Fundamental bass


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(Mus.) the root note of a chord; a bass formed of the roots or fundamental tones of the chords.

See also: Fundamental

Webster's Revised Unabridged Dictionary, published 1913 by G. & C. Merriam Co.
References in periodicals archive ?
The notes made in the discovered first violin part reveal that the instruments, with the exception of the fundamental bass accompaniment, which is applied in the entire collection, and the ritornellos, only played along with the vocal parts in song No.
60) to David Lewin's "Women's Voices and the Fundamental Bass" (The Journal of Musicology 10, no.
'Consonnance', for its part, shows how Rousseau prefers the sympathetic vibration of strings as an acoustic basis of explanation for harmony over Rameau's derivation of the musical fundamental bass from the measurement of resonance: sympathetic vibration is directly observable via the senses and not via secondary effects.
Bass lines were created, whether by composer or performer, by decorating the fundamental bass. Corelli's contemporary, Francesco Gasparini (1668-1727),(52) shows how to decorate the bass in performance so that more of the harmony can be represented by it (ex.9).
In this perspective, Rameau's increasingly extravagant insistence that all music's powers derive from the resonating body, as described in the theory of the fundamental bass, appears as a belated manifestation of quasi-theological accounts of the harmony of the universe found in Pythagoras or Mersenne.
Example 50 shows the occurrences of the different tetrachords above the fundamental bass line of section A (cf.
E[flat], the last pitch of the fundamental bass line of section A, and the D, which starts and finishes section B, are the very last two pitches that hover at the end of the entire work (measure 506-end) in the soli clarinets, thus harmonically concluding the composition.
In Chapters 4 and 5, the French (and German) models for Rameau's theory of 'fundamental bass' are reviewed, and the theory itself is explained in detail (as are contemporary reactions to it).
Like Javanese music theory, Rameau's formulation of the fundamental bass, for example, represents a way to regularize the multiform, to simplify and to reduce, to explain complexity, and to use analogies.
(It is missing from the glossary and index.) The insignificance of the concepts of root and inversion for Mathieu constitutes the crucial difference between his theory and traditional theories of harmony, because his system does not derive a chord by stacking thirds, and it is not a theory of fundamental bass. Yet this difference demands an explanation: Why are these concepts unimportant?
In Lester's analysis of Mozart's teaching materials for Barbara Ployer, we sense the pathos of genius bent to the task of instructing a pupil of indifferent aptitude, and the reader is obliged to decide which is more heartrending, the teacher's earnest forbearance, the pupil's paucity of talent, or indeed, the Neue Mozart Ausgabe editor's unacknowledged addition of an accidental that transforms an inept but grammatically correct fundamental bass into theoretical nonsense.
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