1

Buelow, G. Thoroughbass Accompaniment according to Heinichen, 1718, 2741, 7587,

21935, 38184, 39092, 398401, 41819.

Gradual supplanting of Baroque period actually began before J.S. Bachs death, yet most of our
current knowledge of thoroughbass realization comes from treatises written after 1750.
TP: When Buelow made this statement, none of the following treatises had been edited:
Buelows book (1986)
Niedt (1989)
St. Lambert (1991)
Campion (1992)

Composers of the Baroque period constructed and organized chords on the actual bass note,
NOT the root. Also, intervals related to bass notes determined the harmonic progression,
whereas dissonances followed the rules of counterpoint. (18)

Heinichen speaks of dissonance in terms of counterpoint in 1728. (18)
TP: As we read Heinichen, keep in mind that Rameaus Trait was published 6 years earlier in 1722.
He recognized the M
6
as an inverted triad, but he speaks of inverted intervalsfar more often than
inverted chords. Thus, it is incorrect to assume that an inverted chord implies the priority of its
root position or it existence in actual practice.

The Figures(27)
Because ideas of writers on thoroughbass differ by chronology, nationality, education, and
musical background, Heinichen attempts to summarize the varieties of figures used in
different countries.
He divides figures into three basic systems for writing chromatic alteration of intervals
As Lester mentions (p.58), Heinichen arranges dissonant chords in numerical order in a similar
manner to that of St. Lambert. Instead of organizing by ONE, TWO, THREE figures, Heinichen
organizes by figures containing the number 2, 3, 4, and so on.
Later theorists categorized dissonances according to newer harmonic theories rather than by
numbers.
Buelow mentions the German method of attaching strokes or accidentals to figures (4#)
He also mentions the disagreement and inconsistencies about placing the accidental before or
after the number. (2728)
Despite the diversity of thoroughbass treatises in the early 18
th
c, they all (including
Heinichens) follow a similar order.
o chords and figures
o rudiments of music from simple to complex
o triads and first-inversion triads
o dissonant intervals

Triads (29)
Heinichen suggests learning to play triads on every scale degree, practicing with the 3
rd
, 5
th
, and
8ve on top. These positions are called the drey Haupt-Accorde. (29)
St. Lambert, Kellner, and Mattheson also emphasize the importance of these three positions.
Doubling the 3
rd
and 5
th
was not advocated until the mid-18
th
c.
}

All of these treatises were published in the
early18
th
c. (before 1720), yet none of these had been
translated at the time of Buelows publication.


2
Chords of the Sixth(30)
Heinichen fully understood 6
th
chords as inverted 5/3 triads.
Although doubling the 5
th
or root in 6/3 chords was more natural, Heinichen strongly
urged doubling the 3
rd
(bass) as well.
If moving in //6
th
s, accompanist can omit the fourth part in order to avoid //8s
In M
6
, Heinichen recommends doubling the bass (e.g., EEGC)
In m
6
, he says that doubling the chordal fifth is fine and NOT harsh as others have said:
o e.g., in CEA, E is not considered to be a M3 above the bass; it is an inverted fifth
above the root A: c
4
e
4
a
4
= a
3
c
4
e
4
, thus doubling E is okay.
Heinichen concludes with two rules for doubling the M3 that are not joined to 6
th
s:
o M3s [chordal 5
th
of m
6
] natural to the key can be doubled w/o hesitation.
o M3 resulting from chromatic alterations should NOT be doubled.
! e.g., in D-major, its okay to double the leading tone C# in C#EA
! BUT in d-minor, it is NOT okay, because C# is a chromatic alteration. (31)
Heinichens musical examples often contradict his instructions (31)
o He says its okay to double the 3
rd
and 5
th
, but NONE of his 4vv examples do this;
they all double the bass (root in 5/3s or 3
rd
in 6/3s)
o He says its okay to double the LT in major, but NONE of his examples do this.
Heinichen wanted to remove the notion against doubling M3s [chordal 5
th
in m
6
] on
keyboards, because tuning of 3rds was no longer a problem.
He lists three doubling rules for chromatically altered 6/3 chords: (32)
1. Do NOT double chromatically altered D# in BD#G
2. Do NOT double chromatically altered G# in BDG#
3. Do NOT double chromatically altered B-natural in BDG
He concludes with a general example of three separate versions of 6
th
chords: (3133)
o The first version shows the octave [chordal 3
rd
] on top in all 6/3 chords
o The second version shows the third [chordal 5
th
] on top in all 6/3 chords
o The third version shows the fifth [chordal root] on top in all 6/3 chords
Heinichen gives these examples for developing tactile memory to coordinate the eyes, mind,
and fingers.
Buelow: According to the rule of the octave, 6/4/3 is assigned to scale degrees 2 and 6;
however, NO theorist limits this chord to a particular scale degree. (35)

Dissonances: The Second(2, 5/2, 4/2, 5/4/2, 4+, 6/4+/2)
Seconds occur in TWO forms only:
1. SUS (requires P and R)
2. PT
Since SUS of a 3
rd
over a suspended bass resembles structure of chords with seconds,
Heinichen discusses 6/4/3 and 6/4+/3 in his second on seconds. (36)
Heinichen again gives example w/ three versions of chords with 2 = drey-Haupt Accorde
Most theorists agree with Heinichens suggestions about the 2
nd
.
St. Lambert, however, is more conservative. For him 2= 5/2 or 5/4/2, NOT 6/4/2. (40)



= drey Haupt-Accorde


3
Two degrees of functional importance for dissonances in Baroque theory and practice:
1. fundamental dissonances
2. auxiliary dissonances
Thoroughbass manuals give correct resolutions of fundamental dissonances. (40)
No matter how many figures a treatise lists, each belongs to one of the 5 or 6 groups of
fundamental dissonances.
1. 2
nd

2. 4
th

3. 5
th

4. 7
th

5. 9
th

6. falsae= +2, 3, 4, +5, +6, M7
Thus, the pedagogical method was actually quite practical and simple.

Rameaus principles of functional harmony caused chords to lose their independence and
caused figures to be reduced to a system of symbols for harmonic analysis (40)
Unaffected by Rameau, however, Heinichen continued to group 5/2, 5/4/2, 6/4/2, 6/4+/2
together as harmonic variations built on the dissonant second. (4041)
His discussion of the origin and doubling of the 6/3 chord is possibly derived from Rameau
(Lester, p.55)

The Fourth(4, 4+, 6/4, 6/4+) (41)
This usually occurs as a 43 SUS and should resolve but does NOT have to be prepared
The fourth may also occur as an ascending PT

Basic Principles of Thoroughbass Accompanying (75)
He advocates the study of thoroughbass priorto acquiring advanced keyboard techniques
Heinichen favored learning thoroughbass as a means of learning how to compose
Most 18
th
c theorists disagreewith this idea (e.g., Couperin, Mattheson, Bach, etc.)
Most recommended achieving technical command BEFORE thoroughbass

Elementary Concepts of Style(76)
1. NO //5s or //8s
2. Have smooth voice-leading and avoid unnecessary leaps in RH

Heinichen is apparently the first to allow use of the entire range on the keyboard; he does give a
few rules about this, though: (79)
1. Avoid large gaps between LH and RH
2. RH alone should play the decorations
Heinichen is the only Baroque theorist to systematically and exhaustively develop ideas on full-
voice realizations. (full-voice = double as many notes in RH as LH can grasp) This is good for
the harpsichord, because it cannot sustain. (80)
The more voices singing the fuller the accompaniment should be.
DAnglebert (1689) and Delair (1690) say that the LH can be filled in with consonances or even
by doubling the second or tritone of the RH chord. (80)
This is radical to conservative French, such as St. Lambert (1707), who would double notes of
the triad, intervals of the 2
nd
, and sometimes 7
th
.

occurs in late-Baroque works


4
Heinichens approach to full-voice accompaniment: (82)
1. Add top part without //5s and //8s to bass part
2. Fill in with as many chord tones as possible
Heinichens approach thus frees the inner voices from contrapuntal guidelines and voice-
leading guidelines. (83)
Heinichen says that the organist must be more careful than the harpsichordist when making a
full-voice accompaniment: e.g., EEGC sounds harsher on organ than on harpsichord. (84)
ALL suspended and resolving dissonances can be doubled in full-voice accompaniment (85)
RH must follow general rules of preparation and resolution of dissonances.
LH has more freedom: dissonances can resolve in different octaves: LH can anticipate
dissonances in the RH (87)
It is important to avoid large gaps between the LH and RH, regardless of doubling (86)

Unfigured basses(219)
Theorists in the 17
th
and 18
th
c HATE unfigured basses (Werkmeister, Mattheson, CPE Bach)
In spite of their vehemence toward it, it led to developments in harmonic theory, such as the
relationship between harmony and key.

Although theorists hate unfigured basses, Heinichen says that these complications can be overcome
through 1) mastery of thoroughbass, 2) a thorough acquaintance with the various chords and
progressions, and 3) memorizing the ambitus modifor each scale. (220)

TP:
In its strict sense, ambitus modirefers simply to the scale represented by each mode or key;
the ambitus modi of C major is c, d, e, f, g, a, b, c. Using only these notes would constitute
a piece, section, or cadence that is strictly within the ambitus modiof C major.
In a broader sense, ambitus modilater applied to harmonies of subsidiary keys, whose triads
were composed of notes belonging to the main key. In this broader sense, a cadence using
C: V
7
/V ! V would still be within the ambitus modi of C major, because the cadence occurs
on a triad that is diatonic to C major. Cadencing on a g minor triad or a d minor triad,
however, would notbe within the ambitus modiof C major, since these triads are not
diatonic to C:
















5
Deriving Figures from a Solo Part above the Bass: (220)
Determine chords by looking at outer voices (e.g., if there is a d in the bass and c in the solo,
then play a 7
th
chord)
Heinichen gives a musical example and shows how 32 different chords can be determined
from the solo and bass lines alone.

Criticisms of Heinichens system: (223)
1) It disregards dissonances in the harmonic texture when they fall in a part other than solo or bass
2) It fails completely when there is no solo part

Heinichen defends his system: (22324)
1) Accompanist may form harmonies freely based on ambitus modi
2) Accompanist may determine harmonies from other parts in the score when the solo stops
3) Accompanist does not have to play ALL dissonances of other parts: just dont play
conflicting chords.
His third statement stresses both the importance of improvisation AND of not playing wrong notes:
The accompanist does not have to play ALL the right notes: just dont play ANY wrong notes.

Deriving figures from some easy rules or notable intervals of the scale(224)
Heinichen gives EIGHT rules based on the direction and interval that the bass moves:
1) If bass descendsm2, ascends 3
rd
, or descends6
th
, then next bass note has a 6-chord
2) If bass of M
5/3
ascendsm2, descends M3, or ascendsm6, then next bass note has a 6-chord
3) If bass of m
5/3
descends M2, descendsM3, or ascends m6, then next bass note has 6-chord
4) If bass of m
6
ascendsm2, descendsM3, or ascends m6, then next bass note has 5/3 triad,
BUT if it ascends M2, then next bass note has a 6-chord.
5) If bass of M
6
ascendsor descendsM2, then next bass note has 6-chord, but if it descendsm3
or ascendsM6, then next bass note is 5/3 triad.
6) If bass of M
6
chord descends M2, then next bass note has 5/3 triad; if it descendsm3 or
ascends m2, M2, or m3, then the next bass note has 6-chord.
7) If two bass notes ascend or descend3
rd
and one includes accidental, then accidental is
usually retained for the adjacent chord.
8) Any bass raised chromatically by # or natural foreign to key supports a 6-chord.

Deriving figures by special rules or from structure (ambitus) of scale(22729)
Heinichens main source from which to draw thoroughbass figures was schemata modorum
(harmony for each scale degree)
SEVEN SPECIAL RULES:
S1) Scale degree 5 uses major triad (i.e., V is always a major triad)
S2) Scale degree 4 uses a minor triad in minor keys; it may also have a 6-chord or 6/5 chord
S3) LT in major and minor keys uses a 6-chord
S4) Scale degree 3 in major and minor keys uses a 6-chord
S5) Scale degree 2 in minor keys uses a 6-chord; in major keys, it may use a triad (if the bass leaps)
or a 6-chord if the bass ascends M2.
S6) Scale degree 6 in minor keys uses a 6-chord; in major keys, it may use a 6-chord (if bass leaps
to or from scale degree 4) or a triad.
S7) When the bass is raised chromatically by # or , then the piece modulates to the key that is a m2
above that accidental.
n


6

Heinichen gives reasons for each of his rules: they usually involve consideration of intervals:
e.g., LT must use 6-chord, because there is no P5 above LT
Scale degree 6 in minor uses a 6-chord, because it is a m2 from scale degree 5

Heinichens rules are based on natural laws of tonal harmony.
His approach is systematic and more flexible than Campions Rule of the Octave.

It is inadequate for determining and predicting harmonies in a given context, but it does NOT
represent an attempt to establish harmonic or voice-leading norms within major and minor keys, nor
does it attempt to explain how movement from one key to another affects harmony & voice-leading.

Heinichens treatment of dissonances(381)
Heinichens study of dissonances and their resolution in theatrical style is one of the most original
contributions to the history of Baroque music theory.

His treatise surpasses other Baroque treatises in explaining thoroughbass techniques, and it
establishes specific characteristics of stylus theatricalisas it affects the art of accompanying
thoroughbass. (381)

(38283)
Free dissonance treatment of theatrical style does NOT imply disorder or lack of resolutions.
Heinichen divides theatrical resolutions of dissonances into 8 major categories.
These rules ALL observe his fundamental rule yet suggest harmonic freedom far beyond that of
academic counterpoint.

Unlike Rameau, Heinichen, who knew Rameaus treatise, avoids evolving theoretical premises
such as basse fondamentaleor construction of all chords in 3
rd
s.
Heinichen attempts to codify by seeking basic principles of harmonic procedures underlying the
current practice in the theatrical style of music. (383)

Variation of dissonances before resolution(383)
Preparation and suspension must NEVER be omitted, though they can be varied by inserting notes
between them.

How to leap to and from dissonances: (390)
"Heinichen suggests that ALL unprepared dissonances actually result from anticipated PTs:



became



7
"He also says that one CAN leap into any dissonance that can be prepared in another part. (391)
"One can leap into ANY dissonance that occurs as a PT in another voice (393)
"One can leap into ANY dissonance that occurs as a quick PT in another voice (393)

His ideas suggest that voices were thought of as woven together into ONE vertical entity more so
than independent horizontal lines.

Inversions of harmonies before resolution(398)
Stems from the problem of unfigured bass in cantatas and operas. (399)
o A sustained F in the melody against D in tb can be 3
rd
a d triad OR 7
th
of G
7
.
Thus, Heinichen developed a method to help accompanists with chord inversions and with
recognizing inversions of dissonances before resolution (399)
His method is based on dividing the 7 chord into all possible inversions formed by the
exchange of bass and upper chord tone with the remaining parts of the chord.
I think he is describing voice exchanges that allow any note of the vii
7
chord


Anticipated PTs in the bass (418)
Anticipated PT is allowed when:
1) There is a group of bass notes descending a M3 or m3
2) The second note descends M2 to form +4 with preceding chord
(e.g., d
3
g
3
f
3
# d
3
f
3
) See example above from p.390.

Many of these dissonances are created by ellipsis & are used at times to express harsh words (419)

Heinichen says ellipsisis not only permissible but makes the chord more beautiful. (419)

Beinichen Bigh Points:
Keep in minu that Beinichen is wiiting six yeais !"#$% than Rameau's 1722 tieatise.
Feels the neeu to oiganize the laige list of figuies.
o Like Saint-Lambeit, he aiianges the choius by numbei.
o 0nlike Saint-Lambeit, he lists all choius that contain the figuie 2, then
those that contain the numbei S, anu so on.
The oiganization of Beinichen's tieatise is conventional:
o choius anu figuies
o iuuiments
o tiiaus anu fiist-inveision tiiaus
o uissonant inteivals
&%$'()"*+#,-../%&$thiee piincipal choius |St. Lambeit et al. also mention these positions.j
1) tiiau with S
iu
on top
2) tiiau with S
th
on top
S) tiiau with 8ve on top
Beinichen's examples sometimes appeai to contiauict his instiuctions:
o Be says that uoubling the S
iu
anu S
th
is peimissible, but ALL of his
examples uouble the bass.
o Be even says that uoubling the LT in N: is peimissible, but N0NE of his
examples uo this.
0nlike most theoiists of the time, Beinichen asseits that thoioughbass is a
pieiequisite foi leaining auvanceu keyboaiu techniques anu composition.
Beinichen seems to be the fiist to allow use of the entiie iange of the keyboaiu.
Be is the only Baioque theoiist to systematically anu exhaustively uevelop
iueas on full-voice iealizations (i.e., uoubling as many notes as possible)

Beinichen's appioach to unfiguieu basses:
o mastei thoioughbass
o achieve thoiough acquaintance with the vaiious choius anu piogiessions
o memoiize "012#*3(0/&2 foi each scale
Noie specifically:
In music with solo above the bass, ueteimine haimonies implieu by solo anu bass
o Shoitcomings: This soln. uisiegaius uissonances occuiiing in othei voices,
anu it will not woik in passages that lack a solo pait.
o Knowing these shoitcomings, Beinichen uefenus himself by saying that the
accompanist uoes not have to play ALL the iight notes as long as she uoes
N0T play any wiong notes.
Beinichen gives eight iules that consiuei the motion of the bass anu
qualityposition of the tiiaus involveu. |This is similai to Saint-Lambeit.j
In auuition to these, he gives seven special iules.
Beinichen's iules aie baseu on the natuial laws of tonal haimony anu aie moie
systematic anu flexible than Campion's 4*!$(/5(#6$(7.#"8$.

Beinichen's tieatment of uissonances is one of the most oiiginal in the histoiy of
Baioque music theoiy anu suipasses othei Baioque tieatises in explaining
thoioughbass techniques anu how they aie impacteu by specific chaiacteiistics of the
3#'!*3(#6$"#%2."!23.