3 3 3 3 3 3 3 3

{Hypothetical realization (my own):

& % % % % % % % % % % #% % % % %% % ? w w w w w w 8 8 ´ 8 6 8 w6 w8 5 6 4 5 4 6 4 5 { 3 3 3 3 2 3 3 3 Example 16. Kellner’s tables of signatures (2nd ed. 1737, 28) Example 14 Kellner’s figures for the Rule of the Octave from Treulicher Unterricht (2nd ed. 1737, 31). The most common [abbreviated] signatures

independently from Rameau’s fundamental bass theory—for Kellner, and indeed, most s Germans in the first half of the eighteenth century, inversion simply means a swapping b 8t 6 - 5 8e of parts, without reference to a generative root. Thus, as Example 15 demonstrates, the 5i 6t 3 6r Rule of the Octave may also determine the implied harmony of leaping basslines, even 2 6r --[ 5e 8 when they involve unprepared dissonances.16 4w 8e Example 15. Kellner on chord inversion (2nd ed. 1737, 40) 6 6 b 5w 8e 6 6 6 aug. 2nd 2 aug.6 6th 4 5! 4 3 [ 6 ] 2 6® ¢e 4e 7y ? ˙ œ œ ˙ œ œ ˙ œ œ 6 3 4 - 3 8t 7 5e (a) (b) (c) 4 8t 7 - 6 3 7rs Example 15 dim.¢ 4th 6w 5 Kellner on chord inversion (2nd ed. 1737, 40). 5 b 6y 9 5e aug. 5th 6e 9 - 8 5w dann diese unpræparirte Dissonanz entstehe? daher können sie allhie begreiffen, daß eine sothane Verkehrung 7w 7e 9r der Stimmen es zulasse. Nachgeseztes Exempel kan die Sache mehr erläutern. An statt der zweyten Note so wohl 5 bey (a) als auch (b) findet man bey (c) die Umkehrung auch bey der zweiten Note.” 5 - 6 8e 9y 3

16 Kellner writes that “While it may often seem that, in modern compositions, composers omit preparations 9u -[ 8y 3

when they are forced to do so, in reality, this arises from the inversion [Verwechselung] of voices, because, at the The required voices to be added moment of the dissonance, the bass trades places with an upper voice, a topic which was already mentioned in certain places [in this treatise]” (1737, 89). “Indessen scheinet es offt in den modernen Compositionen, als wann DerekExample Remeš 16. – Kellner’s Reconstructing tables of signatures Eighteenth-Century (2nd ed. 1737, 28) German Figured-Bass 45

The most common [abbreviated] signatures

s b 8t 6 - 5 8e 5i 6t 3 6r 2 6r --[ 5e 8 4w 8e Example 15. Kellner on chord inversion (2nd ed. 1737, 40) 6 6 b 5w 8e 6 6 6 aug. 2nd 2 aug.6 6th 4 5! 4 3 [ 6 ] 2 6® ¢e 4e 7y ? ˙ œ œ ˙ œ œ ˙ œ œ 6 3 4 - 3 8t 7 5e (a) (b) (c) 4 8t 7 - 6 3 7rs dim.¢ 4th 6w 5 5 b 6y 9 5e aug. 5th 6e 9 - 8 5w

7w 7e 9r 5

5 - 6 8e 9y 3

9u -[ 8y 3

The required voices to be added

Example 16 Kellner’s tables of signatures (2nd ed. 1737, 28).

Example 16 reproduces Kellner’s two tables of signatures, in which he gives all the most common abbreviated figures on the left, and the required intervals to be added on the right. Such a concise reference of available figures would be very useful for harmonizing an unfigured bassline. But Kellner’s most useful and enduring contribution to figured bass pedagogy is shown in Example 17. Whereas the Rule of the Octave in Example 14 focuses mostly on consonance, the two tables in Example 17 summarize Kellner’s conception of dissonance. These tables outline a method for adding dissonant figures to an unfigured bassline in the clearest manner of any source known to the present author. The tables are essentially a digest of Heinichen’s chapter on unfigured basses (1728, 2:725–768). Indeed, that Wiedeburg referenced these tables fifty years after its publication is an indication of their lasting pedagogical value (1765–75, 3:2). As in the Rule of the Octave, the first parameter in Example 17 is the scale degree of the bass note, listed in the left-hand column. The second parameter is the type of

die Componisten, da, wo es nothwendig erfordert wird, die Præparation nicht observiret: Solches aber entstehet nur aus der Verwechselung der Partien, weil bey der Dissonanz die Baß-Note in die Ober-Stimme, und eine von den Ober-Stimmen in den Baß gesezt werden, wovon an einigen Orten schon vorher Erwehnung gethan.” 46 THEORY and PRACTICE Volume 42 (2017)

Example 17. Kellner’s tables of available dissonances (2nd ed. 1737, 96–97)

MAJOR KEYS [TYPE OF BASS MOTION] IN [STEPWISE] IN [STEPWISE] IN [STEPWISE] THESE FIGURES DO NOT REFLECT BASS SCALE DEGREE ASCENDING DESCENDING ASCENDING [STEPWISE] ASCENDING OR ONLY ONLY OR DESCENDING DESCENDING MOTION [i.e. LEAPS]

1 5rs 6rs 7rs 2w 5r -e 6r -[ 5e 2 7 9 6rd [ n] 3 b 7 9 6rs 4 b* 7 9 5 5 ¢ 7 9 5r -e 6r -[ 5e 7y 7t 6r 5r -e 6 7 9 6rd §rd 7 9 7 b [ ] b6rs n 5 7 9 MINOR KEYS [TYPE OF BASS MOTION] IN [STEPWISE] IN [STEPWISE] IN [STEPWISE] THESE FIGURES DO NOT REFLECT BASS SCALE DEGREE ASCENDING DESCENDING ASCENDING [STEPWISE] ASCENDING OR ONLY ONLY OR DESCENDING DESCENDING MOTION [i.e. LEAPS]

1 5rs 6rs 7rs 5w 5r -e 6r -[ 5e 2 7 9 b §rd 3 §t aug. 5th7 9

4 * dim. 7th* 7 9 b 6®s b6®d 6t 7 9 5 s s s b 6rs raised 5r - 6r -[ 5 7y 7t 6r 5r - 7 9 6 b aug. 2nd§t lowered 7 aug. 6th 6®d raised dim. 4th, 5 b 7 dim. 7th 7 lowered

*When scale degree four in the bass is raised7 a semitone.

Example 17 Kellner’s tables of available dissonances (2nd ed. 1737, 96–97).

bass motion: either ascending or descending, and either conjunct or disjunct. The four columns to the right show how the available dissonant figures depend on the type of bass motion: first, for ascending stepwise motion; next, for descending stepwise motion; then, for either ascending or descending stepwise motion; and finally, in the far right Derek Remeš – Reconstructing Eighteenth-Century German Figured-Bass 47 column, for leaps, which has the most available dissonances.17 In sum, Examples 14 through 17 represent the essentials of a very popular method for training eighteenth- century German students to figure an unfigured bassline. In fact, these examples likely represent a base level of knowledge that many students were familiar with. And since Example 17, in particular, is a refinement of many of Heinichen’s ideas, and because Telemann (godfather to Emanuel Bach) endorsed the second edition of Kellner, it is all the more likely that J. S. Bach may have used similar methods with his own students and conceived of this process in a similar way. If Bach’s students were to use a method similar to Example 17, their task would be simplified because the chorale melody is always given. That is, a given soprano note restricts the choice of figure for a given bass note, simplifying the harmonization process. Kittel and Kirnberger, two of Bach’s students, provide the best models for how Stage 2 of Bach’s pedagogical method works in practice. Multiple-bass chorales figure prominently in both of their pedagogical methods, and they both claim their methods come from Bach, at least in part.18 Example 18 is from a manuscript attributed to Kittel (1791). The chorale is given at the top, followed by eight basslines. Each chorale phrase is labeled in brackets using Kirnberger’s harmonic types (Example 10) and the bassline descriptions (Example 11), just as in Example 12. The most notable feature of these eight basslines is that they begin in the homophonic Choralbuch style and end in an ornamented Choralgesang style. This is more due to a gradual acceleration of surface rhythm (from half notes to quarter notes) than due to a progression through Kirnberger’s harmonic Types A–D, even though the last harmonization does use all Type C. At this point it must be emphasized that while the Choralgesang style is usually used for voices, it need not be. Basslines six and seven in Example 18 are indeed ornamented, but the leaps resemble a more active, instrumental style than flowing, vocal style. Still, the overall trend exhibited in the eight basslines is toward smaller note values, more tonicizations, and more suspensions. These factors are in keeping with the description of the Choralgesang style given in the first part of this article.

17 Example 17 includes only one chromatic alteration: the raised fourth degree. The same occurs in Wiedeburg’s table for harmonizing chorales (1765–75, 3:359). Wiedeburg dedicates two chapters to chorale harmonization and includes a chorale with one hundred basses (1765–75, 3:504–534)! I discuss Wiedeburg in greater depth in my forthcoming dissertation, which addresses the compositional pedagogy of Bach and his contemporaries. 18 Kittel claimed that his teaching was framed “entirely according to Bachian principles” (McCormick 2015, i). Kirnberger also claimed his ideas were rooted in those of J. S. Bach: “His [J. S. Bach’s] method is the best because he proceeds step by step from the simplest to the most difficult, whereby even the step to itself is no more difficult than any other step. For this reason, I consider the method of to be the only and best one” (Kirnberger 1986, 75). Admittedly, this comment was made in the context of evaluating counterpoint treatises, not chorale harmonization. 48 THEORY and PRACTICE Volume 42 (2017) w w w w w w w w w 8 3 8 3 8 8 3 3 3 7 ˙ ˙ ˙ ˙ 3 7 87 87 87 87 3 7 3 7 # œ 8 w w w w w ˙ ˙ ˙ œ 8 8 4 6 8 5 5 5 4 5 œ 36 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ 64 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 64 56 66 66 69 # (imitation) œ œ œ 67 Original Key: G Major ˙ ˙ ˙ ˙ ˙ œ œ ˙ 6 43 3 66 5 3 3 5 -6 5 œ n œ œ œ œ 5 ™ ˙ ˙ ˙ ˙ œ ˙ œ œ œ 66 43 3 3 3 5 5 5 43 œ œ œ œ § -6 n # n [ ] ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ 5§ 66 3 6 67 6 2 6 4 6 5 4 4 n œ œ œ œ œ [Type C; faster values] [Type [Type C; faster values; suspensions] [Type [Type C; faster values] [Type [Type C; conjunct; upper suspensions] [Type [Type B; conjunct] [Type [Type C; bass suspension ] [Type ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ [Type B; diatonic; conjunct] [Type 3 [Type B; homophonic; diatonic ] [Type 5 n 4 ˙ ˙ ˙ ˙ #4 #6 UU (ms., Erfurt, 1791). w ˙ ˙ w ˙ ˙ w w w 4# 4# 43 4# 98 œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ # 7 # 7 5 # œ 36 ™ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ 64 6 6´ 66 64 5 2 4 œ œ 3 - - ˙ ˙ ˙ ˙ ˙ ˙ œ w 3 2 64 6 5 3 4 ˙ œ ˙ ˙ ˙ ˙ ˙ ˙ œ ˙ œ 64 66 66 2 65 43 œ œ 3 ˙ ˙ ˙ ˙ ˙ ˙ œ ˙ œ 66 2 4 64 66 6 2 3 4 4 64 4 œ œ - - # [Type C; faster values; suspensions] [Type [Type C; faster values] [Type C; faster values] [Type ˙ ˙ ˙ ˙ ˙ ˙ œ ˙ œ [Type C; homophonic; diatonic ] [Type C; homophonic; diatonic ] [Type C; homophonic; diatonic ] [Type C; homophonic; diatonic; conjunct ] [Type 3 3 5 [Type C] [Type 3 5 8 3 3 ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ w w w w w w w w w 8 3 8 3 ˙ 3 Example 18 7 3 3 7 3 7 3 7 35 7 87 w w ˙ w w w w w w 8 4 43 8 8 4 6 8 4 5 œ œ œ 64 64 ˙ ˙ ˙ œ ˙ ˙ ˙ œ œ 98 2 2 4 96 œ - - # ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 6 6 43 64 64 5 56 2 5 œ œ 4 - - 3 5 ™ Liebster Jesu wir sind hier from 25 Chorale... ˙ ˙ ˙ ˙ ˙ ˙ œ ˙ 3§ 66 43 66 66 3 5 4 œ œ œ 66 ™ 4 ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ homophonic; diatonic ] 98 66 64 3 5 98 n œ œ œ 6 5 66 6 5 n n ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ 6 6 5 3 2 4 4 n œ œ -6 n [Type C; faster values; suspensions] [Type [Type C; conjunct; chromatic] [Type C; faster values; suspensions] [Type [Type B; faster values; conjunct] [Type ˙ ˙ ˙ ˙ ˙ ˙ œ ˙ œ [Type B; diatonic; conjunct] [Type [Type C; disjunct; upper suspensions] [Type [Type C] [Type 66 87 [Type A; [Type 2 36 34 36 w w w w w w w w w UU 3 43 5 43 43 n ´4 œ œ œ œ œ ˙ œ ˙ ˙ œ ˙ œ œ œ 64 64 5´ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ 65 # œ œ 66 77 Kittel’s multiple basses for Kittel’s ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ Œ 66 6´ 87 œ œ œ ˙ ˙ ˙ ˙ ˙ œ œ œ 68 2 5 4 66 œ œ œ n 8 3 w ˙ ˙ ˙ ˙ œ œ ˙ œ ´6 66 66 3 5 7´ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ [Type C; faster values] [Type [Type C; homophonic; diatonic] [Type C; bass suspension] [Type C; conjunct; chromatic] [Type B; disjunct] [Type B; faster values] [Type 65 # CHORALE (four phrases) # [Type C; disjunct; upper suspensions] [Type 1 [Type C; faster values; upper suspension] [Type & ?# ?# ?# ?# ?# ?# ?# ?# ... (ms., Erfurt, 1791) Erfurt, (ms., ... wir sind hier from 25 Chorale multiple basses for Liebster Jesu Kittel’s Example 18. ° ¢ {

1. 2. 3. 4. 5. 6. 7. 8.

MULTIPLE BASSES MULTIPLE

style Choralbuch more style Choralgesang more Derek Remeš – Reconstructing Eighteenth-Century German Figured-Bass 49

Example 19 by Kirnberger exhibits the same overall trend from the Choralbuch style to the Choralgesang style, but in a different way than Kittel. Whereas Kittel used more varied rhythms and more conservative (never reaching Type D), Kirnberger’s settings remain in half notes throughout and become much more chromatic.19 For example, consider the last two basslines—Type D in Kirnberger’s classification. Given the criticisms of the complexity of Bach’s vocal chorales quoted above, it seems likely that this level of chromaticism would not usually be appropriate for organ accompaniment of congregational singing, which was Kittel’s primary goal. Rather, Kirnberger is testing how far he can take the chromaticism as a compositional exercise. Thus, Kittel and Kirnberger’s different approaches to multiple-bass harmonization are the result of their different goals: Kittel is training organists to accompany congregations, while Kirnberger is training composers. For this reason (and as a rhetorical appeals to copia, or abundance), Kirnberger is adamant that countless variations are possible beyond the twenty-six harmonizations he gives.20 Therefore, it seems that Stage 2 in Bach’s pedagogy was designed to explore the full range of harmonic resources and ornamental possibilities with the chorale melody held constant as a cantus firmus. Such a pedagogical strategy would be especially fitting for a like Bach, whose explorations of “the possible” in nearly every genre and style of his day still move and fascinate listeners three centuries later.

Summary and Conclusion

Leaver’s recent reassessment of the Sibley Choralbuch suggests the existence of two distinct styles of chorale harmonization in Bach’s pedagogy—the Choralbuch style and the Choralgesang style. I argue that Bach’s two-stage method described by C. P. E. Bach bridges between the two types of realization. In Stage 1, which addressed texture, Types 1, 2, and 4.1 belong to the homophonic Choralbuch style, whereas Types 3 and 4.2 belong to the ornamented Choralgesang style. In Stage 2, which addresses harmony and simple outer-voice counterpoint, realizations in the Choralbuch style tend to use harmonic Types A and B because these are diatonic. In contrast, the Choralgesang style tends to use Types C and D because these are more chromatic. The chorale remains a cantus firmus, or fixed point of reference throughout both stages. Eventually the restriction of the chorale framework was discarded and Bach’s lessons

19 The quoted descriptions in Example 19 are Kirnberger’s; the bracketed text is mine. 20 He writes that “We cannot help being amazed at the variety that harmony offers. The harmonies that could be used with this melody are not at all exhausted by these twenty-six basses. If one now considers that at least as many melodies can be written to each of these basses, that each melody can be changed again in countless ways by florid counterpoint—what wealth, what diversity!” (Kirnberger 1982, 305–6). 50 THEORY and PRACTICE Volume 42 (2017)

more Choralbuch style more Choralgesang style MULTIPLE BASSES ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ § § y y y 7 7 b b # ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 66 6 6y 6y 3 5 U b 8 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ §! § §6 §5 e 6 6 2 2 R 2 7 # 5 5 7 n # # §4 §4 w w w w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 6 6 6 6 6 6 6 2 5 5 5 5 5 7Y 5 5 4 4 5 I n n œ ˙ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 6 6 e 6 64 2 7 7 n # §4 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ § 6 6 r 2 r 2 m 5 5 n n n n 6 œ ˙ ˙ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 6 6 2 4 7§ 7§ 4 (1982 [1771–91], 300–305). n n 6§ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 66 y6 y6 n 4 n n ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ´6 W 6 6§ 6y 6 4 5 n n n n # The Strict Art ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 66 Cm 5 b b b b 4 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ´ 6m 66 66 2 3 4 75 7 5 b # Example 19 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ´m 67 6 r 2 2 - N7 4 5 b C ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 4 2n 67 62 1 8 3 2 26 4 n b b b b b 6 B ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 62 6 66 UU b b 2 C R 66 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ §6 §6 6 r m 2 m2 2 5 n n n # 4§ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 6 67 2 4 7§ 4 n ÓÓ Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ § m 7 n Ach Gott und Herr, wie gross und schwer sind mein be - gang ne Sün den Ach Gott und Herr, C C C C C C C C C C C C C b b b b b b b b b b b b b b b b b b b b b b b b b b & ? ? ? ? ? ? ? ? ? ? ? ? ° ¢ { 1. 2. 3. 8. 12. 14. 16. 17. 18. 20. 24. 26. Kirnberger’s multiple basses (selection from 26 total) Kirnberger’s Example 19. Kirnberger’s multiple basses (selection from 26 total) The 300–305) Strict Art (1982 [1771–91], Kirnberger’s Example 19. CHORALE: ”Natural” ”Natural” C; disjunct] [Type ”Greater variety” C; disjunct] [Type D; conjunct] [Type Type C; chromatic; [ Type [Type C; conjunct; [Type little chromaticism] C; conjunct; [Type very chromatic] “Parallel motion” C] [Type “Contrary motion” C] [Type contrary motion] “Contrary motion” C/D; [Type very chromatic] D; disjunct] [Type “Foreign Dominants” “Foreign Dominants” C; mostly conj.] [Type “Canonic Imitation” Derek Remeš – Reconstructing Eighteenth-Century German Figured-Bass 51 would then address fugal composition. But even here the pupil was not completely untethered, because the conceptual framework of figured bass had been internalized and likely continued to inform the composition of free, contrapuntally oriented works. That is, upper voices were still determined primarily by the bass scale degree in both harmonically and contrapuntally oriented genres. Bach’s ordering of topics—figured bass, chorale harmonization, fugue—implies that he viewed an understanding of figured bass as a prerequisite to the study of fugue.21 And since Bach was training composers, it seems likely that his pedagogical method would reflect his own compositional outlook. Although one often associates figured bass more with harmony than with counterpoint today, the pedagogical method reconstructed in this article (and, indeed, the early seventeenth-century origins of figured bass) suggest that one should view thoroughbass as equally capable of describing vertical and horizontal dimensions of music. These findings suggest two directions for the future: first, an increased reliance on figured bass and bass-degree-oriented thinking in analyses of contrapuntal genres; and second, a more consistent emphasis on figured bass and the Rule of the Octave in pedagogy, regardless of whether one is teaching “harmony” or “counterpoint.”22 Like Bach’s method, where the chorale was a musical cantus firmus for realizations that bridge from to ornamentation, so should figured bass act as a conceptual cantus firmus—a theoretical bridge between harmonic and contrapuntal modes of thought.

21 McCormick (2015, 246) and Renwick (2001, 1–8) also describe a pedagogical progression from figured bass to fugue in connection with J. S. Bach. 22 The strict division between “harmony” and “counterpoint” which became so prevalent in the Paris Conservatory in the nineteenth-century (and largely characterizes present-day thought) was foreign to the eighteenth century. 52 THEORY and PRACTICE Volume 42 (2017)

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