Scribd
Upload
990 views34 pages

18th-Century Recitative Continuo

This document summarizes 18th century treatises on playing basso continuo in recitatives, including works by Heinichen, Gasparini, Niedt, Kellner, and Pasquali. It outlines techniques for resolving dissonances, inversions, and ornamentation like mordentes and acciaccaturas. Gasparini advises holding chords after outlining the harmony and not disturbing the singer with constant arpeggiation. The treatises provide guidance for basso continuo players on properly accompanying recitatives according to the stylistic conventions of the time period.

Uploaded by

62dydal
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
990 views34 pages

18th-Century Recitative Continuo

This document summarizes 18th century treatises on playing basso continuo in recitatives, including works by Heinichen, Gasparini, Niedt, Kellner, and Pasquali. It outlines techniques for resolving dissonances, inversions, and ornamentation like mordentes and acciaccaturas. Gasparini advises holding chords after outlining the harmony and not disturbing the singer with constant arpeggiation. The treatises provide guidance for basso continuo players on properly accompanying recitatives according to the stylistic conventions of the time period.

Uploaded by

62dydal
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
You are on page 1/ 34

Basso Continuo Playing in

Recitatives
According to 18th Century German and Italian Sources
How do you play
basso continuo
on the harpsichord
in a recitative?
G.F. Händel (1685-1759)
Cantata “Sento là che ristretto” for alto, HWV 161
(Rome, 1709)
18th Century Treatises on Recitative Playing
● F.E. Niedt: Musicalische Handleitung (III)
Hamburg, 1717
● F. Gasparini: L’Armonico Pratico al Cimbalo
Bologna, 1722
● J.D. Heinichen: Der General-Bass in der Composition
Dresden, 1728
● D. Kellner: Treulicher Unterricht im General-Baß
Hamburg, 1737
● N. Pasquali: Thorough Bass Made Easy
Edinburgh, 1757
Johann
David
Heinichen
(1683-1729)
Dresden, 1728
Der General-Bass in der
Composition
How to Figure Recitatives according to
Heinichen (1728)
How to Figure Recitatives according to
Heinichen (1728): Inverted Harmonies
Play a 7 6 progression to
resolve the 7th in the
voice line.
How to Figure Recitatives according to
Heinichen (1728): Inverted Harmonies
Resolve
diminished
harmonies into a 6
chord,
and not a 5,
in the following
cases:
How to Figure Recitatives according to
Heinichen (1728): Dissonances
+ 7
4 & 6
2 4 resolve over the same bass note.

6
4 resolves over a bass one degree lower.
2
Francisco
Gasparini
(1661-1727)
Bologna, 1722
L’Armonico Pratico al
Cimbalo
How to Play Recitatives according to
Gasparini (1722)
“The more these dissonances
can be played full and doubled
the better will be the effect…
In order to perform the
accompaniments of recitatives
with some degree of good
taste, the consonances must be deployed almost like an arpeggio, though not
continuously so. Once the harmony of a note has been heard, one must hold the keys
fast and permit the singer to take the lead, singing at his discretion and in accord
with the expression of the words. Do not annoy or disturb him with continuous
arpeggio, or with ascending and descending scale passages, as some do.”
How to Play Recitatives according to
Gasparini (1722): Mordente
● “Biting”
● Play and release immediately.
● Appropriate for the minor 3rd, the octave, and the 6th.
● Use judiciously, and not where it creates bad
voice-leading:
How to Play Recitatives
according to
Gasparini
(1722):
Acciaccatura
Put down all 14 fingers!
How to Play Recitatives according to
Gasparini (1722): Mordente & Acciaccatura
“These and similar dissonances, or harsh harmonies, would seem to
allow the good singer scope for better expression of the affections and
spirit of compositions. But, as I have said before, use them with
discretion, and see to it that you satisfy yourself in the first place, so
that in consequence the singer and listener will be better pleased.
You will be able to make equal use of the mordent and
acciaccatura in arias or canzonas, since they are essential for playing
with grace and good taste; through their use the accompaniment
becomes much more harmonious and delightful.”
Friedrich
Erhard
Niedt
(1674-1717)
Hamburg, 1717
Musicalische Handleitung
How to Play Recitatives according to
Niedt (1717): 18 Points Stylus Recitativus
Play a 7 6 progression to
resolve the 7th in the
voice line.
How to Play
Recitatives
according to
Niedt (1717):
Secco
How to Play
Recitatives
according to
Niedt (1717):
Secco
Nicolo
Pasquali
(1718-1757)
Edinburgh, 1757
Thorough Bass Made Easy
● Friedrich Erhard Niedt (1674-1717)
Hamburg, 1717: III of Musicalische Handleitung
● Francisco Gasparini (1661-1727)
Bologna, 1722: L’Armonico Pratico al Cimbalo
● Johann David Heinichen (1683-1729)
Dresden, 1728: Der General-Bass in der Composition
● David Kellner (1670-1748)
Hamburg, 1737: Treulicher Unterricht im General-Baß
● Nicolo Pasquali (1718-1757)
Edinburgh, 1757: Thorough Bass Made Easy
● Buelow, George J. Thorough-Bass Accompaniment
according to Johann David Heinichen.
● Burrows, David. L. ed. Stillings, Frank S. transl. The
Practical Harmonist at the Harpsichord.
● Christensen, Jesper, B. 18th Century Continuo Playing: A
Historical Guide to the Basics. Robinson, J. Bradford,
transl.

You might also like

pFad - Phonifier reborn

Pfad - The Proxy pFad of © 2024 Garber Painting. All rights reserved.

Note: This service is not intended for secure transactions such as banking, social media, email, or purchasing. Use at your own risk. We assume no liability whatsoever for broken pages.


Alternative Proxies:

Alternative Proxy

pFad Proxy

pFad v3 Proxy

pFad v4 Proxy