Beruflich Dokumente
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Tim Pack Joon Park Summary of Musical Guide (Musicalische Handleitung)by Friedrich Erhard Niedt (1674-1717)
Complete departure from Tenor-centered treatises of preceding decades Complete separation of bass, harmony, and melody (approaching Galant style)
One of the earliest treatises on the diminution technique Written for eager learner and keyboardists Teaching how to turn thoroughbass into a composition or a successful improvisation
Fundamentally different from Fux's way of building up from 2 voice-counterpoint Niedt approaches it by elaborating a simple thoroughbass He himself looked at thorough-bass as a composition
the thorough-bass is a start in composing and can actually be called a compositionmade by him who performs the thorough-bass... (bk.1, V, p.32)
Clear sense of departure from the ancient tradition Baroque-ism pleasing to the ear (bk.2, XI, 5, p.157) Neidt does not shy away from speaking up his opinion
Those ignorant in music consider the word counterpoint a great, musical Wondrous Creature. I myself have often had to listen to such persons when they, especially when drunk (and then all fools are clever), wanted to discuss with one another the nature of wellcomposed piece...
Perfect Consonances
(perfect) fifth and octave The fourth is also commonly placed among the perfect consonances, because the fourth added above the fifth sounds perfect within an octave. However, eager learners and beginners are only confused by this. Therefore I wish to confined myself here to calling only those consonances which sound well together with the fundamental voice.
Imperfect Consonances
because they can be altered (between major and minor not each other)
Perfect Dissonances
(perfect) fourth, falsche Quinta [diminished fifth], and the eleventh Seconds, sevenths, and eleventh
Imperfect Dissonances
Both the harmonization and the bass can be broken (bk. 1, VII, pp.34-36) The archetype
broken harmony
broken bass
On both thorough-bass and chords Ranges from second to ninth In duple and triple meters Variation of the leap of an ascending fourth
Step towards a full-blown composition The archetype (bk.2, XI, 5, p.156) Chaconnized Trio-rized
Cadentialized
Elaborated Entrance