thoroughbass


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thor·ough·bass

or thor·ough bass  (thûr′ō-bās′, thûr′ə-, thŭr′-)
n.

[thorough, through and through + bass.]

con•tin•u•o

(kənˈtɪn yuˌoʊ)

n., pl. -tin•u•os.
a musical keyboard accompaniment in unrealized form consisting of a series of bass notes whose chordal harmonies are indicated by numerals.
Also called figured bass .
[1715–25; < Italian: literally, continuous]
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References in periodicals archive ?
Bach's publications after Bach had moved to Hamburg, Hering appears to have also provided instruction in thoroughbass.
present four essays based on lectures they gave at the Fourth International Orpheus Academy for Music Theory in 2006 on "Music Theory: Thoroughbass in Practice, Theory, and Improvisation.
BASSO continuo and the style period to which it belongs were conjoined early in this century when Hugo Riemann coined the term General-baBzeitalter, the Thoroughbass Era.
Moreover, was Bach not following the conventions of thoroughbass harmony, together with the contrapuntal thinking that that involves, without a necessary consciousness of modern functional tonality?
Others address the genres of music theory during the period proposed by Carl Dahlhaus, little-known examples of music theory sources by historians of early modern science and medicine, and the Rule of the Octave and the history of the thoroughbass.
Turk tells us (in 1789) and Starke repeats (in 1819) the following directions for achieving good Vortrag: (1) a previously developed facility in playing and note-reading, security in rhythm, a good knowledge of thoroughbass ana of the piece itself that one is playing, and then especially; (2) clarity in execution; (3) expression of the prevailing character; (4) proper application of ornaments and other such devices; (5) a proper feeling for every passion and emotion expressed in the music.
66) The other is a composition draft in which the accompaniment is indicated with thoroughbass figures.
It turned out that Diletskii's circle was not just an early one, but the earliest one on record, preceding the venerable Johann David Heinichen's "musicalischer Circul" (in his thoroughbass treatise of 1711), long the official First Circle, by 32 years.
Federhofer as Georg Muffat: an essay on thoroughbass (American Institute of Musicology, 1961) [page numbers for subsequent quotes are taken from this edition].
The topics treated here include the central position of the triad, French thoroughbass practice and the 'regle de l'octave', the development of harmonic counterpoint, and the inversional derivation of triads; all were traditional practices that formed important features of Rameau's harmonic theory.
Baroque counterpoint was viewed from a harmonic perspective, in which figuration reduces to linear voices that represent the intervals of a triad, as evident in the practice of thoroughbass.