cópia de rameau's l'art de la basse fondamentale

25
Society for Music Theory Rameau's "L'Art de la Basse Fondamentale" Author(s): Thomas Christensen Source: Music Theory Spectrum, Vol. 9 (Spring, 1987), pp. 18-41 Published by: University of California Press on behalf of the Society for Music Theory Stable URL: http://www.jstor.org/stable/746117 Accessed: 04/06/2010 15:41 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=ucal. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press and Society for Music Theory are collaborating with JSTOR to digitize, preserve and extend access to Music Theory Spectrum. http://www.jstor.org

Upload: ivan-eiji-yamauchi-simurra

Post on 15-Dec-2015

220 views

Category:

Documents


1 download

DESCRIPTION

Materia de Referência para área

TRANSCRIPT

Page 1: Cópia de Rameau's L'Art de La Basse Fondamentale

Society for Music Theory

Rameau's "L'Art de la Basse Fondamentale"Author(s): Thomas ChristensenSource: Music Theory Spectrum, Vol. 9 (Spring, 1987), pp. 18-41Published by: University of California Press on behalf of the Society for Music TheoryStable URL: http://www.jstor.org/stable/746117Accessed: 04/06/2010 15:41

Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available athttp://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unlessyou have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and youmay use content in the JSTOR archive only for your personal, non-commercial use.

Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained athttp://www.jstor.org/action/showPublisher?publisherCode=ucal.

Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printedpage of such transmission.

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].

University of California Press and Society for Music Theory are collaborating with JSTOR to digitize, preserveand extend access to Music Theory Spectrum.

http://www.jstor.org

Page 2: Cópia de Rameau's L'Art de La Basse Fondamentale

Rameau's "L'Art de la Basse Fondamentale"

Thomas Christensen

Rameau's "L'Art de la Basse Fondamentale"

Thomas Christensen

Rameau's "L'Art de la Basse Fondamentale"

Thomas Christensen

Rameau's "L'Art de la Basse Fondamentale"

Thomas Christensen

Rameau's "L'Art de la Basse Fondamentale"

Thomas Christensen

Rameau's "L'Art de la Basse Fondamentale"

Thomas Christensen

Among the papers of the French philosophe and scientist Jean d'Alembert now housed in the archives of the Institut de France, I recently found a lengthy bound manuscript entitled "L'Art de la Basse Fondamentale."l While no author is indi- cated on the title page, a reading of the opening paragraph sug- gests that it is none other than Jean-Philippe Rameau:

After having declared my discoveries concerning the principle of har- mony and of all our faculties of music contained in a single sound, after having cleared the way for what I have called the fundamental bass, and after having revealed [its] relationship through an infinity of experiments [in the] traite de l'harmonie, nouveau sisteme, and gener- ation harmonique, 172[2], [17]2[6], and [17]3[7], I have finally under- taken to bring forth a method for composition and accompaniment entitled "The Art of the Fundamental Bass."2

A preliminary version of this article was read at the ninth annual meeting of the Society for Music Theory held in Bloomington, Indiana, November 1986. For their helpful criticism and advice, I am grateful to Eugene Wolf and Roger Graybill.

1Bibliotheque de l'Institut de France (d'Alembert archive), MS 2474; Bib-

liotheque national (music division), microfilm no. 551. 2Fol. 1. "Apres avoir declare ma decouverte du principe de l'harmonie et

de toutes nos facult6s en musique dans un seul son, apres avoir fray6 les routes dans ce que j'appelle Bassefond.le, apres en avoir expose rapport avec une in- finit6 d'experiences, traite de 1'harmonie, nouveau sisteme, generation har-

monique, 172. 2. et 3. j'ay enfin entrepris d'en tirer une methode pour la com-

Among the papers of the French philosophe and scientist Jean d'Alembert now housed in the archives of the Institut de France, I recently found a lengthy bound manuscript entitled "L'Art de la Basse Fondamentale."l While no author is indi- cated on the title page, a reading of the opening paragraph sug- gests that it is none other than Jean-Philippe Rameau:

After having declared my discoveries concerning the principle of har- mony and of all our faculties of music contained in a single sound, after having cleared the way for what I have called the fundamental bass, and after having revealed [its] relationship through an infinity of experiments [in the] traite de l'harmonie, nouveau sisteme, and gener- ation harmonique, 172[2], [17]2[6], and [17]3[7], I have finally under- taken to bring forth a method for composition and accompaniment entitled "The Art of the Fundamental Bass."2

A preliminary version of this article was read at the ninth annual meeting of the Society for Music Theory held in Bloomington, Indiana, November 1986. For their helpful criticism and advice, I am grateful to Eugene Wolf and Roger Graybill.

1Bibliotheque de l'Institut de France (d'Alembert archive), MS 2474; Bib-

liotheque national (music division), microfilm no. 551. 2Fol. 1. "Apres avoir declare ma decouverte du principe de l'harmonie et

de toutes nos facult6s en musique dans un seul son, apres avoir fray6 les routes dans ce que j'appelle Bassefond.le, apres en avoir expose rapport avec une in- finit6 d'experiences, traite de 1'harmonie, nouveau sisteme, generation har-

monique, 172. 2. et 3. j'ay enfin entrepris d'en tirer une methode pour la com-

Among the papers of the French philosophe and scientist Jean d'Alembert now housed in the archives of the Institut de France, I recently found a lengthy bound manuscript entitled "L'Art de la Basse Fondamentale."l While no author is indi- cated on the title page, a reading of the opening paragraph sug- gests that it is none other than Jean-Philippe Rameau:

After having declared my discoveries concerning the principle of har- mony and of all our faculties of music contained in a single sound, after having cleared the way for what I have called the fundamental bass, and after having revealed [its] relationship through an infinity of experiments [in the] traite de l'harmonie, nouveau sisteme, and gener- ation harmonique, 172[2], [17]2[6], and [17]3[7], I have finally under- taken to bring forth a method for composition and accompaniment entitled "The Art of the Fundamental Bass."2

A preliminary version of this article was read at the ninth annual meeting of the Society for Music Theory held in Bloomington, Indiana, November 1986. For their helpful criticism and advice, I am grateful to Eugene Wolf and Roger Graybill.

1Bibliotheque de l'Institut de France (d'Alembert archive), MS 2474; Bib-

liotheque national (music division), microfilm no. 551. 2Fol. 1. "Apres avoir declare ma decouverte du principe de l'harmonie et

de toutes nos facult6s en musique dans un seul son, apres avoir fray6 les routes dans ce que j'appelle Bassefond.le, apres en avoir expose rapport avec une in- finit6 d'experiences, traite de 1'harmonie, nouveau sisteme, generation har-

monique, 172. 2. et 3. j'ay enfin entrepris d'en tirer une methode pour la com-

Among the papers of the French philosophe and scientist Jean d'Alembert now housed in the archives of the Institut de France, I recently found a lengthy bound manuscript entitled "L'Art de la Basse Fondamentale."l While no author is indi- cated on the title page, a reading of the opening paragraph sug- gests that it is none other than Jean-Philippe Rameau:

After having declared my discoveries concerning the principle of har- mony and of all our faculties of music contained in a single sound, after having cleared the way for what I have called the fundamental bass, and after having revealed [its] relationship through an infinity of experiments [in the] traite de l'harmonie, nouveau sisteme, and gener- ation harmonique, 172[2], [17]2[6], and [17]3[7], I have finally under- taken to bring forth a method for composition and accompaniment entitled "The Art of the Fundamental Bass."2

A preliminary version of this article was read at the ninth annual meeting of the Society for Music Theory held in Bloomington, Indiana, November 1986. For their helpful criticism and advice, I am grateful to Eugene Wolf and Roger Graybill.

1Bibliotheque de l'Institut de France (d'Alembert archive), MS 2474; Bib-

liotheque national (music division), microfilm no. 551. 2Fol. 1. "Apres avoir declare ma decouverte du principe de l'harmonie et

de toutes nos facult6s en musique dans un seul son, apres avoir fray6 les routes dans ce que j'appelle Bassefond.le, apres en avoir expose rapport avec une in- finit6 d'experiences, traite de 1'harmonie, nouveau sisteme, generation har-

monique, 172. 2. et 3. j'ay enfin entrepris d'en tirer une methode pour la com-

Among the papers of the French philosophe and scientist Jean d'Alembert now housed in the archives of the Institut de France, I recently found a lengthy bound manuscript entitled "L'Art de la Basse Fondamentale."l While no author is indi- cated on the title page, a reading of the opening paragraph sug- gests that it is none other than Jean-Philippe Rameau:

After having declared my discoveries concerning the principle of har- mony and of all our faculties of music contained in a single sound, after having cleared the way for what I have called the fundamental bass, and after having revealed [its] relationship through an infinity of experiments [in the] traite de l'harmonie, nouveau sisteme, and gener- ation harmonique, 172[2], [17]2[6], and [17]3[7], I have finally under- taken to bring forth a method for composition and accompaniment entitled "The Art of the Fundamental Bass."2

A preliminary version of this article was read at the ninth annual meeting of the Society for Music Theory held in Bloomington, Indiana, November 1986. For their helpful criticism and advice, I am grateful to Eugene Wolf and Roger Graybill.

1Bibliotheque de l'Institut de France (d'Alembert archive), MS 2474; Bib-

liotheque national (music division), microfilm no. 551. 2Fol. 1. "Apres avoir declare ma decouverte du principe de l'harmonie et

de toutes nos facult6s en musique dans un seul son, apres avoir fray6 les routes dans ce que j'appelle Bassefond.le, apres en avoir expose rapport avec une in- finit6 d'experiences, traite de 1'harmonie, nouveau sisteme, generation har-

monique, 172. 2. et 3. j'ay enfin entrepris d'en tirer une methode pour la com-

Among the papers of the French philosophe and scientist Jean d'Alembert now housed in the archives of the Institut de France, I recently found a lengthy bound manuscript entitled "L'Art de la Basse Fondamentale."l While no author is indi- cated on the title page, a reading of the opening paragraph sug- gests that it is none other than Jean-Philippe Rameau:

After having declared my discoveries concerning the principle of har- mony and of all our faculties of music contained in a single sound, after having cleared the way for what I have called the fundamental bass, and after having revealed [its] relationship through an infinity of experiments [in the] traite de l'harmonie, nouveau sisteme, and gener- ation harmonique, 172[2], [17]2[6], and [17]3[7], I have finally under- taken to bring forth a method for composition and accompaniment entitled "The Art of the Fundamental Bass."2

A preliminary version of this article was read at the ninth annual meeting of the Society for Music Theory held in Bloomington, Indiana, November 1986. For their helpful criticism and advice, I am grateful to Eugene Wolf and Roger Graybill.

1Bibliotheque de l'Institut de France (d'Alembert archive), MS 2474; Bib-

liotheque national (music division), microfilm no. 551. 2Fol. 1. "Apres avoir declare ma decouverte du principe de l'harmonie et

de toutes nos facult6s en musique dans un seul son, apres avoir fray6 les routes dans ce que j'appelle Bassefond.le, apres en avoir expose rapport avec une in- finit6 d'experiences, traite de 1'harmonie, nouveau sisteme, generation har-

monique, 172. 2. et 3. j'ay enfin entrepris d'en tirer une methode pour la com-

Further study has convinced me beyond any doubt that the manuscript is indeed an authentic work of Rameau, represent- ing one of his most ambitious and detailed treatises devoted to pedagogical questions. Incredibly, this treatise is virtually un- known to musicologists.3 The present article, then, constitutes the first published study of a work which I hope to show is of extraordinary interest and importance. I shall begin by giving a history of the manuscript insofar as it can be reconstructed. I will then provide a brief overview of its contents and attempt to define its domain and methodology. Finally I shall analyze in detail Rameau's treatment of two topics, modulation and the suspension, thereby enabling us to draw some conclusions about the manuscript and its context in Rameau's theoretical oeuvre.

When Rameau moved to Paris sometime in early 1722, he carried with him a large manuscript which would soon be pub-

position et l'accompagnement sous le titre de L'Art de la bassefondamentale." Here, as elsewhere in this article, I retain Rameau's original spelling and accen- tuation. All English translations are mine.

3This is not to say that the existence of the manuscript was totally unknown. The catalogue of the Institut had long listed it tentatively attributed to Rameau. And in Erwin Jacobi's edition of Rameau's Complete Theoretical Writings (6 vols. [Rome: American Institute of Musicology, 1967-72]) the work is men- tioned in an appendix entitled "Manuscripts Attributed to J.-Ph. Rameau"

(vol. 6, XLV). But Jacobi does not discuss the contents of the text at all, ex-

plaining that "it remains for a later publication to analyze its content, to com-

pare it with, and relate it to, other relevant writings of Rameau" (p. XLVI).

Further study has convinced me beyond any doubt that the manuscript is indeed an authentic work of Rameau, represent- ing one of his most ambitious and detailed treatises devoted to pedagogical questions. Incredibly, this treatise is virtually un- known to musicologists.3 The present article, then, constitutes the first published study of a work which I hope to show is of extraordinary interest and importance. I shall begin by giving a history of the manuscript insofar as it can be reconstructed. I will then provide a brief overview of its contents and attempt to define its domain and methodology. Finally I shall analyze in detail Rameau's treatment of two topics, modulation and the suspension, thereby enabling us to draw some conclusions about the manuscript and its context in Rameau's theoretical oeuvre.

When Rameau moved to Paris sometime in early 1722, he carried with him a large manuscript which would soon be pub-

position et l'accompagnement sous le titre de L'Art de la bassefondamentale." Here, as elsewhere in this article, I retain Rameau's original spelling and accen- tuation. All English translations are mine.

3This is not to say that the existence of the manuscript was totally unknown. The catalogue of the Institut had long listed it tentatively attributed to Rameau. And in Erwin Jacobi's edition of Rameau's Complete Theoretical Writings (6 vols. [Rome: American Institute of Musicology, 1967-72]) the work is men- tioned in an appendix entitled "Manuscripts Attributed to J.-Ph. Rameau"

(vol. 6, XLV). But Jacobi does not discuss the contents of the text at all, ex-

plaining that "it remains for a later publication to analyze its content, to com-

pare it with, and relate it to, other relevant writings of Rameau" (p. XLVI).

Further study has convinced me beyond any doubt that the manuscript is indeed an authentic work of Rameau, represent- ing one of his most ambitious and detailed treatises devoted to pedagogical questions. Incredibly, this treatise is virtually un- known to musicologists.3 The present article, then, constitutes the first published study of a work which I hope to show is of extraordinary interest and importance. I shall begin by giving a history of the manuscript insofar as it can be reconstructed. I will then provide a brief overview of its contents and attempt to define its domain and methodology. Finally I shall analyze in detail Rameau's treatment of two topics, modulation and the suspension, thereby enabling us to draw some conclusions about the manuscript and its context in Rameau's theoretical oeuvre.

When Rameau moved to Paris sometime in early 1722, he carried with him a large manuscript which would soon be pub-

position et l'accompagnement sous le titre de L'Art de la bassefondamentale." Here, as elsewhere in this article, I retain Rameau's original spelling and accen- tuation. All English translations are mine.

3This is not to say that the existence of the manuscript was totally unknown. The catalogue of the Institut had long listed it tentatively attributed to Rameau. And in Erwin Jacobi's edition of Rameau's Complete Theoretical Writings (6 vols. [Rome: American Institute of Musicology, 1967-72]) the work is men- tioned in an appendix entitled "Manuscripts Attributed to J.-Ph. Rameau"

(vol. 6, XLV). But Jacobi does not discuss the contents of the text at all, ex-

plaining that "it remains for a later publication to analyze its content, to com-

pare it with, and relate it to, other relevant writings of Rameau" (p. XLVI).

Further study has convinced me beyond any doubt that the manuscript is indeed an authentic work of Rameau, represent- ing one of his most ambitious and detailed treatises devoted to pedagogical questions. Incredibly, this treatise is virtually un- known to musicologists.3 The present article, then, constitutes the first published study of a work which I hope to show is of extraordinary interest and importance. I shall begin by giving a history of the manuscript insofar as it can be reconstructed. I will then provide a brief overview of its contents and attempt to define its domain and methodology. Finally I shall analyze in detail Rameau's treatment of two topics, modulation and the suspension, thereby enabling us to draw some conclusions about the manuscript and its context in Rameau's theoretical oeuvre.

When Rameau moved to Paris sometime in early 1722, he carried with him a large manuscript which would soon be pub-

position et l'accompagnement sous le titre de L'Art de la bassefondamentale." Here, as elsewhere in this article, I retain Rameau's original spelling and accen- tuation. All English translations are mine.

3This is not to say that the existence of the manuscript was totally unknown. The catalogue of the Institut had long listed it tentatively attributed to Rameau. And in Erwin Jacobi's edition of Rameau's Complete Theoretical Writings (6 vols. [Rome: American Institute of Musicology, 1967-72]) the work is men- tioned in an appendix entitled "Manuscripts Attributed to J.-Ph. Rameau"

(vol. 6, XLV). But Jacobi does not discuss the contents of the text at all, ex-

plaining that "it remains for a later publication to analyze its content, to com-

pare it with, and relate it to, other relevant writings of Rameau" (p. XLVI).

Further study has convinced me beyond any doubt that the manuscript is indeed an authentic work of Rameau, represent- ing one of his most ambitious and detailed treatises devoted to pedagogical questions. Incredibly, this treatise is virtually un- known to musicologists.3 The present article, then, constitutes the first published study of a work which I hope to show is of extraordinary interest and importance. I shall begin by giving a history of the manuscript insofar as it can be reconstructed. I will then provide a brief overview of its contents and attempt to define its domain and methodology. Finally I shall analyze in detail Rameau's treatment of two topics, modulation and the suspension, thereby enabling us to draw some conclusions about the manuscript and its context in Rameau's theoretical oeuvre.

When Rameau moved to Paris sometime in early 1722, he carried with him a large manuscript which would soon be pub-

position et l'accompagnement sous le titre de L'Art de la bassefondamentale." Here, as elsewhere in this article, I retain Rameau's original spelling and accen- tuation. All English translations are mine.

3This is not to say that the existence of the manuscript was totally unknown. The catalogue of the Institut had long listed it tentatively attributed to Rameau. And in Erwin Jacobi's edition of Rameau's Complete Theoretical Writings (6 vols. [Rome: American Institute of Musicology, 1967-72]) the work is men- tioned in an appendix entitled "Manuscripts Attributed to J.-Ph. Rameau"

(vol. 6, XLV). But Jacobi does not discuss the contents of the text at all, ex-

plaining that "it remains for a later publication to analyze its content, to com-

pare it with, and relate it to, other relevant writings of Rameau" (p. XLVI).

Further study has convinced me beyond any doubt that the manuscript is indeed an authentic work of Rameau, represent- ing one of his most ambitious and detailed treatises devoted to pedagogical questions. Incredibly, this treatise is virtually un- known to musicologists.3 The present article, then, constitutes the first published study of a work which I hope to show is of extraordinary interest and importance. I shall begin by giving a history of the manuscript insofar as it can be reconstructed. I will then provide a brief overview of its contents and attempt to define its domain and methodology. Finally I shall analyze in detail Rameau's treatment of two topics, modulation and the suspension, thereby enabling us to draw some conclusions about the manuscript and its context in Rameau's theoretical oeuvre.

When Rameau moved to Paris sometime in early 1722, he carried with him a large manuscript which would soon be pub-

position et l'accompagnement sous le titre de L'Art de la bassefondamentale." Here, as elsewhere in this article, I retain Rameau's original spelling and accen- tuation. All English translations are mine.

3This is not to say that the existence of the manuscript was totally unknown. The catalogue of the Institut had long listed it tentatively attributed to Rameau. And in Erwin Jacobi's edition of Rameau's Complete Theoretical Writings (6 vols. [Rome: American Institute of Musicology, 1967-72]) the work is men- tioned in an appendix entitled "Manuscripts Attributed to J.-Ph. Rameau"

(vol. 6, XLV). But Jacobi does not discuss the contents of the text at all, ex-

plaining that "it remains for a later publication to analyze its content, to com-

pare it with, and relate it to, other relevant writings of Rameau" (p. XLVI).

Page 3: Cópia de Rameau's L'Art de La Basse Fondamentale

Rameau's "L'Art de la Basse Fondamentale" 19 Rameau's "L'Art de la Basse Fondamentale" 19 Rameau's "L'Art de la Basse Fondamentale" 19 Rameau's "L'Art de la Basse Fondamentale" 19 Rameau's "L'Art de la Basse Fondamentale" 19 Rameau's "L'Art de la Basse Fondamentale" 19

lished and establish his name as a learned-if not particularly articulate-music theorist. This was of course the revolution- ary Traite de l'harmonie. It is important to remember that Ra- meau was already forty years old at this time; he had behind him over twenty years experience as a church organist, com- poser, and teacher in the French provinces. Harboring greater ambitions, though, Rameau had come to Paris hoping to make his name as a respected theorist and composer. He succeeded well enough in the former role given the positive reception of the TraitS, although this was mitigated somewhat by his inabil- ity to express his ideas with any coherence or clarity. But as a composer, Rameau remained frustrated. Over the next decade he would write occasional harpsichord pieces and small sacred works, much as he had in his previous jobs in Clermont and Di- jon. But there was only one place for a composer in Paris to truly establish his name-the opera. And this opportunity eluded Rameau.

Rameau's chance finally arrived in 1733, exactly when he turned fifty years old. Without recounting all the details here, suffice it to mention that Rameau found a wealthy and influen- tial patron in Le Riche de la Pouplinere, thereby enabling him to write and have produced his tragedie lyrique, Hippolyte et Aricie.4 Rameau scored a qualified but nonetheless decisive success with his first opera. In quick succession followed an- other half-dozen stage works which indisputably established Rameau as the leading composer in France, the heir to Lully- at least until the war of the Bouffons broke out in the 1750s. For the composer who had to wait until his fiftieth year for the first taste of success, these events must have provided much satisfac- tion.

In the midst of these operatic triumphs, it seems that Ra- meau sought to capitalize on his fame as a composer and solicit

4For a full account of Rameau's career as a composer, see Cuthbert Girdlestone, Jean-Philippe Rameau: His Life and Work (New York: Dover Publications, 1969), 1-14.

lished and establish his name as a learned-if not particularly articulate-music theorist. This was of course the revolution- ary Traite de l'harmonie. It is important to remember that Ra- meau was already forty years old at this time; he had behind him over twenty years experience as a church organist, com- poser, and teacher in the French provinces. Harboring greater ambitions, though, Rameau had come to Paris hoping to make his name as a respected theorist and composer. He succeeded well enough in the former role given the positive reception of the TraitS, although this was mitigated somewhat by his inabil- ity to express his ideas with any coherence or clarity. But as a composer, Rameau remained frustrated. Over the next decade he would write occasional harpsichord pieces and small sacred works, much as he had in his previous jobs in Clermont and Di- jon. But there was only one place for a composer in Paris to truly establish his name-the opera. And this opportunity eluded Rameau.

Rameau's chance finally arrived in 1733, exactly when he turned fifty years old. Without recounting all the details here, suffice it to mention that Rameau found a wealthy and influen- tial patron in Le Riche de la Pouplinere, thereby enabling him to write and have produced his tragedie lyrique, Hippolyte et Aricie.4 Rameau scored a qualified but nonetheless decisive success with his first opera. In quick succession followed an- other half-dozen stage works which indisputably established Rameau as the leading composer in France, the heir to Lully- at least until the war of the Bouffons broke out in the 1750s. For the composer who had to wait until his fiftieth year for the first taste of success, these events must have provided much satisfac- tion.

In the midst of these operatic triumphs, it seems that Ra- meau sought to capitalize on his fame as a composer and solicit

4For a full account of Rameau's career as a composer, see Cuthbert Girdlestone, Jean-Philippe Rameau: His Life and Work (New York: Dover Publications, 1969), 1-14.

lished and establish his name as a learned-if not particularly articulate-music theorist. This was of course the revolution- ary Traite de l'harmonie. It is important to remember that Ra- meau was already forty years old at this time; he had behind him over twenty years experience as a church organist, com- poser, and teacher in the French provinces. Harboring greater ambitions, though, Rameau had come to Paris hoping to make his name as a respected theorist and composer. He succeeded well enough in the former role given the positive reception of the TraitS, although this was mitigated somewhat by his inabil- ity to express his ideas with any coherence or clarity. But as a composer, Rameau remained frustrated. Over the next decade he would write occasional harpsichord pieces and small sacred works, much as he had in his previous jobs in Clermont and Di- jon. But there was only one place for a composer in Paris to truly establish his name-the opera. And this opportunity eluded Rameau.

Rameau's chance finally arrived in 1733, exactly when he turned fifty years old. Without recounting all the details here, suffice it to mention that Rameau found a wealthy and influen- tial patron in Le Riche de la Pouplinere, thereby enabling him to write and have produced his tragedie lyrique, Hippolyte et Aricie.4 Rameau scored a qualified but nonetheless decisive success with his first opera. In quick succession followed an- other half-dozen stage works which indisputably established Rameau as the leading composer in France, the heir to Lully- at least until the war of the Bouffons broke out in the 1750s. For the composer who had to wait until his fiftieth year for the first taste of success, these events must have provided much satisfac- tion.

In the midst of these operatic triumphs, it seems that Ra- meau sought to capitalize on his fame as a composer and solicit

4For a full account of Rameau's career as a composer, see Cuthbert Girdlestone, Jean-Philippe Rameau: His Life and Work (New York: Dover Publications, 1969), 1-14.

lished and establish his name as a learned-if not particularly articulate-music theorist. This was of course the revolution- ary Traite de l'harmonie. It is important to remember that Ra- meau was already forty years old at this time; he had behind him over twenty years experience as a church organist, com- poser, and teacher in the French provinces. Harboring greater ambitions, though, Rameau had come to Paris hoping to make his name as a respected theorist and composer. He succeeded well enough in the former role given the positive reception of the TraitS, although this was mitigated somewhat by his inabil- ity to express his ideas with any coherence or clarity. But as a composer, Rameau remained frustrated. Over the next decade he would write occasional harpsichord pieces and small sacred works, much as he had in his previous jobs in Clermont and Di- jon. But there was only one place for a composer in Paris to truly establish his name-the opera. And this opportunity eluded Rameau.

Rameau's chance finally arrived in 1733, exactly when he turned fifty years old. Without recounting all the details here, suffice it to mention that Rameau found a wealthy and influen- tial patron in Le Riche de la Pouplinere, thereby enabling him to write and have produced his tragedie lyrique, Hippolyte et Aricie.4 Rameau scored a qualified but nonetheless decisive success with his first opera. In quick succession followed an- other half-dozen stage works which indisputably established Rameau as the leading composer in France, the heir to Lully- at least until the war of the Bouffons broke out in the 1750s. For the composer who had to wait until his fiftieth year for the first taste of success, these events must have provided much satisfac- tion.

In the midst of these operatic triumphs, it seems that Ra- meau sought to capitalize on his fame as a composer and solicit

4For a full account of Rameau's career as a composer, see Cuthbert Girdlestone, Jean-Philippe Rameau: His Life and Work (New York: Dover Publications, 1969), 1-14.

lished and establish his name as a learned-if not particularly articulate-music theorist. This was of course the revolution- ary Traite de l'harmonie. It is important to remember that Ra- meau was already forty years old at this time; he had behind him over twenty years experience as a church organist, com- poser, and teacher in the French provinces. Harboring greater ambitions, though, Rameau had come to Paris hoping to make his name as a respected theorist and composer. He succeeded well enough in the former role given the positive reception of the TraitS, although this was mitigated somewhat by his inabil- ity to express his ideas with any coherence or clarity. But as a composer, Rameau remained frustrated. Over the next decade he would write occasional harpsichord pieces and small sacred works, much as he had in his previous jobs in Clermont and Di- jon. But there was only one place for a composer in Paris to truly establish his name-the opera. And this opportunity eluded Rameau.

Rameau's chance finally arrived in 1733, exactly when he turned fifty years old. Without recounting all the details here, suffice it to mention that Rameau found a wealthy and influen- tial patron in Le Riche de la Pouplinere, thereby enabling him to write and have produced his tragedie lyrique, Hippolyte et Aricie.4 Rameau scored a qualified but nonetheless decisive success with his first opera. In quick succession followed an- other half-dozen stage works which indisputably established Rameau as the leading composer in France, the heir to Lully- at least until the war of the Bouffons broke out in the 1750s. For the composer who had to wait until his fiftieth year for the first taste of success, these events must have provided much satisfac- tion.

In the midst of these operatic triumphs, it seems that Ra- meau sought to capitalize on his fame as a composer and solicit

4For a full account of Rameau's career as a composer, see Cuthbert Girdlestone, Jean-Philippe Rameau: His Life and Work (New York: Dover Publications, 1969), 1-14.

lished and establish his name as a learned-if not particularly articulate-music theorist. This was of course the revolution- ary Traite de l'harmonie. It is important to remember that Ra- meau was already forty years old at this time; he had behind him over twenty years experience as a church organist, com- poser, and teacher in the French provinces. Harboring greater ambitions, though, Rameau had come to Paris hoping to make his name as a respected theorist and composer. He succeeded well enough in the former role given the positive reception of the TraitS, although this was mitigated somewhat by his inabil- ity to express his ideas with any coherence or clarity. But as a composer, Rameau remained frustrated. Over the next decade he would write occasional harpsichord pieces and small sacred works, much as he had in his previous jobs in Clermont and Di- jon. But there was only one place for a composer in Paris to truly establish his name-the opera. And this opportunity eluded Rameau.

Rameau's chance finally arrived in 1733, exactly when he turned fifty years old. Without recounting all the details here, suffice it to mention that Rameau found a wealthy and influen- tial patron in Le Riche de la Pouplinere, thereby enabling him to write and have produced his tragedie lyrique, Hippolyte et Aricie.4 Rameau scored a qualified but nonetheless decisive success with his first opera. In quick succession followed an- other half-dozen stage works which indisputably established Rameau as the leading composer in France, the heir to Lully- at least until the war of the Bouffons broke out in the 1750s. For the composer who had to wait until his fiftieth year for the first taste of success, these events must have provided much satisfac- tion.

In the midst of these operatic triumphs, it seems that Ra- meau sought to capitalize on his fame as a composer and solicit

4For a full account of Rameau's career as a composer, see Cuthbert Girdlestone, Jean-Philippe Rameau: His Life and Work (New York: Dover Publications, 1969), 1-14.

composition students. To be sure, pedagogy had never been far from Rameau's heart. It is evident from numerous manuscripts that he had taught composition since his earliest days as organ- ist in Clermont.5 Pedagogical concerns figured prominently in virtually all of Rameau's published writings, too-witness the third and fourth books of his Traite (on composition and ac- companiment, respectively), as well as his Dissertation sur les differentes methodes d'accompagnement of 1732, and an amus- ing polemic carried on in the pages of the Mercure over the ped- agogical value of the fundamental bass.6 But it is not hard to imagine that Rameau found it easier to attract composition stu- dents after his operatic successes. Thus we find the following announcement printed in several of the Parisian periodicals to- wards the end of 1737:

Monsieur Rameau wishes to inform all amateurs that he proposes to establish a school of composition meeting three times a week from three until five o'clock. The class will be limited to only 12 students and cost 20 francs a month. If the need arises, extra classes will be added, and a limited number of additional students may thereby be accommodated. It is guaranteed that 6 months shall be sufficient for the student to master the science of harmony and its practice, for whatever application, even for those who can scarcely read music, but all the more for those more advanced. It is to satisfy the repeated en-

5Rameau's many notes written during his second Clermont residency (1716-21) reveal that his theory of the fundamental bass originated as a peda- gogical device to aid students in the writing and continuo realization of har- monic progressions. These "Clermont notes" have been read and analyzed in an important but little known study by R. Suaudeau, "Introduction a l'harmo- nie de Rameau" (Clermont-Ferrand, 1960). Unfortunately, since the appear- ance of Professor Suaudeau's monograph, these notes have been lost. Jacobi attempted to trace their whereabouts without success (Complete Theoretical Writings, 1:XIX).

6The "Conference," as it is called, consisted of a series of acrimonious let- ters exchanged between Rameau and one of his musical rivals, Michel Monte- clair, all published in the Mercure between 1729 and 1731. These letters are reprinted in Jacobi, Complete Theoretical Writings, 6: 27-65.

composition students. To be sure, pedagogy had never been far from Rameau's heart. It is evident from numerous manuscripts that he had taught composition since his earliest days as organ- ist in Clermont.5 Pedagogical concerns figured prominently in virtually all of Rameau's published writings, too-witness the third and fourth books of his Traite (on composition and ac- companiment, respectively), as well as his Dissertation sur les differentes methodes d'accompagnement of 1732, and an amus- ing polemic carried on in the pages of the Mercure over the ped- agogical value of the fundamental bass.6 But it is not hard to imagine that Rameau found it easier to attract composition stu- dents after his operatic successes. Thus we find the following announcement printed in several of the Parisian periodicals to- wards the end of 1737:

Monsieur Rameau wishes to inform all amateurs that he proposes to establish a school of composition meeting three times a week from three until five o'clock. The class will be limited to only 12 students and cost 20 francs a month. If the need arises, extra classes will be added, and a limited number of additional students may thereby be accommodated. It is guaranteed that 6 months shall be sufficient for the student to master the science of harmony and its practice, for whatever application, even for those who can scarcely read music, but all the more for those more advanced. It is to satisfy the repeated en-

5Rameau's many notes written during his second Clermont residency (1716-21) reveal that his theory of the fundamental bass originated as a peda- gogical device to aid students in the writing and continuo realization of har- monic progressions. These "Clermont notes" have been read and analyzed in an important but little known study by R. Suaudeau, "Introduction a l'harmo- nie de Rameau" (Clermont-Ferrand, 1960). Unfortunately, since the appear- ance of Professor Suaudeau's monograph, these notes have been lost. Jacobi attempted to trace their whereabouts without success (Complete Theoretical Writings, 1:XIX).

6The "Conference," as it is called, consisted of a series of acrimonious let- ters exchanged between Rameau and one of his musical rivals, Michel Monte- clair, all published in the Mercure between 1729 and 1731. These letters are reprinted in Jacobi, Complete Theoretical Writings, 6: 27-65.

composition students. To be sure, pedagogy had never been far from Rameau's heart. It is evident from numerous manuscripts that he had taught composition since his earliest days as organ- ist in Clermont.5 Pedagogical concerns figured prominently in virtually all of Rameau's published writings, too-witness the third and fourth books of his Traite (on composition and ac- companiment, respectively), as well as his Dissertation sur les differentes methodes d'accompagnement of 1732, and an amus- ing polemic carried on in the pages of the Mercure over the ped- agogical value of the fundamental bass.6 But it is not hard to imagine that Rameau found it easier to attract composition stu- dents after his operatic successes. Thus we find the following announcement printed in several of the Parisian periodicals to- wards the end of 1737:

Monsieur Rameau wishes to inform all amateurs that he proposes to establish a school of composition meeting three times a week from three until five o'clock. The class will be limited to only 12 students and cost 20 francs a month. If the need arises, extra classes will be added, and a limited number of additional students may thereby be accommodated. It is guaranteed that 6 months shall be sufficient for the student to master the science of harmony and its practice, for whatever application, even for those who can scarcely read music, but all the more for those more advanced. It is to satisfy the repeated en-

5Rameau's many notes written during his second Clermont residency (1716-21) reveal that his theory of the fundamental bass originated as a peda- gogical device to aid students in the writing and continuo realization of har- monic progressions. These "Clermont notes" have been read and analyzed in an important but little known study by R. Suaudeau, "Introduction a l'harmo- nie de Rameau" (Clermont-Ferrand, 1960). Unfortunately, since the appear- ance of Professor Suaudeau's monograph, these notes have been lost. Jacobi attempted to trace their whereabouts without success (Complete Theoretical Writings, 1:XIX).

6The "Conference," as it is called, consisted of a series of acrimonious let- ters exchanged between Rameau and one of his musical rivals, Michel Monte- clair, all published in the Mercure between 1729 and 1731. These letters are reprinted in Jacobi, Complete Theoretical Writings, 6: 27-65.

composition students. To be sure, pedagogy had never been far from Rameau's heart. It is evident from numerous manuscripts that he had taught composition since his earliest days as organ- ist in Clermont.5 Pedagogical concerns figured prominently in virtually all of Rameau's published writings, too-witness the third and fourth books of his Traite (on composition and ac- companiment, respectively), as well as his Dissertation sur les differentes methodes d'accompagnement of 1732, and an amus- ing polemic carried on in the pages of the Mercure over the ped- agogical value of the fundamental bass.6 But it is not hard to imagine that Rameau found it easier to attract composition stu- dents after his operatic successes. Thus we find the following announcement printed in several of the Parisian periodicals to- wards the end of 1737:

Monsieur Rameau wishes to inform all amateurs that he proposes to establish a school of composition meeting three times a week from three until five o'clock. The class will be limited to only 12 students and cost 20 francs a month. If the need arises, extra classes will be added, and a limited number of additional students may thereby be accommodated. It is guaranteed that 6 months shall be sufficient for the student to master the science of harmony and its practice, for whatever application, even for those who can scarcely read music, but all the more for those more advanced. It is to satisfy the repeated en-

5Rameau's many notes written during his second Clermont residency (1716-21) reveal that his theory of the fundamental bass originated as a peda- gogical device to aid students in the writing and continuo realization of har- monic progressions. These "Clermont notes" have been read and analyzed in an important but little known study by R. Suaudeau, "Introduction a l'harmo- nie de Rameau" (Clermont-Ferrand, 1960). Unfortunately, since the appear- ance of Professor Suaudeau's monograph, these notes have been lost. Jacobi attempted to trace their whereabouts without success (Complete Theoretical Writings, 1:XIX).

6The "Conference," as it is called, consisted of a series of acrimonious let- ters exchanged between Rameau and one of his musical rivals, Michel Monte- clair, all published in the Mercure between 1729 and 1731. These letters are reprinted in Jacobi, Complete Theoretical Writings, 6: 27-65.

composition students. To be sure, pedagogy had never been far from Rameau's heart. It is evident from numerous manuscripts that he had taught composition since his earliest days as organ- ist in Clermont.5 Pedagogical concerns figured prominently in virtually all of Rameau's published writings, too-witness the third and fourth books of his Traite (on composition and ac- companiment, respectively), as well as his Dissertation sur les differentes methodes d'accompagnement of 1732, and an amus- ing polemic carried on in the pages of the Mercure over the ped- agogical value of the fundamental bass.6 But it is not hard to imagine that Rameau found it easier to attract composition stu- dents after his operatic successes. Thus we find the following announcement printed in several of the Parisian periodicals to- wards the end of 1737:

Monsieur Rameau wishes to inform all amateurs that he proposes to establish a school of composition meeting three times a week from three until five o'clock. The class will be limited to only 12 students and cost 20 francs a month. If the need arises, extra classes will be added, and a limited number of additional students may thereby be accommodated. It is guaranteed that 6 months shall be sufficient for the student to master the science of harmony and its practice, for whatever application, even for those who can scarcely read music, but all the more for those more advanced. It is to satisfy the repeated en-

5Rameau's many notes written during his second Clermont residency (1716-21) reveal that his theory of the fundamental bass originated as a peda- gogical device to aid students in the writing and continuo realization of har- monic progressions. These "Clermont notes" have been read and analyzed in an important but little known study by R. Suaudeau, "Introduction a l'harmo- nie de Rameau" (Clermont-Ferrand, 1960). Unfortunately, since the appear- ance of Professor Suaudeau's monograph, these notes have been lost. Jacobi attempted to trace their whereabouts without success (Complete Theoretical Writings, 1:XIX).

6The "Conference," as it is called, consisted of a series of acrimonious let- ters exchanged between Rameau and one of his musical rivals, Michel Monte- clair, all published in the Mercure between 1729 and 1731. These letters are reprinted in Jacobi, Complete Theoretical Writings, 6: 27-65.

composition students. To be sure, pedagogy had never been far from Rameau's heart. It is evident from numerous manuscripts that he had taught composition since his earliest days as organ- ist in Clermont.5 Pedagogical concerns figured prominently in virtually all of Rameau's published writings, too-witness the third and fourth books of his Traite (on composition and ac- companiment, respectively), as well as his Dissertation sur les differentes methodes d'accompagnement of 1732, and an amus- ing polemic carried on in the pages of the Mercure over the ped- agogical value of the fundamental bass.6 But it is not hard to imagine that Rameau found it easier to attract composition stu- dents after his operatic successes. Thus we find the following announcement printed in several of the Parisian periodicals to- wards the end of 1737:

Monsieur Rameau wishes to inform all amateurs that he proposes to establish a school of composition meeting three times a week from three until five o'clock. The class will be limited to only 12 students and cost 20 francs a month. If the need arises, extra classes will be added, and a limited number of additional students may thereby be accommodated. It is guaranteed that 6 months shall be sufficient for the student to master the science of harmony and its practice, for whatever application, even for those who can scarcely read music, but all the more for those more advanced. It is to satisfy the repeated en-

5Rameau's many notes written during his second Clermont residency (1716-21) reveal that his theory of the fundamental bass originated as a peda- gogical device to aid students in the writing and continuo realization of har- monic progressions. These "Clermont notes" have been read and analyzed in an important but little known study by R. Suaudeau, "Introduction a l'harmo- nie de Rameau" (Clermont-Ferrand, 1960). Unfortunately, since the appear- ance of Professor Suaudeau's monograph, these notes have been lost. Jacobi attempted to trace their whereabouts without success (Complete Theoretical Writings, 1:XIX).

6The "Conference," as it is called, consisted of a series of acrimonious let- ters exchanged between Rameau and one of his musical rivals, Michel Monte- clair, all published in the Mercure between 1729 and 1731. These letters are reprinted in Jacobi, Complete Theoretical Writings, 6: 27-65.

Page 4: Cópia de Rameau's L'Art de La Basse Fondamentale

20 Music Theory Spectrum 20 Music Theory Spectrum 20 Music Theory Spectrum 20 Music Theory Spectrum 20 Music Theory Spectrum 20 Music Theory Spectrum

treatment of certain individuals who are already students of M. Ra- meau that he has agreed to open his class to the public, hoping by this means that their number may be augmented.7

We do not know very much about Rameau's composition school, although according to Rousseau-admittedly not a

very objective source-the number of his students multiplied with astonishing rapidity.8 The names of at least four of these students have come down to us.9 In any case, it seems probable that "The Art of the Fundamental Bass" was written during this period to serve as a kind of composition textbook. We may deduce from the opening paragraph of the text quoted earlier that it was written after the publications of the Generation har-

monique (1737) but before the appearance of the Demonstra- tion du principe de l'harmonie (1750). We can further narrow the dates from a remark in the Demonstration-one of the few

by Rameau concerning this manuscript-wherein he com-

plains, "Some years ago ... I was forced to abandon a method of composition which was already quite advanced. But I en- trusted it to a person who is very capable of making both him-

7Mercure (Dec. 1737): 1648-49; Le Pour et Contre 13 (1738): 336. "M. Ra- meau donne avis aux amateurs qu'il va etablir une 6cole de composition, trois fois la semaine, depuis 3 heures jusqu'a 5 heures, pour douze Ecoliers seule- ment, a un Louis d'or chacun par mois, pouvant les enseigner tous ensemble et meme davantage s'il en 6toit besoin; il sera libre d'ailleurs a un moindre nom- bre de s'associer pour la totalit6. II assure que six mois au plus suffiront pour se mettre au fait de la science de l'Harmonie et de sa pratique, dans tous les cas o6 on voudra l'employer,quand meme on ne sqaurait qu'a peine lire la Musique; a

plus forte raison encore si l'on etoit plus avance. C'est pour satisfaire ' lem-

pressement de quelques personnes qui se sont d6ej agregees dans cette Classe, que M. Rameau a cru devoir en faire part au Public, esp6rant que par ce moyen le nombre en seroit plut6t rempli."

8Rousseau, "Lettre a M. Grimm au sujet des remarques ajout6es a sa lettre sur Omphale" (1752), 22.

9They include the music historian Jean de La Borde, the harpsichordist Ma- dame de St. Maur, the fiance of Rameau's patron, Ther6se Deshayes, and Vol- taire's niece and mistress, Louis Mignot.

treatment of certain individuals who are already students of M. Ra- meau that he has agreed to open his class to the public, hoping by this means that their number may be augmented.7

We do not know very much about Rameau's composition school, although according to Rousseau-admittedly not a

very objective source-the number of his students multiplied with astonishing rapidity.8 The names of at least four of these students have come down to us.9 In any case, it seems probable that "The Art of the Fundamental Bass" was written during this period to serve as a kind of composition textbook. We may deduce from the opening paragraph of the text quoted earlier that it was written after the publications of the Generation har-

monique (1737) but before the appearance of the Demonstra- tion du principe de l'harmonie (1750). We can further narrow the dates from a remark in the Demonstration-one of the few

by Rameau concerning this manuscript-wherein he com-

plains, "Some years ago ... I was forced to abandon a method of composition which was already quite advanced. But I en- trusted it to a person who is very capable of making both him-

7Mercure (Dec. 1737): 1648-49; Le Pour et Contre 13 (1738): 336. "M. Ra- meau donne avis aux amateurs qu'il va etablir une 6cole de composition, trois fois la semaine, depuis 3 heures jusqu'a 5 heures, pour douze Ecoliers seule- ment, a un Louis d'or chacun par mois, pouvant les enseigner tous ensemble et meme davantage s'il en 6toit besoin; il sera libre d'ailleurs a un moindre nom- bre de s'associer pour la totalit6. II assure que six mois au plus suffiront pour se mettre au fait de la science de l'Harmonie et de sa pratique, dans tous les cas o6 on voudra l'employer,quand meme on ne sqaurait qu'a peine lire la Musique; a

plus forte raison encore si l'on etoit plus avance. C'est pour satisfaire ' lem-

pressement de quelques personnes qui se sont d6ej agregees dans cette Classe, que M. Rameau a cru devoir en faire part au Public, esp6rant que par ce moyen le nombre en seroit plut6t rempli."

8Rousseau, "Lettre a M. Grimm au sujet des remarques ajout6es a sa lettre sur Omphale" (1752), 22.

9They include the music historian Jean de La Borde, the harpsichordist Ma- dame de St. Maur, the fiance of Rameau's patron, Ther6se Deshayes, and Vol- taire's niece and mistress, Louis Mignot.

treatment of certain individuals who are already students of M. Ra- meau that he has agreed to open his class to the public, hoping by this means that their number may be augmented.7

We do not know very much about Rameau's composition school, although according to Rousseau-admittedly not a

very objective source-the number of his students multiplied with astonishing rapidity.8 The names of at least four of these students have come down to us.9 In any case, it seems probable that "The Art of the Fundamental Bass" was written during this period to serve as a kind of composition textbook. We may deduce from the opening paragraph of the text quoted earlier that it was written after the publications of the Generation har-

monique (1737) but before the appearance of the Demonstra- tion du principe de l'harmonie (1750). We can further narrow the dates from a remark in the Demonstration-one of the few

by Rameau concerning this manuscript-wherein he com-

plains, "Some years ago ... I was forced to abandon a method of composition which was already quite advanced. But I en- trusted it to a person who is very capable of making both him-

7Mercure (Dec. 1737): 1648-49; Le Pour et Contre 13 (1738): 336. "M. Ra- meau donne avis aux amateurs qu'il va etablir une 6cole de composition, trois fois la semaine, depuis 3 heures jusqu'a 5 heures, pour douze Ecoliers seule- ment, a un Louis d'or chacun par mois, pouvant les enseigner tous ensemble et meme davantage s'il en 6toit besoin; il sera libre d'ailleurs a un moindre nom- bre de s'associer pour la totalit6. II assure que six mois au plus suffiront pour se mettre au fait de la science de l'Harmonie et de sa pratique, dans tous les cas o6 on voudra l'employer,quand meme on ne sqaurait qu'a peine lire la Musique; a

plus forte raison encore si l'on etoit plus avance. C'est pour satisfaire ' lem-

pressement de quelques personnes qui se sont d6ej agregees dans cette Classe, que M. Rameau a cru devoir en faire part au Public, esp6rant que par ce moyen le nombre en seroit plut6t rempli."

8Rousseau, "Lettre a M. Grimm au sujet des remarques ajout6es a sa lettre sur Omphale" (1752), 22.

9They include the music historian Jean de La Borde, the harpsichordist Ma- dame de St. Maur, the fiance of Rameau's patron, Ther6se Deshayes, and Vol- taire's niece and mistress, Louis Mignot.

treatment of certain individuals who are already students of M. Ra- meau that he has agreed to open his class to the public, hoping by this means that their number may be augmented.7

We do not know very much about Rameau's composition school, although according to Rousseau-admittedly not a

very objective source-the number of his students multiplied with astonishing rapidity.8 The names of at least four of these students have come down to us.9 In any case, it seems probable that "The Art of the Fundamental Bass" was written during this period to serve as a kind of composition textbook. We may deduce from the opening paragraph of the text quoted earlier that it was written after the publications of the Generation har-

monique (1737) but before the appearance of the Demonstra- tion du principe de l'harmonie (1750). We can further narrow the dates from a remark in the Demonstration-one of the few

by Rameau concerning this manuscript-wherein he com-

plains, "Some years ago ... I was forced to abandon a method of composition which was already quite advanced. But I en- trusted it to a person who is very capable of making both him-

7Mercure (Dec. 1737): 1648-49; Le Pour et Contre 13 (1738): 336. "M. Ra- meau donne avis aux amateurs qu'il va etablir une 6cole de composition, trois fois la semaine, depuis 3 heures jusqu'a 5 heures, pour douze Ecoliers seule- ment, a un Louis d'or chacun par mois, pouvant les enseigner tous ensemble et meme davantage s'il en 6toit besoin; il sera libre d'ailleurs a un moindre nom- bre de s'associer pour la totalit6. II assure que six mois au plus suffiront pour se mettre au fait de la science de l'Harmonie et de sa pratique, dans tous les cas o6 on voudra l'employer,quand meme on ne sqaurait qu'a peine lire la Musique; a

plus forte raison encore si l'on etoit plus avance. C'est pour satisfaire ' lem-

pressement de quelques personnes qui se sont d6ej agregees dans cette Classe, que M. Rameau a cru devoir en faire part au Public, esp6rant que par ce moyen le nombre en seroit plut6t rempli."

8Rousseau, "Lettre a M. Grimm au sujet des remarques ajout6es a sa lettre sur Omphale" (1752), 22.

9They include the music historian Jean de La Borde, the harpsichordist Ma- dame de St. Maur, the fiance of Rameau's patron, Ther6se Deshayes, and Vol- taire's niece and mistress, Louis Mignot.

treatment of certain individuals who are already students of M. Ra- meau that he has agreed to open his class to the public, hoping by this means that their number may be augmented.7

We do not know very much about Rameau's composition school, although according to Rousseau-admittedly not a

very objective source-the number of his students multiplied with astonishing rapidity.8 The names of at least four of these students have come down to us.9 In any case, it seems probable that "The Art of the Fundamental Bass" was written during this period to serve as a kind of composition textbook. We may deduce from the opening paragraph of the text quoted earlier that it was written after the publications of the Generation har-

monique (1737) but before the appearance of the Demonstra- tion du principe de l'harmonie (1750). We can further narrow the dates from a remark in the Demonstration-one of the few

by Rameau concerning this manuscript-wherein he com-

plains, "Some years ago ... I was forced to abandon a method of composition which was already quite advanced. But I en- trusted it to a person who is very capable of making both him-

7Mercure (Dec. 1737): 1648-49; Le Pour et Contre 13 (1738): 336. "M. Ra- meau donne avis aux amateurs qu'il va etablir une 6cole de composition, trois fois la semaine, depuis 3 heures jusqu'a 5 heures, pour douze Ecoliers seule- ment, a un Louis d'or chacun par mois, pouvant les enseigner tous ensemble et meme davantage s'il en 6toit besoin; il sera libre d'ailleurs a un moindre nom- bre de s'associer pour la totalit6. II assure que six mois au plus suffiront pour se mettre au fait de la science de l'Harmonie et de sa pratique, dans tous les cas o6 on voudra l'employer,quand meme on ne sqaurait qu'a peine lire la Musique; a

plus forte raison encore si l'on etoit plus avance. C'est pour satisfaire ' lem-

pressement de quelques personnes qui se sont d6ej agregees dans cette Classe, que M. Rameau a cru devoir en faire part au Public, esp6rant que par ce moyen le nombre en seroit plut6t rempli."

8Rousseau, "Lettre a M. Grimm au sujet des remarques ajout6es a sa lettre sur Omphale" (1752), 22.

9They include the music historian Jean de La Borde, the harpsichordist Ma- dame de St. Maur, the fiance of Rameau's patron, Ther6se Deshayes, and Vol- taire's niece and mistress, Louis Mignot.

treatment of certain individuals who are already students of M. Ra- meau that he has agreed to open his class to the public, hoping by this means that their number may be augmented.7

We do not know very much about Rameau's composition school, although according to Rousseau-admittedly not a

very objective source-the number of his students multiplied with astonishing rapidity.8 The names of at least four of these students have come down to us.9 In any case, it seems probable that "The Art of the Fundamental Bass" was written during this period to serve as a kind of composition textbook. We may deduce from the opening paragraph of the text quoted earlier that it was written after the publications of the Generation har-

monique (1737) but before the appearance of the Demonstra- tion du principe de l'harmonie (1750). We can further narrow the dates from a remark in the Demonstration-one of the few

by Rameau concerning this manuscript-wherein he com-

plains, "Some years ago ... I was forced to abandon a method of composition which was already quite advanced. But I en- trusted it to a person who is very capable of making both him-

7Mercure (Dec. 1737): 1648-49; Le Pour et Contre 13 (1738): 336. "M. Ra- meau donne avis aux amateurs qu'il va etablir une 6cole de composition, trois fois la semaine, depuis 3 heures jusqu'a 5 heures, pour douze Ecoliers seule- ment, a un Louis d'or chacun par mois, pouvant les enseigner tous ensemble et meme davantage s'il en 6toit besoin; il sera libre d'ailleurs a un moindre nom- bre de s'associer pour la totalit6. II assure que six mois au plus suffiront pour se mettre au fait de la science de l'Harmonie et de sa pratique, dans tous les cas o6 on voudra l'employer,quand meme on ne sqaurait qu'a peine lire la Musique; a

plus forte raison encore si l'on etoit plus avance. C'est pour satisfaire ' lem-

pressement de quelques personnes qui se sont d6ej agregees dans cette Classe, que M. Rameau a cru devoir en faire part au Public, esp6rant que par ce moyen le nombre en seroit plut6t rempli."

8Rousseau, "Lettre a M. Grimm au sujet des remarques ajout6es a sa lettre sur Omphale" (1752), 22.

9They include the music historian Jean de La Borde, the harpsichordist Ma- dame de St. Maur, the fiance of Rameau's patron, Ther6se Deshayes, and Vol- taire's niece and mistress, Louis Mignot.

self and the public profit from it."10 This would move back the date of the manuscript probably to before 1744, the year in which Rameau resumed extensive opera composing after a five

year respite.'1 The person to whom Rameau entrusted the manuscript was

Jean d'Alembert. Rameau first met d'Alembert when he had read a draft of his Demonstration to the Royal Academy of Sci- ences in 1749 in order to secure its much coveted official appro- bation. D'Alembert sat on the committee formed to review Ra- meau's work, and was so impressed by the famous composer's musical theories (although not his prose) that he wrote a

lengthy and glowing report on behalf of the Academy.12 More

consequentially, d'Alembert later expanded his report into a full-sized compendium, the Elemens de musique theorique et

pratique suivant les principes de M. Rameau, published in 1752. D'Alembert's little book proved to be an instant success on ac- count of its clear and concise presentation-a far cry from what one encounters in reading Rameau's own writing. To this day, in fact, it is still cited as an authoritative exposition of Rameau's ideas-to the unfortunate distortion of the latter, I might add. In any case, it seems that in order to aid d'Alembert in his r6su- me of composition rules, Rameau gave him the manuscript "The Art of the Fundamental Bass."

"?Demonstration du principe de I'harmonie (Paris, 1750), xxiii. "II y a quel- ques annees ... qu'il me fallut encore abandonner une methode de composi- tion deja bien avancee, mais je l'ai remise a une personne tres capable d' en faire son profit et celui du public."

1Between 1739 and 1744, Rameau produced no stage works, whereas be- tween 1745 and 1749 he produced no less than 10. We may surmise that the years between 1739 and 1744 may have been taken up by, among other activi- ties, his composition school and "The Art of the Fundamental Bass."

2"'Rapport sur un memoire ou M. Rameau expose les fondemens de son systeme de musique theorique et pratique," dated Dec. 10, 1749, now housed in the Dossier Rameau in the archives of the Academie royale des sciences and published as an appendix to Rameau's Demonstration du principe de l'harmo- nie.

self and the public profit from it."10 This would move back the date of the manuscript probably to before 1744, the year in which Rameau resumed extensive opera composing after a five

year respite.'1 The person to whom Rameau entrusted the manuscript was

Jean d'Alembert. Rameau first met d'Alembert when he had read a draft of his Demonstration to the Royal Academy of Sci- ences in 1749 in order to secure its much coveted official appro- bation. D'Alembert sat on the committee formed to review Ra- meau's work, and was so impressed by the famous composer's musical theories (although not his prose) that he wrote a

lengthy and glowing report on behalf of the Academy.12 More

consequentially, d'Alembert later expanded his report into a full-sized compendium, the Elemens de musique theorique et

pratique suivant les principes de M. Rameau, published in 1752. D'Alembert's little book proved to be an instant success on ac- count of its clear and concise presentation-a far cry from what one encounters in reading Rameau's own writing. To this day, in fact, it is still cited as an authoritative exposition of Rameau's ideas-to the unfortunate distortion of the latter, I might add. In any case, it seems that in order to aid d'Alembert in his r6su- me of composition rules, Rameau gave him the manuscript "The Art of the Fundamental Bass."

"?Demonstration du principe de I'harmonie (Paris, 1750), xxiii. "II y a quel- ques annees ... qu'il me fallut encore abandonner une methode de composi- tion deja bien avancee, mais je l'ai remise a une personne tres capable d' en faire son profit et celui du public."

1Between 1739 and 1744, Rameau produced no stage works, whereas be- tween 1745 and 1749 he produced no less than 10. We may surmise that the years between 1739 and 1744 may have been taken up by, among other activi- ties, his composition school and "The Art of the Fundamental Bass."

2"'Rapport sur un memoire ou M. Rameau expose les fondemens de son systeme de musique theorique et pratique," dated Dec. 10, 1749, now housed in the Dossier Rameau in the archives of the Academie royale des sciences and published as an appendix to Rameau's Demonstration du principe de l'harmo- nie.

self and the public profit from it."10 This would move back the date of the manuscript probably to before 1744, the year in which Rameau resumed extensive opera composing after a five

year respite.'1 The person to whom Rameau entrusted the manuscript was

Jean d'Alembert. Rameau first met d'Alembert when he had read a draft of his Demonstration to the Royal Academy of Sci- ences in 1749 in order to secure its much coveted official appro- bation. D'Alembert sat on the committee formed to review Ra- meau's work, and was so impressed by the famous composer's musical theories (although not his prose) that he wrote a

lengthy and glowing report on behalf of the Academy.12 More

consequentially, d'Alembert later expanded his report into a full-sized compendium, the Elemens de musique theorique et

pratique suivant les principes de M. Rameau, published in 1752. D'Alembert's little book proved to be an instant success on ac- count of its clear and concise presentation-a far cry from what one encounters in reading Rameau's own writing. To this day, in fact, it is still cited as an authoritative exposition of Rameau's ideas-to the unfortunate distortion of the latter, I might add. In any case, it seems that in order to aid d'Alembert in his r6su- me of composition rules, Rameau gave him the manuscript "The Art of the Fundamental Bass."

"?Demonstration du principe de I'harmonie (Paris, 1750), xxiii. "II y a quel- ques annees ... qu'il me fallut encore abandonner une methode de composi- tion deja bien avancee, mais je l'ai remise a une personne tres capable d' en faire son profit et celui du public."

1Between 1739 and 1744, Rameau produced no stage works, whereas be- tween 1745 and 1749 he produced no less than 10. We may surmise that the years between 1739 and 1744 may have been taken up by, among other activi- ties, his composition school and "The Art of the Fundamental Bass."

2"'Rapport sur un memoire ou M. Rameau expose les fondemens de son systeme de musique theorique et pratique," dated Dec. 10, 1749, now housed in the Dossier Rameau in the archives of the Academie royale des sciences and published as an appendix to Rameau's Demonstration du principe de l'harmo- nie.

self and the public profit from it."10 This would move back the date of the manuscript probably to before 1744, the year in which Rameau resumed extensive opera composing after a five

year respite.'1 The person to whom Rameau entrusted the manuscript was

Jean d'Alembert. Rameau first met d'Alembert when he had read a draft of his Demonstration to the Royal Academy of Sci- ences in 1749 in order to secure its much coveted official appro- bation. D'Alembert sat on the committee formed to review Ra- meau's work, and was so impressed by the famous composer's musical theories (although not his prose) that he wrote a

lengthy and glowing report on behalf of the Academy.12 More

consequentially, d'Alembert later expanded his report into a full-sized compendium, the Elemens de musique theorique et

pratique suivant les principes de M. Rameau, published in 1752. D'Alembert's little book proved to be an instant success on ac- count of its clear and concise presentation-a far cry from what one encounters in reading Rameau's own writing. To this day, in fact, it is still cited as an authoritative exposition of Rameau's ideas-to the unfortunate distortion of the latter, I might add. In any case, it seems that in order to aid d'Alembert in his r6su- me of composition rules, Rameau gave him the manuscript "The Art of the Fundamental Bass."

"?Demonstration du principe de I'harmonie (Paris, 1750), xxiii. "II y a quel- ques annees ... qu'il me fallut encore abandonner une methode de composi- tion deja bien avancee, mais je l'ai remise a une personne tres capable d' en faire son profit et celui du public."

1Between 1739 and 1744, Rameau produced no stage works, whereas be- tween 1745 and 1749 he produced no less than 10. We may surmise that the years between 1739 and 1744 may have been taken up by, among other activi- ties, his composition school and "The Art of the Fundamental Bass."

2"'Rapport sur un memoire ou M. Rameau expose les fondemens de son systeme de musique theorique et pratique," dated Dec. 10, 1749, now housed in the Dossier Rameau in the archives of the Academie royale des sciences and published as an appendix to Rameau's Demonstration du principe de l'harmo- nie.

self and the public profit from it."10 This would move back the date of the manuscript probably to before 1744, the year in which Rameau resumed extensive opera composing after a five

year respite.'1 The person to whom Rameau entrusted the manuscript was

Jean d'Alembert. Rameau first met d'Alembert when he had read a draft of his Demonstration to the Royal Academy of Sci- ences in 1749 in order to secure its much coveted official appro- bation. D'Alembert sat on the committee formed to review Ra- meau's work, and was so impressed by the famous composer's musical theories (although not his prose) that he wrote a

lengthy and glowing report on behalf of the Academy.12 More

consequentially, d'Alembert later expanded his report into a full-sized compendium, the Elemens de musique theorique et

pratique suivant les principes de M. Rameau, published in 1752. D'Alembert's little book proved to be an instant success on ac- count of its clear and concise presentation-a far cry from what one encounters in reading Rameau's own writing. To this day, in fact, it is still cited as an authoritative exposition of Rameau's ideas-to the unfortunate distortion of the latter, I might add. In any case, it seems that in order to aid d'Alembert in his r6su- me of composition rules, Rameau gave him the manuscript "The Art of the Fundamental Bass."

"?Demonstration du principe de I'harmonie (Paris, 1750), xxiii. "II y a quel- ques annees ... qu'il me fallut encore abandonner une methode de composi- tion deja bien avancee, mais je l'ai remise a une personne tres capable d' en faire son profit et celui du public."

1Between 1739 and 1744, Rameau produced no stage works, whereas be- tween 1745 and 1749 he produced no less than 10. We may surmise that the years between 1739 and 1744 may have been taken up by, among other activi- ties, his composition school and "The Art of the Fundamental Bass."

2"'Rapport sur un memoire ou M. Rameau expose les fondemens de son systeme de musique theorique et pratique," dated Dec. 10, 1749, now housed in the Dossier Rameau in the archives of the Academie royale des sciences and published as an appendix to Rameau's Demonstration du principe de l'harmo- nie.

self and the public profit from it."10 This would move back the date of the manuscript probably to before 1744, the year in which Rameau resumed extensive opera composing after a five

year respite.'1 The person to whom Rameau entrusted the manuscript was

Jean d'Alembert. Rameau first met d'Alembert when he had read a draft of his Demonstration to the Royal Academy of Sci- ences in 1749 in order to secure its much coveted official appro- bation. D'Alembert sat on the committee formed to review Ra- meau's work, and was so impressed by the famous composer's musical theories (although not his prose) that he wrote a

lengthy and glowing report on behalf of the Academy.12 More

consequentially, d'Alembert later expanded his report into a full-sized compendium, the Elemens de musique theorique et

pratique suivant les principes de M. Rameau, published in 1752. D'Alembert's little book proved to be an instant success on ac- count of its clear and concise presentation-a far cry from what one encounters in reading Rameau's own writing. To this day, in fact, it is still cited as an authoritative exposition of Rameau's ideas-to the unfortunate distortion of the latter, I might add. In any case, it seems that in order to aid d'Alembert in his r6su- me of composition rules, Rameau gave him the manuscript "The Art of the Fundamental Bass."

"?Demonstration du principe de I'harmonie (Paris, 1750), xxiii. "II y a quel- ques annees ... qu'il me fallut encore abandonner une methode de composi- tion deja bien avancee, mais je l'ai remise a une personne tres capable d' en faire son profit et celui du public."

1Between 1739 and 1744, Rameau produced no stage works, whereas be- tween 1745 and 1749 he produced no less than 10. We may surmise that the years between 1739 and 1744 may have been taken up by, among other activi- ties, his composition school and "The Art of the Fundamental Bass."

2"'Rapport sur un memoire ou M. Rameau expose les fondemens de son systeme de musique theorique et pratique," dated Dec. 10, 1749, now housed in the Dossier Rameau in the archives of the Academie royale des sciences and published as an appendix to Rameau's Demonstration du principe de l'harmo- nie.

Page 5: Cópia de Rameau's L'Art de La Basse Fondamentale

Rameau's "L'Art de la Basse Fondamentale" 21 Rameau's "L'Art de la Basse Fondamentale" 21 Rameau's "L'Art de la Basse Fondamentale" 21 Rameau's "L'Art de la Basse Fondamentale" 21 Rameau's "L'Art de la Basse Fondamentale" 21 Rameau's "L'Art de la Basse Fondamentale" 21

For reasons which will become evident later, d'Alembert

probably found Rameau's text unusable for his Elemens. In-

stead, he summarized chapter 18 from the Generation har-

monique in writing the section on composition.13 Recognizing the obvious limitations of his resume, though, d'Alembert ex-

pressed the hope someday to augment his Elemens using the

manuscript Rameau had given him:

I could produce from this treatise one day, if no one prevents me, a work like the one I made for the Generation harmonique, and give a complete method of composition of which my elements would be only the base and summary. But it appears that I will not find the three or four years of leisure necessary for such a work . . . But aided by the excellent printed material and manuscripts which I have in my hands, I believe I should be able to succeed ... in making my treatise clear, precise, and useful.14

Alas, d'Alembert never did find the necessary time. Thus it was that one of the most important treatises of Rameau, writ- ten at the height of his compositional maturity, found its way into the mathematical and philosophical papers of d'Alembert to gather dust to this day.

"3Chapter 18 of the Generation harmonique ("De la Modulation en gen- eral, avec un abrege des regles pour la composition") represents Rameau's first

attempt to organize and refine the rules of "composition" sketched in the third book of the Traite. Rameau was clearly dissatisfied with this chapter, recogniz- ing that a complete composition method would require more than a single chapter-even if it was the longest of the book! Probably this is why he felt it

necessary to begin work upon a more extensive method of composition after the publication of the Generation.

'4Journal Oeconomique, Dec. 1751, 89; reprinted in Jacobi, Complete The- oretical Writings, 6: 264. "Je pourrai un jour, si je ne suis prdvenu par per- sonne, faire sur ce traite ce que j'ai fait sur la Generation harmonique, & don- ner une methode complette de composition, dont mes Elemens seront comme la base & l'abrdeg. Mais il n'y a pas d'apparence que je trouve de trois ou qua- tre ans le loisir ndcessaire pour un pareil ouvrage .... Mais je crois qu'aide par les excellens materiaux imprim6s & manuscrits que j'ai entre les mains, je pourrois parvenir ... . rendre mon traite clair, precis, & utile."

For reasons which will become evident later, d'Alembert

probably found Rameau's text unusable for his Elemens. In-

stead, he summarized chapter 18 from the Generation har-

monique in writing the section on composition.13 Recognizing the obvious limitations of his resume, though, d'Alembert ex-

pressed the hope someday to augment his Elemens using the

manuscript Rameau had given him:

I could produce from this treatise one day, if no one prevents me, a work like the one I made for the Generation harmonique, and give a complete method of composition of which my elements would be only the base and summary. But it appears that I will not find the three or four years of leisure necessary for such a work . . . But aided by the excellent printed material and manuscripts which I have in my hands, I believe I should be able to succeed ... in making my treatise clear, precise, and useful.14

Alas, d'Alembert never did find the necessary time. Thus it was that one of the most important treatises of Rameau, writ- ten at the height of his compositional maturity, found its way into the mathematical and philosophical papers of d'Alembert to gather dust to this day.

"3Chapter 18 of the Generation harmonique ("De la Modulation en gen- eral, avec un abrege des regles pour la composition") represents Rameau's first

attempt to organize and refine the rules of "composition" sketched in the third book of the Traite. Rameau was clearly dissatisfied with this chapter, recogniz- ing that a complete composition method would require more than a single chapter-even if it was the longest of the book! Probably this is why he felt it

necessary to begin work upon a more extensive method of composition after the publication of the Generation.

'4Journal Oeconomique, Dec. 1751, 89; reprinted in Jacobi, Complete The- oretical Writings, 6: 264. "Je pourrai un jour, si je ne suis prdvenu par per- sonne, faire sur ce traite ce que j'ai fait sur la Generation harmonique, & don- ner une methode complette de composition, dont mes Elemens seront comme la base & l'abrdeg. Mais il n'y a pas d'apparence que je trouve de trois ou qua- tre ans le loisir ndcessaire pour un pareil ouvrage .... Mais je crois qu'aide par les excellens materiaux imprim6s & manuscrits que j'ai entre les mains, je pourrois parvenir ... . rendre mon traite clair, precis, & utile."

For reasons which will become evident later, d'Alembert

probably found Rameau's text unusable for his Elemens. In-

stead, he summarized chapter 18 from the Generation har-

monique in writing the section on composition.13 Recognizing the obvious limitations of his resume, though, d'Alembert ex-

pressed the hope someday to augment his Elemens using the

manuscript Rameau had given him:

I could produce from this treatise one day, if no one prevents me, a work like the one I made for the Generation harmonique, and give a complete method of composition of which my elements would be only the base and summary. But it appears that I will not find the three or four years of leisure necessary for such a work . . . But aided by the excellent printed material and manuscripts which I have in my hands, I believe I should be able to succeed ... in making my treatise clear, precise, and useful.14

Alas, d'Alembert never did find the necessary time. Thus it was that one of the most important treatises of Rameau, writ- ten at the height of his compositional maturity, found its way into the mathematical and philosophical papers of d'Alembert to gather dust to this day.

"3Chapter 18 of the Generation harmonique ("De la Modulation en gen- eral, avec un abrege des regles pour la composition") represents Rameau's first

attempt to organize and refine the rules of "composition" sketched in the third book of the Traite. Rameau was clearly dissatisfied with this chapter, recogniz- ing that a complete composition method would require more than a single chapter-even if it was the longest of the book! Probably this is why he felt it

necessary to begin work upon a more extensive method of composition after the publication of the Generation.

'4Journal Oeconomique, Dec. 1751, 89; reprinted in Jacobi, Complete The- oretical Writings, 6: 264. "Je pourrai un jour, si je ne suis prdvenu par per- sonne, faire sur ce traite ce que j'ai fait sur la Generation harmonique, & don- ner une methode complette de composition, dont mes Elemens seront comme la base & l'abrdeg. Mais il n'y a pas d'apparence que je trouve de trois ou qua- tre ans le loisir ndcessaire pour un pareil ouvrage .... Mais je crois qu'aide par les excellens materiaux imprim6s & manuscrits que j'ai entre les mains, je pourrois parvenir ... . rendre mon traite clair, precis, & utile."

For reasons which will become evident later, d'Alembert

probably found Rameau's text unusable for his Elemens. In-

stead, he summarized chapter 18 from the Generation har-

monique in writing the section on composition.13 Recognizing the obvious limitations of his resume, though, d'Alembert ex-

pressed the hope someday to augment his Elemens using the

manuscript Rameau had given him:

I could produce from this treatise one day, if no one prevents me, a work like the one I made for the Generation harmonique, and give a complete method of composition of which my elements would be only the base and summary. But it appears that I will not find the three or four years of leisure necessary for such a work . . . But aided by the excellent printed material and manuscripts which I have in my hands, I believe I should be able to succeed ... in making my treatise clear, precise, and useful.14

Alas, d'Alembert never did find the necessary time. Thus it was that one of the most important treatises of Rameau, writ- ten at the height of his compositional maturity, found its way into the mathematical and philosophical papers of d'Alembert to gather dust to this day.

"3Chapter 18 of the Generation harmonique ("De la Modulation en gen- eral, avec un abrege des regles pour la composition") represents Rameau's first

attempt to organize and refine the rules of "composition" sketched in the third book of the Traite. Rameau was clearly dissatisfied with this chapter, recogniz- ing that a complete composition method would require more than a single chapter-even if it was the longest of the book! Probably this is why he felt it

necessary to begin work upon a more extensive method of composition after the publication of the Generation.

'4Journal Oeconomique, Dec. 1751, 89; reprinted in Jacobi, Complete The- oretical Writings, 6: 264. "Je pourrai un jour, si je ne suis prdvenu par per- sonne, faire sur ce traite ce que j'ai fait sur la Generation harmonique, & don- ner une methode complette de composition, dont mes Elemens seront comme la base & l'abrdeg. Mais il n'y a pas d'apparence que je trouve de trois ou qua- tre ans le loisir ndcessaire pour un pareil ouvrage .... Mais je crois qu'aide par les excellens materiaux imprim6s & manuscrits que j'ai entre les mains, je pourrois parvenir ... . rendre mon traite clair, precis, & utile."

For reasons which will become evident later, d'Alembert

probably found Rameau's text unusable for his Elemens. In-

stead, he summarized chapter 18 from the Generation har-

monique in writing the section on composition.13 Recognizing the obvious limitations of his resume, though, d'Alembert ex-

pressed the hope someday to augment his Elemens using the

manuscript Rameau had given him:

I could produce from this treatise one day, if no one prevents me, a work like the one I made for the Generation harmonique, and give a complete method of composition of which my elements would be only the base and summary. But it appears that I will not find the three or four years of leisure necessary for such a work . . . But aided by the excellent printed material and manuscripts which I have in my hands, I believe I should be able to succeed ... in making my treatise clear, precise, and useful.14

Alas, d'Alembert never did find the necessary time. Thus it was that one of the most important treatises of Rameau, writ- ten at the height of his compositional maturity, found its way into the mathematical and philosophical papers of d'Alembert to gather dust to this day.

"3Chapter 18 of the Generation harmonique ("De la Modulation en gen- eral, avec un abrege des regles pour la composition") represents Rameau's first

attempt to organize and refine the rules of "composition" sketched in the third book of the Traite. Rameau was clearly dissatisfied with this chapter, recogniz- ing that a complete composition method would require more than a single chapter-even if it was the longest of the book! Probably this is why he felt it

necessary to begin work upon a more extensive method of composition after the publication of the Generation.

'4Journal Oeconomique, Dec. 1751, 89; reprinted in Jacobi, Complete The- oretical Writings, 6: 264. "Je pourrai un jour, si je ne suis prdvenu par per- sonne, faire sur ce traite ce que j'ai fait sur la Generation harmonique, & don- ner une methode complette de composition, dont mes Elemens seront comme la base & l'abrdeg. Mais il n'y a pas d'apparence que je trouve de trois ou qua- tre ans le loisir ndcessaire pour un pareil ouvrage .... Mais je crois qu'aide par les excellens materiaux imprim6s & manuscrits que j'ai entre les mains, je pourrois parvenir ... . rendre mon traite clair, precis, & utile."

For reasons which will become evident later, d'Alembert

probably found Rameau's text unusable for his Elemens. In-

stead, he summarized chapter 18 from the Generation har-

monique in writing the section on composition.13 Recognizing the obvious limitations of his resume, though, d'Alembert ex-

pressed the hope someday to augment his Elemens using the

manuscript Rameau had given him:

I could produce from this treatise one day, if no one prevents me, a work like the one I made for the Generation harmonique, and give a complete method of composition of which my elements would be only the base and summary. But it appears that I will not find the three or four years of leisure necessary for such a work . . . But aided by the excellent printed material and manuscripts which I have in my hands, I believe I should be able to succeed ... in making my treatise clear, precise, and useful.14

Alas, d'Alembert never did find the necessary time. Thus it was that one of the most important treatises of Rameau, writ- ten at the height of his compositional maturity, found its way into the mathematical and philosophical papers of d'Alembert to gather dust to this day.

"3Chapter 18 of the Generation harmonique ("De la Modulation en gen- eral, avec un abrege des regles pour la composition") represents Rameau's first

attempt to organize and refine the rules of "composition" sketched in the third book of the Traite. Rameau was clearly dissatisfied with this chapter, recogniz- ing that a complete composition method would require more than a single chapter-even if it was the longest of the book! Probably this is why he felt it

necessary to begin work upon a more extensive method of composition after the publication of the Generation.

'4Journal Oeconomique, Dec. 1751, 89; reprinted in Jacobi, Complete The- oretical Writings, 6: 264. "Je pourrai un jour, si je ne suis prdvenu par per- sonne, faire sur ce traite ce que j'ai fait sur la Generation harmonique, & don- ner une methode complette de composition, dont mes Elemens seront comme la base & l'abrdeg. Mais il n'y a pas d'apparence que je trouve de trois ou qua- tre ans le loisir ndcessaire pour un pareil ouvrage .... Mais je crois qu'aide par les excellens materiaux imprim6s & manuscrits que j'ai entre les mains, je pourrois parvenir ... . rendre mon traite clair, precis, & utile."

It should be mentioned here that Rameau did not abandon his efforts to write a practical treatise on composition and ac-

companiment after giving his manuscript to d'Alembert. Some

twenty years later he completed a work which follows quite closely the model of "The Art of the Fundamental Bass"-the Code de musique pratique, published in 1761 (although dated

1760). In numerous cases, the Code covers the same material and offers identical descriptions and musical illustrations as in the older manuscript. While I have found no literal textual con- cordance between the two works (Rameau apparently did not have access to the manuscript when he began writing the Code sometime in the late 1750s), it seems clear that the Code repre- sents the fruition of Rameau's life-long goal of producing a

practical method of composition and accompaniment begun in the third book of the Traite de l'harmonie, and continued with

chapter 18 of the Generation harmonique and "The Art of the Fundamental Bass."

I now turn to the manuscript itself. "The Art of the Funda- mental Bass" is a lengthy work, written in a compact and neat

script.15 The handwriting is not that of Rameau, but of a scribe whom I have been unable to identify. I should not be surprised, though, were the scribe found to be one of Rameau's composi- tion students pressed into the service of his master. The manu-

script seems to be a fair copy of a text presumably written by Rameau himself, as there are few corrections or mistakes, while there are occasional copyists's remarks concerning inser-

15The manuscript consists of 771/2 bifolios, or 310 pages. (A bifolio is simply a large leaf of paper folded in half, forming four faces upon which the text was written.) The resulting pages are 35 by 23 cm. in size. The number of each bifo- lio is marked on the top center of the first page. Sometime in the nineteenth century, the bifolios were gathered and bound together with an unrelated anonymous manuscript of later origin-apparently chapters from a history of music. A librarian then penned in the folio numbers on the upper right hand corner of the manuscript (that is to say, on the recto of each leaf, thus making 155 folios). I will follow this foliation in all subsequent references to the manu- script.

It should be mentioned here that Rameau did not abandon his efforts to write a practical treatise on composition and ac-

companiment after giving his manuscript to d'Alembert. Some

twenty years later he completed a work which follows quite closely the model of "The Art of the Fundamental Bass"-the Code de musique pratique, published in 1761 (although dated

1760). In numerous cases, the Code covers the same material and offers identical descriptions and musical illustrations as in the older manuscript. While I have found no literal textual con- cordance between the two works (Rameau apparently did not have access to the manuscript when he began writing the Code sometime in the late 1750s), it seems clear that the Code repre- sents the fruition of Rameau's life-long goal of producing a

practical method of composition and accompaniment begun in the third book of the Traite de l'harmonie, and continued with

chapter 18 of the Generation harmonique and "The Art of the Fundamental Bass."

I now turn to the manuscript itself. "The Art of the Funda- mental Bass" is a lengthy work, written in a compact and neat

script.15 The handwriting is not that of Rameau, but of a scribe whom I have been unable to identify. I should not be surprised, though, were the scribe found to be one of Rameau's composi- tion students pressed into the service of his master. The manu-

script seems to be a fair copy of a text presumably written by Rameau himself, as there are few corrections or mistakes, while there are occasional copyists's remarks concerning inser-

15The manuscript consists of 771/2 bifolios, or 310 pages. (A bifolio is simply a large leaf of paper folded in half, forming four faces upon which the text was written.) The resulting pages are 35 by 23 cm. in size. The number of each bifo- lio is marked on the top center of the first page. Sometime in the nineteenth century, the bifolios were gathered and bound together with an unrelated anonymous manuscript of later origin-apparently chapters from a history of music. A librarian then penned in the folio numbers on the upper right hand corner of the manuscript (that is to say, on the recto of each leaf, thus making 155 folios). I will follow this foliation in all subsequent references to the manu- script.

It should be mentioned here that Rameau did not abandon his efforts to write a practical treatise on composition and ac-

companiment after giving his manuscript to d'Alembert. Some

twenty years later he completed a work which follows quite closely the model of "The Art of the Fundamental Bass"-the Code de musique pratique, published in 1761 (although dated

1760). In numerous cases, the Code covers the same material and offers identical descriptions and musical illustrations as in the older manuscript. While I have found no literal textual con- cordance between the two works (Rameau apparently did not have access to the manuscript when he began writing the Code sometime in the late 1750s), it seems clear that the Code repre- sents the fruition of Rameau's life-long goal of producing a

practical method of composition and accompaniment begun in the third book of the Traite de l'harmonie, and continued with

chapter 18 of the Generation harmonique and "The Art of the Fundamental Bass."

I now turn to the manuscript itself. "The Art of the Funda- mental Bass" is a lengthy work, written in a compact and neat

script.15 The handwriting is not that of Rameau, but of a scribe whom I have been unable to identify. I should not be surprised, though, were the scribe found to be one of Rameau's composi- tion students pressed into the service of his master. The manu-

script seems to be a fair copy of a text presumably written by Rameau himself, as there are few corrections or mistakes, while there are occasional copyists's remarks concerning inser-

15The manuscript consists of 771/2 bifolios, or 310 pages. (A bifolio is simply a large leaf of paper folded in half, forming four faces upon which the text was written.) The resulting pages are 35 by 23 cm. in size. The number of each bifo- lio is marked on the top center of the first page. Sometime in the nineteenth century, the bifolios were gathered and bound together with an unrelated anonymous manuscript of later origin-apparently chapters from a history of music. A librarian then penned in the folio numbers on the upper right hand corner of the manuscript (that is to say, on the recto of each leaf, thus making 155 folios). I will follow this foliation in all subsequent references to the manu- script.

It should be mentioned here that Rameau did not abandon his efforts to write a practical treatise on composition and ac-

companiment after giving his manuscript to d'Alembert. Some

twenty years later he completed a work which follows quite closely the model of "The Art of the Fundamental Bass"-the Code de musique pratique, published in 1761 (although dated

1760). In numerous cases, the Code covers the same material and offers identical descriptions and musical illustrations as in the older manuscript. While I have found no literal textual con- cordance between the two works (Rameau apparently did not have access to the manuscript when he began writing the Code sometime in the late 1750s), it seems clear that the Code repre- sents the fruition of Rameau's life-long goal of producing a

practical method of composition and accompaniment begun in the third book of the Traite de l'harmonie, and continued with

chapter 18 of the Generation harmonique and "The Art of the Fundamental Bass."

I now turn to the manuscript itself. "The Art of the Funda- mental Bass" is a lengthy work, written in a compact and neat

script.15 The handwriting is not that of Rameau, but of a scribe whom I have been unable to identify. I should not be surprised, though, were the scribe found to be one of Rameau's composi- tion students pressed into the service of his master. The manu-

script seems to be a fair copy of a text presumably written by Rameau himself, as there are few corrections or mistakes, while there are occasional copyists's remarks concerning inser-

15The manuscript consists of 771/2 bifolios, or 310 pages. (A bifolio is simply a large leaf of paper folded in half, forming four faces upon which the text was written.) The resulting pages are 35 by 23 cm. in size. The number of each bifo- lio is marked on the top center of the first page. Sometime in the nineteenth century, the bifolios were gathered and bound together with an unrelated anonymous manuscript of later origin-apparently chapters from a history of music. A librarian then penned in the folio numbers on the upper right hand corner of the manuscript (that is to say, on the recto of each leaf, thus making 155 folios). I will follow this foliation in all subsequent references to the manu- script.

It should be mentioned here that Rameau did not abandon his efforts to write a practical treatise on composition and ac-

companiment after giving his manuscript to d'Alembert. Some

twenty years later he completed a work which follows quite closely the model of "The Art of the Fundamental Bass"-the Code de musique pratique, published in 1761 (although dated

1760). In numerous cases, the Code covers the same material and offers identical descriptions and musical illustrations as in the older manuscript. While I have found no literal textual con- cordance between the two works (Rameau apparently did not have access to the manuscript when he began writing the Code sometime in the late 1750s), it seems clear that the Code repre- sents the fruition of Rameau's life-long goal of producing a

practical method of composition and accompaniment begun in the third book of the Traite de l'harmonie, and continued with

chapter 18 of the Generation harmonique and "The Art of the Fundamental Bass."

I now turn to the manuscript itself. "The Art of the Funda- mental Bass" is a lengthy work, written in a compact and neat

script.15 The handwriting is not that of Rameau, but of a scribe whom I have been unable to identify. I should not be surprised, though, were the scribe found to be one of Rameau's composi- tion students pressed into the service of his master. The manu-

script seems to be a fair copy of a text presumably written by Rameau himself, as there are few corrections or mistakes, while there are occasional copyists's remarks concerning inser-

15The manuscript consists of 771/2 bifolios, or 310 pages. (A bifolio is simply a large leaf of paper folded in half, forming four faces upon which the text was written.) The resulting pages are 35 by 23 cm. in size. The number of each bifo- lio is marked on the top center of the first page. Sometime in the nineteenth century, the bifolios were gathered and bound together with an unrelated anonymous manuscript of later origin-apparently chapters from a history of music. A librarian then penned in the folio numbers on the upper right hand corner of the manuscript (that is to say, on the recto of each leaf, thus making 155 folios). I will follow this foliation in all subsequent references to the manu- script.

It should be mentioned here that Rameau did not abandon his efforts to write a practical treatise on composition and ac-

companiment after giving his manuscript to d'Alembert. Some

twenty years later he completed a work which follows quite closely the model of "The Art of the Fundamental Bass"-the Code de musique pratique, published in 1761 (although dated

1760). In numerous cases, the Code covers the same material and offers identical descriptions and musical illustrations as in the older manuscript. While I have found no literal textual con- cordance between the two works (Rameau apparently did not have access to the manuscript when he began writing the Code sometime in the late 1750s), it seems clear that the Code repre- sents the fruition of Rameau's life-long goal of producing a

practical method of composition and accompaniment begun in the third book of the Traite de l'harmonie, and continued with

chapter 18 of the Generation harmonique and "The Art of the Fundamental Bass."

I now turn to the manuscript itself. "The Art of the Funda- mental Bass" is a lengthy work, written in a compact and neat

script.15 The handwriting is not that of Rameau, but of a scribe whom I have been unable to identify. I should not be surprised, though, were the scribe found to be one of Rameau's composi- tion students pressed into the service of his master. The manu-

script seems to be a fair copy of a text presumably written by Rameau himself, as there are few corrections or mistakes, while there are occasional copyists's remarks concerning inser-

15The manuscript consists of 771/2 bifolios, or 310 pages. (A bifolio is simply a large leaf of paper folded in half, forming four faces upon which the text was written.) The resulting pages are 35 by 23 cm. in size. The number of each bifo- lio is marked on the top center of the first page. Sometime in the nineteenth century, the bifolios were gathered and bound together with an unrelated anonymous manuscript of later origin-apparently chapters from a history of music. A librarian then penned in the folio numbers on the upper right hand corner of the manuscript (that is to say, on the recto of each leaf, thus making 155 folios). I will follow this foliation in all subsequent references to the manu- script.

Page 6: Cópia de Rameau's L'Art de La Basse Fondamentale

22 Music Theory Spectrum 22 Music Theory Spectrum 22 Music Theory Spectrum 22 Music Theory Spectrum 22 Music Theory Spectrum 22 Music Theory Spectrum

tions or missing pages. It may be that parts of the text are tran- scriptions of lectures by Rameau; there is something of an ex- temporaneous quality to the rambling and often redundant prose.

As the full title suggests, Rameau will instruct us in "The Art of the Fundamental Bass from which is drawn knowledge of the practice of composition and accompaniment." The complete table of contents is given in an appendix to this article. There is a short preface followed by three major subdivisions. This tri- partite division allows Rameau to cover the fundamental bass in successive stages of complexity. In part one, he deals with the fundamental bass involving consonant chords; in part 2, the fundamental bass with dissonant chords; and in part 3, the rela- tion of the fundamental bass to the basso continuo. These parts are further subdivided into a series of lessons, articles, and ex- plications which are commentary upon musical examples. To our misfortune, the musical examples are lost. I have searched extensively for them in various Parisian archives, but to no avail. Thus, we can only guess the content of the musical exam- ples by reading the prose description in the text and recon- structing them as best we can. Some clues are available, though, from certain musical examples in the Code.

Outwardly, the organization of "The Art of the Fundamen- tal Bass" is logical. But the putative division of parts 1 and 2 is never consistently followed. Already by the 6th lesson in part 1, Rameau begins discussing the syncopation, which unavoidably brings in the question of the dissonant suspension, a topic os- tensibly reserved for part 2. Indeed throughout part 1, Rameau brings in examples using dissonances although he never fully explains their use. The disorganization of the text is further ex- acerbated by the uneven treatment given to certain topics. For example, the single lesson on the suspension is longer than the entire section on figured bass accompaniment.

Undoubtedly the most frustrating aspect of the text is its un- forgiving prose style. While Rameau was never renowned as a particularly elegant writer, in no other work of his have I ever

tions or missing pages. It may be that parts of the text are tran- scriptions of lectures by Rameau; there is something of an ex- temporaneous quality to the rambling and often redundant prose.

As the full title suggests, Rameau will instruct us in "The Art of the Fundamental Bass from which is drawn knowledge of the practice of composition and accompaniment." The complete table of contents is given in an appendix to this article. There is a short preface followed by three major subdivisions. This tri- partite division allows Rameau to cover the fundamental bass in successive stages of complexity. In part one, he deals with the fundamental bass involving consonant chords; in part 2, the fundamental bass with dissonant chords; and in part 3, the rela- tion of the fundamental bass to the basso continuo. These parts are further subdivided into a series of lessons, articles, and ex- plications which are commentary upon musical examples. To our misfortune, the musical examples are lost. I have searched extensively for them in various Parisian archives, but to no avail. Thus, we can only guess the content of the musical exam- ples by reading the prose description in the text and recon- structing them as best we can. Some clues are available, though, from certain musical examples in the Code.

Outwardly, the organization of "The Art of the Fundamen- tal Bass" is logical. But the putative division of parts 1 and 2 is never consistently followed. Already by the 6th lesson in part 1, Rameau begins discussing the syncopation, which unavoidably brings in the question of the dissonant suspension, a topic os- tensibly reserved for part 2. Indeed throughout part 1, Rameau brings in examples using dissonances although he never fully explains their use. The disorganization of the text is further ex- acerbated by the uneven treatment given to certain topics. For example, the single lesson on the suspension is longer than the entire section on figured bass accompaniment.

Undoubtedly the most frustrating aspect of the text is its un- forgiving prose style. While Rameau was never renowned as a particularly elegant writer, in no other work of his have I ever

tions or missing pages. It may be that parts of the text are tran- scriptions of lectures by Rameau; there is something of an ex- temporaneous quality to the rambling and often redundant prose.

As the full title suggests, Rameau will instruct us in "The Art of the Fundamental Bass from which is drawn knowledge of the practice of composition and accompaniment." The complete table of contents is given in an appendix to this article. There is a short preface followed by three major subdivisions. This tri- partite division allows Rameau to cover the fundamental bass in successive stages of complexity. In part one, he deals with the fundamental bass involving consonant chords; in part 2, the fundamental bass with dissonant chords; and in part 3, the rela- tion of the fundamental bass to the basso continuo. These parts are further subdivided into a series of lessons, articles, and ex- plications which are commentary upon musical examples. To our misfortune, the musical examples are lost. I have searched extensively for them in various Parisian archives, but to no avail. Thus, we can only guess the content of the musical exam- ples by reading the prose description in the text and recon- structing them as best we can. Some clues are available, though, from certain musical examples in the Code.

Outwardly, the organization of "The Art of the Fundamen- tal Bass" is logical. But the putative division of parts 1 and 2 is never consistently followed. Already by the 6th lesson in part 1, Rameau begins discussing the syncopation, which unavoidably brings in the question of the dissonant suspension, a topic os- tensibly reserved for part 2. Indeed throughout part 1, Rameau brings in examples using dissonances although he never fully explains their use. The disorganization of the text is further ex- acerbated by the uneven treatment given to certain topics. For example, the single lesson on the suspension is longer than the entire section on figured bass accompaniment.

Undoubtedly the most frustrating aspect of the text is its un- forgiving prose style. While Rameau was never renowned as a particularly elegant writer, in no other work of his have I ever

tions or missing pages. It may be that parts of the text are tran- scriptions of lectures by Rameau; there is something of an ex- temporaneous quality to the rambling and often redundant prose.

As the full title suggests, Rameau will instruct us in "The Art of the Fundamental Bass from which is drawn knowledge of the practice of composition and accompaniment." The complete table of contents is given in an appendix to this article. There is a short preface followed by three major subdivisions. This tri- partite division allows Rameau to cover the fundamental bass in successive stages of complexity. In part one, he deals with the fundamental bass involving consonant chords; in part 2, the fundamental bass with dissonant chords; and in part 3, the rela- tion of the fundamental bass to the basso continuo. These parts are further subdivided into a series of lessons, articles, and ex- plications which are commentary upon musical examples. To our misfortune, the musical examples are lost. I have searched extensively for them in various Parisian archives, but to no avail. Thus, we can only guess the content of the musical exam- ples by reading the prose description in the text and recon- structing them as best we can. Some clues are available, though, from certain musical examples in the Code.

Outwardly, the organization of "The Art of the Fundamen- tal Bass" is logical. But the putative division of parts 1 and 2 is never consistently followed. Already by the 6th lesson in part 1, Rameau begins discussing the syncopation, which unavoidably brings in the question of the dissonant suspension, a topic os- tensibly reserved for part 2. Indeed throughout part 1, Rameau brings in examples using dissonances although he never fully explains their use. The disorganization of the text is further ex- acerbated by the uneven treatment given to certain topics. For example, the single lesson on the suspension is longer than the entire section on figured bass accompaniment.

Undoubtedly the most frustrating aspect of the text is its un- forgiving prose style. While Rameau was never renowned as a particularly elegant writer, in no other work of his have I ever

tions or missing pages. It may be that parts of the text are tran- scriptions of lectures by Rameau; there is something of an ex- temporaneous quality to the rambling and often redundant prose.

As the full title suggests, Rameau will instruct us in "The Art of the Fundamental Bass from which is drawn knowledge of the practice of composition and accompaniment." The complete table of contents is given in an appendix to this article. There is a short preface followed by three major subdivisions. This tri- partite division allows Rameau to cover the fundamental bass in successive stages of complexity. In part one, he deals with the fundamental bass involving consonant chords; in part 2, the fundamental bass with dissonant chords; and in part 3, the rela- tion of the fundamental bass to the basso continuo. These parts are further subdivided into a series of lessons, articles, and ex- plications which are commentary upon musical examples. To our misfortune, the musical examples are lost. I have searched extensively for them in various Parisian archives, but to no avail. Thus, we can only guess the content of the musical exam- ples by reading the prose description in the text and recon- structing them as best we can. Some clues are available, though, from certain musical examples in the Code.

Outwardly, the organization of "The Art of the Fundamen- tal Bass" is logical. But the putative division of parts 1 and 2 is never consistently followed. Already by the 6th lesson in part 1, Rameau begins discussing the syncopation, which unavoidably brings in the question of the dissonant suspension, a topic os- tensibly reserved for part 2. Indeed throughout part 1, Rameau brings in examples using dissonances although he never fully explains their use. The disorganization of the text is further ex- acerbated by the uneven treatment given to certain topics. For example, the single lesson on the suspension is longer than the entire section on figured bass accompaniment.

Undoubtedly the most frustrating aspect of the text is its un- forgiving prose style. While Rameau was never renowned as a particularly elegant writer, in no other work of his have I ever

tions or missing pages. It may be that parts of the text are tran- scriptions of lectures by Rameau; there is something of an ex- temporaneous quality to the rambling and often redundant prose.

As the full title suggests, Rameau will instruct us in "The Art of the Fundamental Bass from which is drawn knowledge of the practice of composition and accompaniment." The complete table of contents is given in an appendix to this article. There is a short preface followed by three major subdivisions. This tri- partite division allows Rameau to cover the fundamental bass in successive stages of complexity. In part one, he deals with the fundamental bass involving consonant chords; in part 2, the fundamental bass with dissonant chords; and in part 3, the rela- tion of the fundamental bass to the basso continuo. These parts are further subdivided into a series of lessons, articles, and ex- plications which are commentary upon musical examples. To our misfortune, the musical examples are lost. I have searched extensively for them in various Parisian archives, but to no avail. Thus, we can only guess the content of the musical exam- ples by reading the prose description in the text and recon- structing them as best we can. Some clues are available, though, from certain musical examples in the Code.

Outwardly, the organization of "The Art of the Fundamen- tal Bass" is logical. But the putative division of parts 1 and 2 is never consistently followed. Already by the 6th lesson in part 1, Rameau begins discussing the syncopation, which unavoidably brings in the question of the dissonant suspension, a topic os- tensibly reserved for part 2. Indeed throughout part 1, Rameau brings in examples using dissonances although he never fully explains their use. The disorganization of the text is further ex- acerbated by the uneven treatment given to certain topics. For example, the single lesson on the suspension is longer than the entire section on figured bass accompaniment.

Undoubtedly the most frustrating aspect of the text is its un- forgiving prose style. While Rameau was never renowned as a particularly elegant writer, in no other work of his have I ever

encountered such abstruse, repetitive, and downright incoher- ent prose. Clearly we are dealing with a text that Rameau had not refined to any satisfactory degree. There are several drafts of much material: three of the Preface, and, most significantly, two complete and different drafts of the first part. The first draft (fols. 7-46v) is about eighty pages long, while the second draft (fols. 47-97v) is expanded to over a hundred pages. Evi- dently Rameau rewrote this material, and the copyist merely transcribed all extant versions. I should hasten to add that the revisions cannot really be said to gain in either style or clarity. There are topics addressed and explanations given in the first drafts which strike me as having far greater value and interest than their revised counterparts, although in other places the opposite is true. Obviously, Rameau was unable to settle upon a definitive version of the text, and so left the manuscript for an editor such as d'Alembert to reconcile. We can well understand why d'Alembert never undertook a redaction of the text, no doubt recognizing that in its present state, it was virtually be- yond salvage.

To make sense of the treatise, one is forced to reorganize it and to make some subjective interpretation. Therefore, in the following discussion, I shall not be following a strictly chrono- logical survey of contents. I shall be reading between the lines in order to resolve obscure or contradictory passages, and, where appropriate, I shall seek clarification through reference to relevant passages and musical examples in the Code. In all cases, though, I shall scrupulously distinguish Rameau's text from my interpretation.

The first observation we may make about "The Art of the Fundamental Bass" is that it is a practical work, devoid of the

speculative theorizing which we have come to associate with Rameau. Whereas in works such as the Traite, Generation har- monique, and Demonstration, Rameau takes great pains to support his theory with various kinds of mathematical argu- ments, acoustical demonstrations, and philosophical reason-

encountered such abstruse, repetitive, and downright incoher- ent prose. Clearly we are dealing with a text that Rameau had not refined to any satisfactory degree. There are several drafts of much material: three of the Preface, and, most significantly, two complete and different drafts of the first part. The first draft (fols. 7-46v) is about eighty pages long, while the second draft (fols. 47-97v) is expanded to over a hundred pages. Evi- dently Rameau rewrote this material, and the copyist merely transcribed all extant versions. I should hasten to add that the revisions cannot really be said to gain in either style or clarity. There are topics addressed and explanations given in the first drafts which strike me as having far greater value and interest than their revised counterparts, although in other places the opposite is true. Obviously, Rameau was unable to settle upon a definitive version of the text, and so left the manuscript for an editor such as d'Alembert to reconcile. We can well understand why d'Alembert never undertook a redaction of the text, no doubt recognizing that in its present state, it was virtually be- yond salvage.

To make sense of the treatise, one is forced to reorganize it and to make some subjective interpretation. Therefore, in the following discussion, I shall not be following a strictly chrono- logical survey of contents. I shall be reading between the lines in order to resolve obscure or contradictory passages, and, where appropriate, I shall seek clarification through reference to relevant passages and musical examples in the Code. In all cases, though, I shall scrupulously distinguish Rameau's text from my interpretation.

The first observation we may make about "The Art of the Fundamental Bass" is that it is a practical work, devoid of the

speculative theorizing which we have come to associate with Rameau. Whereas in works such as the Traite, Generation har- monique, and Demonstration, Rameau takes great pains to support his theory with various kinds of mathematical argu- ments, acoustical demonstrations, and philosophical reason-

encountered such abstruse, repetitive, and downright incoher- ent prose. Clearly we are dealing with a text that Rameau had not refined to any satisfactory degree. There are several drafts of much material: three of the Preface, and, most significantly, two complete and different drafts of the first part. The first draft (fols. 7-46v) is about eighty pages long, while the second draft (fols. 47-97v) is expanded to over a hundred pages. Evi- dently Rameau rewrote this material, and the copyist merely transcribed all extant versions. I should hasten to add that the revisions cannot really be said to gain in either style or clarity. There are topics addressed and explanations given in the first drafts which strike me as having far greater value and interest than their revised counterparts, although in other places the opposite is true. Obviously, Rameau was unable to settle upon a definitive version of the text, and so left the manuscript for an editor such as d'Alembert to reconcile. We can well understand why d'Alembert never undertook a redaction of the text, no doubt recognizing that in its present state, it was virtually be- yond salvage.

To make sense of the treatise, one is forced to reorganize it and to make some subjective interpretation. Therefore, in the following discussion, I shall not be following a strictly chrono- logical survey of contents. I shall be reading between the lines in order to resolve obscure or contradictory passages, and, where appropriate, I shall seek clarification through reference to relevant passages and musical examples in the Code. In all cases, though, I shall scrupulously distinguish Rameau's text from my interpretation.

The first observation we may make about "The Art of the Fundamental Bass" is that it is a practical work, devoid of the

speculative theorizing which we have come to associate with Rameau. Whereas in works such as the Traite, Generation har- monique, and Demonstration, Rameau takes great pains to support his theory with various kinds of mathematical argu- ments, acoustical demonstrations, and philosophical reason-

encountered such abstruse, repetitive, and downright incoher- ent prose. Clearly we are dealing with a text that Rameau had not refined to any satisfactory degree. There are several drafts of much material: three of the Preface, and, most significantly, two complete and different drafts of the first part. The first draft (fols. 7-46v) is about eighty pages long, while the second draft (fols. 47-97v) is expanded to over a hundred pages. Evi- dently Rameau rewrote this material, and the copyist merely transcribed all extant versions. I should hasten to add that the revisions cannot really be said to gain in either style or clarity. There are topics addressed and explanations given in the first drafts which strike me as having far greater value and interest than their revised counterparts, although in other places the opposite is true. Obviously, Rameau was unable to settle upon a definitive version of the text, and so left the manuscript for an editor such as d'Alembert to reconcile. We can well understand why d'Alembert never undertook a redaction of the text, no doubt recognizing that in its present state, it was virtually be- yond salvage.

To make sense of the treatise, one is forced to reorganize it and to make some subjective interpretation. Therefore, in the following discussion, I shall not be following a strictly chrono- logical survey of contents. I shall be reading between the lines in order to resolve obscure or contradictory passages, and, where appropriate, I shall seek clarification through reference to relevant passages and musical examples in the Code. In all cases, though, I shall scrupulously distinguish Rameau's text from my interpretation.

The first observation we may make about "The Art of the Fundamental Bass" is that it is a practical work, devoid of the

speculative theorizing which we have come to associate with Rameau. Whereas in works such as the Traite, Generation har- monique, and Demonstration, Rameau takes great pains to support his theory with various kinds of mathematical argu- ments, acoustical demonstrations, and philosophical reason-

encountered such abstruse, repetitive, and downright incoher- ent prose. Clearly we are dealing with a text that Rameau had not refined to any satisfactory degree. There are several drafts of much material: three of the Preface, and, most significantly, two complete and different drafts of the first part. The first draft (fols. 7-46v) is about eighty pages long, while the second draft (fols. 47-97v) is expanded to over a hundred pages. Evi- dently Rameau rewrote this material, and the copyist merely transcribed all extant versions. I should hasten to add that the revisions cannot really be said to gain in either style or clarity. There are topics addressed and explanations given in the first drafts which strike me as having far greater value and interest than their revised counterparts, although in other places the opposite is true. Obviously, Rameau was unable to settle upon a definitive version of the text, and so left the manuscript for an editor such as d'Alembert to reconcile. We can well understand why d'Alembert never undertook a redaction of the text, no doubt recognizing that in its present state, it was virtually be- yond salvage.

To make sense of the treatise, one is forced to reorganize it and to make some subjective interpretation. Therefore, in the following discussion, I shall not be following a strictly chrono- logical survey of contents. I shall be reading between the lines in order to resolve obscure or contradictory passages, and, where appropriate, I shall seek clarification through reference to relevant passages and musical examples in the Code. In all cases, though, I shall scrupulously distinguish Rameau's text from my interpretation.

The first observation we may make about "The Art of the Fundamental Bass" is that it is a practical work, devoid of the

speculative theorizing which we have come to associate with Rameau. Whereas in works such as the Traite, Generation har- monique, and Demonstration, Rameau takes great pains to support his theory with various kinds of mathematical argu- ments, acoustical demonstrations, and philosophical reason-

encountered such abstruse, repetitive, and downright incoher- ent prose. Clearly we are dealing with a text that Rameau had not refined to any satisfactory degree. There are several drafts of much material: three of the Preface, and, most significantly, two complete and different drafts of the first part. The first draft (fols. 7-46v) is about eighty pages long, while the second draft (fols. 47-97v) is expanded to over a hundred pages. Evi- dently Rameau rewrote this material, and the copyist merely transcribed all extant versions. I should hasten to add that the revisions cannot really be said to gain in either style or clarity. There are topics addressed and explanations given in the first drafts which strike me as having far greater value and interest than their revised counterparts, although in other places the opposite is true. Obviously, Rameau was unable to settle upon a definitive version of the text, and so left the manuscript for an editor such as d'Alembert to reconcile. We can well understand why d'Alembert never undertook a redaction of the text, no doubt recognizing that in its present state, it was virtually be- yond salvage.

To make sense of the treatise, one is forced to reorganize it and to make some subjective interpretation. Therefore, in the following discussion, I shall not be following a strictly chrono- logical survey of contents. I shall be reading between the lines in order to resolve obscure or contradictory passages, and, where appropriate, I shall seek clarification through reference to relevant passages and musical examples in the Code. In all cases, though, I shall scrupulously distinguish Rameau's text from my interpretation.

The first observation we may make about "The Art of the Fundamental Bass" is that it is a practical work, devoid of the

speculative theorizing which we have come to associate with Rameau. Whereas in works such as the Traite, Generation har- monique, and Demonstration, Rameau takes great pains to support his theory with various kinds of mathematical argu- ments, acoustical demonstrations, and philosophical reason-

Page 7: Cópia de Rameau's L'Art de La Basse Fondamentale

Rameau's "L'Art de la Basse Fondamentale" 23 Rameau's "L'Art de la Basse Fondamentale" 23 Rameau's "L'Art de la Basse Fondamentale" 23 Rameau's "L'Art de la Basse Fondamentale" 23 Rameau's "L'Art de la Basse Fondamentale" 23 Rameau's "L'Art de la Basse Fondamentale" 23

ing, in the present treatise his approach is entirely empirical. It is not that he has decided to abandon such theorizing, rather he obviously feels it unnecessary here. As we have already noted, in his opening sentence, Rameau believed himself to have "cleared the way" in his earlier works by having theoretically established his system of harmony. He continues,

After this preparation, I can confidently declare here that I may pro- ceed without further explanation since one may find the principle and its cause in the works which I will cite.16

Elsewhere he is even more boastful:

[My] method has reached a point of perfection with which I trust one will be content. It is moreover established upon incontestable princi- ples ... No rules are proposed whose origin is not fully developed in the Generation harmonique. 17

The principle to which Rameau refers is of course his funda- mental bass, the revolutionary concept first announced in the Traite of 1722. Rameau begins his Preface by claiming that the fundamental bass constitutes un langage tout nouveau, "an en-

tirely new language although it has to do with a practical art centuries old and about which an endless number of authors have written."18 Of course none of these authors or musicians recognized the principle of their art, although they had always been instinctively guided by it.

Experience has made us realize the effect but not yet recognize the cause. The cause of harmony is in a single sound. Musicians have not bothered to penetrate further into the cause of the succession of har-

16Fol. 3v. "Apres ces preparatif, je puis prononcer hardiment sans rendre raison de ce que j'avance puisqu'on en trouvera le principe et le fondement dans les ouvrages que je viens de citer."

17Fol. 5v. "La methode est dans un point de perfection dont j'espere qu'on sera content, elle est d'ailleurs etablie sur des principes incontestable . .. On ne propose ici aucunne regle dont le principe ne sois bien developp6 dans la

generation harmonique." '8Fol. 1. "un langage tout nouveau, quoi qu'il s'y agisse d'un art pratique

depuis plusieurs siecles, et sur lequel une infinite d'auteurs ont ecrit."

ing, in the present treatise his approach is entirely empirical. It is not that he has decided to abandon such theorizing, rather he obviously feels it unnecessary here. As we have already noted, in his opening sentence, Rameau believed himself to have "cleared the way" in his earlier works by having theoretically established his system of harmony. He continues,

After this preparation, I can confidently declare here that I may pro- ceed without further explanation since one may find the principle and its cause in the works which I will cite.16

Elsewhere he is even more boastful:

[My] method has reached a point of perfection with which I trust one will be content. It is moreover established upon incontestable princi- ples ... No rules are proposed whose origin is not fully developed in the Generation harmonique. 17

The principle to which Rameau refers is of course his funda- mental bass, the revolutionary concept first announced in the Traite of 1722. Rameau begins his Preface by claiming that the fundamental bass constitutes un langage tout nouveau, "an en-

tirely new language although it has to do with a practical art centuries old and about which an endless number of authors have written."18 Of course none of these authors or musicians recognized the principle of their art, although they had always been instinctively guided by it.

Experience has made us realize the effect but not yet recognize the cause. The cause of harmony is in a single sound. Musicians have not bothered to penetrate further into the cause of the succession of har-

16Fol. 3v. "Apres ces preparatif, je puis prononcer hardiment sans rendre raison de ce que j'avance puisqu'on en trouvera le principe et le fondement dans les ouvrages que je viens de citer."

17Fol. 5v. "La methode est dans un point de perfection dont j'espere qu'on sera content, elle est d'ailleurs etablie sur des principes incontestable . .. On ne propose ici aucunne regle dont le principe ne sois bien developp6 dans la

generation harmonique." '8Fol. 1. "un langage tout nouveau, quoi qu'il s'y agisse d'un art pratique

depuis plusieurs siecles, et sur lequel une infinite d'auteurs ont ecrit."

ing, in the present treatise his approach is entirely empirical. It is not that he has decided to abandon such theorizing, rather he obviously feels it unnecessary here. As we have already noted, in his opening sentence, Rameau believed himself to have "cleared the way" in his earlier works by having theoretically established his system of harmony. He continues,

After this preparation, I can confidently declare here that I may pro- ceed without further explanation since one may find the principle and its cause in the works which I will cite.16

Elsewhere he is even more boastful:

[My] method has reached a point of perfection with which I trust one will be content. It is moreover established upon incontestable princi- ples ... No rules are proposed whose origin is not fully developed in the Generation harmonique. 17

The principle to which Rameau refers is of course his funda- mental bass, the revolutionary concept first announced in the Traite of 1722. Rameau begins his Preface by claiming that the fundamental bass constitutes un langage tout nouveau, "an en-

tirely new language although it has to do with a practical art centuries old and about which an endless number of authors have written."18 Of course none of these authors or musicians recognized the principle of their art, although they had always been instinctively guided by it.

Experience has made us realize the effect but not yet recognize the cause. The cause of harmony is in a single sound. Musicians have not bothered to penetrate further into the cause of the succession of har-

16Fol. 3v. "Apres ces preparatif, je puis prononcer hardiment sans rendre raison de ce que j'avance puisqu'on en trouvera le principe et le fondement dans les ouvrages que je viens de citer."

17Fol. 5v. "La methode est dans un point de perfection dont j'espere qu'on sera content, elle est d'ailleurs etablie sur des principes incontestable . .. On ne propose ici aucunne regle dont le principe ne sois bien developp6 dans la

generation harmonique." '8Fol. 1. "un langage tout nouveau, quoi qu'il s'y agisse d'un art pratique

depuis plusieurs siecles, et sur lequel une infinite d'auteurs ont ecrit."

ing, in the present treatise his approach is entirely empirical. It is not that he has decided to abandon such theorizing, rather he obviously feels it unnecessary here. As we have already noted, in his opening sentence, Rameau believed himself to have "cleared the way" in his earlier works by having theoretically established his system of harmony. He continues,

After this preparation, I can confidently declare here that I may pro- ceed without further explanation since one may find the principle and its cause in the works which I will cite.16

Elsewhere he is even more boastful:

[My] method has reached a point of perfection with which I trust one will be content. It is moreover established upon incontestable princi- ples ... No rules are proposed whose origin is not fully developed in the Generation harmonique. 17

The principle to which Rameau refers is of course his funda- mental bass, the revolutionary concept first announced in the Traite of 1722. Rameau begins his Preface by claiming that the fundamental bass constitutes un langage tout nouveau, "an en-

tirely new language although it has to do with a practical art centuries old and about which an endless number of authors have written."18 Of course none of these authors or musicians recognized the principle of their art, although they had always been instinctively guided by it.

Experience has made us realize the effect but not yet recognize the cause. The cause of harmony is in a single sound. Musicians have not bothered to penetrate further into the cause of the succession of har-

16Fol. 3v. "Apres ces preparatif, je puis prononcer hardiment sans rendre raison de ce que j'avance puisqu'on en trouvera le principe et le fondement dans les ouvrages que je viens de citer."

17Fol. 5v. "La methode est dans un point de perfection dont j'espere qu'on sera content, elle est d'ailleurs etablie sur des principes incontestable . .. On ne propose ici aucunne regle dont le principe ne sois bien developp6 dans la

generation harmonique." '8Fol. 1. "un langage tout nouveau, quoi qu'il s'y agisse d'un art pratique

depuis plusieurs siecles, et sur lequel une infinite d'auteurs ont ecrit."

ing, in the present treatise his approach is entirely empirical. It is not that he has decided to abandon such theorizing, rather he obviously feels it unnecessary here. As we have already noted, in his opening sentence, Rameau believed himself to have "cleared the way" in his earlier works by having theoretically established his system of harmony. He continues,

After this preparation, I can confidently declare here that I may pro- ceed without further explanation since one may find the principle and its cause in the works which I will cite.16

Elsewhere he is even more boastful:

[My] method has reached a point of perfection with which I trust one will be content. It is moreover established upon incontestable princi- ples ... No rules are proposed whose origin is not fully developed in the Generation harmonique. 17

The principle to which Rameau refers is of course his funda- mental bass, the revolutionary concept first announced in the Traite of 1722. Rameau begins his Preface by claiming that the fundamental bass constitutes un langage tout nouveau, "an en-

tirely new language although it has to do with a practical art centuries old and about which an endless number of authors have written."18 Of course none of these authors or musicians recognized the principle of their art, although they had always been instinctively guided by it.

Experience has made us realize the effect but not yet recognize the cause. The cause of harmony is in a single sound. Musicians have not bothered to penetrate further into the cause of the succession of har-

16Fol. 3v. "Apres ces preparatif, je puis prononcer hardiment sans rendre raison de ce que j'avance puisqu'on en trouvera le principe et le fondement dans les ouvrages que je viens de citer."

17Fol. 5v. "La methode est dans un point de perfection dont j'espere qu'on sera content, elle est d'ailleurs etablie sur des principes incontestable . .. On ne propose ici aucunne regle dont le principe ne sois bien developp6 dans la

generation harmonique." '8Fol. 1. "un langage tout nouveau, quoi qu'il s'y agisse d'un art pratique

depuis plusieurs siecles, et sur lequel une infinite d'auteurs ont ecrit."

ing, in the present treatise his approach is entirely empirical. It is not that he has decided to abandon such theorizing, rather he obviously feels it unnecessary here. As we have already noted, in his opening sentence, Rameau believed himself to have "cleared the way" in his earlier works by having theoretically established his system of harmony. He continues,

After this preparation, I can confidently declare here that I may pro- ceed without further explanation since one may find the principle and its cause in the works which I will cite.16

Elsewhere he is even more boastful:

[My] method has reached a point of perfection with which I trust one will be content. It is moreover established upon incontestable princi- ples ... No rules are proposed whose origin is not fully developed in the Generation harmonique. 17

The principle to which Rameau refers is of course his funda- mental bass, the revolutionary concept first announced in the Traite of 1722. Rameau begins his Preface by claiming that the fundamental bass constitutes un langage tout nouveau, "an en-

tirely new language although it has to do with a practical art centuries old and about which an endless number of authors have written."18 Of course none of these authors or musicians recognized the principle of their art, although they had always been instinctively guided by it.

Experience has made us realize the effect but not yet recognize the cause. The cause of harmony is in a single sound. Musicians have not bothered to penetrate further into the cause of the succession of har-

16Fol. 3v. "Apres ces preparatif, je puis prononcer hardiment sans rendre raison de ce que j'avance puisqu'on en trouvera le principe et le fondement dans les ouvrages que je viens de citer."

17Fol. 5v. "La methode est dans un point de perfection dont j'espere qu'on sera content, elle est d'ailleurs etablie sur des principes incontestable . .. On ne propose ici aucunne regle dont le principe ne sois bien developp6 dans la

generation harmonique." '8Fol. 1. "un langage tout nouveau, quoi qu'il s'y agisse d'un art pratique

depuis plusieurs siecles, et sur lequel une infinite d'auteurs ont ecrit."

monies from which is derived melody. The succession of sounds from this same unique sound can only be understood as a by-product. Here is the principle. Here is the source which is why I call it the fundamen- tal bass.19

Now how was it, he asks, that musicians could have over- looked so evident a "cause of harmony"? Answering his own question, he lays blame squarely upon the pedagogical meth- ods by which musicians have traditionally learned composition and accompaniment. These methods, Rameau scolds, consist of haphazardly collected empirical rules; they begin by teach- ing arbitrarily "whatever chords, consonances, dissonances, in- tervals, or keys which [the author] wishes."20 But such an ap- proach is necessarily unreliable, as there will always be incon- sistencies and exceptions.

We believe to see rules established which are really only the fruit of long and continual exercise. We teach them as if they were given us, although a consummate experience leads us to discover an infinity of passages which do not conform to these rules.21

Musicians are thus faced with the daunting task of learning their craft solely through practical experience acquired by "as- siduous labor" of twenty years.22

To remedy this sad state of affairs, Rameau prescribes the fundamental bass. Through the fundamental bass alone, he

19Fol. lv. "L'experience nous a rendu sensible a l'effet mais elle n'en a

qu'encore faire connaitre la cause. La cause de l'harmonie est dans un son

unique. Le musicien n'a pas de soin de penetrer plus avant la cause de la succes- sion de cette harmonie, d'ou nait le chant est dans la succession de ce meme son

unique. Cette succession ne peut se prendre que dans les autres sons produits par le premier. Voila le principe, voila le fondement, et c'est pour quoy je l'ap- pelle bassefonde. "

2?Fol. 2v. "Les methodes en usage partent d'accords, de consonances, de dissonances, d'intervales, de ton, si l'on veut."

21Fol. 4v. "Nous croyons de voir a ces regles cequi n'est que le fruit de ce long, et continuel exercice. Nous les enseignons comme nous les a donn6es, bien que cependent a la faveur d'une experience consommee, il nous vienne dans l'idee une infinite de passages auxquels ces regles se refusent."

22Fol. 3.

monies from which is derived melody. The succession of sounds from this same unique sound can only be understood as a by-product. Here is the principle. Here is the source which is why I call it the fundamen- tal bass.19

Now how was it, he asks, that musicians could have over- looked so evident a "cause of harmony"? Answering his own question, he lays blame squarely upon the pedagogical meth- ods by which musicians have traditionally learned composition and accompaniment. These methods, Rameau scolds, consist of haphazardly collected empirical rules; they begin by teach- ing arbitrarily "whatever chords, consonances, dissonances, in- tervals, or keys which [the author] wishes."20 But such an ap- proach is necessarily unreliable, as there will always be incon- sistencies and exceptions.

We believe to see rules established which are really only the fruit of long and continual exercise. We teach them as if they were given us, although a consummate experience leads us to discover an infinity of passages which do not conform to these rules.21

Musicians are thus faced with the daunting task of learning their craft solely through practical experience acquired by "as- siduous labor" of twenty years.22

To remedy this sad state of affairs, Rameau prescribes the fundamental bass. Through the fundamental bass alone, he

19Fol. lv. "L'experience nous a rendu sensible a l'effet mais elle n'en a

qu'encore faire connaitre la cause. La cause de l'harmonie est dans un son

unique. Le musicien n'a pas de soin de penetrer plus avant la cause de la succes- sion de cette harmonie, d'ou nait le chant est dans la succession de ce meme son

unique. Cette succession ne peut se prendre que dans les autres sons produits par le premier. Voila le principe, voila le fondement, et c'est pour quoy je l'ap- pelle bassefonde. "

2?Fol. 2v. "Les methodes en usage partent d'accords, de consonances, de dissonances, d'intervales, de ton, si l'on veut."

21Fol. 4v. "Nous croyons de voir a ces regles cequi n'est que le fruit de ce long, et continuel exercice. Nous les enseignons comme nous les a donn6es, bien que cependent a la faveur d'une experience consommee, il nous vienne dans l'idee une infinite de passages auxquels ces regles se refusent."

22Fol. 3.

monies from which is derived melody. The succession of sounds from this same unique sound can only be understood as a by-product. Here is the principle. Here is the source which is why I call it the fundamen- tal bass.19

Now how was it, he asks, that musicians could have over- looked so evident a "cause of harmony"? Answering his own question, he lays blame squarely upon the pedagogical meth- ods by which musicians have traditionally learned composition and accompaniment. These methods, Rameau scolds, consist of haphazardly collected empirical rules; they begin by teach- ing arbitrarily "whatever chords, consonances, dissonances, in- tervals, or keys which [the author] wishes."20 But such an ap- proach is necessarily unreliable, as there will always be incon- sistencies and exceptions.

We believe to see rules established which are really only the fruit of long and continual exercise. We teach them as if they were given us, although a consummate experience leads us to discover an infinity of passages which do not conform to these rules.21

Musicians are thus faced with the daunting task of learning their craft solely through practical experience acquired by "as- siduous labor" of twenty years.22

To remedy this sad state of affairs, Rameau prescribes the fundamental bass. Through the fundamental bass alone, he

19Fol. lv. "L'experience nous a rendu sensible a l'effet mais elle n'en a

qu'encore faire connaitre la cause. La cause de l'harmonie est dans un son

unique. Le musicien n'a pas de soin de penetrer plus avant la cause de la succes- sion de cette harmonie, d'ou nait le chant est dans la succession de ce meme son

unique. Cette succession ne peut se prendre que dans les autres sons produits par le premier. Voila le principe, voila le fondement, et c'est pour quoy je l'ap- pelle bassefonde. "

2?Fol. 2v. "Les methodes en usage partent d'accords, de consonances, de dissonances, d'intervales, de ton, si l'on veut."

21Fol. 4v. "Nous croyons de voir a ces regles cequi n'est que le fruit de ce long, et continuel exercice. Nous les enseignons comme nous les a donn6es, bien que cependent a la faveur d'une experience consommee, il nous vienne dans l'idee une infinite de passages auxquels ces regles se refusent."

22Fol. 3.

monies from which is derived melody. The succession of sounds from this same unique sound can only be understood as a by-product. Here is the principle. Here is the source which is why I call it the fundamen- tal bass.19

Now how was it, he asks, that musicians could have over- looked so evident a "cause of harmony"? Answering his own question, he lays blame squarely upon the pedagogical meth- ods by which musicians have traditionally learned composition and accompaniment. These methods, Rameau scolds, consist of haphazardly collected empirical rules; they begin by teach- ing arbitrarily "whatever chords, consonances, dissonances, in- tervals, or keys which [the author] wishes."20 But such an ap- proach is necessarily unreliable, as there will always be incon- sistencies and exceptions.

We believe to see rules established which are really only the fruit of long and continual exercise. We teach them as if they were given us, although a consummate experience leads us to discover an infinity of passages which do not conform to these rules.21

Musicians are thus faced with the daunting task of learning their craft solely through practical experience acquired by "as- siduous labor" of twenty years.22

To remedy this sad state of affairs, Rameau prescribes the fundamental bass. Through the fundamental bass alone, he

19Fol. lv. "L'experience nous a rendu sensible a l'effet mais elle n'en a

qu'encore faire connaitre la cause. La cause de l'harmonie est dans un son

unique. Le musicien n'a pas de soin de penetrer plus avant la cause de la succes- sion de cette harmonie, d'ou nait le chant est dans la succession de ce meme son

unique. Cette succession ne peut se prendre que dans les autres sons produits par le premier. Voila le principe, voila le fondement, et c'est pour quoy je l'ap- pelle bassefonde. "

2?Fol. 2v. "Les methodes en usage partent d'accords, de consonances, de dissonances, d'intervales, de ton, si l'on veut."

21Fol. 4v. "Nous croyons de voir a ces regles cequi n'est que le fruit de ce long, et continuel exercice. Nous les enseignons comme nous les a donn6es, bien que cependent a la faveur d'une experience consommee, il nous vienne dans l'idee une infinite de passages auxquels ces regles se refusent."

22Fol. 3.

monies from which is derived melody. The succession of sounds from this same unique sound can only be understood as a by-product. Here is the principle. Here is the source which is why I call it the fundamen- tal bass.19

Now how was it, he asks, that musicians could have over- looked so evident a "cause of harmony"? Answering his own question, he lays blame squarely upon the pedagogical meth- ods by which musicians have traditionally learned composition and accompaniment. These methods, Rameau scolds, consist of haphazardly collected empirical rules; they begin by teach- ing arbitrarily "whatever chords, consonances, dissonances, in- tervals, or keys which [the author] wishes."20 But such an ap- proach is necessarily unreliable, as there will always be incon- sistencies and exceptions.

We believe to see rules established which are really only the fruit of long and continual exercise. We teach them as if they were given us, although a consummate experience leads us to discover an infinity of passages which do not conform to these rules.21

Musicians are thus faced with the daunting task of learning their craft solely through practical experience acquired by "as- siduous labor" of twenty years.22

To remedy this sad state of affairs, Rameau prescribes the fundamental bass. Through the fundamental bass alone, he

19Fol. lv. "L'experience nous a rendu sensible a l'effet mais elle n'en a

qu'encore faire connaitre la cause. La cause de l'harmonie est dans un son

unique. Le musicien n'a pas de soin de penetrer plus avant la cause de la succes- sion de cette harmonie, d'ou nait le chant est dans la succession de ce meme son

unique. Cette succession ne peut se prendre que dans les autres sons produits par le premier. Voila le principe, voila le fondement, et c'est pour quoy je l'ap- pelle bassefonde. "

2?Fol. 2v. "Les methodes en usage partent d'accords, de consonances, de dissonances, d'intervales, de ton, si l'on veut."

21Fol. 4v. "Nous croyons de voir a ces regles cequi n'est que le fruit de ce long, et continuel exercice. Nous les enseignons comme nous les a donn6es, bien que cependent a la faveur d'une experience consommee, il nous vienne dans l'idee une infinite de passages auxquels ces regles se refusent."

22Fol. 3.

monies from which is derived melody. The succession of sounds from this same unique sound can only be understood as a by-product. Here is the principle. Here is the source which is why I call it the fundamen- tal bass.19

Now how was it, he asks, that musicians could have over- looked so evident a "cause of harmony"? Answering his own question, he lays blame squarely upon the pedagogical meth- ods by which musicians have traditionally learned composition and accompaniment. These methods, Rameau scolds, consist of haphazardly collected empirical rules; they begin by teach- ing arbitrarily "whatever chords, consonances, dissonances, in- tervals, or keys which [the author] wishes."20 But such an ap- proach is necessarily unreliable, as there will always be incon- sistencies and exceptions.

We believe to see rules established which are really only the fruit of long and continual exercise. We teach them as if they were given us, although a consummate experience leads us to discover an infinity of passages which do not conform to these rules.21

Musicians are thus faced with the daunting task of learning their craft solely through practical experience acquired by "as- siduous labor" of twenty years.22

To remedy this sad state of affairs, Rameau prescribes the fundamental bass. Through the fundamental bass alone, he

19Fol. lv. "L'experience nous a rendu sensible a l'effet mais elle n'en a

qu'encore faire connaitre la cause. La cause de l'harmonie est dans un son

unique. Le musicien n'a pas de soin de penetrer plus avant la cause de la succes- sion de cette harmonie, d'ou nait le chant est dans la succession de ce meme son

unique. Cette succession ne peut se prendre que dans les autres sons produits par le premier. Voila le principe, voila le fondement, et c'est pour quoy je l'ap- pelle bassefonde. "

2?Fol. 2v. "Les methodes en usage partent d'accords, de consonances, de dissonances, d'intervales, de ton, si l'on veut."

21Fol. 4v. "Nous croyons de voir a ces regles cequi n'est que le fruit de ce long, et continuel exercice. Nous les enseignons comme nous les a donn6es, bien que cependent a la faveur d'une experience consommee, il nous vienne dans l'idee une infinite de passages auxquels ces regles se refusent."

22Fol. 3.

Page 8: Cópia de Rameau's L'Art de La Basse Fondamentale

24 Music Theory Spectrum 24 Music Theory Spectrum 24 Music Theory Spectrum 24 Music Theory Spectrum 24 Music Theory Spectrum 24 Music Theory Spectrum

boasts, one can master in a short time (six months according to his advertisement) the crafts of composition and accompani- ment. Rameau argues, as he does elsewhere in his writings, that since the fundamental bass is the true guide of the musician, all teaching methods must logically rest upon it.23 Only with this foundation can the musician truly understand and quickly mas- ter composition and accompaniment. Like the first rays of light at dawn, Rameau says poetically, the fundamental bass can il- luminate pathways to the musician where he had before only been able to grope his way by means of blind experience.24

Example 1. (fol. 7)

Scale 1 "des diatoniques intervales" UT RE MI FA SOL LA SI UT

Scale 2 "par tierces" UT MI SOL SI RE FA LA UT

Scale 3 "par quintes" UT SOL RE LA MI SI FA UT

Let us now see how Rameau puts his theory into practice. He begins part 1 by proposing three "scales" which the student is to memorize in both ascending and descending order. As shown in

Example 1, these three scales consist of the seven diatonic scale

degrees arranged respectively by step, by third, and by fifth.25 Each one, according to Rameau, accounts for one of the three

primary elements of music. From the first diatonic scale we de- rive melody; from the second scale by thirds we derive har-

mony; and finally, from the scale by fifths we derive the funda- mental root progression of harmony.

23This was the gist of Rameau's argument with Mont6clair (see note 6

above). 24Fol. 3v. 25Rameau begins the Code similarly with these three scales (pp. 1-2).

boasts, one can master in a short time (six months according to his advertisement) the crafts of composition and accompani- ment. Rameau argues, as he does elsewhere in his writings, that since the fundamental bass is the true guide of the musician, all teaching methods must logically rest upon it.23 Only with this foundation can the musician truly understand and quickly mas- ter composition and accompaniment. Like the first rays of light at dawn, Rameau says poetically, the fundamental bass can il- luminate pathways to the musician where he had before only been able to grope his way by means of blind experience.24

Example 1. (fol. 7)

Scale 1 "des diatoniques intervales" UT RE MI FA SOL LA SI UT

Scale 2 "par tierces" UT MI SOL SI RE FA LA UT

Scale 3 "par quintes" UT SOL RE LA MI SI FA UT

Let us now see how Rameau puts his theory into practice. He begins part 1 by proposing three "scales" which the student is to memorize in both ascending and descending order. As shown in

Example 1, these three scales consist of the seven diatonic scale

degrees arranged respectively by step, by third, and by fifth.25 Each one, according to Rameau, accounts for one of the three

primary elements of music. From the first diatonic scale we de- rive melody; from the second scale by thirds we derive har-

mony; and finally, from the scale by fifths we derive the funda- mental root progression of harmony.

23This was the gist of Rameau's argument with Mont6clair (see note 6

above). 24Fol. 3v. 25Rameau begins the Code similarly with these three scales (pp. 1-2).

boasts, one can master in a short time (six months according to his advertisement) the crafts of composition and accompani- ment. Rameau argues, as he does elsewhere in his writings, that since the fundamental bass is the true guide of the musician, all teaching methods must logically rest upon it.23 Only with this foundation can the musician truly understand and quickly mas- ter composition and accompaniment. Like the first rays of light at dawn, Rameau says poetically, the fundamental bass can il- luminate pathways to the musician where he had before only been able to grope his way by means of blind experience.24

Example 1. (fol. 7)

Scale 1 "des diatoniques intervales" UT RE MI FA SOL LA SI UT

Scale 2 "par tierces" UT MI SOL SI RE FA LA UT

Scale 3 "par quintes" UT SOL RE LA MI SI FA UT

Let us now see how Rameau puts his theory into practice. He begins part 1 by proposing three "scales" which the student is to memorize in both ascending and descending order. As shown in

Example 1, these three scales consist of the seven diatonic scale

degrees arranged respectively by step, by third, and by fifth.25 Each one, according to Rameau, accounts for one of the three

primary elements of music. From the first diatonic scale we de- rive melody; from the second scale by thirds we derive har-

mony; and finally, from the scale by fifths we derive the funda- mental root progression of harmony.

23This was the gist of Rameau's argument with Mont6clair (see note 6

above). 24Fol. 3v. 25Rameau begins the Code similarly with these three scales (pp. 1-2).

boasts, one can master in a short time (six months according to his advertisement) the crafts of composition and accompani- ment. Rameau argues, as he does elsewhere in his writings, that since the fundamental bass is the true guide of the musician, all teaching methods must logically rest upon it.23 Only with this foundation can the musician truly understand and quickly mas- ter composition and accompaniment. Like the first rays of light at dawn, Rameau says poetically, the fundamental bass can il- luminate pathways to the musician where he had before only been able to grope his way by means of blind experience.24

Example 1. (fol. 7)

Scale 1 "des diatoniques intervales" UT RE MI FA SOL LA SI UT

Scale 2 "par tierces" UT MI SOL SI RE FA LA UT

Scale 3 "par quintes" UT SOL RE LA MI SI FA UT

Let us now see how Rameau puts his theory into practice. He begins part 1 by proposing three "scales" which the student is to memorize in both ascending and descending order. As shown in

Example 1, these three scales consist of the seven diatonic scale

degrees arranged respectively by step, by third, and by fifth.25 Each one, according to Rameau, accounts for one of the three

primary elements of music. From the first diatonic scale we de- rive melody; from the second scale by thirds we derive har-

mony; and finally, from the scale by fifths we derive the funda- mental root progression of harmony.

23This was the gist of Rameau's argument with Mont6clair (see note 6

above). 24Fol. 3v. 25Rameau begins the Code similarly with these three scales (pp. 1-2).

boasts, one can master in a short time (six months according to his advertisement) the crafts of composition and accompani- ment. Rameau argues, as he does elsewhere in his writings, that since the fundamental bass is the true guide of the musician, all teaching methods must logically rest upon it.23 Only with this foundation can the musician truly understand and quickly mas- ter composition and accompaniment. Like the first rays of light at dawn, Rameau says poetically, the fundamental bass can il- luminate pathways to the musician where he had before only been able to grope his way by means of blind experience.24

Example 1. (fol. 7)

Scale 1 "des diatoniques intervales" UT RE MI FA SOL LA SI UT

Scale 2 "par tierces" UT MI SOL SI RE FA LA UT

Scale 3 "par quintes" UT SOL RE LA MI SI FA UT

Let us now see how Rameau puts his theory into practice. He begins part 1 by proposing three "scales" which the student is to memorize in both ascending and descending order. As shown in

Example 1, these three scales consist of the seven diatonic scale

degrees arranged respectively by step, by third, and by fifth.25 Each one, according to Rameau, accounts for one of the three

primary elements of music. From the first diatonic scale we de- rive melody; from the second scale by thirds we derive har-

mony; and finally, from the scale by fifths we derive the funda- mental root progression of harmony.

23This was the gist of Rameau's argument with Mont6clair (see note 6

above). 24Fol. 3v. 25Rameau begins the Code similarly with these three scales (pp. 1-2).

boasts, one can master in a short time (six months according to his advertisement) the crafts of composition and accompani- ment. Rameau argues, as he does elsewhere in his writings, that since the fundamental bass is the true guide of the musician, all teaching methods must logically rest upon it.23 Only with this foundation can the musician truly understand and quickly mas- ter composition and accompaniment. Like the first rays of light at dawn, Rameau says poetically, the fundamental bass can il- luminate pathways to the musician where he had before only been able to grope his way by means of blind experience.24

Example 1. (fol. 7)

Scale 1 "des diatoniques intervales" UT RE MI FA SOL LA SI UT

Scale 2 "par tierces" UT MI SOL SI RE FA LA UT

Scale 3 "par quintes" UT SOL RE LA MI SI FA UT

Let us now see how Rameau puts his theory into practice. He begins part 1 by proposing three "scales" which the student is to memorize in both ascending and descending order. As shown in

Example 1, these three scales consist of the seven diatonic scale

degrees arranged respectively by step, by third, and by fifth.25 Each one, according to Rameau, accounts for one of the three

primary elements of music. From the first diatonic scale we de- rive melody; from the second scale by thirds we derive har-

mony; and finally, from the scale by fifths we derive the funda- mental root progression of harmony.

23This was the gist of Rameau's argument with Mont6clair (see note 6

above). 24Fol. 3v. 25Rameau begins the Code similarly with these three scales (pp. 1-2).

Already we can notice a significant departure for Rameau. Whereas from a theoretical perspective, he would derive all of these elements-melody, chords, and chord progressions- from a single common source, here he provides three different sources. While these three scales can hardly be said to constitute theoretical axioms from any rigorously scientific point of view, they do provide the student with an elegantly simple and intui- tive means for generating chords and chord progressions.

Thus, the second scale gives us the two basic harmonic units, the triad and seventh chord. From the third scale, we learn how to connect the roots of these triads. The result is that a triad (called "tonique") is connected by a unique pair of upper and lower triads, called "dominante tonique" and "soudominant." Here, then, we find the concepts of root attribution and the fun- damental progression of harmony-the codification of which stand as two of Rameau's most celebrated and sophisticated achievements-assumed as simple musical givens. By introduc- ing these theoretical concepts so loosely, Rameau gives himself enough leeway so that he can be flexible in their application. This will prove to be important when he proceeds to assign problematic roots to dissonant chords and fundamental bass progressions involving dissonant intervals.

Rameau next builds consonant triads on the remaining diatonic scale degrees, assigning them each a functional name (2 = "sutonique," 3 = "mediant," and 6 = "sudominant"). The remainder of part 1 focuses upon the relation of these con- sonant triads; here Rameau describes the simple fundamental bass progressions involving diatonic scale degrees, and the vari- ous continuo bass and melodic lines which may occur over these progressions. With somewhat greater emphasis he also pro- vides guidelines for the student to discover the multiple funda- mental basses which can occur under a preexisting melody, thereby demonstrating that true variety in music stems from harmonic variation, not melodic. In the course of his discussion, Rameau touches on various related topics such as cadence types, the metric placement of chord functions (particularly the

Already we can notice a significant departure for Rameau. Whereas from a theoretical perspective, he would derive all of these elements-melody, chords, and chord progressions- from a single common source, here he provides three different sources. While these three scales can hardly be said to constitute theoretical axioms from any rigorously scientific point of view, they do provide the student with an elegantly simple and intui- tive means for generating chords and chord progressions.

Thus, the second scale gives us the two basic harmonic units, the triad and seventh chord. From the third scale, we learn how to connect the roots of these triads. The result is that a triad (called "tonique") is connected by a unique pair of upper and lower triads, called "dominante tonique" and "soudominant." Here, then, we find the concepts of root attribution and the fun- damental progression of harmony-the codification of which stand as two of Rameau's most celebrated and sophisticated achievements-assumed as simple musical givens. By introduc- ing these theoretical concepts so loosely, Rameau gives himself enough leeway so that he can be flexible in their application. This will prove to be important when he proceeds to assign problematic roots to dissonant chords and fundamental bass progressions involving dissonant intervals.

Rameau next builds consonant triads on the remaining diatonic scale degrees, assigning them each a functional name (2 = "sutonique," 3 = "mediant," and 6 = "sudominant"). The remainder of part 1 focuses upon the relation of these con- sonant triads; here Rameau describes the simple fundamental bass progressions involving diatonic scale degrees, and the vari- ous continuo bass and melodic lines which may occur over these progressions. With somewhat greater emphasis he also pro- vides guidelines for the student to discover the multiple funda- mental basses which can occur under a preexisting melody, thereby demonstrating that true variety in music stems from harmonic variation, not melodic. In the course of his discussion, Rameau touches on various related topics such as cadence types, the metric placement of chord functions (particularly the

Already we can notice a significant departure for Rameau. Whereas from a theoretical perspective, he would derive all of these elements-melody, chords, and chord progressions- from a single common source, here he provides three different sources. While these three scales can hardly be said to constitute theoretical axioms from any rigorously scientific point of view, they do provide the student with an elegantly simple and intui- tive means for generating chords and chord progressions.

Thus, the second scale gives us the two basic harmonic units, the triad and seventh chord. From the third scale, we learn how to connect the roots of these triads. The result is that a triad (called "tonique") is connected by a unique pair of upper and lower triads, called "dominante tonique" and "soudominant." Here, then, we find the concepts of root attribution and the fun- damental progression of harmony-the codification of which stand as two of Rameau's most celebrated and sophisticated achievements-assumed as simple musical givens. By introduc- ing these theoretical concepts so loosely, Rameau gives himself enough leeway so that he can be flexible in their application. This will prove to be important when he proceeds to assign problematic roots to dissonant chords and fundamental bass progressions involving dissonant intervals.

Rameau next builds consonant triads on the remaining diatonic scale degrees, assigning them each a functional name (2 = "sutonique," 3 = "mediant," and 6 = "sudominant"). The remainder of part 1 focuses upon the relation of these con- sonant triads; here Rameau describes the simple fundamental bass progressions involving diatonic scale degrees, and the vari- ous continuo bass and melodic lines which may occur over these progressions. With somewhat greater emphasis he also pro- vides guidelines for the student to discover the multiple funda- mental basses which can occur under a preexisting melody, thereby demonstrating that true variety in music stems from harmonic variation, not melodic. In the course of his discussion, Rameau touches on various related topics such as cadence types, the metric placement of chord functions (particularly the

Already we can notice a significant departure for Rameau. Whereas from a theoretical perspective, he would derive all of these elements-melody, chords, and chord progressions- from a single common source, here he provides three different sources. While these three scales can hardly be said to constitute theoretical axioms from any rigorously scientific point of view, they do provide the student with an elegantly simple and intui- tive means for generating chords and chord progressions.

Thus, the second scale gives us the two basic harmonic units, the triad and seventh chord. From the third scale, we learn how to connect the roots of these triads. The result is that a triad (called "tonique") is connected by a unique pair of upper and lower triads, called "dominante tonique" and "soudominant." Here, then, we find the concepts of root attribution and the fun- damental progression of harmony-the codification of which stand as two of Rameau's most celebrated and sophisticated achievements-assumed as simple musical givens. By introduc- ing these theoretical concepts so loosely, Rameau gives himself enough leeway so that he can be flexible in their application. This will prove to be important when he proceeds to assign problematic roots to dissonant chords and fundamental bass progressions involving dissonant intervals.

Rameau next builds consonant triads on the remaining diatonic scale degrees, assigning them each a functional name (2 = "sutonique," 3 = "mediant," and 6 = "sudominant"). The remainder of part 1 focuses upon the relation of these con- sonant triads; here Rameau describes the simple fundamental bass progressions involving diatonic scale degrees, and the vari- ous continuo bass and melodic lines which may occur over these progressions. With somewhat greater emphasis he also pro- vides guidelines for the student to discover the multiple funda- mental basses which can occur under a preexisting melody, thereby demonstrating that true variety in music stems from harmonic variation, not melodic. In the course of his discussion, Rameau touches on various related topics such as cadence types, the metric placement of chord functions (particularly the

Already we can notice a significant departure for Rameau. Whereas from a theoretical perspective, he would derive all of these elements-melody, chords, and chord progressions- from a single common source, here he provides three different sources. While these three scales can hardly be said to constitute theoretical axioms from any rigorously scientific point of view, they do provide the student with an elegantly simple and intui- tive means for generating chords and chord progressions.

Thus, the second scale gives us the two basic harmonic units, the triad and seventh chord. From the third scale, we learn how to connect the roots of these triads. The result is that a triad (called "tonique") is connected by a unique pair of upper and lower triads, called "dominante tonique" and "soudominant." Here, then, we find the concepts of root attribution and the fun- damental progression of harmony-the codification of which stand as two of Rameau's most celebrated and sophisticated achievements-assumed as simple musical givens. By introduc- ing these theoretical concepts so loosely, Rameau gives himself enough leeway so that he can be flexible in their application. This will prove to be important when he proceeds to assign problematic roots to dissonant chords and fundamental bass progressions involving dissonant intervals.

Rameau next builds consonant triads on the remaining diatonic scale degrees, assigning them each a functional name (2 = "sutonique," 3 = "mediant," and 6 = "sudominant"). The remainder of part 1 focuses upon the relation of these con- sonant triads; here Rameau describes the simple fundamental bass progressions involving diatonic scale degrees, and the vari- ous continuo bass and melodic lines which may occur over these progressions. With somewhat greater emphasis he also pro- vides guidelines for the student to discover the multiple funda- mental basses which can occur under a preexisting melody, thereby demonstrating that true variety in music stems from harmonic variation, not melodic. In the course of his discussion, Rameau touches on various related topics such as cadence types, the metric placement of chord functions (particularly the

Already we can notice a significant departure for Rameau. Whereas from a theoretical perspective, he would derive all of these elements-melody, chords, and chord progressions- from a single common source, here he provides three different sources. While these three scales can hardly be said to constitute theoretical axioms from any rigorously scientific point of view, they do provide the student with an elegantly simple and intui- tive means for generating chords and chord progressions.

Thus, the second scale gives us the two basic harmonic units, the triad and seventh chord. From the third scale, we learn how to connect the roots of these triads. The result is that a triad (called "tonique") is connected by a unique pair of upper and lower triads, called "dominante tonique" and "soudominant." Here, then, we find the concepts of root attribution and the fun- damental progression of harmony-the codification of which stand as two of Rameau's most celebrated and sophisticated achievements-assumed as simple musical givens. By introduc- ing these theoretical concepts so loosely, Rameau gives himself enough leeway so that he can be flexible in their application. This will prove to be important when he proceeds to assign problematic roots to dissonant chords and fundamental bass progressions involving dissonant intervals.

Rameau next builds consonant triads on the remaining diatonic scale degrees, assigning them each a functional name (2 = "sutonique," 3 = "mediant," and 6 = "sudominant"). The remainder of part 1 focuses upon the relation of these con- sonant triads; here Rameau describes the simple fundamental bass progressions involving diatonic scale degrees, and the vari- ous continuo bass and melodic lines which may occur over these progressions. With somewhat greater emphasis he also pro- vides guidelines for the student to discover the multiple funda- mental basses which can occur under a preexisting melody, thereby demonstrating that true variety in music stems from harmonic variation, not melodic. In the course of his discussion, Rameau touches on various related topics such as cadence types, the metric placement of chord functions (particularly the

Page 9: Cópia de Rameau's L'Art de La Basse Fondamentale

Rameau's "L'Art de la Basse Fondamentale" 25 Rameau's "L'Art de la Basse Fondamentale" 25 Rameau's "L'Art de la Basse Fondamentale" 25 Rameau's "L'Art de la Basse Fondamentale" 25 Rameau's "L'Art de la Basse Fondamentale" 25 Rameau's "L'Art de la Basse Fondamentale" 25

"dominante tonique"), voice leading requirements, and the special use of the leading tone. There are also important discus- sions concerning the concept of key and modulation, as well as syncopation and the suspension. (I will comment on these in greater detail later.)

Part 2 is similar in its empirical tone to part 1 except that the focus is now upon dissonant chords built above the fundamental bass (as I have already indicated, much of this material is antici- pated in part 1). Since in Rameau's theory, there was only one true dissonance, the seventh, it is not surprising that part 2 deals almost exclusively with various kinds of seventh chords and their derivatives: dominant sevenths, sevenths on other scale degrees, diminished sevenths, the chord of the added sixth, double emploi, and the various chromatic and enharmonic gen- res arising from irregular resolutions of seventh chords.

Part 3 contains a short discussion of accompaniment. Ra- meau argues that knowledge of the fundamental bass can teach one to recognize and easily play all necessary basso continuo figures. All of the chords discussed in previous sections are com- piled here. The many basso continuo figures facing a student are shown to derive through inversion from a small number of basic harmonies. But given that this is a section dealing with the per- formance of figured bass, nothing is said about the actual real- ization of figures, save for a few short passages on doubling and figuring the continuo line.26

26It was in the Code that Rameau finally dealt with figured bass accompani- ment in detail. Four of his seven "m6thodes" proposed in the Code deal with accompaniment (chapter 2, "De la position de la main sur le clavecin ou l'or- gue"; chapter 5, "Methode pour l'accompagnement"; chapter 15, "Methode pour accompagner sans chiffre"; and chapter 16, "M6thode pour le Prelude"). Of course for Rameau, as with most 18th-century musicians, there was little distinction between the skills of composition and accompaniment. Thus, virtu- ally all of the material found in chapter 5 of the Code-the longest in the work-could just as well be considered a method of composition; all of the top- ics on harmonic functions, cadence, key, modulation, dissonance, etc. treated in "The Art of the Fundamental Bass" are repeated here as well, although in a slightly different order.

"dominante tonique"), voice leading requirements, and the special use of the leading tone. There are also important discus- sions concerning the concept of key and modulation, as well as syncopation and the suspension. (I will comment on these in greater detail later.)

Part 2 is similar in its empirical tone to part 1 except that the focus is now upon dissonant chords built above the fundamental bass (as I have already indicated, much of this material is antici- pated in part 1). Since in Rameau's theory, there was only one true dissonance, the seventh, it is not surprising that part 2 deals almost exclusively with various kinds of seventh chords and their derivatives: dominant sevenths, sevenths on other scale degrees, diminished sevenths, the chord of the added sixth, double emploi, and the various chromatic and enharmonic gen- res arising from irregular resolutions of seventh chords.

Part 3 contains a short discussion of accompaniment. Ra- meau argues that knowledge of the fundamental bass can teach one to recognize and easily play all necessary basso continuo figures. All of the chords discussed in previous sections are com- piled here. The many basso continuo figures facing a student are shown to derive through inversion from a small number of basic harmonies. But given that this is a section dealing with the per- formance of figured bass, nothing is said about the actual real- ization of figures, save for a few short passages on doubling and figuring the continuo line.26

26It was in the Code that Rameau finally dealt with figured bass accompani- ment in detail. Four of his seven "m6thodes" proposed in the Code deal with accompaniment (chapter 2, "De la position de la main sur le clavecin ou l'or- gue"; chapter 5, "Methode pour l'accompagnement"; chapter 15, "Methode pour accompagner sans chiffre"; and chapter 16, "M6thode pour le Prelude"). Of course for Rameau, as with most 18th-century musicians, there was little distinction between the skills of composition and accompaniment. Thus, virtu- ally all of the material found in chapter 5 of the Code-the longest in the work-could just as well be considered a method of composition; all of the top- ics on harmonic functions, cadence, key, modulation, dissonance, etc. treated in "The Art of the Fundamental Bass" are repeated here as well, although in a slightly different order.

"dominante tonique"), voice leading requirements, and the special use of the leading tone. There are also important discus- sions concerning the concept of key and modulation, as well as syncopation and the suspension. (I will comment on these in greater detail later.)

Part 2 is similar in its empirical tone to part 1 except that the focus is now upon dissonant chords built above the fundamental bass (as I have already indicated, much of this material is antici- pated in part 1). Since in Rameau's theory, there was only one true dissonance, the seventh, it is not surprising that part 2 deals almost exclusively with various kinds of seventh chords and their derivatives: dominant sevenths, sevenths on other scale degrees, diminished sevenths, the chord of the added sixth, double emploi, and the various chromatic and enharmonic gen- res arising from irregular resolutions of seventh chords.

Part 3 contains a short discussion of accompaniment. Ra- meau argues that knowledge of the fundamental bass can teach one to recognize and easily play all necessary basso continuo figures. All of the chords discussed in previous sections are com- piled here. The many basso continuo figures facing a student are shown to derive through inversion from a small number of basic harmonies. But given that this is a section dealing with the per- formance of figured bass, nothing is said about the actual real- ization of figures, save for a few short passages on doubling and figuring the continuo line.26

26It was in the Code that Rameau finally dealt with figured bass accompani- ment in detail. Four of his seven "m6thodes" proposed in the Code deal with accompaniment (chapter 2, "De la position de la main sur le clavecin ou l'or- gue"; chapter 5, "Methode pour l'accompagnement"; chapter 15, "Methode pour accompagner sans chiffre"; and chapter 16, "M6thode pour le Prelude"). Of course for Rameau, as with most 18th-century musicians, there was little distinction between the skills of composition and accompaniment. Thus, virtu- ally all of the material found in chapter 5 of the Code-the longest in the work-could just as well be considered a method of composition; all of the top- ics on harmonic functions, cadence, key, modulation, dissonance, etc. treated in "The Art of the Fundamental Bass" are repeated here as well, although in a slightly different order.

"dominante tonique"), voice leading requirements, and the special use of the leading tone. There are also important discus- sions concerning the concept of key and modulation, as well as syncopation and the suspension. (I will comment on these in greater detail later.)

Part 2 is similar in its empirical tone to part 1 except that the focus is now upon dissonant chords built above the fundamental bass (as I have already indicated, much of this material is antici- pated in part 1). Since in Rameau's theory, there was only one true dissonance, the seventh, it is not surprising that part 2 deals almost exclusively with various kinds of seventh chords and their derivatives: dominant sevenths, sevenths on other scale degrees, diminished sevenths, the chord of the added sixth, double emploi, and the various chromatic and enharmonic gen- res arising from irregular resolutions of seventh chords.

Part 3 contains a short discussion of accompaniment. Ra- meau argues that knowledge of the fundamental bass can teach one to recognize and easily play all necessary basso continuo figures. All of the chords discussed in previous sections are com- piled here. The many basso continuo figures facing a student are shown to derive through inversion from a small number of basic harmonies. But given that this is a section dealing with the per- formance of figured bass, nothing is said about the actual real- ization of figures, save for a few short passages on doubling and figuring the continuo line.26

26It was in the Code that Rameau finally dealt with figured bass accompani- ment in detail. Four of his seven "m6thodes" proposed in the Code deal with accompaniment (chapter 2, "De la position de la main sur le clavecin ou l'or- gue"; chapter 5, "Methode pour l'accompagnement"; chapter 15, "Methode pour accompagner sans chiffre"; and chapter 16, "M6thode pour le Prelude"). Of course for Rameau, as with most 18th-century musicians, there was little distinction between the skills of composition and accompaniment. Thus, virtu- ally all of the material found in chapter 5 of the Code-the longest in the work-could just as well be considered a method of composition; all of the top- ics on harmonic functions, cadence, key, modulation, dissonance, etc. treated in "The Art of the Fundamental Bass" are repeated here as well, although in a slightly different order.

"dominante tonique"), voice leading requirements, and the special use of the leading tone. There are also important discus- sions concerning the concept of key and modulation, as well as syncopation and the suspension. (I will comment on these in greater detail later.)

Part 2 is similar in its empirical tone to part 1 except that the focus is now upon dissonant chords built above the fundamental bass (as I have already indicated, much of this material is antici- pated in part 1). Since in Rameau's theory, there was only one true dissonance, the seventh, it is not surprising that part 2 deals almost exclusively with various kinds of seventh chords and their derivatives: dominant sevenths, sevenths on other scale degrees, diminished sevenths, the chord of the added sixth, double emploi, and the various chromatic and enharmonic gen- res arising from irregular resolutions of seventh chords.

Part 3 contains a short discussion of accompaniment. Ra- meau argues that knowledge of the fundamental bass can teach one to recognize and easily play all necessary basso continuo figures. All of the chords discussed in previous sections are com- piled here. The many basso continuo figures facing a student are shown to derive through inversion from a small number of basic harmonies. But given that this is a section dealing with the per- formance of figured bass, nothing is said about the actual real- ization of figures, save for a few short passages on doubling and figuring the continuo line.26

26It was in the Code that Rameau finally dealt with figured bass accompani- ment in detail. Four of his seven "m6thodes" proposed in the Code deal with accompaniment (chapter 2, "De la position de la main sur le clavecin ou l'or- gue"; chapter 5, "Methode pour l'accompagnement"; chapter 15, "Methode pour accompagner sans chiffre"; and chapter 16, "M6thode pour le Prelude"). Of course for Rameau, as with most 18th-century musicians, there was little distinction between the skills of composition and accompaniment. Thus, virtu- ally all of the material found in chapter 5 of the Code-the longest in the work-could just as well be considered a method of composition; all of the top- ics on harmonic functions, cadence, key, modulation, dissonance, etc. treated in "The Art of the Fundamental Bass" are repeated here as well, although in a slightly different order.

"dominante tonique"), voice leading requirements, and the special use of the leading tone. There are also important discus- sions concerning the concept of key and modulation, as well as syncopation and the suspension. (I will comment on these in greater detail later.)

Part 2 is similar in its empirical tone to part 1 except that the focus is now upon dissonant chords built above the fundamental bass (as I have already indicated, much of this material is antici- pated in part 1). Since in Rameau's theory, there was only one true dissonance, the seventh, it is not surprising that part 2 deals almost exclusively with various kinds of seventh chords and their derivatives: dominant sevenths, sevenths on other scale degrees, diminished sevenths, the chord of the added sixth, double emploi, and the various chromatic and enharmonic gen- res arising from irregular resolutions of seventh chords.

Part 3 contains a short discussion of accompaniment. Ra- meau argues that knowledge of the fundamental bass can teach one to recognize and easily play all necessary basso continuo figures. All of the chords discussed in previous sections are com- piled here. The many basso continuo figures facing a student are shown to derive through inversion from a small number of basic harmonies. But given that this is a section dealing with the per- formance of figured bass, nothing is said about the actual real- ization of figures, save for a few short passages on doubling and figuring the continuo line.26

26It was in the Code that Rameau finally dealt with figured bass accompani- ment in detail. Four of his seven "m6thodes" proposed in the Code deal with accompaniment (chapter 2, "De la position de la main sur le clavecin ou l'or- gue"; chapter 5, "Methode pour l'accompagnement"; chapter 15, "Methode pour accompagner sans chiffre"; and chapter 16, "M6thode pour le Prelude"). Of course for Rameau, as with most 18th-century musicians, there was little distinction between the skills of composition and accompaniment. Thus, virtu- ally all of the material found in chapter 5 of the Code-the longest in the work-could just as well be considered a method of composition; all of the top- ics on harmonic functions, cadence, key, modulation, dissonance, etc. treated in "The Art of the Fundamental Bass" are repeated here as well, although in a slightly different order.

Now, were one to look in "The Art of the Fundamental Bass" for a radically new theoretical concept or explanation not to be found in Rameau's published works, one would come away disappointed. As he clearly stated in the preface, there is nothing presented in the text which is not to be found discussed theoretically in the Generation Harmonique. This does not mean, though, that there is nothing of originality or interest in the text. What makes "The Art of the Fundamental Bass" such a fascinating document for us is precisely that Rameau treats in a didactic and practical manner the very topics he elsewhere ap- proaches in a rigorously theoretical fashion.

The fundamental bass is first of all presented as an intuitive component of all harmony. The laborious arguments Rameau elsewhere offers to justify certain roots for dissonant chords are here dispensed with; minor triads and all varieties of seventh and sixth chords are simply assigned roots on an apparently ad hoc basis. Likewise, fundamental bass motion involving inter- vals proscribed by his generative theories are used freely. In line with the avowedly practical nature of the text, Rameau shuns theoretical abstraction in favor of empirical description. This means, to cite but one example, that instead of deriving the di- minished seventh chord through dubious numerical manipula- tions or acoustical generation, Rameau simply accepts it as a musical given and assigns its fundamental as the bottom note of the chord. In part 2, lesson 5 (fol. 110), he describes the various tonal contexts in which the chord occurs. He shows how it is most often found on the leading tone as a dominant substitute, and usually resolves to the tonic (thus creating the unorthodox fundamental bass motion of an ascending half step). Further discussion concerns its relation to other scale degrees, alterna- tive harmonic contexts, behavior of its dissonance, inversion of the chord, its use in modulation, etc. In the 6th lesson, Rameau summarizes his observations by offering seven detailed pages of commentary upon musical examples illustrating all varieties and uses of the diminished seventh chord and anatomizing these in painstaking (and repetitive) detail [fols. 116v-119v].

Now, were one to look in "The Art of the Fundamental Bass" for a radically new theoretical concept or explanation not to be found in Rameau's published works, one would come away disappointed. As he clearly stated in the preface, there is nothing presented in the text which is not to be found discussed theoretically in the Generation Harmonique. This does not mean, though, that there is nothing of originality or interest in the text. What makes "The Art of the Fundamental Bass" such a fascinating document for us is precisely that Rameau treats in a didactic and practical manner the very topics he elsewhere ap- proaches in a rigorously theoretical fashion.

The fundamental bass is first of all presented as an intuitive component of all harmony. The laborious arguments Rameau elsewhere offers to justify certain roots for dissonant chords are here dispensed with; minor triads and all varieties of seventh and sixth chords are simply assigned roots on an apparently ad hoc basis. Likewise, fundamental bass motion involving inter- vals proscribed by his generative theories are used freely. In line with the avowedly practical nature of the text, Rameau shuns theoretical abstraction in favor of empirical description. This means, to cite but one example, that instead of deriving the di- minished seventh chord through dubious numerical manipula- tions or acoustical generation, Rameau simply accepts it as a musical given and assigns its fundamental as the bottom note of the chord. In part 2, lesson 5 (fol. 110), he describes the various tonal contexts in which the chord occurs. He shows how it is most often found on the leading tone as a dominant substitute, and usually resolves to the tonic (thus creating the unorthodox fundamental bass motion of an ascending half step). Further discussion concerns its relation to other scale degrees, alterna- tive harmonic contexts, behavior of its dissonance, inversion of the chord, its use in modulation, etc. In the 6th lesson, Rameau summarizes his observations by offering seven detailed pages of commentary upon musical examples illustrating all varieties and uses of the diminished seventh chord and anatomizing these in painstaking (and repetitive) detail [fols. 116v-119v].

Now, were one to look in "The Art of the Fundamental Bass" for a radically new theoretical concept or explanation not to be found in Rameau's published works, one would come away disappointed. As he clearly stated in the preface, there is nothing presented in the text which is not to be found discussed theoretically in the Generation Harmonique. This does not mean, though, that there is nothing of originality or interest in the text. What makes "The Art of the Fundamental Bass" such a fascinating document for us is precisely that Rameau treats in a didactic and practical manner the very topics he elsewhere ap- proaches in a rigorously theoretical fashion.

The fundamental bass is first of all presented as an intuitive component of all harmony. The laborious arguments Rameau elsewhere offers to justify certain roots for dissonant chords are here dispensed with; minor triads and all varieties of seventh and sixth chords are simply assigned roots on an apparently ad hoc basis. Likewise, fundamental bass motion involving inter- vals proscribed by his generative theories are used freely. In line with the avowedly practical nature of the text, Rameau shuns theoretical abstraction in favor of empirical description. This means, to cite but one example, that instead of deriving the di- minished seventh chord through dubious numerical manipula- tions or acoustical generation, Rameau simply accepts it as a musical given and assigns its fundamental as the bottom note of the chord. In part 2, lesson 5 (fol. 110), he describes the various tonal contexts in which the chord occurs. He shows how it is most often found on the leading tone as a dominant substitute, and usually resolves to the tonic (thus creating the unorthodox fundamental bass motion of an ascending half step). Further discussion concerns its relation to other scale degrees, alterna- tive harmonic contexts, behavior of its dissonance, inversion of the chord, its use in modulation, etc. In the 6th lesson, Rameau summarizes his observations by offering seven detailed pages of commentary upon musical examples illustrating all varieties and uses of the diminished seventh chord and anatomizing these in painstaking (and repetitive) detail [fols. 116v-119v].

Now, were one to look in "The Art of the Fundamental Bass" for a radically new theoretical concept or explanation not to be found in Rameau's published works, one would come away disappointed. As he clearly stated in the preface, there is nothing presented in the text which is not to be found discussed theoretically in the Generation Harmonique. This does not mean, though, that there is nothing of originality or interest in the text. What makes "The Art of the Fundamental Bass" such a fascinating document for us is precisely that Rameau treats in a didactic and practical manner the very topics he elsewhere ap- proaches in a rigorously theoretical fashion.

The fundamental bass is first of all presented as an intuitive component of all harmony. The laborious arguments Rameau elsewhere offers to justify certain roots for dissonant chords are here dispensed with; minor triads and all varieties of seventh and sixth chords are simply assigned roots on an apparently ad hoc basis. Likewise, fundamental bass motion involving inter- vals proscribed by his generative theories are used freely. In line with the avowedly practical nature of the text, Rameau shuns theoretical abstraction in favor of empirical description. This means, to cite but one example, that instead of deriving the di- minished seventh chord through dubious numerical manipula- tions or acoustical generation, Rameau simply accepts it as a musical given and assigns its fundamental as the bottom note of the chord. In part 2, lesson 5 (fol. 110), he describes the various tonal contexts in which the chord occurs. He shows how it is most often found on the leading tone as a dominant substitute, and usually resolves to the tonic (thus creating the unorthodox fundamental bass motion of an ascending half step). Further discussion concerns its relation to other scale degrees, alterna- tive harmonic contexts, behavior of its dissonance, inversion of the chord, its use in modulation, etc. In the 6th lesson, Rameau summarizes his observations by offering seven detailed pages of commentary upon musical examples illustrating all varieties and uses of the diminished seventh chord and anatomizing these in painstaking (and repetitive) detail [fols. 116v-119v].

Now, were one to look in "The Art of the Fundamental Bass" for a radically new theoretical concept or explanation not to be found in Rameau's published works, one would come away disappointed. As he clearly stated in the preface, there is nothing presented in the text which is not to be found discussed theoretically in the Generation Harmonique. This does not mean, though, that there is nothing of originality or interest in the text. What makes "The Art of the Fundamental Bass" such a fascinating document for us is precisely that Rameau treats in a didactic and practical manner the very topics he elsewhere ap- proaches in a rigorously theoretical fashion.

The fundamental bass is first of all presented as an intuitive component of all harmony. The laborious arguments Rameau elsewhere offers to justify certain roots for dissonant chords are here dispensed with; minor triads and all varieties of seventh and sixth chords are simply assigned roots on an apparently ad hoc basis. Likewise, fundamental bass motion involving inter- vals proscribed by his generative theories are used freely. In line with the avowedly practical nature of the text, Rameau shuns theoretical abstraction in favor of empirical description. This means, to cite but one example, that instead of deriving the di- minished seventh chord through dubious numerical manipula- tions or acoustical generation, Rameau simply accepts it as a musical given and assigns its fundamental as the bottom note of the chord. In part 2, lesson 5 (fol. 110), he describes the various tonal contexts in which the chord occurs. He shows how it is most often found on the leading tone as a dominant substitute, and usually resolves to the tonic (thus creating the unorthodox fundamental bass motion of an ascending half step). Further discussion concerns its relation to other scale degrees, alterna- tive harmonic contexts, behavior of its dissonance, inversion of the chord, its use in modulation, etc. In the 6th lesson, Rameau summarizes his observations by offering seven detailed pages of commentary upon musical examples illustrating all varieties and uses of the diminished seventh chord and anatomizing these in painstaking (and repetitive) detail [fols. 116v-119v].

Now, were one to look in "The Art of the Fundamental Bass" for a radically new theoretical concept or explanation not to be found in Rameau's published works, one would come away disappointed. As he clearly stated in the preface, there is nothing presented in the text which is not to be found discussed theoretically in the Generation Harmonique. This does not mean, though, that there is nothing of originality or interest in the text. What makes "The Art of the Fundamental Bass" such a fascinating document for us is precisely that Rameau treats in a didactic and practical manner the very topics he elsewhere ap- proaches in a rigorously theoretical fashion.

The fundamental bass is first of all presented as an intuitive component of all harmony. The laborious arguments Rameau elsewhere offers to justify certain roots for dissonant chords are here dispensed with; minor triads and all varieties of seventh and sixth chords are simply assigned roots on an apparently ad hoc basis. Likewise, fundamental bass motion involving inter- vals proscribed by his generative theories are used freely. In line with the avowedly practical nature of the text, Rameau shuns theoretical abstraction in favor of empirical description. This means, to cite but one example, that instead of deriving the di- minished seventh chord through dubious numerical manipula- tions or acoustical generation, Rameau simply accepts it as a musical given and assigns its fundamental as the bottom note of the chord. In part 2, lesson 5 (fol. 110), he describes the various tonal contexts in which the chord occurs. He shows how it is most often found on the leading tone as a dominant substitute, and usually resolves to the tonic (thus creating the unorthodox fundamental bass motion of an ascending half step). Further discussion concerns its relation to other scale degrees, alterna- tive harmonic contexts, behavior of its dissonance, inversion of the chord, its use in modulation, etc. In the 6th lesson, Rameau summarizes his observations by offering seven detailed pages of commentary upon musical examples illustrating all varieties and uses of the diminished seventh chord and anatomizing these in painstaking (and repetitive) detail [fols. 116v-119v].

Page 10: Cópia de Rameau's L'Art de La Basse Fondamentale

26 Music Theory Spectrum 26 Music Theory Spectrum 26 Music Theory Spectrum 26 Music Theory Spectrum 26 Music Theory Spectrum 26 Music Theory Spectrum

Such lengthy empirical descriptions of musical practice char- acterize the whole of "The Art of the Fundamental Bass," and constitute both its weakness and strength. On the negative side, the sheer quantity of text and musical illustrations must have overwhelmed the beginning student looking for clear and con- cise guidelines in composition. As a "practical" approach to harmony, "The Art of the Fundamental Bass" is a manifestly impractical text. Crucial information which the student might have expected in a composition textbook is omitted altogether, including any considerations of phrase, form, counterpoint, text setting, ornamentation, genre, and orchestration. But, of course, it was not Rameau's real goal to present such instruc- tion. His aim was to convince skeptical French musicians of the pedagogical value of a concept-the fundamental bass-which they undoubtedly found to be unfamiliar and puzzling.

To appreciate the truly innovative aspect of the text-and herein lies its main strength-we must contrast Rameau's fun- damental bass method to the received method by which compo- sition and accompaniment was taught in the eighteenth cen- tury, namely figured bass. By analyzing chord progressions not against the basso continuo line, but rather against the funda- mental bass, Rameau affected a radical change in tonal per- spective. Whereas in figured bass theory, no distinction would be drawn between identical figures above different scale de- grees (as they would be performed in the same way by the con- tinuo player), Rameau would make that distinction because of their differing tonal context. To return to the case of the dimin- ished seventh, Rameau would differentiate a diminished sev- enth occurring on the leading tone from one which occurred on the supertonic, or a diminished seventh which resolved to the tonic from one which resolved to the dominant. Likewise, any common chord or progression could have a totally different meaning depending upon its tonal context. This is why Rameau felt obliged to itemize and describe so many varieties of the same chord or fundamental bass progression, even if this did make for a rather unwieldy text. "The Art of the Fundamental

Such lengthy empirical descriptions of musical practice char- acterize the whole of "The Art of the Fundamental Bass," and constitute both its weakness and strength. On the negative side, the sheer quantity of text and musical illustrations must have overwhelmed the beginning student looking for clear and con- cise guidelines in composition. As a "practical" approach to harmony, "The Art of the Fundamental Bass" is a manifestly impractical text. Crucial information which the student might have expected in a composition textbook is omitted altogether, including any considerations of phrase, form, counterpoint, text setting, ornamentation, genre, and orchestration. But, of course, it was not Rameau's real goal to present such instruc- tion. His aim was to convince skeptical French musicians of the pedagogical value of a concept-the fundamental bass-which they undoubtedly found to be unfamiliar and puzzling.

To appreciate the truly innovative aspect of the text-and herein lies its main strength-we must contrast Rameau's fun- damental bass method to the received method by which compo- sition and accompaniment was taught in the eighteenth cen- tury, namely figured bass. By analyzing chord progressions not against the basso continuo line, but rather against the funda- mental bass, Rameau affected a radical change in tonal per- spective. Whereas in figured bass theory, no distinction would be drawn between identical figures above different scale de- grees (as they would be performed in the same way by the con- tinuo player), Rameau would make that distinction because of their differing tonal context. To return to the case of the dimin- ished seventh, Rameau would differentiate a diminished sev- enth occurring on the leading tone from one which occurred on the supertonic, or a diminished seventh which resolved to the tonic from one which resolved to the dominant. Likewise, any common chord or progression could have a totally different meaning depending upon its tonal context. This is why Rameau felt obliged to itemize and describe so many varieties of the same chord or fundamental bass progression, even if this did make for a rather unwieldy text. "The Art of the Fundamental

Such lengthy empirical descriptions of musical practice char- acterize the whole of "The Art of the Fundamental Bass," and constitute both its weakness and strength. On the negative side, the sheer quantity of text and musical illustrations must have overwhelmed the beginning student looking for clear and con- cise guidelines in composition. As a "practical" approach to harmony, "The Art of the Fundamental Bass" is a manifestly impractical text. Crucial information which the student might have expected in a composition textbook is omitted altogether, including any considerations of phrase, form, counterpoint, text setting, ornamentation, genre, and orchestration. But, of course, it was not Rameau's real goal to present such instruc- tion. His aim was to convince skeptical French musicians of the pedagogical value of a concept-the fundamental bass-which they undoubtedly found to be unfamiliar and puzzling.

To appreciate the truly innovative aspect of the text-and herein lies its main strength-we must contrast Rameau's fun- damental bass method to the received method by which compo- sition and accompaniment was taught in the eighteenth cen- tury, namely figured bass. By analyzing chord progressions not against the basso continuo line, but rather against the funda- mental bass, Rameau affected a radical change in tonal per- spective. Whereas in figured bass theory, no distinction would be drawn between identical figures above different scale de- grees (as they would be performed in the same way by the con- tinuo player), Rameau would make that distinction because of their differing tonal context. To return to the case of the dimin- ished seventh, Rameau would differentiate a diminished sev- enth occurring on the leading tone from one which occurred on the supertonic, or a diminished seventh which resolved to the tonic from one which resolved to the dominant. Likewise, any common chord or progression could have a totally different meaning depending upon its tonal context. This is why Rameau felt obliged to itemize and describe so many varieties of the same chord or fundamental bass progression, even if this did make for a rather unwieldy text. "The Art of the Fundamental

Such lengthy empirical descriptions of musical practice char- acterize the whole of "The Art of the Fundamental Bass," and constitute both its weakness and strength. On the negative side, the sheer quantity of text and musical illustrations must have overwhelmed the beginning student looking for clear and con- cise guidelines in composition. As a "practical" approach to harmony, "The Art of the Fundamental Bass" is a manifestly impractical text. Crucial information which the student might have expected in a composition textbook is omitted altogether, including any considerations of phrase, form, counterpoint, text setting, ornamentation, genre, and orchestration. But, of course, it was not Rameau's real goal to present such instruc- tion. His aim was to convince skeptical French musicians of the pedagogical value of a concept-the fundamental bass-which they undoubtedly found to be unfamiliar and puzzling.

To appreciate the truly innovative aspect of the text-and herein lies its main strength-we must contrast Rameau's fun- damental bass method to the received method by which compo- sition and accompaniment was taught in the eighteenth cen- tury, namely figured bass. By analyzing chord progressions not against the basso continuo line, but rather against the funda- mental bass, Rameau affected a radical change in tonal per- spective. Whereas in figured bass theory, no distinction would be drawn between identical figures above different scale de- grees (as they would be performed in the same way by the con- tinuo player), Rameau would make that distinction because of their differing tonal context. To return to the case of the dimin- ished seventh, Rameau would differentiate a diminished sev- enth occurring on the leading tone from one which occurred on the supertonic, or a diminished seventh which resolved to the tonic from one which resolved to the dominant. Likewise, any common chord or progression could have a totally different meaning depending upon its tonal context. This is why Rameau felt obliged to itemize and describe so many varieties of the same chord or fundamental bass progression, even if this did make for a rather unwieldy text. "The Art of the Fundamental

Such lengthy empirical descriptions of musical practice char- acterize the whole of "The Art of the Fundamental Bass," and constitute both its weakness and strength. On the negative side, the sheer quantity of text and musical illustrations must have overwhelmed the beginning student looking for clear and con- cise guidelines in composition. As a "practical" approach to harmony, "The Art of the Fundamental Bass" is a manifestly impractical text. Crucial information which the student might have expected in a composition textbook is omitted altogether, including any considerations of phrase, form, counterpoint, text setting, ornamentation, genre, and orchestration. But, of course, it was not Rameau's real goal to present such instruc- tion. His aim was to convince skeptical French musicians of the pedagogical value of a concept-the fundamental bass-which they undoubtedly found to be unfamiliar and puzzling.

To appreciate the truly innovative aspect of the text-and herein lies its main strength-we must contrast Rameau's fun- damental bass method to the received method by which compo- sition and accompaniment was taught in the eighteenth cen- tury, namely figured bass. By analyzing chord progressions not against the basso continuo line, but rather against the funda- mental bass, Rameau affected a radical change in tonal per- spective. Whereas in figured bass theory, no distinction would be drawn between identical figures above different scale de- grees (as they would be performed in the same way by the con- tinuo player), Rameau would make that distinction because of their differing tonal context. To return to the case of the dimin- ished seventh, Rameau would differentiate a diminished sev- enth occurring on the leading tone from one which occurred on the supertonic, or a diminished seventh which resolved to the tonic from one which resolved to the dominant. Likewise, any common chord or progression could have a totally different meaning depending upon its tonal context. This is why Rameau felt obliged to itemize and describe so many varieties of the same chord or fundamental bass progression, even if this did make for a rather unwieldy text. "The Art of the Fundamental

Such lengthy empirical descriptions of musical practice char- acterize the whole of "The Art of the Fundamental Bass," and constitute both its weakness and strength. On the negative side, the sheer quantity of text and musical illustrations must have overwhelmed the beginning student looking for clear and con- cise guidelines in composition. As a "practical" approach to harmony, "The Art of the Fundamental Bass" is a manifestly impractical text. Crucial information which the student might have expected in a composition textbook is omitted altogether, including any considerations of phrase, form, counterpoint, text setting, ornamentation, genre, and orchestration. But, of course, it was not Rameau's real goal to present such instruc- tion. His aim was to convince skeptical French musicians of the pedagogical value of a concept-the fundamental bass-which they undoubtedly found to be unfamiliar and puzzling.

To appreciate the truly innovative aspect of the text-and herein lies its main strength-we must contrast Rameau's fun- damental bass method to the received method by which compo- sition and accompaniment was taught in the eighteenth cen- tury, namely figured bass. By analyzing chord progressions not against the basso continuo line, but rather against the funda- mental bass, Rameau affected a radical change in tonal per- spective. Whereas in figured bass theory, no distinction would be drawn between identical figures above different scale de- grees (as they would be performed in the same way by the con- tinuo player), Rameau would make that distinction because of their differing tonal context. To return to the case of the dimin- ished seventh, Rameau would differentiate a diminished sev- enth occurring on the leading tone from one which occurred on the supertonic, or a diminished seventh which resolved to the tonic from one which resolved to the dominant. Likewise, any common chord or progression could have a totally different meaning depending upon its tonal context. This is why Rameau felt obliged to itemize and describe so many varieties of the same chord or fundamental bass progression, even if this did make for a rather unwieldy text. "The Art of the Fundamental

Bass," then, is a kind of primitive manual of tonal harmony for the student; it is arguably the first harmony text in the modern sense of the term.

At this point, it would be appropriate to illustrate this last point by examining in detail some of Rameau's empirical analy- ses. I have chosen for this purpose two sections of text which I believe are not only particularly representative of the overall work, but which also help to clarify two of the most important but frequently misunderstood elements of Rameau's theory: modulation and supposition.

Modulation. Modulation was a concept which underwent a dramatic transformation in the course of the eighteenth cen- tury. The first use of the term, as found, for example, in Bros- sard's important Dictionary, was in the sense of "sustaining a mode."27 This meant articulating characteristic notes, inter- vals, and chords of the mode, a meaning Rameau implies in book 3, chapter 23 of the Traite when he advises, "No matter in what key we begin, we should modulate in this key for at least three or four measures."28 The second use of the term, which slowly supplemented the first and is essentially what we mean today, considers modulation as a "change" of mode. Rameau also uses the term in this way in the Traite as is clear from the heading of the chapter just cited: "On How to Pass from one Key to Another; that is, on How to Modulate."

The crucial change in Rameau's thinking about modulation did not concern this distinction which-despite whatever con- fusion it may have caused-was widely recognized throughout the eighteenth century.29 The change rather consisted of a new definition of mode. Whereas in the Traite Rameau defined

27Sebastien de Brossard, Dictionnaire de Musiqie (Paris, 1703), s.v. "Modo" and "Modulatione."

28Traite de l'harmonie, 248. "Par quelque Ton que l'on commence, il est bon de moduler dans ce Ton pendant trois ou quatre Mesures au moins."

29E.g. Rousseau's Dictionnaire de Musique, s.v. "Modulation."

Bass," then, is a kind of primitive manual of tonal harmony for the student; it is arguably the first harmony text in the modern sense of the term.

At this point, it would be appropriate to illustrate this last point by examining in detail some of Rameau's empirical analy- ses. I have chosen for this purpose two sections of text which I believe are not only particularly representative of the overall work, but which also help to clarify two of the most important but frequently misunderstood elements of Rameau's theory: modulation and supposition.

Modulation. Modulation was a concept which underwent a dramatic transformation in the course of the eighteenth cen- tury. The first use of the term, as found, for example, in Bros- sard's important Dictionary, was in the sense of "sustaining a mode."27 This meant articulating characteristic notes, inter- vals, and chords of the mode, a meaning Rameau implies in book 3, chapter 23 of the Traite when he advises, "No matter in what key we begin, we should modulate in this key for at least three or four measures."28 The second use of the term, which slowly supplemented the first and is essentially what we mean today, considers modulation as a "change" of mode. Rameau also uses the term in this way in the Traite as is clear from the heading of the chapter just cited: "On How to Pass from one Key to Another; that is, on How to Modulate."

The crucial change in Rameau's thinking about modulation did not concern this distinction which-despite whatever con- fusion it may have caused-was widely recognized throughout the eighteenth century.29 The change rather consisted of a new definition of mode. Whereas in the Traite Rameau defined

27Sebastien de Brossard, Dictionnaire de Musiqie (Paris, 1703), s.v. "Modo" and "Modulatione."

28Traite de l'harmonie, 248. "Par quelque Ton que l'on commence, il est bon de moduler dans ce Ton pendant trois ou quatre Mesures au moins."

29E.g. Rousseau's Dictionnaire de Musique, s.v. "Modulation."

Bass," then, is a kind of primitive manual of tonal harmony for the student; it is arguably the first harmony text in the modern sense of the term.

At this point, it would be appropriate to illustrate this last point by examining in detail some of Rameau's empirical analy- ses. I have chosen for this purpose two sections of text which I believe are not only particularly representative of the overall work, but which also help to clarify two of the most important but frequently misunderstood elements of Rameau's theory: modulation and supposition.

Modulation. Modulation was a concept which underwent a dramatic transformation in the course of the eighteenth cen- tury. The first use of the term, as found, for example, in Bros- sard's important Dictionary, was in the sense of "sustaining a mode."27 This meant articulating characteristic notes, inter- vals, and chords of the mode, a meaning Rameau implies in book 3, chapter 23 of the Traite when he advises, "No matter in what key we begin, we should modulate in this key for at least three or four measures."28 The second use of the term, which slowly supplemented the first and is essentially what we mean today, considers modulation as a "change" of mode. Rameau also uses the term in this way in the Traite as is clear from the heading of the chapter just cited: "On How to Pass from one Key to Another; that is, on How to Modulate."

The crucial change in Rameau's thinking about modulation did not concern this distinction which-despite whatever con- fusion it may have caused-was widely recognized throughout the eighteenth century.29 The change rather consisted of a new definition of mode. Whereas in the Traite Rameau defined

27Sebastien de Brossard, Dictionnaire de Musiqie (Paris, 1703), s.v. "Modo" and "Modulatione."

28Traite de l'harmonie, 248. "Par quelque Ton que l'on commence, il est bon de moduler dans ce Ton pendant trois ou quatre Mesures au moins."

29E.g. Rousseau's Dictionnaire de Musique, s.v. "Modulation."

Bass," then, is a kind of primitive manual of tonal harmony for the student; it is arguably the first harmony text in the modern sense of the term.

At this point, it would be appropriate to illustrate this last point by examining in detail some of Rameau's empirical analy- ses. I have chosen for this purpose two sections of text which I believe are not only particularly representative of the overall work, but which also help to clarify two of the most important but frequently misunderstood elements of Rameau's theory: modulation and supposition.

Modulation. Modulation was a concept which underwent a dramatic transformation in the course of the eighteenth cen- tury. The first use of the term, as found, for example, in Bros- sard's important Dictionary, was in the sense of "sustaining a mode."27 This meant articulating characteristic notes, inter- vals, and chords of the mode, a meaning Rameau implies in book 3, chapter 23 of the Traite when he advises, "No matter in what key we begin, we should modulate in this key for at least three or four measures."28 The second use of the term, which slowly supplemented the first and is essentially what we mean today, considers modulation as a "change" of mode. Rameau also uses the term in this way in the Traite as is clear from the heading of the chapter just cited: "On How to Pass from one Key to Another; that is, on How to Modulate."

The crucial change in Rameau's thinking about modulation did not concern this distinction which-despite whatever con- fusion it may have caused-was widely recognized throughout the eighteenth century.29 The change rather consisted of a new definition of mode. Whereas in the Traite Rameau defined

27Sebastien de Brossard, Dictionnaire de Musiqie (Paris, 1703), s.v. "Modo" and "Modulatione."

28Traite de l'harmonie, 248. "Par quelque Ton que l'on commence, il est bon de moduler dans ce Ton pendant trois ou quatre Mesures au moins."

29E.g. Rousseau's Dictionnaire de Musique, s.v. "Modulation."

Bass," then, is a kind of primitive manual of tonal harmony for the student; it is arguably the first harmony text in the modern sense of the term.

At this point, it would be appropriate to illustrate this last point by examining in detail some of Rameau's empirical analy- ses. I have chosen for this purpose two sections of text which I believe are not only particularly representative of the overall work, but which also help to clarify two of the most important but frequently misunderstood elements of Rameau's theory: modulation and supposition.

Modulation. Modulation was a concept which underwent a dramatic transformation in the course of the eighteenth cen- tury. The first use of the term, as found, for example, in Bros- sard's important Dictionary, was in the sense of "sustaining a mode."27 This meant articulating characteristic notes, inter- vals, and chords of the mode, a meaning Rameau implies in book 3, chapter 23 of the Traite when he advises, "No matter in what key we begin, we should modulate in this key for at least three or four measures."28 The second use of the term, which slowly supplemented the first and is essentially what we mean today, considers modulation as a "change" of mode. Rameau also uses the term in this way in the Traite as is clear from the heading of the chapter just cited: "On How to Pass from one Key to Another; that is, on How to Modulate."

The crucial change in Rameau's thinking about modulation did not concern this distinction which-despite whatever con- fusion it may have caused-was widely recognized throughout the eighteenth century.29 The change rather consisted of a new definition of mode. Whereas in the Traite Rameau defined

27Sebastien de Brossard, Dictionnaire de Musiqie (Paris, 1703), s.v. "Modo" and "Modulatione."

28Traite de l'harmonie, 248. "Par quelque Ton que l'on commence, il est bon de moduler dans ce Ton pendant trois ou quatre Mesures au moins."

29E.g. Rousseau's Dictionnaire de Musique, s.v. "Modulation."

Bass," then, is a kind of primitive manual of tonal harmony for the student; it is arguably the first harmony text in the modern sense of the term.

At this point, it would be appropriate to illustrate this last point by examining in detail some of Rameau's empirical analy- ses. I have chosen for this purpose two sections of text which I believe are not only particularly representative of the overall work, but which also help to clarify two of the most important but frequently misunderstood elements of Rameau's theory: modulation and supposition.

Modulation. Modulation was a concept which underwent a dramatic transformation in the course of the eighteenth cen- tury. The first use of the term, as found, for example, in Bros- sard's important Dictionary, was in the sense of "sustaining a mode."27 This meant articulating characteristic notes, inter- vals, and chords of the mode, a meaning Rameau implies in book 3, chapter 23 of the Traite when he advises, "No matter in what key we begin, we should modulate in this key for at least three or four measures."28 The second use of the term, which slowly supplemented the first and is essentially what we mean today, considers modulation as a "change" of mode. Rameau also uses the term in this way in the Traite as is clear from the heading of the chapter just cited: "On How to Pass from one Key to Another; that is, on How to Modulate."

The crucial change in Rameau's thinking about modulation did not concern this distinction which-despite whatever con- fusion it may have caused-was widely recognized throughout the eighteenth century.29 The change rather consisted of a new definition of mode. Whereas in the Traite Rameau defined

27Sebastien de Brossard, Dictionnaire de Musiqie (Paris, 1703), s.v. "Modo" and "Modulatione."

28Traite de l'harmonie, 248. "Par quelque Ton que l'on commence, il est bon de moduler dans ce Ton pendant trois ou quatre Mesures au moins."

29E.g. Rousseau's Dictionnaire de Musique, s.v. "Modulation."

Page 11: Cópia de Rameau's L'Art de La Basse Fondamentale

Rameau's "L'Art de la Basse Fondamentale" 27 Rameau's "L'Art de la Basse Fondamentale" 27 Rameau's "L'Art de la Basse Fondamentale" 27 Rameau's "L'Art de la Basse Fondamentale" 27 Rameau's "L'Art de la Basse Fondamentale" 27 Rameau's "L'Art de la Basse Fondamentale" 27

mode in the traditional sense of a specific ordering of tones con- tained within an octave,30 in subsequent writings he based his definition of mode on a harmonic perspective, specifically the geometric triple proportion.31 A mode was now defined by a tonic triad and its upper and lower dominants. This meant that modulation, in the sense of key change, implied a change of functional harmonic relations, a tonally more pregnant notion than that implied by a simple change in the collection of pitches.

Now, one of the cardinal tenets of Rameau's theory is that only the tonic note can carry the perfect triad. All other scale degrees carry, or at least imply, various seventh chords. Ra- meau arrived at this conclusion not by any theoretical reason- ing, but as a purely musical and profound insight into the nat- ure of tonality: the tonic triad constituted the only true consonance; all other scale degrees were implicitly dissonant. Thus, as Carl Dahlhaus has correctly pointed out, in Rameau's theory tonality was but a dialectic between degrees of stability and instability, consonance versus dissonance, or tonic versus non-tonic.32

A consequence of this view was that a perfect triad was nec- essarily tonic, so that if a perfect triad is found on a non-tonic scale degree, a modulation had theoretically occurred. Such a rigid notion of modulation was unintuitive, though. Speci- fically, no distinction could be made between degrees of modu- lation. A single passing triad on, say, the submediant was con-

30Traite, p. 143. "L'on scait assez que ce qu'on appelle Mode, consiste dans l'octave d'un seul son, entre laquelle doivent etre compris tous les sons qui peu- vent servir aux chants & aux accords."

31Nouveau Systeme de musique theorique (Paris, 1726), iv. "La proportion Geometrique, 1-3-9 dont les exposans 1-3 sont tirez de la proportion Arithmetique, & par consequent de l'harmonie qui resulte de la resonance d'une corde, indique les trois sons fondamentaux qui constituent un Mode."

32Carl Dahlhaus, Untersuchungen iiber die Entstehung der harmonischen Tonalitat (Kassel: Bfrenreiter, 1968), 26.

mode in the traditional sense of a specific ordering of tones con- tained within an octave,30 in subsequent writings he based his definition of mode on a harmonic perspective, specifically the geometric triple proportion.31 A mode was now defined by a tonic triad and its upper and lower dominants. This meant that modulation, in the sense of key change, implied a change of functional harmonic relations, a tonally more pregnant notion than that implied by a simple change in the collection of pitches.

Now, one of the cardinal tenets of Rameau's theory is that only the tonic note can carry the perfect triad. All other scale degrees carry, or at least imply, various seventh chords. Ra- meau arrived at this conclusion not by any theoretical reason- ing, but as a purely musical and profound insight into the nat- ure of tonality: the tonic triad constituted the only true consonance; all other scale degrees were implicitly dissonant. Thus, as Carl Dahlhaus has correctly pointed out, in Rameau's theory tonality was but a dialectic between degrees of stability and instability, consonance versus dissonance, or tonic versus non-tonic.32

A consequence of this view was that a perfect triad was nec- essarily tonic, so that if a perfect triad is found on a non-tonic scale degree, a modulation had theoretically occurred. Such a rigid notion of modulation was unintuitive, though. Speci- fically, no distinction could be made between degrees of modu- lation. A single passing triad on, say, the submediant was con-

30Traite, p. 143. "L'on scait assez que ce qu'on appelle Mode, consiste dans l'octave d'un seul son, entre laquelle doivent etre compris tous les sons qui peu- vent servir aux chants & aux accords."

31Nouveau Systeme de musique theorique (Paris, 1726), iv. "La proportion Geometrique, 1-3-9 dont les exposans 1-3 sont tirez de la proportion Arithmetique, & par consequent de l'harmonie qui resulte de la resonance d'une corde, indique les trois sons fondamentaux qui constituent un Mode."

32Carl Dahlhaus, Untersuchungen iiber die Entstehung der harmonischen Tonalitat (Kassel: Bfrenreiter, 1968), 26.

mode in the traditional sense of a specific ordering of tones con- tained within an octave,30 in subsequent writings he based his definition of mode on a harmonic perspective, specifically the geometric triple proportion.31 A mode was now defined by a tonic triad and its upper and lower dominants. This meant that modulation, in the sense of key change, implied a change of functional harmonic relations, a tonally more pregnant notion than that implied by a simple change in the collection of pitches.

Now, one of the cardinal tenets of Rameau's theory is that only the tonic note can carry the perfect triad. All other scale degrees carry, or at least imply, various seventh chords. Ra- meau arrived at this conclusion not by any theoretical reason- ing, but as a purely musical and profound insight into the nat- ure of tonality: the tonic triad constituted the only true consonance; all other scale degrees were implicitly dissonant. Thus, as Carl Dahlhaus has correctly pointed out, in Rameau's theory tonality was but a dialectic between degrees of stability and instability, consonance versus dissonance, or tonic versus non-tonic.32

A consequence of this view was that a perfect triad was nec- essarily tonic, so that if a perfect triad is found on a non-tonic scale degree, a modulation had theoretically occurred. Such a rigid notion of modulation was unintuitive, though. Speci- fically, no distinction could be made between degrees of modu- lation. A single passing triad on, say, the submediant was con-

30Traite, p. 143. "L'on scait assez que ce qu'on appelle Mode, consiste dans l'octave d'un seul son, entre laquelle doivent etre compris tous les sons qui peu- vent servir aux chants & aux accords."

31Nouveau Systeme de musique theorique (Paris, 1726), iv. "La proportion Geometrique, 1-3-9 dont les exposans 1-3 sont tirez de la proportion Arithmetique, & par consequent de l'harmonie qui resulte de la resonance d'une corde, indique les trois sons fondamentaux qui constituent un Mode."

32Carl Dahlhaus, Untersuchungen iiber die Entstehung der harmonischen Tonalitat (Kassel: Bfrenreiter, 1968), 26.

mode in the traditional sense of a specific ordering of tones con- tained within an octave,30 in subsequent writings he based his definition of mode on a harmonic perspective, specifically the geometric triple proportion.31 A mode was now defined by a tonic triad and its upper and lower dominants. This meant that modulation, in the sense of key change, implied a change of functional harmonic relations, a tonally more pregnant notion than that implied by a simple change in the collection of pitches.

Now, one of the cardinal tenets of Rameau's theory is that only the tonic note can carry the perfect triad. All other scale degrees carry, or at least imply, various seventh chords. Ra- meau arrived at this conclusion not by any theoretical reason- ing, but as a purely musical and profound insight into the nat- ure of tonality: the tonic triad constituted the only true consonance; all other scale degrees were implicitly dissonant. Thus, as Carl Dahlhaus has correctly pointed out, in Rameau's theory tonality was but a dialectic between degrees of stability and instability, consonance versus dissonance, or tonic versus non-tonic.32

A consequence of this view was that a perfect triad was nec- essarily tonic, so that if a perfect triad is found on a non-tonic scale degree, a modulation had theoretically occurred. Such a rigid notion of modulation was unintuitive, though. Speci- fically, no distinction could be made between degrees of modu- lation. A single passing triad on, say, the submediant was con-

30Traite, p. 143. "L'on scait assez que ce qu'on appelle Mode, consiste dans l'octave d'un seul son, entre laquelle doivent etre compris tous les sons qui peu- vent servir aux chants & aux accords."

31Nouveau Systeme de musique theorique (Paris, 1726), iv. "La proportion Geometrique, 1-3-9 dont les exposans 1-3 sont tirez de la proportion Arithmetique, & par consequent de l'harmonie qui resulte de la resonance d'une corde, indique les trois sons fondamentaux qui constituent un Mode."

32Carl Dahlhaus, Untersuchungen iiber die Entstehung der harmonischen Tonalitat (Kassel: Bfrenreiter, 1968), 26.

mode in the traditional sense of a specific ordering of tones con- tained within an octave,30 in subsequent writings he based his definition of mode on a harmonic perspective, specifically the geometric triple proportion.31 A mode was now defined by a tonic triad and its upper and lower dominants. This meant that modulation, in the sense of key change, implied a change of functional harmonic relations, a tonally more pregnant notion than that implied by a simple change in the collection of pitches.

Now, one of the cardinal tenets of Rameau's theory is that only the tonic note can carry the perfect triad. All other scale degrees carry, or at least imply, various seventh chords. Ra- meau arrived at this conclusion not by any theoretical reason- ing, but as a purely musical and profound insight into the nat- ure of tonality: the tonic triad constituted the only true consonance; all other scale degrees were implicitly dissonant. Thus, as Carl Dahlhaus has correctly pointed out, in Rameau's theory tonality was but a dialectic between degrees of stability and instability, consonance versus dissonance, or tonic versus non-tonic.32

A consequence of this view was that a perfect triad was nec- essarily tonic, so that if a perfect triad is found on a non-tonic scale degree, a modulation had theoretically occurred. Such a rigid notion of modulation was unintuitive, though. Speci- fically, no distinction could be made between degrees of modu- lation. A single passing triad on, say, the submediant was con-

30Traite, p. 143. "L'on scait assez que ce qu'on appelle Mode, consiste dans l'octave d'un seul son, entre laquelle doivent etre compris tous les sons qui peu- vent servir aux chants & aux accords."

31Nouveau Systeme de musique theorique (Paris, 1726), iv. "La proportion Geometrique, 1-3-9 dont les exposans 1-3 sont tirez de la proportion Arithmetique, & par consequent de l'harmonie qui resulte de la resonance d'une corde, indique les trois sons fondamentaux qui constituent un Mode."

32Carl Dahlhaus, Untersuchungen iiber die Entstehung der harmonischen Tonalitat (Kassel: Bfrenreiter, 1968), 26.

mode in the traditional sense of a specific ordering of tones con- tained within an octave,30 in subsequent writings he based his definition of mode on a harmonic perspective, specifically the geometric triple proportion.31 A mode was now defined by a tonic triad and its upper and lower dominants. This meant that modulation, in the sense of key change, implied a change of functional harmonic relations, a tonally more pregnant notion than that implied by a simple change in the collection of pitches.

Now, one of the cardinal tenets of Rameau's theory is that only the tonic note can carry the perfect triad. All other scale degrees carry, or at least imply, various seventh chords. Ra- meau arrived at this conclusion not by any theoretical reason- ing, but as a purely musical and profound insight into the nat- ure of tonality: the tonic triad constituted the only true consonance; all other scale degrees were implicitly dissonant. Thus, as Carl Dahlhaus has correctly pointed out, in Rameau's theory tonality was but a dialectic between degrees of stability and instability, consonance versus dissonance, or tonic versus non-tonic.32

A consequence of this view was that a perfect triad was nec- essarily tonic, so that if a perfect triad is found on a non-tonic scale degree, a modulation had theoretically occurred. Such a rigid notion of modulation was unintuitive, though. Speci- fically, no distinction could be made between degrees of modu- lation. A single passing triad on, say, the submediant was con-

30Traite, p. 143. "L'on scait assez que ce qu'on appelle Mode, consiste dans l'octave d'un seul son, entre laquelle doivent etre compris tous les sons qui peu- vent servir aux chants & aux accords."

31Nouveau Systeme de musique theorique (Paris, 1726), iv. "La proportion Geometrique, 1-3-9 dont les exposans 1-3 sont tirez de la proportion Arithmetique, & par consequent de l'harmonie qui resulte de la resonance d'une corde, indique les trois sons fondamentaux qui constituent un Mode."

32Carl Dahlhaus, Untersuchungen iiber die Entstehung der harmonischen Tonalitat (Kassel: Bfrenreiter, 1968), 26.

sidered as much a change of key as one confirmed by a secondary leading tone and cadential progression. The result was a plethora of "modulations" in Rameau's analyses, often averaging as many as one per measure.33

In the Generation harmonique, as a consequence of his new "functional" definition of mode, Rameau made the first at- tempt to distinguish levels of modulation. He introduces the concept of "rapport" of keys (a concept frequently encoun- tered in "The Art of the Fundamental Bass").34 Keys which are in closest rapport are those which share common chord func- tions, and hence the most appropriate for modulation. They are the two dominants of the tonic, and all their respective rela- tive minors (that is, V and III, IV and II, and VI). These five keys can be tonicized with a secondary leading tone, thereby assuming the role of new tonic. If, however, one simply ascends to, say, the dominant without a confirming leading tone, then the chord is only "cens6e tonique," that is, an implied tonic.35

Thus, we can see Rameau beginning to refine his notion of modulation. He moves further in this direction in "The Art of the Fundamental Bass." In almost identical language as in the Generation, he reaffirms the five diatonic keys which stand in closest rapport with the tonic.36 Now, however, Rameau views all modulations as hierarchically subsidiary to the original tonic key. There is only one "tonique principale" or "veritable toni-

33See e.g. example III.68 in the Traite. In Rameau's defense, it must be

pointed out that as his notion of key was less rigorous than ours, the various cadences on new "tonics" did not signify the dramatic shift of key we associate with the larger forms of classical style. It was perfectly intuitive to an

eighteenth-century French musician that a mode could change every measure, or even every beat. For a good discussion of this topic, see E. Cynthia Verba, "Rameau's Views on Modulation and Their Background in French Theory," Journal of the American Musicological Society 31/3 (Fall, 1978): 467-79.

34Generation harmonique, 176. 35GGneration harmonique, 173. 36Fol. 27. Interestingly, he finds these five keys through the "entrelace-

ment" of thirds from the second "scale" presented at the beginning of the text.

sidered as much a change of key as one confirmed by a secondary leading tone and cadential progression. The result was a plethora of "modulations" in Rameau's analyses, often averaging as many as one per measure.33

In the Generation harmonique, as a consequence of his new "functional" definition of mode, Rameau made the first at- tempt to distinguish levels of modulation. He introduces the concept of "rapport" of keys (a concept frequently encoun- tered in "The Art of the Fundamental Bass").34 Keys which are in closest rapport are those which share common chord func- tions, and hence the most appropriate for modulation. They are the two dominants of the tonic, and all their respective rela- tive minors (that is, V and III, IV and II, and VI). These five keys can be tonicized with a secondary leading tone, thereby assuming the role of new tonic. If, however, one simply ascends to, say, the dominant without a confirming leading tone, then the chord is only "cens6e tonique," that is, an implied tonic.35

Thus, we can see Rameau beginning to refine his notion of modulation. He moves further in this direction in "The Art of the Fundamental Bass." In almost identical language as in the Generation, he reaffirms the five diatonic keys which stand in closest rapport with the tonic.36 Now, however, Rameau views all modulations as hierarchically subsidiary to the original tonic key. There is only one "tonique principale" or "veritable toni-

33See e.g. example III.68 in the Traite. In Rameau's defense, it must be

pointed out that as his notion of key was less rigorous than ours, the various cadences on new "tonics" did not signify the dramatic shift of key we associate with the larger forms of classical style. It was perfectly intuitive to an

eighteenth-century French musician that a mode could change every measure, or even every beat. For a good discussion of this topic, see E. Cynthia Verba, "Rameau's Views on Modulation and Their Background in French Theory," Journal of the American Musicological Society 31/3 (Fall, 1978): 467-79.

34Generation harmonique, 176. 35GGneration harmonique, 173. 36Fol. 27. Interestingly, he finds these five keys through the "entrelace-

ment" of thirds from the second "scale" presented at the beginning of the text.

sidered as much a change of key as one confirmed by a secondary leading tone and cadential progression. The result was a plethora of "modulations" in Rameau's analyses, often averaging as many as one per measure.33

In the Generation harmonique, as a consequence of his new "functional" definition of mode, Rameau made the first at- tempt to distinguish levels of modulation. He introduces the concept of "rapport" of keys (a concept frequently encoun- tered in "The Art of the Fundamental Bass").34 Keys which are in closest rapport are those which share common chord func- tions, and hence the most appropriate for modulation. They are the two dominants of the tonic, and all their respective rela- tive minors (that is, V and III, IV and II, and VI). These five keys can be tonicized with a secondary leading tone, thereby assuming the role of new tonic. If, however, one simply ascends to, say, the dominant without a confirming leading tone, then the chord is only "cens6e tonique," that is, an implied tonic.35

Thus, we can see Rameau beginning to refine his notion of modulation. He moves further in this direction in "The Art of the Fundamental Bass." In almost identical language as in the Generation, he reaffirms the five diatonic keys which stand in closest rapport with the tonic.36 Now, however, Rameau views all modulations as hierarchically subsidiary to the original tonic key. There is only one "tonique principale" or "veritable toni-

33See e.g. example III.68 in the Traite. In Rameau's defense, it must be

pointed out that as his notion of key was less rigorous than ours, the various cadences on new "tonics" did not signify the dramatic shift of key we associate with the larger forms of classical style. It was perfectly intuitive to an

eighteenth-century French musician that a mode could change every measure, or even every beat. For a good discussion of this topic, see E. Cynthia Verba, "Rameau's Views on Modulation and Their Background in French Theory," Journal of the American Musicological Society 31/3 (Fall, 1978): 467-79.

34Generation harmonique, 176. 35GGneration harmonique, 173. 36Fol. 27. Interestingly, he finds these five keys through the "entrelace-

ment" of thirds from the second "scale" presented at the beginning of the text.

sidered as much a change of key as one confirmed by a secondary leading tone and cadential progression. The result was a plethora of "modulations" in Rameau's analyses, often averaging as many as one per measure.33

In the Generation harmonique, as a consequence of his new "functional" definition of mode, Rameau made the first at- tempt to distinguish levels of modulation. He introduces the concept of "rapport" of keys (a concept frequently encoun- tered in "The Art of the Fundamental Bass").34 Keys which are in closest rapport are those which share common chord func- tions, and hence the most appropriate for modulation. They are the two dominants of the tonic, and all their respective rela- tive minors (that is, V and III, IV and II, and VI). These five keys can be tonicized with a secondary leading tone, thereby assuming the role of new tonic. If, however, one simply ascends to, say, the dominant without a confirming leading tone, then the chord is only "cens6e tonique," that is, an implied tonic.35

Thus, we can see Rameau beginning to refine his notion of modulation. He moves further in this direction in "The Art of the Fundamental Bass." In almost identical language as in the Generation, he reaffirms the five diatonic keys which stand in closest rapport with the tonic.36 Now, however, Rameau views all modulations as hierarchically subsidiary to the original tonic key. There is only one "tonique principale" or "veritable toni-

33See e.g. example III.68 in the Traite. In Rameau's defense, it must be

pointed out that as his notion of key was less rigorous than ours, the various cadences on new "tonics" did not signify the dramatic shift of key we associate with the larger forms of classical style. It was perfectly intuitive to an

eighteenth-century French musician that a mode could change every measure, or even every beat. For a good discussion of this topic, see E. Cynthia Verba, "Rameau's Views on Modulation and Their Background in French Theory," Journal of the American Musicological Society 31/3 (Fall, 1978): 467-79.

34Generation harmonique, 176. 35GGneration harmonique, 173. 36Fol. 27. Interestingly, he finds these five keys through the "entrelace-

ment" of thirds from the second "scale" presented at the beginning of the text.

sidered as much a change of key as one confirmed by a secondary leading tone and cadential progression. The result was a plethora of "modulations" in Rameau's analyses, often averaging as many as one per measure.33

In the Generation harmonique, as a consequence of his new "functional" definition of mode, Rameau made the first at- tempt to distinguish levels of modulation. He introduces the concept of "rapport" of keys (a concept frequently encoun- tered in "The Art of the Fundamental Bass").34 Keys which are in closest rapport are those which share common chord func- tions, and hence the most appropriate for modulation. They are the two dominants of the tonic, and all their respective rela- tive minors (that is, V and III, IV and II, and VI). These five keys can be tonicized with a secondary leading tone, thereby assuming the role of new tonic. If, however, one simply ascends to, say, the dominant without a confirming leading tone, then the chord is only "cens6e tonique," that is, an implied tonic.35

Thus, we can see Rameau beginning to refine his notion of modulation. He moves further in this direction in "The Art of the Fundamental Bass." In almost identical language as in the Generation, he reaffirms the five diatonic keys which stand in closest rapport with the tonic.36 Now, however, Rameau views all modulations as hierarchically subsidiary to the original tonic key. There is only one "tonique principale" or "veritable toni-

33See e.g. example III.68 in the Traite. In Rameau's defense, it must be

pointed out that as his notion of key was less rigorous than ours, the various cadences on new "tonics" did not signify the dramatic shift of key we associate with the larger forms of classical style. It was perfectly intuitive to an

eighteenth-century French musician that a mode could change every measure, or even every beat. For a good discussion of this topic, see E. Cynthia Verba, "Rameau's Views on Modulation and Their Background in French Theory," Journal of the American Musicological Society 31/3 (Fall, 1978): 467-79.

34Generation harmonique, 176. 35GGneration harmonique, 173. 36Fol. 27. Interestingly, he finds these five keys through the "entrelace-

ment" of thirds from the second "scale" presented at the beginning of the text.

sidered as much a change of key as one confirmed by a secondary leading tone and cadential progression. The result was a plethora of "modulations" in Rameau's analyses, often averaging as many as one per measure.33

In the Generation harmonique, as a consequence of his new "functional" definition of mode, Rameau made the first at- tempt to distinguish levels of modulation. He introduces the concept of "rapport" of keys (a concept frequently encoun- tered in "The Art of the Fundamental Bass").34 Keys which are in closest rapport are those which share common chord func- tions, and hence the most appropriate for modulation. They are the two dominants of the tonic, and all their respective rela- tive minors (that is, V and III, IV and II, and VI). These five keys can be tonicized with a secondary leading tone, thereby assuming the role of new tonic. If, however, one simply ascends to, say, the dominant without a confirming leading tone, then the chord is only "cens6e tonique," that is, an implied tonic.35

Thus, we can see Rameau beginning to refine his notion of modulation. He moves further in this direction in "The Art of the Fundamental Bass." In almost identical language as in the Generation, he reaffirms the five diatonic keys which stand in closest rapport with the tonic.36 Now, however, Rameau views all modulations as hierarchically subsidiary to the original tonic key. There is only one "tonique principale" or "veritable toni-

33See e.g. example III.68 in the Traite. In Rameau's defense, it must be

pointed out that as his notion of key was less rigorous than ours, the various cadences on new "tonics" did not signify the dramatic shift of key we associate with the larger forms of classical style. It was perfectly intuitive to an

eighteenth-century French musician that a mode could change every measure, or even every beat. For a good discussion of this topic, see E. Cynthia Verba, "Rameau's Views on Modulation and Their Background in French Theory," Journal of the American Musicological Society 31/3 (Fall, 1978): 467-79.

34Generation harmonique, 176. 35GGneration harmonique, 173. 36Fol. 27. Interestingly, he finds these five keys through the "entrelace-

ment" of thirds from the second "scale" presented at the beginning of the text.

Page 12: Cópia de Rameau's L'Art de La Basse Fondamentale

28 Music Theory Spectrum 28 Music Theory Spectrum 28 Music Theory Spectrum 28 Music Theory Spectrum 28 Music Theory Spectrum 28 Music Theory Spectrum

Example 2. Varieties of tonic (part 1, lesson 13, draft 1)

Basso continuo

Example 2. Varieties of tonic (part 1, lesson 13, draft 1)

Basso continuo

Example 2. Varieties of tonic (part 1, lesson 13, draft 1)

Basso continuo

Example 2. Varieties of tonic (part 1, lesson 13, draft 1)

Basso continuo

Example 2. Varieties of tonic (part 1, lesson 13, draft 1)

Basso continuo

Example 2. Varieties of tonic (part 1, lesson 13, draft 1)

Basso continuo 7

t 7

t 7

t 7

t 7

t 7

t 7 7 7 7 7 7 7 7 7 7 7 7

t t t t t t

"tonique principale" "sens6e tonique" "toniques etrangeres ou passageres" or

"veritable tonique"

"tonique principale" "sens6e tonique" "toniques etrangeres ou passageres" or

"veritable tonique"

"tonique principale" "sens6e tonique" "toniques etrangeres ou passageres" or

"veritable tonique"

"tonique principale" "sens6e tonique" "toniques etrangeres ou passageres" or

"veritable tonique"

"tonique principale" "sens6e tonique" "toniques etrangeres ou passageres" or

"veritable tonique"

"tonique principale" "sens6e tonique" "toniques etrangeres ou passageres" or

"veritable tonique"

que" as he sometimes calls it.37 All other "tonics" are "sensee" even though they "enjoy the same rights as the true tonic."38

Rameau further strengthens his criteria by which a chord is "sensee tonique," requiring the confirmation of a secondary leading tone. The task of the lengthy lesson 12 in part 1 is to lay down guidelines by which one can distinguish the key of a given passage, and consequently if a modulation has occurred. For those non-tonic triads without the necessary confirmation, Ra- meau offers a new and weaker level of modulation; they are called "tonique etrangeres ou passageres." I have illustrated Rameau's three kinds of tonic in Example 2.

These are remarkable distinctions, indicating a clear aware- ness of tonal hierarchy not seen again until the nineteenth cen- tury. I should add that Rameau is neither always very clear nor consistent in his use of these terms. Sometimes it is impossible to distinguish what is actually an "implied tonic" and what is a

37Fol. 28, fol. 44v. In the Code, Rameau called this the "ton regnant" ("reigning tonic") (pp. 43-44).

38Fol. 30v. Curiously, in both the Generation harmonique and the Code, Rameau writes "cens6e tonique" (felt or implied tonic), whereas in "The Art of the Fundamental Bass" we find "sensee tonique" (sensible tonic). There

may have been a subtle distinction implied by this respelling, but more likely it was only a mistranscription on the part of the scribe.

que" as he sometimes calls it.37 All other "tonics" are "sensee" even though they "enjoy the same rights as the true tonic."38

Rameau further strengthens his criteria by which a chord is "sensee tonique," requiring the confirmation of a secondary leading tone. The task of the lengthy lesson 12 in part 1 is to lay down guidelines by which one can distinguish the key of a given passage, and consequently if a modulation has occurred. For those non-tonic triads without the necessary confirmation, Ra- meau offers a new and weaker level of modulation; they are called "tonique etrangeres ou passageres." I have illustrated Rameau's three kinds of tonic in Example 2.

These are remarkable distinctions, indicating a clear aware- ness of tonal hierarchy not seen again until the nineteenth cen- tury. I should add that Rameau is neither always very clear nor consistent in his use of these terms. Sometimes it is impossible to distinguish what is actually an "implied tonic" and what is a

37Fol. 28, fol. 44v. In the Code, Rameau called this the "ton regnant" ("reigning tonic") (pp. 43-44).

38Fol. 30v. Curiously, in both the Generation harmonique and the Code, Rameau writes "cens6e tonique" (felt or implied tonic), whereas in "The Art of the Fundamental Bass" we find "sensee tonique" (sensible tonic). There

may have been a subtle distinction implied by this respelling, but more likely it was only a mistranscription on the part of the scribe.

que" as he sometimes calls it.37 All other "tonics" are "sensee" even though they "enjoy the same rights as the true tonic."38

Rameau further strengthens his criteria by which a chord is "sensee tonique," requiring the confirmation of a secondary leading tone. The task of the lengthy lesson 12 in part 1 is to lay down guidelines by which one can distinguish the key of a given passage, and consequently if a modulation has occurred. For those non-tonic triads without the necessary confirmation, Ra- meau offers a new and weaker level of modulation; they are called "tonique etrangeres ou passageres." I have illustrated Rameau's three kinds of tonic in Example 2.

These are remarkable distinctions, indicating a clear aware- ness of tonal hierarchy not seen again until the nineteenth cen- tury. I should add that Rameau is neither always very clear nor consistent in his use of these terms. Sometimes it is impossible to distinguish what is actually an "implied tonic" and what is a

37Fol. 28, fol. 44v. In the Code, Rameau called this the "ton regnant" ("reigning tonic") (pp. 43-44).

38Fol. 30v. Curiously, in both the Generation harmonique and the Code, Rameau writes "cens6e tonique" (felt or implied tonic), whereas in "The Art of the Fundamental Bass" we find "sensee tonique" (sensible tonic). There

may have been a subtle distinction implied by this respelling, but more likely it was only a mistranscription on the part of the scribe.

que" as he sometimes calls it.37 All other "tonics" are "sensee" even though they "enjoy the same rights as the true tonic."38

Rameau further strengthens his criteria by which a chord is "sensee tonique," requiring the confirmation of a secondary leading tone. The task of the lengthy lesson 12 in part 1 is to lay down guidelines by which one can distinguish the key of a given passage, and consequently if a modulation has occurred. For those non-tonic triads without the necessary confirmation, Ra- meau offers a new and weaker level of modulation; they are called "tonique etrangeres ou passageres." I have illustrated Rameau's three kinds of tonic in Example 2.

These are remarkable distinctions, indicating a clear aware- ness of tonal hierarchy not seen again until the nineteenth cen- tury. I should add that Rameau is neither always very clear nor consistent in his use of these terms. Sometimes it is impossible to distinguish what is actually an "implied tonic" and what is a

37Fol. 28, fol. 44v. In the Code, Rameau called this the "ton regnant" ("reigning tonic") (pp. 43-44).

38Fol. 30v. Curiously, in both the Generation harmonique and the Code, Rameau writes "cens6e tonique" (felt or implied tonic), whereas in "The Art of the Fundamental Bass" we find "sensee tonique" (sensible tonic). There

may have been a subtle distinction implied by this respelling, but more likely it was only a mistranscription on the part of the scribe.

que" as he sometimes calls it.37 All other "tonics" are "sensee" even though they "enjoy the same rights as the true tonic."38

Rameau further strengthens his criteria by which a chord is "sensee tonique," requiring the confirmation of a secondary leading tone. The task of the lengthy lesson 12 in part 1 is to lay down guidelines by which one can distinguish the key of a given passage, and consequently if a modulation has occurred. For those non-tonic triads without the necessary confirmation, Ra- meau offers a new and weaker level of modulation; they are called "tonique etrangeres ou passageres." I have illustrated Rameau's three kinds of tonic in Example 2.

These are remarkable distinctions, indicating a clear aware- ness of tonal hierarchy not seen again until the nineteenth cen- tury. I should add that Rameau is neither always very clear nor consistent in his use of these terms. Sometimes it is impossible to distinguish what is actually an "implied tonic" and what is a

37Fol. 28, fol. 44v. In the Code, Rameau called this the "ton regnant" ("reigning tonic") (pp. 43-44).

38Fol. 30v. Curiously, in both the Generation harmonique and the Code, Rameau writes "cens6e tonique" (felt or implied tonic), whereas in "The Art of the Fundamental Bass" we find "sensee tonique" (sensible tonic). There

may have been a subtle distinction implied by this respelling, but more likely it was only a mistranscription on the part of the scribe.

que" as he sometimes calls it.37 All other "tonics" are "sensee" even though they "enjoy the same rights as the true tonic."38

Rameau further strengthens his criteria by which a chord is "sensee tonique," requiring the confirmation of a secondary leading tone. The task of the lengthy lesson 12 in part 1 is to lay down guidelines by which one can distinguish the key of a given passage, and consequently if a modulation has occurred. For those non-tonic triads without the necessary confirmation, Ra- meau offers a new and weaker level of modulation; they are called "tonique etrangeres ou passageres." I have illustrated Rameau's three kinds of tonic in Example 2.

These are remarkable distinctions, indicating a clear aware- ness of tonal hierarchy not seen again until the nineteenth cen- tury. I should add that Rameau is neither always very clear nor consistent in his use of these terms. Sometimes it is impossible to distinguish what is actually an "implied tonic" and what is a

37Fol. 28, fol. 44v. In the Code, Rameau called this the "ton regnant" ("reigning tonic") (pp. 43-44).

38Fol. 30v. Curiously, in both the Generation harmonique and the Code, Rameau writes "cens6e tonique" (felt or implied tonic), whereas in "The Art of the Fundamental Bass" we find "sensee tonique" (sensible tonic). There

may have been a subtle distinction implied by this respelling, but more likely it was only a mistranscription on the part of the scribe.

"passing or foreign" tonic. In other places he adds certain qualifications to his definitions which I am at a loss to explain. But his essential point is unambiguous: all modulations are only temporary tonicizations, and they may be hierarchically ar- ranged depending upon their degree of confirmation and their functional relation to the principal tonic.

Supposition and the suspension. As a second and final exam- ple, let us consider Rameau's interesting treatment of the sus- pension. Here it is again necessary to provide some historical background.

Music theorists have always recognized that the suspension is but a displaced consonance, or more specifically, a disso- nance resulting from the melodic retardation of a consonance. One finds surprisingly similar descriptions in the work of theo- rists ranging from Fux back to Zarlino and even Tinctoris. With the rise of figured bass practice in the seventeenth and eight- eenth centuries, this notion was reinforced, as the continuo player always learned suspension figures in the context of their resolution (e.g. 4-3, 9-8, or 64-) Rameau clearly understood this.39 But, for Rameau, the linear suspension was not an expla-

39In his "Clermont" manuscripts, Rameau followed figured bass tradition in recognizing that chords of the fourth and ninth were merely temporary dis- placements of the consonance to which they usually resolved, hence he as-

"passing or foreign" tonic. In other places he adds certain qualifications to his definitions which I am at a loss to explain. But his essential point is unambiguous: all modulations are only temporary tonicizations, and they may be hierarchically ar- ranged depending upon their degree of confirmation and their functional relation to the principal tonic.

Supposition and the suspension. As a second and final exam- ple, let us consider Rameau's interesting treatment of the sus- pension. Here it is again necessary to provide some historical background.

Music theorists have always recognized that the suspension is but a displaced consonance, or more specifically, a disso- nance resulting from the melodic retardation of a consonance. One finds surprisingly similar descriptions in the work of theo- rists ranging from Fux back to Zarlino and even Tinctoris. With the rise of figured bass practice in the seventeenth and eight- eenth centuries, this notion was reinforced, as the continuo player always learned suspension figures in the context of their resolution (e.g. 4-3, 9-8, or 64-) Rameau clearly understood this.39 But, for Rameau, the linear suspension was not an expla-

39In his "Clermont" manuscripts, Rameau followed figured bass tradition in recognizing that chords of the fourth and ninth were merely temporary dis- placements of the consonance to which they usually resolved, hence he as-

"passing or foreign" tonic. In other places he adds certain qualifications to his definitions which I am at a loss to explain. But his essential point is unambiguous: all modulations are only temporary tonicizations, and they may be hierarchically ar- ranged depending upon their degree of confirmation and their functional relation to the principal tonic.

Supposition and the suspension. As a second and final exam- ple, let us consider Rameau's interesting treatment of the sus- pension. Here it is again necessary to provide some historical background.

Music theorists have always recognized that the suspension is but a displaced consonance, or more specifically, a disso- nance resulting from the melodic retardation of a consonance. One finds surprisingly similar descriptions in the work of theo- rists ranging from Fux back to Zarlino and even Tinctoris. With the rise of figured bass practice in the seventeenth and eight- eenth centuries, this notion was reinforced, as the continuo player always learned suspension figures in the context of their resolution (e.g. 4-3, 9-8, or 64-) Rameau clearly understood this.39 But, for Rameau, the linear suspension was not an expla-

39In his "Clermont" manuscripts, Rameau followed figured bass tradition in recognizing that chords of the fourth and ninth were merely temporary dis- placements of the consonance to which they usually resolved, hence he as-

"passing or foreign" tonic. In other places he adds certain qualifications to his definitions which I am at a loss to explain. But his essential point is unambiguous: all modulations are only temporary tonicizations, and they may be hierarchically ar- ranged depending upon their degree of confirmation and their functional relation to the principal tonic.

Supposition and the suspension. As a second and final exam- ple, let us consider Rameau's interesting treatment of the sus- pension. Here it is again necessary to provide some historical background.

Music theorists have always recognized that the suspension is but a displaced consonance, or more specifically, a disso- nance resulting from the melodic retardation of a consonance. One finds surprisingly similar descriptions in the work of theo- rists ranging from Fux back to Zarlino and even Tinctoris. With the rise of figured bass practice in the seventeenth and eight- eenth centuries, this notion was reinforced, as the continuo player always learned suspension figures in the context of their resolution (e.g. 4-3, 9-8, or 64-) Rameau clearly understood this.39 But, for Rameau, the linear suspension was not an expla-

39In his "Clermont" manuscripts, Rameau followed figured bass tradition in recognizing that chords of the fourth and ninth were merely temporary dis- placements of the consonance to which they usually resolved, hence he as-

"passing or foreign" tonic. In other places he adds certain qualifications to his definitions which I am at a loss to explain. But his essential point is unambiguous: all modulations are only temporary tonicizations, and they may be hierarchically ar- ranged depending upon their degree of confirmation and their functional relation to the principal tonic.

Supposition and the suspension. As a second and final exam- ple, let us consider Rameau's interesting treatment of the sus- pension. Here it is again necessary to provide some historical background.

Music theorists have always recognized that the suspension is but a displaced consonance, or more specifically, a disso- nance resulting from the melodic retardation of a consonance. One finds surprisingly similar descriptions in the work of theo- rists ranging from Fux back to Zarlino and even Tinctoris. With the rise of figured bass practice in the seventeenth and eight- eenth centuries, this notion was reinforced, as the continuo player always learned suspension figures in the context of their resolution (e.g. 4-3, 9-8, or 64-) Rameau clearly understood this.39 But, for Rameau, the linear suspension was not an expla-

39In his "Clermont" manuscripts, Rameau followed figured bass tradition in recognizing that chords of the fourth and ninth were merely temporary dis- placements of the consonance to which they usually resolved, hence he as-

"passing or foreign" tonic. In other places he adds certain qualifications to his definitions which I am at a loss to explain. But his essential point is unambiguous: all modulations are only temporary tonicizations, and they may be hierarchically ar- ranged depending upon their degree of confirmation and their functional relation to the principal tonic.

Supposition and the suspension. As a second and final exam- ple, let us consider Rameau's interesting treatment of the sus- pension. Here it is again necessary to provide some historical background.

Music theorists have always recognized that the suspension is but a displaced consonance, or more specifically, a disso- nance resulting from the melodic retardation of a consonance. One finds surprisingly similar descriptions in the work of theo- rists ranging from Fux back to Zarlino and even Tinctoris. With the rise of figured bass practice in the seventeenth and eight- eenth centuries, this notion was reinforced, as the continuo player always learned suspension figures in the context of their resolution (e.g. 4-3, 9-8, or 64-) Rameau clearly understood this.39 But, for Rameau, the linear suspension was not an expla-

39In his "Clermont" manuscripts, Rameau followed figured bass tradition in recognizing that chords of the fourth and ninth were merely temporary dis- placements of the consonance to which they usually resolved, hence he as-

Page 13: Cópia de Rameau's L'Art de La Basse Fondamentale

Rameau's "L'Art de la Basse Fondamentale" 29 Rameau's "L'Art de la Basse Fondamentale" 29 Rameau's "L'Art de la Basse Fondamentale" 29 Rameau's "L'Art de la Basse Fondamentale" 29 Rameau's "L'Art de la Basse Fondamentale" 29 Rameau's "L'Art de la Basse Fondamentale" 29

Example 3. Traite de l'harmonie, ex. II.ii Example 3. Traite de l'harmonie, ex. II.ii Example 3. Traite de l'harmonie, ex. II.ii Example 3. Traite de l'harmonie, ex. II.ii Example 3. Traite de l'harmonie, ex. II.ii Example 3. Traite de l'harmonie, ex. II.ii

2 3 4 5 6

9 8 9 9 7 b 7 5# 7# 4 # 4

k 4

7 7 7 fundamental bass 7 7 # # 7 1

bo , | ? | ? ?

2 3 4 5 6

9 8 9 9 7 b 7 5# 7# 4 # 4

k 4

7 7 7 fundamental bass 7 7 # # 7 1

bo , | ? | ? ?

2 3 4 5 6

9 8 9 9 7 b 7 5# 7# 4 # 4

k 4

7 7 7 fundamental bass 7 7 # # 7 1

bo , | ? | ? ?

2 3 4 5 6

9 8 9 9 7 b 7 5# 7# 4 # 4

k 4

7 7 7 fundamental bass 7 7 # # 7 1

bo , | ? | ? ?

2 3 4 5 6

9 8 9 9 7 b 7 5# 7# 4 # 4

k 4

7 7 7 fundamental bass 7 7 # # 7 1

bo , | ? | ? ?

2 3 4 5 6

9 8 9 9 7 b 7 5# 7# 4 # 4

k 4

7 7 7 fundamental bass 7 7 # # 7 1

bo , | ? | ? ?

nation, rather a description. Of course one could call the sus- pension a delayed consonance. But what did this say? Rameau wanted to understand theoretically why specific notes in a chord such as the fourth and the ninth tended to suspend and not oth- ers. Moreover, why did suspended notes in most cases resolve downwards by diatonic step? The search for an answer led Ra- meau to formulate the notion of supposition.

In essence, Rameau recognized that the suspended fourth and ninth behaved like a minor seventh; that is, they each nor- mally prepared and resolved in identical ways. He concluded that the seventh could indeed be the source of the suspension if one allowed that the continuo bass did not represent the true fundamental bass of the chord, but rather, it "supposed" the true fundamental which actually lay a third or fifth above it. By finding the source of dissonant fourth and ninth suspensions in the seventh, Rameau was led to the conclusion that the seventh must be the only true dissonance in music (which-it must be emphasized for epistemological considerations-was a conclu-

signed them the fundamental bass of the consonant chord of resolution. See Suaudeau, "Introduction," 21.

nation, rather a description. Of course one could call the sus- pension a delayed consonance. But what did this say? Rameau wanted to understand theoretically why specific notes in a chord such as the fourth and the ninth tended to suspend and not oth- ers. Moreover, why did suspended notes in most cases resolve downwards by diatonic step? The search for an answer led Ra- meau to formulate the notion of supposition.

In essence, Rameau recognized that the suspended fourth and ninth behaved like a minor seventh; that is, they each nor- mally prepared and resolved in identical ways. He concluded that the seventh could indeed be the source of the suspension if one allowed that the continuo bass did not represent the true fundamental bass of the chord, but rather, it "supposed" the true fundamental which actually lay a third or fifth above it. By finding the source of dissonant fourth and ninth suspensions in the seventh, Rameau was led to the conclusion that the seventh must be the only true dissonance in music (which-it must be emphasized for epistemological considerations-was a conclu-

signed them the fundamental bass of the consonant chord of resolution. See Suaudeau, "Introduction," 21.

nation, rather a description. Of course one could call the sus- pension a delayed consonance. But what did this say? Rameau wanted to understand theoretically why specific notes in a chord such as the fourth and the ninth tended to suspend and not oth- ers. Moreover, why did suspended notes in most cases resolve downwards by diatonic step? The search for an answer led Ra- meau to formulate the notion of supposition.

In essence, Rameau recognized that the suspended fourth and ninth behaved like a minor seventh; that is, they each nor- mally prepared and resolved in identical ways. He concluded that the seventh could indeed be the source of the suspension if one allowed that the continuo bass did not represent the true fundamental bass of the chord, but rather, it "supposed" the true fundamental which actually lay a third or fifth above it. By finding the source of dissonant fourth and ninth suspensions in the seventh, Rameau was led to the conclusion that the seventh must be the only true dissonance in music (which-it must be emphasized for epistemological considerations-was a conclu-

signed them the fundamental bass of the consonant chord of resolution. See Suaudeau, "Introduction," 21.

nation, rather a description. Of course one could call the sus- pension a delayed consonance. But what did this say? Rameau wanted to understand theoretically why specific notes in a chord such as the fourth and the ninth tended to suspend and not oth- ers. Moreover, why did suspended notes in most cases resolve downwards by diatonic step? The search for an answer led Ra- meau to formulate the notion of supposition.

In essence, Rameau recognized that the suspended fourth and ninth behaved like a minor seventh; that is, they each nor- mally prepared and resolved in identical ways. He concluded that the seventh could indeed be the source of the suspension if one allowed that the continuo bass did not represent the true fundamental bass of the chord, but rather, it "supposed" the true fundamental which actually lay a third or fifth above it. By finding the source of dissonant fourth and ninth suspensions in the seventh, Rameau was led to the conclusion that the seventh must be the only true dissonance in music (which-it must be emphasized for epistemological considerations-was a conclu-

signed them the fundamental bass of the consonant chord of resolution. See Suaudeau, "Introduction," 21.

nation, rather a description. Of course one could call the sus- pension a delayed consonance. But what did this say? Rameau wanted to understand theoretically why specific notes in a chord such as the fourth and the ninth tended to suspend and not oth- ers. Moreover, why did suspended notes in most cases resolve downwards by diatonic step? The search for an answer led Ra- meau to formulate the notion of supposition.

In essence, Rameau recognized that the suspended fourth and ninth behaved like a minor seventh; that is, they each nor- mally prepared and resolved in identical ways. He concluded that the seventh could indeed be the source of the suspension if one allowed that the continuo bass did not represent the true fundamental bass of the chord, but rather, it "supposed" the true fundamental which actually lay a third or fifth above it. By finding the source of dissonant fourth and ninth suspensions in the seventh, Rameau was led to the conclusion that the seventh must be the only true dissonance in music (which-it must be emphasized for epistemological considerations-was a conclu-

signed them the fundamental bass of the consonant chord of resolution. See Suaudeau, "Introduction," 21.

nation, rather a description. Of course one could call the sus- pension a delayed consonance. But what did this say? Rameau wanted to understand theoretically why specific notes in a chord such as the fourth and the ninth tended to suspend and not oth- ers. Moreover, why did suspended notes in most cases resolve downwards by diatonic step? The search for an answer led Ra- meau to formulate the notion of supposition.

In essence, Rameau recognized that the suspended fourth and ninth behaved like a minor seventh; that is, they each nor- mally prepared and resolved in identical ways. He concluded that the seventh could indeed be the source of the suspension if one allowed that the continuo bass did not represent the true fundamental bass of the chord, but rather, it "supposed" the true fundamental which actually lay a third or fifth above it. By finding the source of dissonant fourth and ninth suspensions in the seventh, Rameau was led to the conclusion that the seventh must be the only true dissonance in music (which-it must be emphasized for epistemological considerations-was a conclu-

signed them the fundamental bass of the consonant chord of resolution. See Suaudeau, "Introduction," 21.

sion for Rameau, not a premise). The result of this analysis is that a suspension progression involved a theoretical change of roots. In Example 3 (reduced from example II.ii in Rameau's Traite) the various ninths and fourths are all seen as seventh chords with the true fundamental bass supposed a third and fifth above the continuo bass, respectively. Each measure im- plies, then, a fundamental cadential progression of a falling fifth.

I think it must be admitted that these analyses make good musical sense. It is not hard to hear, for instance, in measure 4-a typical eighteenth-century cadential pattern-an A domi- nant seventh built over a pedal tonic which then resolves to the tonic triad. The D can be heard as anticipating (or "suppos- ing") the resolution. Even if one wants to argue that the func- tion is ultimately tonic in the first beat rather than dominant, it cannot be denied that there is a clash of sorts between the two functions. And this is implicit in Rameau's analysis. It is not an unreasonable extension then-and it is indeed a theoretically consistent and insightful one-for Rameau to recognize in measure 5 a similar situation with the 4-3 suspension. The sus- pended D theoretically represents the 7th of an E minor super-

sion for Rameau, not a premise). The result of this analysis is that a suspension progression involved a theoretical change of roots. In Example 3 (reduced from example II.ii in Rameau's Traite) the various ninths and fourths are all seen as seventh chords with the true fundamental bass supposed a third and fifth above the continuo bass, respectively. Each measure im- plies, then, a fundamental cadential progression of a falling fifth.

I think it must be admitted that these analyses make good musical sense. It is not hard to hear, for instance, in measure 4-a typical eighteenth-century cadential pattern-an A domi- nant seventh built over a pedal tonic which then resolves to the tonic triad. The D can be heard as anticipating (or "suppos- ing") the resolution. Even if one wants to argue that the func- tion is ultimately tonic in the first beat rather than dominant, it cannot be denied that there is a clash of sorts between the two functions. And this is implicit in Rameau's analysis. It is not an unreasonable extension then-and it is indeed a theoretically consistent and insightful one-for Rameau to recognize in measure 5 a similar situation with the 4-3 suspension. The sus- pended D theoretically represents the 7th of an E minor super-

sion for Rameau, not a premise). The result of this analysis is that a suspension progression involved a theoretical change of roots. In Example 3 (reduced from example II.ii in Rameau's Traite) the various ninths and fourths are all seen as seventh chords with the true fundamental bass supposed a third and fifth above the continuo bass, respectively. Each measure im- plies, then, a fundamental cadential progression of a falling fifth.

I think it must be admitted that these analyses make good musical sense. It is not hard to hear, for instance, in measure 4-a typical eighteenth-century cadential pattern-an A domi- nant seventh built over a pedal tonic which then resolves to the tonic triad. The D can be heard as anticipating (or "suppos- ing") the resolution. Even if one wants to argue that the func- tion is ultimately tonic in the first beat rather than dominant, it cannot be denied that there is a clash of sorts between the two functions. And this is implicit in Rameau's analysis. It is not an unreasonable extension then-and it is indeed a theoretically consistent and insightful one-for Rameau to recognize in measure 5 a similar situation with the 4-3 suspension. The sus- pended D theoretically represents the 7th of an E minor super-

sion for Rameau, not a premise). The result of this analysis is that a suspension progression involved a theoretical change of roots. In Example 3 (reduced from example II.ii in Rameau's Traite) the various ninths and fourths are all seen as seventh chords with the true fundamental bass supposed a third and fifth above the continuo bass, respectively. Each measure im- plies, then, a fundamental cadential progression of a falling fifth.

I think it must be admitted that these analyses make good musical sense. It is not hard to hear, for instance, in measure 4-a typical eighteenth-century cadential pattern-an A domi- nant seventh built over a pedal tonic which then resolves to the tonic triad. The D can be heard as anticipating (or "suppos- ing") the resolution. Even if one wants to argue that the func- tion is ultimately tonic in the first beat rather than dominant, it cannot be denied that there is a clash of sorts between the two functions. And this is implicit in Rameau's analysis. It is not an unreasonable extension then-and it is indeed a theoretically consistent and insightful one-for Rameau to recognize in measure 5 a similar situation with the 4-3 suspension. The sus- pended D theoretically represents the 7th of an E minor super-

sion for Rameau, not a premise). The result of this analysis is that a suspension progression involved a theoretical change of roots. In Example 3 (reduced from example II.ii in Rameau's Traite) the various ninths and fourths are all seen as seventh chords with the true fundamental bass supposed a third and fifth above the continuo bass, respectively. Each measure im- plies, then, a fundamental cadential progression of a falling fifth.

I think it must be admitted that these analyses make good musical sense. It is not hard to hear, for instance, in measure 4-a typical eighteenth-century cadential pattern-an A domi- nant seventh built over a pedal tonic which then resolves to the tonic triad. The D can be heard as anticipating (or "suppos- ing") the resolution. Even if one wants to argue that the func- tion is ultimately tonic in the first beat rather than dominant, it cannot be denied that there is a clash of sorts between the two functions. And this is implicit in Rameau's analysis. It is not an unreasonable extension then-and it is indeed a theoretically consistent and insightful one-for Rameau to recognize in measure 5 a similar situation with the 4-3 suspension. The sus- pended D theoretically represents the 7th of an E minor super-

sion for Rameau, not a premise). The result of this analysis is that a suspension progression involved a theoretical change of roots. In Example 3 (reduced from example II.ii in Rameau's Traite) the various ninths and fourths are all seen as seventh chords with the true fundamental bass supposed a third and fifth above the continuo bass, respectively. Each measure im- plies, then, a fundamental cadential progression of a falling fifth.

I think it must be admitted that these analyses make good musical sense. It is not hard to hear, for instance, in measure 4-a typical eighteenth-century cadential pattern-an A domi- nant seventh built over a pedal tonic which then resolves to the tonic triad. The D can be heard as anticipating (or "suppos- ing") the resolution. Even if one wants to argue that the func- tion is ultimately tonic in the first beat rather than dominant, it cannot be denied that there is a clash of sorts between the two functions. And this is implicit in Rameau's analysis. It is not an unreasonable extension then-and it is indeed a theoretically consistent and insightful one-for Rameau to recognize in measure 5 a similar situation with the 4-3 suspension. The sus- pended D theoretically represents the 7th of an E minor super-

Page 14: Cópia de Rameau's L'Art de La Basse Fondamentale

30 Music Theory Spectrum 30 Music Theory Spectrum 30 Music Theory Spectrum 30 Music Theory Spectrum 30 Music Theory Spectrum 30 Music Theory Spectrum

tonic chord built above the root of the chord of resolution, A

major. Of course the E minor triad is not stated in full, thus

weakening its functional identity. But Rameau's important in-

sight is that the behavior of the dissonance still can be under- stood as deriving from the essential seventh, and that such sus-

pensions are commonplace and satisfying to the ear precisely because they imply the most basic fundamental cadential pro- gression of all, the falling fifth.40

What must be remembered in all this is that Rameau never denied that the suspension could also be analyzed as a simple melodic displacement. In all of his published writings, he in- cluded analyses which showed precisely that.41 The question arises, then, how he could reconcile the two seemingly contra-

dictory perspectives. While it is possible to infer an answer from reading between the lines in Rameau's earlier writings, it was in "The Art of the Fundamental Bass" that he tried to dis-

entangle the concept of supposition from the suspension. In the

lengthy lesson 8 [24] at the end of part 1 (draft 2), he explains as follows:

The suspension is nothing but the retardation of what would naturally be heard according to the most perfect fundamental succession by fifth. This suspension is frequently drawn from the same principle as

supposition, but in practice it is better to consider the note which forms it as a note of taste ... This note of taste in principle is only a dissonant fourth or ninth. The fourth suspends the third, and the ninth suspends the octave.42

40That the implied harmonic structure of this progression may not be so ap- parent on the surface of the music does not necessarily weaken Rameau's argu- ment. As in the case of the interpolated fundamental bass, a theoretical

analysis-like many theoretical explanations in science-often goes beyond the empirical surface.

41See e.g. the Traite, 280: "II est certain que les accords par supposition ne servent qu'a suspendre les sons qui devroient etre entendus naturellement." See also example III.113 in the Traite and pp. 188-89 in the Generation har-

monique. 42Fol. 85v. "La suspension n'est autre chose que le retardement de ce que

devoir s'entendre naturallement, selon l'ordre de la plus parfaite sucession

tonic chord built above the root of the chord of resolution, A

major. Of course the E minor triad is not stated in full, thus

weakening its functional identity. But Rameau's important in-

sight is that the behavior of the dissonance still can be under- stood as deriving from the essential seventh, and that such sus-

pensions are commonplace and satisfying to the ear precisely because they imply the most basic fundamental cadential pro- gression of all, the falling fifth.40

What must be remembered in all this is that Rameau never denied that the suspension could also be analyzed as a simple melodic displacement. In all of his published writings, he in- cluded analyses which showed precisely that.41 The question arises, then, how he could reconcile the two seemingly contra-

dictory perspectives. While it is possible to infer an answer from reading between the lines in Rameau's earlier writings, it was in "The Art of the Fundamental Bass" that he tried to dis-

entangle the concept of supposition from the suspension. In the

lengthy lesson 8 [24] at the end of part 1 (draft 2), he explains as follows:

The suspension is nothing but the retardation of what would naturally be heard according to the most perfect fundamental succession by fifth. This suspension is frequently drawn from the same principle as

supposition, but in practice it is better to consider the note which forms it as a note of taste ... This note of taste in principle is only a dissonant fourth or ninth. The fourth suspends the third, and the ninth suspends the octave.42

40That the implied harmonic structure of this progression may not be so ap- parent on the surface of the music does not necessarily weaken Rameau's argu- ment. As in the case of the interpolated fundamental bass, a theoretical

analysis-like many theoretical explanations in science-often goes beyond the empirical surface.

41See e.g. the Traite, 280: "II est certain que les accords par supposition ne servent qu'a suspendre les sons qui devroient etre entendus naturellement." See also example III.113 in the Traite and pp. 188-89 in the Generation har-

monique. 42Fol. 85v. "La suspension n'est autre chose que le retardement de ce que

devoir s'entendre naturallement, selon l'ordre de la plus parfaite sucession

tonic chord built above the root of the chord of resolution, A

major. Of course the E minor triad is not stated in full, thus

weakening its functional identity. But Rameau's important in-

sight is that the behavior of the dissonance still can be under- stood as deriving from the essential seventh, and that such sus-

pensions are commonplace and satisfying to the ear precisely because they imply the most basic fundamental cadential pro- gression of all, the falling fifth.40

What must be remembered in all this is that Rameau never denied that the suspension could also be analyzed as a simple melodic displacement. In all of his published writings, he in- cluded analyses which showed precisely that.41 The question arises, then, how he could reconcile the two seemingly contra-

dictory perspectives. While it is possible to infer an answer from reading between the lines in Rameau's earlier writings, it was in "The Art of the Fundamental Bass" that he tried to dis-

entangle the concept of supposition from the suspension. In the

lengthy lesson 8 [24] at the end of part 1 (draft 2), he explains as follows:

The suspension is nothing but the retardation of what would naturally be heard according to the most perfect fundamental succession by fifth. This suspension is frequently drawn from the same principle as

supposition, but in practice it is better to consider the note which forms it as a note of taste ... This note of taste in principle is only a dissonant fourth or ninth. The fourth suspends the third, and the ninth suspends the octave.42

40That the implied harmonic structure of this progression may not be so ap- parent on the surface of the music does not necessarily weaken Rameau's argu- ment. As in the case of the interpolated fundamental bass, a theoretical

analysis-like many theoretical explanations in science-often goes beyond the empirical surface.

41See e.g. the Traite, 280: "II est certain que les accords par supposition ne servent qu'a suspendre les sons qui devroient etre entendus naturellement." See also example III.113 in the Traite and pp. 188-89 in the Generation har-

monique. 42Fol. 85v. "La suspension n'est autre chose que le retardement de ce que

devoir s'entendre naturallement, selon l'ordre de la plus parfaite sucession

tonic chord built above the root of the chord of resolution, A

major. Of course the E minor triad is not stated in full, thus

weakening its functional identity. But Rameau's important in-

sight is that the behavior of the dissonance still can be under- stood as deriving from the essential seventh, and that such sus-

pensions are commonplace and satisfying to the ear precisely because they imply the most basic fundamental cadential pro- gression of all, the falling fifth.40

What must be remembered in all this is that Rameau never denied that the suspension could also be analyzed as a simple melodic displacement. In all of his published writings, he in- cluded analyses which showed precisely that.41 The question arises, then, how he could reconcile the two seemingly contra-

dictory perspectives. While it is possible to infer an answer from reading between the lines in Rameau's earlier writings, it was in "The Art of the Fundamental Bass" that he tried to dis-

entangle the concept of supposition from the suspension. In the

lengthy lesson 8 [24] at the end of part 1 (draft 2), he explains as follows:

The suspension is nothing but the retardation of what would naturally be heard according to the most perfect fundamental succession by fifth. This suspension is frequently drawn from the same principle as

supposition, but in practice it is better to consider the note which forms it as a note of taste ... This note of taste in principle is only a dissonant fourth or ninth. The fourth suspends the third, and the ninth suspends the octave.42

40That the implied harmonic structure of this progression may not be so ap- parent on the surface of the music does not necessarily weaken Rameau's argu- ment. As in the case of the interpolated fundamental bass, a theoretical

analysis-like many theoretical explanations in science-often goes beyond the empirical surface.

41See e.g. the Traite, 280: "II est certain que les accords par supposition ne servent qu'a suspendre les sons qui devroient etre entendus naturellement." See also example III.113 in the Traite and pp. 188-89 in the Generation har-

monique. 42Fol. 85v. "La suspension n'est autre chose que le retardement de ce que

devoir s'entendre naturallement, selon l'ordre de la plus parfaite sucession

tonic chord built above the root of the chord of resolution, A

major. Of course the E minor triad is not stated in full, thus

weakening its functional identity. But Rameau's important in-

sight is that the behavior of the dissonance still can be under- stood as deriving from the essential seventh, and that such sus-

pensions are commonplace and satisfying to the ear precisely because they imply the most basic fundamental cadential pro- gression of all, the falling fifth.40

What must be remembered in all this is that Rameau never denied that the suspension could also be analyzed as a simple melodic displacement. In all of his published writings, he in- cluded analyses which showed precisely that.41 The question arises, then, how he could reconcile the two seemingly contra-

dictory perspectives. While it is possible to infer an answer from reading between the lines in Rameau's earlier writings, it was in "The Art of the Fundamental Bass" that he tried to dis-

entangle the concept of supposition from the suspension. In the

lengthy lesson 8 [24] at the end of part 1 (draft 2), he explains as follows:

The suspension is nothing but the retardation of what would naturally be heard according to the most perfect fundamental succession by fifth. This suspension is frequently drawn from the same principle as

supposition, but in practice it is better to consider the note which forms it as a note of taste ... This note of taste in principle is only a dissonant fourth or ninth. The fourth suspends the third, and the ninth suspends the octave.42

40That the implied harmonic structure of this progression may not be so ap- parent on the surface of the music does not necessarily weaken Rameau's argu- ment. As in the case of the interpolated fundamental bass, a theoretical

analysis-like many theoretical explanations in science-often goes beyond the empirical surface.

41See e.g. the Traite, 280: "II est certain que les accords par supposition ne servent qu'a suspendre les sons qui devroient etre entendus naturellement." See also example III.113 in the Traite and pp. 188-89 in the Generation har-

monique. 42Fol. 85v. "La suspension n'est autre chose que le retardement de ce que

devoir s'entendre naturallement, selon l'ordre de la plus parfaite sucession

tonic chord built above the root of the chord of resolution, A

major. Of course the E minor triad is not stated in full, thus

weakening its functional identity. But Rameau's important in-

sight is that the behavior of the dissonance still can be under- stood as deriving from the essential seventh, and that such sus-

pensions are commonplace and satisfying to the ear precisely because they imply the most basic fundamental cadential pro- gression of all, the falling fifth.40

What must be remembered in all this is that Rameau never denied that the suspension could also be analyzed as a simple melodic displacement. In all of his published writings, he in- cluded analyses which showed precisely that.41 The question arises, then, how he could reconcile the two seemingly contra-

dictory perspectives. While it is possible to infer an answer from reading between the lines in Rameau's earlier writings, it was in "The Art of the Fundamental Bass" that he tried to dis-

entangle the concept of supposition from the suspension. In the

lengthy lesson 8 [24] at the end of part 1 (draft 2), he explains as follows:

The suspension is nothing but the retardation of what would naturally be heard according to the most perfect fundamental succession by fifth. This suspension is frequently drawn from the same principle as

supposition, but in practice it is better to consider the note which forms it as a note of taste ... This note of taste in principle is only a dissonant fourth or ninth. The fourth suspends the third, and the ninth suspends the octave.42

40That the implied harmonic structure of this progression may not be so ap- parent on the surface of the music does not necessarily weaken Rameau's argu- ment. As in the case of the interpolated fundamental bass, a theoretical

analysis-like many theoretical explanations in science-often goes beyond the empirical surface.

41See e.g. the Traite, 280: "II est certain que les accords par supposition ne servent qu'a suspendre les sons qui devroient etre entendus naturellement." See also example III.113 in the Traite and pp. 188-89 in the Generation har-

monique. 42Fol. 85v. "La suspension n'est autre chose que le retardement de ce que

devoir s'entendre naturallement, selon l'ordre de la plus parfaite sucession

Rameau recognizes not only single suspensions, but double and

triple suspensions as well. In the second article of this lesson, for

example, he analyzes the so-called cadential 6 as nothing less than a double suspension above a single dominant fundamental bass.

This chord contains an octave, fourth and a sixth above the dominante

tonique root; whereas the latter suspends a fifth, the fourth, as is ap- parent, suspends the third, such that this fifth and this third before [they] resolve immediately afterwards, imply the dominant as the real

perfect chord to which is joined a seventh.43

In article 5, "De la quarte et de la sixte par suspension au dessus d'une dominante tonique," Rameau proceeds to analyze this 6

cadence in detail, considering its metric placement, kinds of

preparation possible for the suspension, and varieties in the res- olution of the 6 (for example resolving the sixth but retarding the fourth, thus creating a second 4-3 suspension).44 Example 4

provides several illustrations of Rameau's suspension analyses, including the 6 cadence.45

The important point is that the suspended dissonance, from a practical point of view, is a "note de gout [sic]" or as we would

say today, a "non-harmonic" tone, and it resolves over a single

fond. le par quinte. Cette suspension se tire souvent du meme principe que la

supposition mais dans le pratique il vaut mieux y considerer la note qui la forme comme une simple note de gout ... Cette note de gout dans son principe n'est

jamais que quarte dissonante ou la neuvieme. La quarte suspend la tierce et la meuvieme suspend l'octave."

43Fol. 86. "Ces accord compare a la dominante tonique forme au dessus d'elle l'octave, la quarte, et la sixte; ou celluy suspend la quinte, et ou la quarte suspend comme au paravant la tierce, de sorte que cette quinte et cette tierce devant paroitre immediatement ensuite rendent a cette dominante son verita- ble accord parfait auquel se joint la septieme."

44Fol. 88. 45While these examples are only my reconstructions based upon the prose

description of the text, similar examples may be found in the Code which bear them out. See e.g. examples 2K (appendix, p. 14), 4R (p. 30), and S (p. 31).

Rameau recognizes not only single suspensions, but double and

triple suspensions as well. In the second article of this lesson, for

example, he analyzes the so-called cadential 6 as nothing less than a double suspension above a single dominant fundamental bass.

This chord contains an octave, fourth and a sixth above the dominante

tonique root; whereas the latter suspends a fifth, the fourth, as is ap- parent, suspends the third, such that this fifth and this third before [they] resolve immediately afterwards, imply the dominant as the real

perfect chord to which is joined a seventh.43

In article 5, "De la quarte et de la sixte par suspension au dessus d'une dominante tonique," Rameau proceeds to analyze this 6

cadence in detail, considering its metric placement, kinds of

preparation possible for the suspension, and varieties in the res- olution of the 6 (for example resolving the sixth but retarding the fourth, thus creating a second 4-3 suspension).44 Example 4

provides several illustrations of Rameau's suspension analyses, including the 6 cadence.45

The important point is that the suspended dissonance, from a practical point of view, is a "note de gout [sic]" or as we would

say today, a "non-harmonic" tone, and it resolves over a single

fond. le par quinte. Cette suspension se tire souvent du meme principe que la

supposition mais dans le pratique il vaut mieux y considerer la note qui la forme comme une simple note de gout ... Cette note de gout dans son principe n'est

jamais que quarte dissonante ou la neuvieme. La quarte suspend la tierce et la meuvieme suspend l'octave."

43Fol. 86. "Ces accord compare a la dominante tonique forme au dessus d'elle l'octave, la quarte, et la sixte; ou celluy suspend la quinte, et ou la quarte suspend comme au paravant la tierce, de sorte que cette quinte et cette tierce devant paroitre immediatement ensuite rendent a cette dominante son verita- ble accord parfait auquel se joint la septieme."

44Fol. 88. 45While these examples are only my reconstructions based upon the prose

description of the text, similar examples may be found in the Code which bear them out. See e.g. examples 2K (appendix, p. 14), 4R (p. 30), and S (p. 31).

Rameau recognizes not only single suspensions, but double and

triple suspensions as well. In the second article of this lesson, for

example, he analyzes the so-called cadential 6 as nothing less than a double suspension above a single dominant fundamental bass.

This chord contains an octave, fourth and a sixth above the dominante

tonique root; whereas the latter suspends a fifth, the fourth, as is ap- parent, suspends the third, such that this fifth and this third before [they] resolve immediately afterwards, imply the dominant as the real

perfect chord to which is joined a seventh.43

In article 5, "De la quarte et de la sixte par suspension au dessus d'une dominante tonique," Rameau proceeds to analyze this 6

cadence in detail, considering its metric placement, kinds of

preparation possible for the suspension, and varieties in the res- olution of the 6 (for example resolving the sixth but retarding the fourth, thus creating a second 4-3 suspension).44 Example 4

provides several illustrations of Rameau's suspension analyses, including the 6 cadence.45

The important point is that the suspended dissonance, from a practical point of view, is a "note de gout [sic]" or as we would

say today, a "non-harmonic" tone, and it resolves over a single

fond. le par quinte. Cette suspension se tire souvent du meme principe que la

supposition mais dans le pratique il vaut mieux y considerer la note qui la forme comme une simple note de gout ... Cette note de gout dans son principe n'est

jamais que quarte dissonante ou la neuvieme. La quarte suspend la tierce et la meuvieme suspend l'octave."

43Fol. 86. "Ces accord compare a la dominante tonique forme au dessus d'elle l'octave, la quarte, et la sixte; ou celluy suspend la quinte, et ou la quarte suspend comme au paravant la tierce, de sorte que cette quinte et cette tierce devant paroitre immediatement ensuite rendent a cette dominante son verita- ble accord parfait auquel se joint la septieme."

44Fol. 88. 45While these examples are only my reconstructions based upon the prose

description of the text, similar examples may be found in the Code which bear them out. See e.g. examples 2K (appendix, p. 14), 4R (p. 30), and S (p. 31).

Rameau recognizes not only single suspensions, but double and

triple suspensions as well. In the second article of this lesson, for

example, he analyzes the so-called cadential 6 as nothing less than a double suspension above a single dominant fundamental bass.

This chord contains an octave, fourth and a sixth above the dominante

tonique root; whereas the latter suspends a fifth, the fourth, as is ap- parent, suspends the third, such that this fifth and this third before [they] resolve immediately afterwards, imply the dominant as the real

perfect chord to which is joined a seventh.43

In article 5, "De la quarte et de la sixte par suspension au dessus d'une dominante tonique," Rameau proceeds to analyze this 6

cadence in detail, considering its metric placement, kinds of

preparation possible for the suspension, and varieties in the res- olution of the 6 (for example resolving the sixth but retarding the fourth, thus creating a second 4-3 suspension).44 Example 4

provides several illustrations of Rameau's suspension analyses, including the 6 cadence.45

The important point is that the suspended dissonance, from a practical point of view, is a "note de gout [sic]" or as we would

say today, a "non-harmonic" tone, and it resolves over a single

fond. le par quinte. Cette suspension se tire souvent du meme principe que la

supposition mais dans le pratique il vaut mieux y considerer la note qui la forme comme une simple note de gout ... Cette note de gout dans son principe n'est

jamais que quarte dissonante ou la neuvieme. La quarte suspend la tierce et la meuvieme suspend l'octave."

43Fol. 86. "Ces accord compare a la dominante tonique forme au dessus d'elle l'octave, la quarte, et la sixte; ou celluy suspend la quinte, et ou la quarte suspend comme au paravant la tierce, de sorte que cette quinte et cette tierce devant paroitre immediatement ensuite rendent a cette dominante son verita- ble accord parfait auquel se joint la septieme."

44Fol. 88. 45While these examples are only my reconstructions based upon the prose

description of the text, similar examples may be found in the Code which bear them out. See e.g. examples 2K (appendix, p. 14), 4R (p. 30), and S (p. 31).

Rameau recognizes not only single suspensions, but double and

triple suspensions as well. In the second article of this lesson, for

example, he analyzes the so-called cadential 6 as nothing less than a double suspension above a single dominant fundamental bass.

This chord contains an octave, fourth and a sixth above the dominante

tonique root; whereas the latter suspends a fifth, the fourth, as is ap- parent, suspends the third, such that this fifth and this third before [they] resolve immediately afterwards, imply the dominant as the real

perfect chord to which is joined a seventh.43

In article 5, "De la quarte et de la sixte par suspension au dessus d'une dominante tonique," Rameau proceeds to analyze this 6

cadence in detail, considering its metric placement, kinds of

preparation possible for the suspension, and varieties in the res- olution of the 6 (for example resolving the sixth but retarding the fourth, thus creating a second 4-3 suspension).44 Example 4

provides several illustrations of Rameau's suspension analyses, including the 6 cadence.45

The important point is that the suspended dissonance, from a practical point of view, is a "note de gout [sic]" or as we would

say today, a "non-harmonic" tone, and it resolves over a single

fond. le par quinte. Cette suspension se tire souvent du meme principe que la

supposition mais dans le pratique il vaut mieux y considerer la note qui la forme comme une simple note de gout ... Cette note de gout dans son principe n'est

jamais que quarte dissonante ou la neuvieme. La quarte suspend la tierce et la meuvieme suspend l'octave."

43Fol. 86. "Ces accord compare a la dominante tonique forme au dessus d'elle l'octave, la quarte, et la sixte; ou celluy suspend la quinte, et ou la quarte suspend comme au paravant la tierce, de sorte que cette quinte et cette tierce devant paroitre immediatement ensuite rendent a cette dominante son verita- ble accord parfait auquel se joint la septieme."

44Fol. 88. 45While these examples are only my reconstructions based upon the prose

description of the text, similar examples may be found in the Code which bear them out. See e.g. examples 2K (appendix, p. 14), 4R (p. 30), and S (p. 31).

Rameau recognizes not only single suspensions, but double and

triple suspensions as well. In the second article of this lesson, for

example, he analyzes the so-called cadential 6 as nothing less than a double suspension above a single dominant fundamental bass.

This chord contains an octave, fourth and a sixth above the dominante

tonique root; whereas the latter suspends a fifth, the fourth, as is ap- parent, suspends the third, such that this fifth and this third before [they] resolve immediately afterwards, imply the dominant as the real

perfect chord to which is joined a seventh.43

In article 5, "De la quarte et de la sixte par suspension au dessus d'une dominante tonique," Rameau proceeds to analyze this 6

cadence in detail, considering its metric placement, kinds of

preparation possible for the suspension, and varieties in the res- olution of the 6 (for example resolving the sixth but retarding the fourth, thus creating a second 4-3 suspension).44 Example 4

provides several illustrations of Rameau's suspension analyses, including the 6 cadence.45

The important point is that the suspended dissonance, from a practical point of view, is a "note de gout [sic]" or as we would

say today, a "non-harmonic" tone, and it resolves over a single

fond. le par quinte. Cette suspension se tire souvent du meme principe que la

supposition mais dans le pratique il vaut mieux y considerer la note qui la forme comme une simple note de gout ... Cette note de gout dans son principe n'est

jamais que quarte dissonante ou la neuvieme. La quarte suspend la tierce et la meuvieme suspend l'octave."

43Fol. 86. "Ces accord compare a la dominante tonique forme au dessus d'elle l'octave, la quarte, et la sixte; ou celluy suspend la quinte, et ou la quarte suspend comme au paravant la tierce, de sorte que cette quinte et cette tierce devant paroitre immediatement ensuite rendent a cette dominante son verita- ble accord parfait auquel se joint la septieme."

44Fol. 88. 45While these examples are only my reconstructions based upon the prose

description of the text, similar examples may be found in the Code which bear them out. See e.g. examples 2K (appendix, p. 14), 4R (p. 30), and S (p. 31).

Page 15: Cópia de Rameau's L'Art de La Basse Fondamentale

Rameau's "L'Art de la Basse Fondamentale" 31 Rameau's "L'Art de la Basse Fondamentale" 31 Rameau's "L'Art de la Basse Fondamentale" 31 Rameau's "L'Art de la Basse Fondamentale" 31 Rameau's "L'Art de la Basse Fondamentale" 31 Rameau's "L'Art de la Basse Fondamentale" 31

Example 4. Suspensions (part 1, lesson 8[24], draft 2) Example 4. Suspensions (part 1, lesson 8[24], draft 2) Example 4. Suspensions (part 1, lesson 8[24], draft 2) Example 4. Suspensions (part 1, lesson 8[24], draft 2) Example 4. Suspensions (part 1, lesson 8[24], draft 2) Example 4. Suspensions (part 1, lesson 8[24], draft 2)

( '8 f J_ r s - -= r

7 5 6 5 4 3 7 9 8 3 4 4 -3

te) Op ,

fundamental bass 7 5 6 5

4-3 7 9-8 3 4 4-3

: I o.I11K I o I 1 11

( '8 f J_ r s - -= r

7 5 6 5 4 3 7 9 8 3 4 4 -3

te) Op ,

fundamental bass 7 5 6 5

4-3 7 9-8 3 4 4-3

: I o.I11K I o I 1 11

( '8 f J_ r s - -= r

7 5 6 5 4 3 7 9 8 3 4 4 -3

te) Op ,

fundamental bass 7 5 6 5

4-3 7 9-8 3 4 4-3

: I o.I11K I o I 1 11

( '8 f J_ r s - -= r

7 5 6 5 4 3 7 9 8 3 4 4 -3

te) Op ,

fundamental bass 7 5 6 5

4-3 7 9-8 3 4 4-3

: I o.I11K I o I 1 11

( '8 f J_ r s - -= r

7 5 6 5 4 3 7 9 8 3 4 4 -3

te) Op ,

fundamental bass 7 5 6 5

4-3 7 9-8 3 4 4-3

: I o.I11K I o I 1 11

( '8 f J_ r s - -= r

7 5 6 5 4 3 7 9 8 3 4 4 -3

te) Op ,

fundamental bass 7 5 6 5

4-3 7 9-8 3 4 4-3

: I o.I11K I o I 1 11

fundamental bass, whereas theoretically it constitutes a change of fundamental bass. In a text which offers practical advice to the beginning musician, Rameau did not see supposition as a crucial explanation; a simple linear description was more ef- ficient. Thus he could write that since

a suspended note is only a [product] of taste, it has no fundamental bass and if one assigns one to it, it is only in order to satisfy oneself in seeing that its origin is most often to be found from supposition. But as this is of no use in practice, it is better to recognize the note of sus- pension as counting for nothing [by itself] and assigning it the funda- mental bass of the consonance which it suspends and which immedi- ately follows it.46

Consequently, a suspension could be analyzed on two lev- els; one could explain its behavior theoretically through suppo-

46Fol. 86. "La note de suspension n'est que de gout, elle n'a point de basse fond. le et si on luy en donne une ce n'est seulement que pour la prouver la satis- faction de voir qu'elle tire le plus souvent son origine de la supposition. Mais comme cela n'est d'aucunne utilitd dans la pratique il vaut mieux en reconnois- sant la note de suspension la compter pour rien et luy donner pour basse fond. le

celle de consonance qu'elle suspend et qui la suit immediatement."

fundamental bass, whereas theoretically it constitutes a change of fundamental bass. In a text which offers practical advice to the beginning musician, Rameau did not see supposition as a crucial explanation; a simple linear description was more ef- ficient. Thus he could write that since

a suspended note is only a [product] of taste, it has no fundamental bass and if one assigns one to it, it is only in order to satisfy oneself in seeing that its origin is most often to be found from supposition. But as this is of no use in practice, it is better to recognize the note of sus- pension as counting for nothing [by itself] and assigning it the funda- mental bass of the consonance which it suspends and which immedi- ately follows it.46

Consequently, a suspension could be analyzed on two lev- els; one could explain its behavior theoretically through suppo-

46Fol. 86. "La note de suspension n'est que de gout, elle n'a point de basse fond. le et si on luy en donne une ce n'est seulement que pour la prouver la satis- faction de voir qu'elle tire le plus souvent son origine de la supposition. Mais comme cela n'est d'aucunne utilitd dans la pratique il vaut mieux en reconnois- sant la note de suspension la compter pour rien et luy donner pour basse fond. le

celle de consonance qu'elle suspend et qui la suit immediatement."

fundamental bass, whereas theoretically it constitutes a change of fundamental bass. In a text which offers practical advice to the beginning musician, Rameau did not see supposition as a crucial explanation; a simple linear description was more ef- ficient. Thus he could write that since

a suspended note is only a [product] of taste, it has no fundamental bass and if one assigns one to it, it is only in order to satisfy oneself in seeing that its origin is most often to be found from supposition. But as this is of no use in practice, it is better to recognize the note of sus- pension as counting for nothing [by itself] and assigning it the funda- mental bass of the consonance which it suspends and which immedi- ately follows it.46

Consequently, a suspension could be analyzed on two lev- els; one could explain its behavior theoretically through suppo-

46Fol. 86. "La note de suspension n'est que de gout, elle n'a point de basse fond. le et si on luy en donne une ce n'est seulement que pour la prouver la satis- faction de voir qu'elle tire le plus souvent son origine de la supposition. Mais comme cela n'est d'aucunne utilitd dans la pratique il vaut mieux en reconnois- sant la note de suspension la compter pour rien et luy donner pour basse fond. le

celle de consonance qu'elle suspend et qui la suit immediatement."

fundamental bass, whereas theoretically it constitutes a change of fundamental bass. In a text which offers practical advice to the beginning musician, Rameau did not see supposition as a crucial explanation; a simple linear description was more ef- ficient. Thus he could write that since

a suspended note is only a [product] of taste, it has no fundamental bass and if one assigns one to it, it is only in order to satisfy oneself in seeing that its origin is most often to be found from supposition. But as this is of no use in practice, it is better to recognize the note of sus- pension as counting for nothing [by itself] and assigning it the funda- mental bass of the consonance which it suspends and which immedi- ately follows it.46

Consequently, a suspension could be analyzed on two lev- els; one could explain its behavior theoretically through suppo-

46Fol. 86. "La note de suspension n'est que de gout, elle n'a point de basse fond. le et si on luy en donne une ce n'est seulement que pour la prouver la satis- faction de voir qu'elle tire le plus souvent son origine de la supposition. Mais comme cela n'est d'aucunne utilitd dans la pratique il vaut mieux en reconnois- sant la note de suspension la compter pour rien et luy donner pour basse fond. le

celle de consonance qu'elle suspend et qui la suit immediatement."

fundamental bass, whereas theoretically it constitutes a change of fundamental bass. In a text which offers practical advice to the beginning musician, Rameau did not see supposition as a crucial explanation; a simple linear description was more ef- ficient. Thus he could write that since

a suspended note is only a [product] of taste, it has no fundamental bass and if one assigns one to it, it is only in order to satisfy oneself in seeing that its origin is most often to be found from supposition. But as this is of no use in practice, it is better to recognize the note of sus- pension as counting for nothing [by itself] and assigning it the funda- mental bass of the consonance which it suspends and which immedi- ately follows it.46

Consequently, a suspension could be analyzed on two lev- els; one could explain its behavior theoretically through suppo-

46Fol. 86. "La note de suspension n'est que de gout, elle n'a point de basse fond. le et si on luy en donne une ce n'est seulement que pour la prouver la satis- faction de voir qu'elle tire le plus souvent son origine de la supposition. Mais comme cela n'est d'aucunne utilitd dans la pratique il vaut mieux en reconnois- sant la note de suspension la compter pour rien et luy donner pour basse fond. le

celle de consonance qu'elle suspend et qui la suit immediatement."

fundamental bass, whereas theoretically it constitutes a change of fundamental bass. In a text which offers practical advice to the beginning musician, Rameau did not see supposition as a crucial explanation; a simple linear description was more ef- ficient. Thus he could write that since

a suspended note is only a [product] of taste, it has no fundamental bass and if one assigns one to it, it is only in order to satisfy oneself in seeing that its origin is most often to be found from supposition. But as this is of no use in practice, it is better to recognize the note of sus- pension as counting for nothing [by itself] and assigning it the funda- mental bass of the consonance which it suspends and which immedi- ately follows it.46

Consequently, a suspension could be analyzed on two lev- els; one could explain its behavior theoretically through suppo-

46Fol. 86. "La note de suspension n'est que de gout, elle n'a point de basse fond. le et si on luy en donne une ce n'est seulement que pour la prouver la satis- faction de voir qu'elle tire le plus souvent son origine de la supposition. Mais comme cela n'est d'aucunne utilitd dans la pratique il vaut mieux en reconnois- sant la note de suspension la compter pour rien et luy donner pour basse fond. le

celle de consonance qu'elle suspend et qui la suit immediatement."

sition, and practically as a melodic displacement. Rameau, as is clear from the lesson immediately preceding the one on the sus- pension, never abandoned his theory of supposition. Indeed, later on in the text, he tried to make a more concrete distinction between the suspension and supposition on the basis of their preparation; all suspensions are prepared "minor" dissonances resolving downwards (e.g. 6, 4, or 9) whereas chords of suppo- sition were unprepared "major" dissonances resolving up- wards (# 7, 7, # 5, and l5).47 But as usual for Rameau, he was inconsistent in applying this distinction.

I will mention one final aspect of Rameau's discussion of the suspension, and that is the interesting distinction he implies analogously to Kirnberger's "wesentlich" and "zufallig" disso- nance. Since Rameau had already shown that certain disso- nances were merely suspensions of a consonance, he realized that this could equally well apply to certain sevenths. The half- diminished seventh on the leading tone, for instance, was not a fundamental seventh if the chord resolved to the tonic; it was a

sition, and practically as a melodic displacement. Rameau, as is clear from the lesson immediately preceding the one on the sus- pension, never abandoned his theory of supposition. Indeed, later on in the text, he tried to make a more concrete distinction between the suspension and supposition on the basis of their preparation; all suspensions are prepared "minor" dissonances resolving downwards (e.g. 6, 4, or 9) whereas chords of suppo- sition were unprepared "major" dissonances resolving up- wards (# 7, 7, # 5, and l5).47 But as usual for Rameau, he was inconsistent in applying this distinction.

I will mention one final aspect of Rameau's discussion of the suspension, and that is the interesting distinction he implies analogously to Kirnberger's "wesentlich" and "zufallig" disso- nance. Since Rameau had already shown that certain disso- nances were merely suspensions of a consonance, he realized that this could equally well apply to certain sevenths. The half- diminished seventh on the leading tone, for instance, was not a fundamental seventh if the chord resolved to the tonic; it was a

sition, and practically as a melodic displacement. Rameau, as is clear from the lesson immediately preceding the one on the sus- pension, never abandoned his theory of supposition. Indeed, later on in the text, he tried to make a more concrete distinction between the suspension and supposition on the basis of their preparation; all suspensions are prepared "minor" dissonances resolving downwards (e.g. 6, 4, or 9) whereas chords of suppo- sition were unprepared "major" dissonances resolving up- wards (# 7, 7, # 5, and l5).47 But as usual for Rameau, he was inconsistent in applying this distinction.

I will mention one final aspect of Rameau's discussion of the suspension, and that is the interesting distinction he implies analogously to Kirnberger's "wesentlich" and "zufallig" disso- nance. Since Rameau had already shown that certain disso- nances were merely suspensions of a consonance, he realized that this could equally well apply to certain sevenths. The half- diminished seventh on the leading tone, for instance, was not a fundamental seventh if the chord resolved to the tonic; it was a

sition, and practically as a melodic displacement. Rameau, as is clear from the lesson immediately preceding the one on the sus- pension, never abandoned his theory of supposition. Indeed, later on in the text, he tried to make a more concrete distinction between the suspension and supposition on the basis of their preparation; all suspensions are prepared "minor" dissonances resolving downwards (e.g. 6, 4, or 9) whereas chords of suppo- sition were unprepared "major" dissonances resolving up- wards (# 7, 7, # 5, and l5).47 But as usual for Rameau, he was inconsistent in applying this distinction.

I will mention one final aspect of Rameau's discussion of the suspension, and that is the interesting distinction he implies analogously to Kirnberger's "wesentlich" and "zufallig" disso- nance. Since Rameau had already shown that certain disso- nances were merely suspensions of a consonance, he realized that this could equally well apply to certain sevenths. The half- diminished seventh on the leading tone, for instance, was not a fundamental seventh if the chord resolved to the tonic; it was a

sition, and practically as a melodic displacement. Rameau, as is clear from the lesson immediately preceding the one on the sus- pension, never abandoned his theory of supposition. Indeed, later on in the text, he tried to make a more concrete distinction between the suspension and supposition on the basis of their preparation; all suspensions are prepared "minor" dissonances resolving downwards (e.g. 6, 4, or 9) whereas chords of suppo- sition were unprepared "major" dissonances resolving up- wards (# 7, 7, # 5, and l5).47 But as usual for Rameau, he was inconsistent in applying this distinction.

I will mention one final aspect of Rameau's discussion of the suspension, and that is the interesting distinction he implies analogously to Kirnberger's "wesentlich" and "zufallig" disso- nance. Since Rameau had already shown that certain disso- nances were merely suspensions of a consonance, he realized that this could equally well apply to certain sevenths. The half- diminished seventh on the leading tone, for instance, was not a fundamental seventh if the chord resolved to the tonic; it was a

sition, and practically as a melodic displacement. Rameau, as is clear from the lesson immediately preceding the one on the sus- pension, never abandoned his theory of supposition. Indeed, later on in the text, he tried to make a more concrete distinction between the suspension and supposition on the basis of their preparation; all suspensions are prepared "minor" dissonances resolving downwards (e.g. 6, 4, or 9) whereas chords of suppo- sition were unprepared "major" dissonances resolving up- wards (# 7, 7, # 5, and l5).47 But as usual for Rameau, he was inconsistent in applying this distinction.

I will mention one final aspect of Rameau's discussion of the suspension, and that is the interesting distinction he implies analogously to Kirnberger's "wesentlich" and "zufallig" disso- nance. Since Rameau had already shown that certain disso- nances were merely suspensions of a consonance, he realized that this could equally well apply to certain sevenths. The half- diminished seventh on the leading tone, for instance, was not a fundamental seventh if the chord resolved to the tonic; it was a

47Fols. 149-50v. 47Fols. 149-50v. 47Fols. 149-50v. 47Fols. 149-50v. 47Fols. 149-50v. 47Fols. 149-50v.

Page 16: Cópia de Rameau's L'Art de La Basse Fondamentale

32 Music Theory Spectrum 32 Music Theory Spectrum 32 Music Theory Spectrum 32 Music Theory Spectrum 32 Music Theory Spectrum 32 Music Theory Spectrum

Example 5 Example 5 Example 5 Example 5 Example 5 Example 5

7 6

fundamental bass

7

7 6

fundamental bass

7

7 6

fundamental bass

7

7 6

fundamental bass

7

7 6

fundamental bass

7

7 6

fundamental bass

7

suspension of the ~ dominante tonique.48 This is illustrated in Example 5. A similar explanation is offered for the diminished seventh chord built upon the leading tone in a minor key as shown in Example 6. It is only when the seventh of the dominante tonique (in this case G) resolves to the third of the tonic that there is a true change of root.49 The Bl, is only a "note de gout" implying a 9-8 suspension, as Rameau concluded in article 10 of part 1.

Rameau extends this concept of non-harmonic tones be- yond the suspension to include passing tones, embellishing tones, appoggiaturas, etc. in lesson 17 of part 2, "Des notes pour le gout du chant." He describes such "notes de gout" as "flowers" which enliven the essential harmonies represented by the fundamental bass.50 He warns the student that "there are again no rules by which one can distinguish with certainty the notes of the harmony from the notes of taste." One can rely upon his ear and experience in this matter. But ultimately, "the

48Fol. 91. 49Fol. 93. 50Fol. 139v.

suspension of the ~ dominante tonique.48 This is illustrated in Example 5. A similar explanation is offered for the diminished seventh chord built upon the leading tone in a minor key as shown in Example 6. It is only when the seventh of the dominante tonique (in this case G) resolves to the third of the tonic that there is a true change of root.49 The Bl, is only a "note de gout" implying a 9-8 suspension, as Rameau concluded in article 10 of part 1.

Rameau extends this concept of non-harmonic tones be- yond the suspension to include passing tones, embellishing tones, appoggiaturas, etc. in lesson 17 of part 2, "Des notes pour le gout du chant." He describes such "notes de gout" as "flowers" which enliven the essential harmonies represented by the fundamental bass.50 He warns the student that "there are again no rules by which one can distinguish with certainty the notes of the harmony from the notes of taste." One can rely upon his ear and experience in this matter. But ultimately, "the

48Fol. 91. 49Fol. 93. 50Fol. 139v.

suspension of the ~ dominante tonique.48 This is illustrated in Example 5. A similar explanation is offered for the diminished seventh chord built upon the leading tone in a minor key as shown in Example 6. It is only when the seventh of the dominante tonique (in this case G) resolves to the third of the tonic that there is a true change of root.49 The Bl, is only a "note de gout" implying a 9-8 suspension, as Rameau concluded in article 10 of part 1.

Rameau extends this concept of non-harmonic tones be- yond the suspension to include passing tones, embellishing tones, appoggiaturas, etc. in lesson 17 of part 2, "Des notes pour le gout du chant." He describes such "notes de gout" as "flowers" which enliven the essential harmonies represented by the fundamental bass.50 He warns the student that "there are again no rules by which one can distinguish with certainty the notes of the harmony from the notes of taste." One can rely upon his ear and experience in this matter. But ultimately, "the

48Fol. 91. 49Fol. 93. 50Fol. 139v.

suspension of the ~ dominante tonique.48 This is illustrated in Example 5. A similar explanation is offered for the diminished seventh chord built upon the leading tone in a minor key as shown in Example 6. It is only when the seventh of the dominante tonique (in this case G) resolves to the third of the tonic that there is a true change of root.49 The Bl, is only a "note de gout" implying a 9-8 suspension, as Rameau concluded in article 10 of part 1.

Rameau extends this concept of non-harmonic tones be- yond the suspension to include passing tones, embellishing tones, appoggiaturas, etc. in lesson 17 of part 2, "Des notes pour le gout du chant." He describes such "notes de gout" as "flowers" which enliven the essential harmonies represented by the fundamental bass.50 He warns the student that "there are again no rules by which one can distinguish with certainty the notes of the harmony from the notes of taste." One can rely upon his ear and experience in this matter. But ultimately, "the

48Fol. 91. 49Fol. 93. 50Fol. 139v.

suspension of the ~ dominante tonique.48 This is illustrated in Example 5. A similar explanation is offered for the diminished seventh chord built upon the leading tone in a minor key as shown in Example 6. It is only when the seventh of the dominante tonique (in this case G) resolves to the third of the tonic that there is a true change of root.49 The Bl, is only a "note de gout" implying a 9-8 suspension, as Rameau concluded in article 10 of part 1.

Rameau extends this concept of non-harmonic tones be- yond the suspension to include passing tones, embellishing tones, appoggiaturas, etc. in lesson 17 of part 2, "Des notes pour le gout du chant." He describes such "notes de gout" as "flowers" which enliven the essential harmonies represented by the fundamental bass.50 He warns the student that "there are again no rules by which one can distinguish with certainty the notes of the harmony from the notes of taste." One can rely upon his ear and experience in this matter. But ultimately, "the

48Fol. 91. 49Fol. 93. 50Fol. 139v.

suspension of the ~ dominante tonique.48 This is illustrated in Example 5. A similar explanation is offered for the diminished seventh chord built upon the leading tone in a minor key as shown in Example 6. It is only when the seventh of the dominante tonique (in this case G) resolves to the third of the tonic that there is a true change of root.49 The Bl, is only a "note de gout" implying a 9-8 suspension, as Rameau concluded in article 10 of part 1.

Rameau extends this concept of non-harmonic tones be- yond the suspension to include passing tones, embellishing tones, appoggiaturas, etc. in lesson 17 of part 2, "Des notes pour le gout du chant." He describes such "notes de gout" as "flowers" which enliven the essential harmonies represented by the fundamental bass.50 He warns the student that "there are again no rules by which one can distinguish with certainty the notes of the harmony from the notes of taste." One can rely upon his ear and experience in this matter. But ultimately, "the

48Fol. 91. 49Fol. 93. 50Fol. 139v.

necessary evidence for this distinction comes uniquely from the fundamental bass. It is the only guide."5'

What then can we conclude from all of this about "The Art of the Fundamental Bass"? What is its significance to our un- derstanding of Rameau? Its meaning, I think is subtle, pointing to a truth which has always been apparent to those who have carefully read Rameau, but too often overlooked by others. And this is the fact that for Rameau, the fundamental bass was a principle derived from and confirmed by musical practice. It was not an a priori postulate demonstrated by mathematical or philosophical arguments to be imposed heavy-handedly from the outside upon music, despite Rameau's own frequent at- tempts to do just that.52 This does not diminish the value of his

5lFol. 140. "II n'y a point encore de regle par laquelle on puisse distingue avec certitude les notes d'harmonie, des notes de gout . .. L'evidence neces- saire a cette distinction tient uniquement a la basse fond.le. Elle y est le seul guide assure."

521 have developed this argument in some detail in my dissertation, "Sci- ence and Music Theory in the Enlightenment: d'Alembert's Critique of Ra- meau" (Ph.D. dissertation, Yale University, 1985), particularly in chapter 5, "Rameau: the Rational Theorist as Empiricist," pp. 187-230.

necessary evidence for this distinction comes uniquely from the fundamental bass. It is the only guide."5'

What then can we conclude from all of this about "The Art of the Fundamental Bass"? What is its significance to our un- derstanding of Rameau? Its meaning, I think is subtle, pointing to a truth which has always been apparent to those who have carefully read Rameau, but too often overlooked by others. And this is the fact that for Rameau, the fundamental bass was a principle derived from and confirmed by musical practice. It was not an a priori postulate demonstrated by mathematical or philosophical arguments to be imposed heavy-handedly from the outside upon music, despite Rameau's own frequent at- tempts to do just that.52 This does not diminish the value of his

5lFol. 140. "II n'y a point encore de regle par laquelle on puisse distingue avec certitude les notes d'harmonie, des notes de gout . .. L'evidence neces- saire a cette distinction tient uniquement a la basse fond.le. Elle y est le seul guide assure."

521 have developed this argument in some detail in my dissertation, "Sci- ence and Music Theory in the Enlightenment: d'Alembert's Critique of Ra- meau" (Ph.D. dissertation, Yale University, 1985), particularly in chapter 5, "Rameau: the Rational Theorist as Empiricist," pp. 187-230.

necessary evidence for this distinction comes uniquely from the fundamental bass. It is the only guide."5'

What then can we conclude from all of this about "The Art of the Fundamental Bass"? What is its significance to our un- derstanding of Rameau? Its meaning, I think is subtle, pointing to a truth which has always been apparent to those who have carefully read Rameau, but too often overlooked by others. And this is the fact that for Rameau, the fundamental bass was a principle derived from and confirmed by musical practice. It was not an a priori postulate demonstrated by mathematical or philosophical arguments to be imposed heavy-handedly from the outside upon music, despite Rameau's own frequent at- tempts to do just that.52 This does not diminish the value of his

5lFol. 140. "II n'y a point encore de regle par laquelle on puisse distingue avec certitude les notes d'harmonie, des notes de gout . .. L'evidence neces- saire a cette distinction tient uniquement a la basse fond.le. Elle y est le seul guide assure."

521 have developed this argument in some detail in my dissertation, "Sci- ence and Music Theory in the Enlightenment: d'Alembert's Critique of Ra- meau" (Ph.D. dissertation, Yale University, 1985), particularly in chapter 5, "Rameau: the Rational Theorist as Empiricist," pp. 187-230.

necessary evidence for this distinction comes uniquely from the fundamental bass. It is the only guide."5'

What then can we conclude from all of this about "The Art of the Fundamental Bass"? What is its significance to our un- derstanding of Rameau? Its meaning, I think is subtle, pointing to a truth which has always been apparent to those who have carefully read Rameau, but too often overlooked by others. And this is the fact that for Rameau, the fundamental bass was a principle derived from and confirmed by musical practice. It was not an a priori postulate demonstrated by mathematical or philosophical arguments to be imposed heavy-handedly from the outside upon music, despite Rameau's own frequent at- tempts to do just that.52 This does not diminish the value of his

5lFol. 140. "II n'y a point encore de regle par laquelle on puisse distingue avec certitude les notes d'harmonie, des notes de gout . .. L'evidence neces- saire a cette distinction tient uniquement a la basse fond.le. Elle y est le seul guide assure."

521 have developed this argument in some detail in my dissertation, "Sci- ence and Music Theory in the Enlightenment: d'Alembert's Critique of Ra- meau" (Ph.D. dissertation, Yale University, 1985), particularly in chapter 5, "Rameau: the Rational Theorist as Empiricist," pp. 187-230.

necessary evidence for this distinction comes uniquely from the fundamental bass. It is the only guide."5'

What then can we conclude from all of this about "The Art of the Fundamental Bass"? What is its significance to our un- derstanding of Rameau? Its meaning, I think is subtle, pointing to a truth which has always been apparent to those who have carefully read Rameau, but too often overlooked by others. And this is the fact that for Rameau, the fundamental bass was a principle derived from and confirmed by musical practice. It was not an a priori postulate demonstrated by mathematical or philosophical arguments to be imposed heavy-handedly from the outside upon music, despite Rameau's own frequent at- tempts to do just that.52 This does not diminish the value of his

5lFol. 140. "II n'y a point encore de regle par laquelle on puisse distingue avec certitude les notes d'harmonie, des notes de gout . .. L'evidence neces- saire a cette distinction tient uniquement a la basse fond.le. Elle y est le seul guide assure."

521 have developed this argument in some detail in my dissertation, "Sci- ence and Music Theory in the Enlightenment: d'Alembert's Critique of Ra- meau" (Ph.D. dissertation, Yale University, 1985), particularly in chapter 5, "Rameau: the Rational Theorist as Empiricist," pp. 187-230.

necessary evidence for this distinction comes uniquely from the fundamental bass. It is the only guide."5'

What then can we conclude from all of this about "The Art of the Fundamental Bass"? What is its significance to our un- derstanding of Rameau? Its meaning, I think is subtle, pointing to a truth which has always been apparent to those who have carefully read Rameau, but too often overlooked by others. And this is the fact that for Rameau, the fundamental bass was a principle derived from and confirmed by musical practice. It was not an a priori postulate demonstrated by mathematical or philosophical arguments to be imposed heavy-handedly from the outside upon music, despite Rameau's own frequent at- tempts to do just that.52 This does not diminish the value of his

5lFol. 140. "II n'y a point encore de regle par laquelle on puisse distingue avec certitude les notes d'harmonie, des notes de gout . .. L'evidence neces- saire a cette distinction tient uniquement a la basse fond.le. Elle y est le seul guide assure."

521 have developed this argument in some detail in my dissertation, "Sci- ence and Music Theory in the Enlightenment: d'Alembert's Critique of Ra- meau" (Ph.D. dissertation, Yale University, 1985), particularly in chapter 5, "Rameau: the Rational Theorist as Empiricist," pp. 187-230.

Example 6 Example 6 Example 6 Example 6 Example 6 Example 6

~ i - 1

7.

T) :

11- d

7

9: I 1

~ i - 1

7.

T) :

11- d

7

9: I 1

~ i - 1

7.

T) :

11- d

7

9: I 1

~ i - 1

7.

T) :

11- d

7

9: I 1

~ i - 1

7.

T) :

11- d

7

9: I 1

~ i - 1

7.

T) :

11- d

7

9: I 1

Page 17: Cópia de Rameau's L'Art de La Basse Fondamentale

Rameau's "L'Art de la Basse Fondamentale" 33 Rameau's "L'Art de la Basse Fondamentale" 33 Rameau's "L'Art de la Basse Fondamentale" 33 Rameau's "L'Art de la Basse Fondamentale" 33 Rameau's "L'Art de la Basse Fondamentale" 33 Rameau's "L'Art de la Basse Fondamentale" 33

theoretical arguments, a point to which I shall return. But Ra- meau recognized that any scientific demonstration of the fun- damental bass, no matter how powerful, could not convince skeptical musicians of its validity; it must be first of all an empir- ically perceivable element in music. This is why in "The Art of the Fundamental Bass" he places so much emphasis upon the intuitive perception of the fundamental bass. On page after page, he continually exhorts the student to follow his musical instinct and hear the fundamental bass in all harmonic and me- lodic progressions, to sing it against the basso continuo and me- lodic lines, to let it become ingrained into his musical con- sciousness. Here was the musician's true "demonstration."

The fundamental bass could never be considered a handy compositional tool for the student. It is true that Rameau occa- sionally prescribed some simplistic formulas (such as his recom- mendation in lesson 16 of part 1 that the student work back- wards from a cadence and compose the fundamental bass in retrograde to assure that the desired harmonic goal is properly approached).53 But any simple mechanical reduction of compo- sitional practice is belied by the hundreds of individual cases Rameau describes in the text. Everywhere he sought to instill in the student the "esprit de variete."54 Early in the manuscript he reminds the student that there is no one proper fundamental bass progression for a given melody, nor any one right melody for every fundamental bass. The student must seek as many al- ternatives as possible, to exercise his imagination. Abstract

knowledge, Rameau reminds the student at the end of one les- son, is no substitute for practice.

It is more important to accustom the ear to good models in music, but also by art which must precede [it] and which offers the means to suc- ceed. There is no doubt that the [method here] is only a short sum- mary of many of these ways.55

53Also suggested in the Generation harmonique, 206.

54E.g. fol. 117. 55Fol. 78v. "II faut de plus y accoutumer l'orielle par de bons modeles en

theoretical arguments, a point to which I shall return. But Ra- meau recognized that any scientific demonstration of the fun- damental bass, no matter how powerful, could not convince skeptical musicians of its validity; it must be first of all an empir- ically perceivable element in music. This is why in "The Art of the Fundamental Bass" he places so much emphasis upon the intuitive perception of the fundamental bass. On page after page, he continually exhorts the student to follow his musical instinct and hear the fundamental bass in all harmonic and me- lodic progressions, to sing it against the basso continuo and me- lodic lines, to let it become ingrained into his musical con- sciousness. Here was the musician's true "demonstration."

The fundamental bass could never be considered a handy compositional tool for the student. It is true that Rameau occa- sionally prescribed some simplistic formulas (such as his recom- mendation in lesson 16 of part 1 that the student work back- wards from a cadence and compose the fundamental bass in retrograde to assure that the desired harmonic goal is properly approached).53 But any simple mechanical reduction of compo- sitional practice is belied by the hundreds of individual cases Rameau describes in the text. Everywhere he sought to instill in the student the "esprit de variete."54 Early in the manuscript he reminds the student that there is no one proper fundamental bass progression for a given melody, nor any one right melody for every fundamental bass. The student must seek as many al- ternatives as possible, to exercise his imagination. Abstract

knowledge, Rameau reminds the student at the end of one les- son, is no substitute for practice.

It is more important to accustom the ear to good models in music, but also by art which must precede [it] and which offers the means to suc- ceed. There is no doubt that the [method here] is only a short sum- mary of many of these ways.55

53Also suggested in the Generation harmonique, 206.

54E.g. fol. 117. 55Fol. 78v. "II faut de plus y accoutumer l'orielle par de bons modeles en

theoretical arguments, a point to which I shall return. But Ra- meau recognized that any scientific demonstration of the fun- damental bass, no matter how powerful, could not convince skeptical musicians of its validity; it must be first of all an empir- ically perceivable element in music. This is why in "The Art of the Fundamental Bass" he places so much emphasis upon the intuitive perception of the fundamental bass. On page after page, he continually exhorts the student to follow his musical instinct and hear the fundamental bass in all harmonic and me- lodic progressions, to sing it against the basso continuo and me- lodic lines, to let it become ingrained into his musical con- sciousness. Here was the musician's true "demonstration."

The fundamental bass could never be considered a handy compositional tool for the student. It is true that Rameau occa- sionally prescribed some simplistic formulas (such as his recom- mendation in lesson 16 of part 1 that the student work back- wards from a cadence and compose the fundamental bass in retrograde to assure that the desired harmonic goal is properly approached).53 But any simple mechanical reduction of compo- sitional practice is belied by the hundreds of individual cases Rameau describes in the text. Everywhere he sought to instill in the student the "esprit de variete."54 Early in the manuscript he reminds the student that there is no one proper fundamental bass progression for a given melody, nor any one right melody for every fundamental bass. The student must seek as many al- ternatives as possible, to exercise his imagination. Abstract

knowledge, Rameau reminds the student at the end of one les- son, is no substitute for practice.

It is more important to accustom the ear to good models in music, but also by art which must precede [it] and which offers the means to suc- ceed. There is no doubt that the [method here] is only a short sum- mary of many of these ways.55

53Also suggested in the Generation harmonique, 206.

54E.g. fol. 117. 55Fol. 78v. "II faut de plus y accoutumer l'orielle par de bons modeles en

theoretical arguments, a point to which I shall return. But Ra- meau recognized that any scientific demonstration of the fun- damental bass, no matter how powerful, could not convince skeptical musicians of its validity; it must be first of all an empir- ically perceivable element in music. This is why in "The Art of the Fundamental Bass" he places so much emphasis upon the intuitive perception of the fundamental bass. On page after page, he continually exhorts the student to follow his musical instinct and hear the fundamental bass in all harmonic and me- lodic progressions, to sing it against the basso continuo and me- lodic lines, to let it become ingrained into his musical con- sciousness. Here was the musician's true "demonstration."

The fundamental bass could never be considered a handy compositional tool for the student. It is true that Rameau occa- sionally prescribed some simplistic formulas (such as his recom- mendation in lesson 16 of part 1 that the student work back- wards from a cadence and compose the fundamental bass in retrograde to assure that the desired harmonic goal is properly approached).53 But any simple mechanical reduction of compo- sitional practice is belied by the hundreds of individual cases Rameau describes in the text. Everywhere he sought to instill in the student the "esprit de variete."54 Early in the manuscript he reminds the student that there is no one proper fundamental bass progression for a given melody, nor any one right melody for every fundamental bass. The student must seek as many al- ternatives as possible, to exercise his imagination. Abstract

knowledge, Rameau reminds the student at the end of one les- son, is no substitute for practice.

It is more important to accustom the ear to good models in music, but also by art which must precede [it] and which offers the means to suc- ceed. There is no doubt that the [method here] is only a short sum- mary of many of these ways.55

53Also suggested in the Generation harmonique, 206.

54E.g. fol. 117. 55Fol. 78v. "II faut de plus y accoutumer l'orielle par de bons modeles en

theoretical arguments, a point to which I shall return. But Ra- meau recognized that any scientific demonstration of the fun- damental bass, no matter how powerful, could not convince skeptical musicians of its validity; it must be first of all an empir- ically perceivable element in music. This is why in "The Art of the Fundamental Bass" he places so much emphasis upon the intuitive perception of the fundamental bass. On page after page, he continually exhorts the student to follow his musical instinct and hear the fundamental bass in all harmonic and me- lodic progressions, to sing it against the basso continuo and me- lodic lines, to let it become ingrained into his musical con- sciousness. Here was the musician's true "demonstration."

The fundamental bass could never be considered a handy compositional tool for the student. It is true that Rameau occa- sionally prescribed some simplistic formulas (such as his recom- mendation in lesson 16 of part 1 that the student work back- wards from a cadence and compose the fundamental bass in retrograde to assure that the desired harmonic goal is properly approached).53 But any simple mechanical reduction of compo- sitional practice is belied by the hundreds of individual cases Rameau describes in the text. Everywhere he sought to instill in the student the "esprit de variete."54 Early in the manuscript he reminds the student that there is no one proper fundamental bass progression for a given melody, nor any one right melody for every fundamental bass. The student must seek as many al- ternatives as possible, to exercise his imagination. Abstract

knowledge, Rameau reminds the student at the end of one les- son, is no substitute for practice.

It is more important to accustom the ear to good models in music, but also by art which must precede [it] and which offers the means to suc- ceed. There is no doubt that the [method here] is only a short sum- mary of many of these ways.55

53Also suggested in the Generation harmonique, 206.

54E.g. fol. 117. 55Fol. 78v. "II faut de plus y accoutumer l'orielle par de bons modeles en

theoretical arguments, a point to which I shall return. But Ra- meau recognized that any scientific demonstration of the fun- damental bass, no matter how powerful, could not convince skeptical musicians of its validity; it must be first of all an empir- ically perceivable element in music. This is why in "The Art of the Fundamental Bass" he places so much emphasis upon the intuitive perception of the fundamental bass. On page after page, he continually exhorts the student to follow his musical instinct and hear the fundamental bass in all harmonic and me- lodic progressions, to sing it against the basso continuo and me- lodic lines, to let it become ingrained into his musical con- sciousness. Here was the musician's true "demonstration."

The fundamental bass could never be considered a handy compositional tool for the student. It is true that Rameau occa- sionally prescribed some simplistic formulas (such as his recom- mendation in lesson 16 of part 1 that the student work back- wards from a cadence and compose the fundamental bass in retrograde to assure that the desired harmonic goal is properly approached).53 But any simple mechanical reduction of compo- sitional practice is belied by the hundreds of individual cases Rameau describes in the text. Everywhere he sought to instill in the student the "esprit de variete."54 Early in the manuscript he reminds the student that there is no one proper fundamental bass progression for a given melody, nor any one right melody for every fundamental bass. The student must seek as many al- ternatives as possible, to exercise his imagination. Abstract

knowledge, Rameau reminds the student at the end of one les- son, is no substitute for practice.

It is more important to accustom the ear to good models in music, but also by art which must precede [it] and which offers the means to suc- ceed. There is no doubt that the [method here] is only a short sum- mary of many of these ways.55

53Also suggested in the Generation harmonique, 206.

54E.g. fol. 117. 55Fol. 78v. "II faut de plus y accoutumer l'orielle par de bons modeles en

Taste, experience, genius, and passion-all these favorite qual- ities of French Enlightenment aesthetics were still required for the successful musician. This was a text entitled, after all, "The Art of the Fundamental Bass."56

"The Art of the Fundamental Bass" is also an important document for what it reveals about the chronology of Ra- meau's theories. While, as we have seen, he introduces no radi- cally new theories here, he does clarify certain concepts, and in the case of modulation and the suspension, he introduces ex- planations which anticipate by twenty years those found in the Code de musique pratique. Consequently those musicologists such as Verba and Shirlaw who have cited the Code as repre- senting an important turning point in Rameau's thinking are mistaken.57 Both the idea of a "ton regnant" and the linear sus- pension as described in the Code were clearly articulated some 20 years earlier in "The Art of the Fundamental Bass." But this raises a new issue. In works such as the Demonstration duprin- cipe de l'harmonie (1750) and the Nouvelles reflexions of 1752, Rameau returned to the rigidly theoretical and abstract treat- ment of harmony characteristic of his earlier publications. Many of the ideas and descriptions sketched out in the "Art" were abandoned, only to be resurrected in the Code of 1760. How are we to understand such back-peddling? What sense can

musique, mais aussy l'art qu'on en prevenu, et quoy servis les moyens d'y reus- sir. II n'y a pas de doute que cela n'est un abrege de beaucoup les voyes."

56Relevant to this point is Jacobi's misconstrual regarding the Code de mu-

sique, inferring that the title "betrayed [Rameau's] intention to stand as "leg- islateur" for all important questions of practical music comparable to a Moses for music, standing as a mediator between his God and his people, to whom he

brings the law" (Complete Theoretical Writings, 6, XXIX). The entire tenor of the Code-as with the "Art"-betrays such an inference, as Rameau repeat- edly stresses, as we have seen, the impossibility of reducing compositional practice to inflexible laws.

57Verba, "Rameau's Views," 478-79. Matthew Shirlaw, The Theory of Harmony (London, 1917; reprint 1969), 257.

Taste, experience, genius, and passion-all these favorite qual- ities of French Enlightenment aesthetics were still required for the successful musician. This was a text entitled, after all, "The Art of the Fundamental Bass."56

"The Art of the Fundamental Bass" is also an important document for what it reveals about the chronology of Ra- meau's theories. While, as we have seen, he introduces no radi- cally new theories here, he does clarify certain concepts, and in the case of modulation and the suspension, he introduces ex- planations which anticipate by twenty years those found in the Code de musique pratique. Consequently those musicologists such as Verba and Shirlaw who have cited the Code as repre- senting an important turning point in Rameau's thinking are mistaken.57 Both the idea of a "ton regnant" and the linear sus- pension as described in the Code were clearly articulated some 20 years earlier in "The Art of the Fundamental Bass." But this raises a new issue. In works such as the Demonstration duprin- cipe de l'harmonie (1750) and the Nouvelles reflexions of 1752, Rameau returned to the rigidly theoretical and abstract treat- ment of harmony characteristic of his earlier publications. Many of the ideas and descriptions sketched out in the "Art" were abandoned, only to be resurrected in the Code of 1760. How are we to understand such back-peddling? What sense can

musique, mais aussy l'art qu'on en prevenu, et quoy servis les moyens d'y reus- sir. II n'y a pas de doute que cela n'est un abrege de beaucoup les voyes."

56Relevant to this point is Jacobi's misconstrual regarding the Code de mu-

sique, inferring that the title "betrayed [Rameau's] intention to stand as "leg- islateur" for all important questions of practical music comparable to a Moses for music, standing as a mediator between his God and his people, to whom he

brings the law" (Complete Theoretical Writings, 6, XXIX). The entire tenor of the Code-as with the "Art"-betrays such an inference, as Rameau repeat- edly stresses, as we have seen, the impossibility of reducing compositional practice to inflexible laws.

57Verba, "Rameau's Views," 478-79. Matthew Shirlaw, The Theory of Harmony (London, 1917; reprint 1969), 257.

Taste, experience, genius, and passion-all these favorite qual- ities of French Enlightenment aesthetics were still required for the successful musician. This was a text entitled, after all, "The Art of the Fundamental Bass."56

"The Art of the Fundamental Bass" is also an important document for what it reveals about the chronology of Ra- meau's theories. While, as we have seen, he introduces no radi- cally new theories here, he does clarify certain concepts, and in the case of modulation and the suspension, he introduces ex- planations which anticipate by twenty years those found in the Code de musique pratique. Consequently those musicologists such as Verba and Shirlaw who have cited the Code as repre- senting an important turning point in Rameau's thinking are mistaken.57 Both the idea of a "ton regnant" and the linear sus- pension as described in the Code were clearly articulated some 20 years earlier in "The Art of the Fundamental Bass." But this raises a new issue. In works such as the Demonstration duprin- cipe de l'harmonie (1750) and the Nouvelles reflexions of 1752, Rameau returned to the rigidly theoretical and abstract treat- ment of harmony characteristic of his earlier publications. Many of the ideas and descriptions sketched out in the "Art" were abandoned, only to be resurrected in the Code of 1760. How are we to understand such back-peddling? What sense can

musique, mais aussy l'art qu'on en prevenu, et quoy servis les moyens d'y reus- sir. II n'y a pas de doute que cela n'est un abrege de beaucoup les voyes."

56Relevant to this point is Jacobi's misconstrual regarding the Code de mu-

sique, inferring that the title "betrayed [Rameau's] intention to stand as "leg- islateur" for all important questions of practical music comparable to a Moses for music, standing as a mediator between his God and his people, to whom he

brings the law" (Complete Theoretical Writings, 6, XXIX). The entire tenor of the Code-as with the "Art"-betrays such an inference, as Rameau repeat- edly stresses, as we have seen, the impossibility of reducing compositional practice to inflexible laws.

57Verba, "Rameau's Views," 478-79. Matthew Shirlaw, The Theory of Harmony (London, 1917; reprint 1969), 257.

Taste, experience, genius, and passion-all these favorite qual- ities of French Enlightenment aesthetics were still required for the successful musician. This was a text entitled, after all, "The Art of the Fundamental Bass."56

"The Art of the Fundamental Bass" is also an important document for what it reveals about the chronology of Ra- meau's theories. While, as we have seen, he introduces no radi- cally new theories here, he does clarify certain concepts, and in the case of modulation and the suspension, he introduces ex- planations which anticipate by twenty years those found in the Code de musique pratique. Consequently those musicologists such as Verba and Shirlaw who have cited the Code as repre- senting an important turning point in Rameau's thinking are mistaken.57 Both the idea of a "ton regnant" and the linear sus- pension as described in the Code were clearly articulated some 20 years earlier in "The Art of the Fundamental Bass." But this raises a new issue. In works such as the Demonstration duprin- cipe de l'harmonie (1750) and the Nouvelles reflexions of 1752, Rameau returned to the rigidly theoretical and abstract treat- ment of harmony characteristic of his earlier publications. Many of the ideas and descriptions sketched out in the "Art" were abandoned, only to be resurrected in the Code of 1760. How are we to understand such back-peddling? What sense can

musique, mais aussy l'art qu'on en prevenu, et quoy servis les moyens d'y reus- sir. II n'y a pas de doute que cela n'est un abrege de beaucoup les voyes."

56Relevant to this point is Jacobi's misconstrual regarding the Code de mu-

sique, inferring that the title "betrayed [Rameau's] intention to stand as "leg- islateur" for all important questions of practical music comparable to a Moses for music, standing as a mediator between his God and his people, to whom he

brings the law" (Complete Theoretical Writings, 6, XXIX). The entire tenor of the Code-as with the "Art"-betrays such an inference, as Rameau repeat- edly stresses, as we have seen, the impossibility of reducing compositional practice to inflexible laws.

57Verba, "Rameau's Views," 478-79. Matthew Shirlaw, The Theory of Harmony (London, 1917; reprint 1969), 257.

Taste, experience, genius, and passion-all these favorite qual- ities of French Enlightenment aesthetics were still required for the successful musician. This was a text entitled, after all, "The Art of the Fundamental Bass."56

"The Art of the Fundamental Bass" is also an important document for what it reveals about the chronology of Ra- meau's theories. While, as we have seen, he introduces no radi- cally new theories here, he does clarify certain concepts, and in the case of modulation and the suspension, he introduces ex- planations which anticipate by twenty years those found in the Code de musique pratique. Consequently those musicologists such as Verba and Shirlaw who have cited the Code as repre- senting an important turning point in Rameau's thinking are mistaken.57 Both the idea of a "ton regnant" and the linear sus- pension as described in the Code were clearly articulated some 20 years earlier in "The Art of the Fundamental Bass." But this raises a new issue. In works such as the Demonstration duprin- cipe de l'harmonie (1750) and the Nouvelles reflexions of 1752, Rameau returned to the rigidly theoretical and abstract treat- ment of harmony characteristic of his earlier publications. Many of the ideas and descriptions sketched out in the "Art" were abandoned, only to be resurrected in the Code of 1760. How are we to understand such back-peddling? What sense can

musique, mais aussy l'art qu'on en prevenu, et quoy servis les moyens d'y reus- sir. II n'y a pas de doute que cela n'est un abrege de beaucoup les voyes."

56Relevant to this point is Jacobi's misconstrual regarding the Code de mu-

sique, inferring that the title "betrayed [Rameau's] intention to stand as "leg- islateur" for all important questions of practical music comparable to a Moses for music, standing as a mediator between his God and his people, to whom he

brings the law" (Complete Theoretical Writings, 6, XXIX). The entire tenor of the Code-as with the "Art"-betrays such an inference, as Rameau repeat- edly stresses, as we have seen, the impossibility of reducing compositional practice to inflexible laws.

57Verba, "Rameau's Views," 478-79. Matthew Shirlaw, The Theory of Harmony (London, 1917; reprint 1969), 257.

Taste, experience, genius, and passion-all these favorite qual- ities of French Enlightenment aesthetics were still required for the successful musician. This was a text entitled, after all, "The Art of the Fundamental Bass."56

"The Art of the Fundamental Bass" is also an important document for what it reveals about the chronology of Ra- meau's theories. While, as we have seen, he introduces no radi- cally new theories here, he does clarify certain concepts, and in the case of modulation and the suspension, he introduces ex- planations which anticipate by twenty years those found in the Code de musique pratique. Consequently those musicologists such as Verba and Shirlaw who have cited the Code as repre- senting an important turning point in Rameau's thinking are mistaken.57 Both the idea of a "ton regnant" and the linear sus- pension as described in the Code were clearly articulated some 20 years earlier in "The Art of the Fundamental Bass." But this raises a new issue. In works such as the Demonstration duprin- cipe de l'harmonie (1750) and the Nouvelles reflexions of 1752, Rameau returned to the rigidly theoretical and abstract treat- ment of harmony characteristic of his earlier publications. Many of the ideas and descriptions sketched out in the "Art" were abandoned, only to be resurrected in the Code of 1760. How are we to understand such back-peddling? What sense can

musique, mais aussy l'art qu'on en prevenu, et quoy servis les moyens d'y reus- sir. II n'y a pas de doute que cela n'est un abrege de beaucoup les voyes."

56Relevant to this point is Jacobi's misconstrual regarding the Code de mu-

sique, inferring that the title "betrayed [Rameau's] intention to stand as "leg- islateur" for all important questions of practical music comparable to a Moses for music, standing as a mediator between his God and his people, to whom he

brings the law" (Complete Theoretical Writings, 6, XXIX). The entire tenor of the Code-as with the "Art"-betrays such an inference, as Rameau repeat- edly stresses, as we have seen, the impossibility of reducing compositional practice to inflexible laws.

57Verba, "Rameau's Views," 478-79. Matthew Shirlaw, The Theory of Harmony (London, 1917; reprint 1969), 257.

Page 18: Cópia de Rameau's L'Art de La Basse Fondamentale

34 Music Theory Spectrum 34 Music Theory Spectrum 34 Music Theory Spectrum 34 Music Theory Spectrum 34 Music Theory Spectrum 34 Music Theory Spectrum

we make of these differing, indeed contradictory explanations and approaches he takes in his many writings?

As the question is put above, the only possible answer must reflect unfavorably upon Rameau. But perhaps it is the ques- tion which is misleading. We have become so accustomed by positivist tradition to the evolutionary model, that we only see Rameau's theory as a bizarre succession of twists and turns spanning some fifty years. And of course, from this point of view, we cannot help but conclude with Shirlaw that Rameau was an inconsistent, contradictory, and fickle-minded thinker who despite all his brilliant insights was continually changing his mind and was never able to settle upon any one theoretical explanation. Yet without denying that these characterizations contain not a little truth in them, I would suggest that Rameau's many writings would make a good deal more sense taken to- gether if we abandoned our evolutionary model and instead substituted a dialectic model. For Rameau, this dialectic con- sisted of the reconciliation of the exigencies of practice and the- ory to account for the "dirty details" of empirical practice while providing a comprehensive and logically rigorous theoretical system. To be sure, this is the universal challenge of any theory construction. But no music theorist every pursued this dialectic so intently and consistently as did Rameau. With the possible exception of Schoenberg, never were the roles of composer and theorist more intimately and inextricably intertwined than in the person of Rameau.

I have emphasized that "The Art of the Fundamental Bass"

represents the "practical" side of this dialectic. When we con- sider all of Rameau's major published writings and manuscripts together as shown in Table 1, we see clearly how this intermin-

gling of practice with theory was an ongoing process through- out his life. The striking changes or contradictions we find in his

publications are really all part of a continual process of dialectic mediation. We have seen that in his "practical" works, Ra- meau loosens his rigorously theoretical treatment of topics such as modulation and the suspension in favor of a description we

we make of these differing, indeed contradictory explanations and approaches he takes in his many writings?

As the question is put above, the only possible answer must reflect unfavorably upon Rameau. But perhaps it is the ques- tion which is misleading. We have become so accustomed by positivist tradition to the evolutionary model, that we only see Rameau's theory as a bizarre succession of twists and turns spanning some fifty years. And of course, from this point of view, we cannot help but conclude with Shirlaw that Rameau was an inconsistent, contradictory, and fickle-minded thinker who despite all his brilliant insights was continually changing his mind and was never able to settle upon any one theoretical explanation. Yet without denying that these characterizations contain not a little truth in them, I would suggest that Rameau's many writings would make a good deal more sense taken to- gether if we abandoned our evolutionary model and instead substituted a dialectic model. For Rameau, this dialectic con- sisted of the reconciliation of the exigencies of practice and the- ory to account for the "dirty details" of empirical practice while providing a comprehensive and logically rigorous theoretical system. To be sure, this is the universal challenge of any theory construction. But no music theorist every pursued this dialectic so intently and consistently as did Rameau. With the possible exception of Schoenberg, never were the roles of composer and theorist more intimately and inextricably intertwined than in the person of Rameau.

I have emphasized that "The Art of the Fundamental Bass"

represents the "practical" side of this dialectic. When we con- sider all of Rameau's major published writings and manuscripts together as shown in Table 1, we see clearly how this intermin-

gling of practice with theory was an ongoing process through- out his life. The striking changes or contradictions we find in his

publications are really all part of a continual process of dialectic mediation. We have seen that in his "practical" works, Ra- meau loosens his rigorously theoretical treatment of topics such as modulation and the suspension in favor of a description we

we make of these differing, indeed contradictory explanations and approaches he takes in his many writings?

As the question is put above, the only possible answer must reflect unfavorably upon Rameau. But perhaps it is the ques- tion which is misleading. We have become so accustomed by positivist tradition to the evolutionary model, that we only see Rameau's theory as a bizarre succession of twists and turns spanning some fifty years. And of course, from this point of view, we cannot help but conclude with Shirlaw that Rameau was an inconsistent, contradictory, and fickle-minded thinker who despite all his brilliant insights was continually changing his mind and was never able to settle upon any one theoretical explanation. Yet without denying that these characterizations contain not a little truth in them, I would suggest that Rameau's many writings would make a good deal more sense taken to- gether if we abandoned our evolutionary model and instead substituted a dialectic model. For Rameau, this dialectic con- sisted of the reconciliation of the exigencies of practice and the- ory to account for the "dirty details" of empirical practice while providing a comprehensive and logically rigorous theoretical system. To be sure, this is the universal challenge of any theory construction. But no music theorist every pursued this dialectic so intently and consistently as did Rameau. With the possible exception of Schoenberg, never were the roles of composer and theorist more intimately and inextricably intertwined than in the person of Rameau.

I have emphasized that "The Art of the Fundamental Bass"

represents the "practical" side of this dialectic. When we con- sider all of Rameau's major published writings and manuscripts together as shown in Table 1, we see clearly how this intermin-

gling of practice with theory was an ongoing process through- out his life. The striking changes or contradictions we find in his

publications are really all part of a continual process of dialectic mediation. We have seen that in his "practical" works, Ra- meau loosens his rigorously theoretical treatment of topics such as modulation and the suspension in favor of a description we

we make of these differing, indeed contradictory explanations and approaches he takes in his many writings?

As the question is put above, the only possible answer must reflect unfavorably upon Rameau. But perhaps it is the ques- tion which is misleading. We have become so accustomed by positivist tradition to the evolutionary model, that we only see Rameau's theory as a bizarre succession of twists and turns spanning some fifty years. And of course, from this point of view, we cannot help but conclude with Shirlaw that Rameau was an inconsistent, contradictory, and fickle-minded thinker who despite all his brilliant insights was continually changing his mind and was never able to settle upon any one theoretical explanation. Yet without denying that these characterizations contain not a little truth in them, I would suggest that Rameau's many writings would make a good deal more sense taken to- gether if we abandoned our evolutionary model and instead substituted a dialectic model. For Rameau, this dialectic con- sisted of the reconciliation of the exigencies of practice and the- ory to account for the "dirty details" of empirical practice while providing a comprehensive and logically rigorous theoretical system. To be sure, this is the universal challenge of any theory construction. But no music theorist every pursued this dialectic so intently and consistently as did Rameau. With the possible exception of Schoenberg, never were the roles of composer and theorist more intimately and inextricably intertwined than in the person of Rameau.

I have emphasized that "The Art of the Fundamental Bass"

represents the "practical" side of this dialectic. When we con- sider all of Rameau's major published writings and manuscripts together as shown in Table 1, we see clearly how this intermin-

gling of practice with theory was an ongoing process through- out his life. The striking changes or contradictions we find in his

publications are really all part of a continual process of dialectic mediation. We have seen that in his "practical" works, Ra- meau loosens his rigorously theoretical treatment of topics such as modulation and the suspension in favor of a description we

we make of these differing, indeed contradictory explanations and approaches he takes in his many writings?

As the question is put above, the only possible answer must reflect unfavorably upon Rameau. But perhaps it is the ques- tion which is misleading. We have become so accustomed by positivist tradition to the evolutionary model, that we only see Rameau's theory as a bizarre succession of twists and turns spanning some fifty years. And of course, from this point of view, we cannot help but conclude with Shirlaw that Rameau was an inconsistent, contradictory, and fickle-minded thinker who despite all his brilliant insights was continually changing his mind and was never able to settle upon any one theoretical explanation. Yet without denying that these characterizations contain not a little truth in them, I would suggest that Rameau's many writings would make a good deal more sense taken to- gether if we abandoned our evolutionary model and instead substituted a dialectic model. For Rameau, this dialectic con- sisted of the reconciliation of the exigencies of practice and the- ory to account for the "dirty details" of empirical practice while providing a comprehensive and logically rigorous theoretical system. To be sure, this is the universal challenge of any theory construction. But no music theorist every pursued this dialectic so intently and consistently as did Rameau. With the possible exception of Schoenberg, never were the roles of composer and theorist more intimately and inextricably intertwined than in the person of Rameau.

I have emphasized that "The Art of the Fundamental Bass"

represents the "practical" side of this dialectic. When we con- sider all of Rameau's major published writings and manuscripts together as shown in Table 1, we see clearly how this intermin-

gling of practice with theory was an ongoing process through- out his life. The striking changes or contradictions we find in his

publications are really all part of a continual process of dialectic mediation. We have seen that in his "practical" works, Ra- meau loosens his rigorously theoretical treatment of topics such as modulation and the suspension in favor of a description we

we make of these differing, indeed contradictory explanations and approaches he takes in his many writings?

As the question is put above, the only possible answer must reflect unfavorably upon Rameau. But perhaps it is the ques- tion which is misleading. We have become so accustomed by positivist tradition to the evolutionary model, that we only see Rameau's theory as a bizarre succession of twists and turns spanning some fifty years. And of course, from this point of view, we cannot help but conclude with Shirlaw that Rameau was an inconsistent, contradictory, and fickle-minded thinker who despite all his brilliant insights was continually changing his mind and was never able to settle upon any one theoretical explanation. Yet without denying that these characterizations contain not a little truth in them, I would suggest that Rameau's many writings would make a good deal more sense taken to- gether if we abandoned our evolutionary model and instead substituted a dialectic model. For Rameau, this dialectic con- sisted of the reconciliation of the exigencies of practice and the- ory to account for the "dirty details" of empirical practice while providing a comprehensive and logically rigorous theoretical system. To be sure, this is the universal challenge of any theory construction. But no music theorist every pursued this dialectic so intently and consistently as did Rameau. With the possible exception of Schoenberg, never were the roles of composer and theorist more intimately and inextricably intertwined than in the person of Rameau.

I have emphasized that "The Art of the Fundamental Bass"

represents the "practical" side of this dialectic. When we con- sider all of Rameau's major published writings and manuscripts together as shown in Table 1, we see clearly how this intermin-

gling of practice with theory was an ongoing process through- out his life. The striking changes or contradictions we find in his

publications are really all part of a continual process of dialectic mediation. We have seen that in his "practical" works, Ra- meau loosens his rigorously theoretical treatment of topics such as modulation and the suspension in favor of a description we

Table 1. Rameau's major writings on music Table 1. Rameau's major writings on music Table 1. Rameau's major writings on music Table 1. Rameau's major writings on music Table 1. Rameau's major writings on music Table 1. Rameau's major writings on music

Practical works Date Theoretical works

"Clermont" MSS

Trait6 de l'harmonie 1722 Trait6 de l'harmonie (books 3,4) (books 1,2)

1726 Nouveau systeme de la musique theorique

Dissertation sur les 1732 diff6rentes methodes de l'accompagnement

Generation harmonique 1737 G6n6ration harmonique (ch. 18)

"L'Art de la Basse 1737-44? Fondamentale" MS

1750 Demonstration du principe de l'harmonie

1752 Nouvelles r6flexions

Code de musique 1760 pratique 1763-4 "V6rites egalement

ignorees et interressantes" MS

Practical works Date Theoretical works

"Clermont" MSS

Trait6 de l'harmonie 1722 Trait6 de l'harmonie (books 3,4) (books 1,2)

1726 Nouveau systeme de la musique theorique

Dissertation sur les 1732 diff6rentes methodes de l'accompagnement

Generation harmonique 1737 G6n6ration harmonique (ch. 18)

"L'Art de la Basse 1737-44? Fondamentale" MS

1750 Demonstration du principe de l'harmonie

1752 Nouvelles r6flexions

Code de musique 1760 pratique 1763-4 "V6rites egalement

ignorees et interressantes" MS

Practical works Date Theoretical works

"Clermont" MSS

Trait6 de l'harmonie 1722 Trait6 de l'harmonie (books 3,4) (books 1,2)

1726 Nouveau systeme de la musique theorique

Dissertation sur les 1732 diff6rentes methodes de l'accompagnement

Generation harmonique 1737 G6n6ration harmonique (ch. 18)

"L'Art de la Basse 1737-44? Fondamentale" MS

1750 Demonstration du principe de l'harmonie

1752 Nouvelles r6flexions

Code de musique 1760 pratique 1763-4 "V6rites egalement

ignorees et interressantes" MS

Practical works Date Theoretical works

"Clermont" MSS

Trait6 de l'harmonie 1722 Trait6 de l'harmonie (books 3,4) (books 1,2)

1726 Nouveau systeme de la musique theorique

Dissertation sur les 1732 diff6rentes methodes de l'accompagnement

Generation harmonique 1737 G6n6ration harmonique (ch. 18)

"L'Art de la Basse 1737-44? Fondamentale" MS

1750 Demonstration du principe de l'harmonie

1752 Nouvelles r6flexions

Code de musique 1760 pratique 1763-4 "V6rites egalement

ignorees et interressantes" MS

Practical works Date Theoretical works

"Clermont" MSS

Trait6 de l'harmonie 1722 Trait6 de l'harmonie (books 3,4) (books 1,2)

1726 Nouveau systeme de la musique theorique

Dissertation sur les 1732 diff6rentes methodes de l'accompagnement

Generation harmonique 1737 G6n6ration harmonique (ch. 18)

"L'Art de la Basse 1737-44? Fondamentale" MS

1750 Demonstration du principe de l'harmonie

1752 Nouvelles r6flexions

Code de musique 1760 pratique 1763-4 "V6rites egalement

ignorees et interressantes" MS

Practical works Date Theoretical works

"Clermont" MSS

Trait6 de l'harmonie 1722 Trait6 de l'harmonie (books 3,4) (books 1,2)

1726 Nouveau systeme de la musique theorique

Dissertation sur les 1732 diff6rentes methodes de l'accompagnement

Generation harmonique 1737 G6n6ration harmonique (ch. 18)

"L'Art de la Basse 1737-44? Fondamentale" MS

1750 Demonstration du principe de l'harmonie

1752 Nouvelles r6flexions

Code de musique 1760 pratique 1763-4 "V6rites egalement

ignorees et interressantes" MS

might find at first blush to be more musically immediate. We must not thereby conclude, though, that the theoretical expla- nations are any less valid. This would misconstrue the episte- mological basis of a theory. One does not evaluate a theory

might find at first blush to be more musically immediate. We must not thereby conclude, though, that the theoretical expla- nations are any less valid. This would misconstrue the episte- mological basis of a theory. One does not evaluate a theory

might find at first blush to be more musically immediate. We must not thereby conclude, though, that the theoretical expla- nations are any less valid. This would misconstrue the episte- mological basis of a theory. One does not evaluate a theory

might find at first blush to be more musically immediate. We must not thereby conclude, though, that the theoretical expla- nations are any less valid. This would misconstrue the episte- mological basis of a theory. One does not evaluate a theory

might find at first blush to be more musically immediate. We must not thereby conclude, though, that the theoretical expla- nations are any less valid. This would misconstrue the episte- mological basis of a theory. One does not evaluate a theory

might find at first blush to be more musically immediate. We must not thereby conclude, though, that the theoretical expla- nations are any less valid. This would misconstrue the episte- mological basis of a theory. One does not evaluate a theory

Page 19: Cópia de Rameau's L'Art de La Basse Fondamentale

Rameau's "L'Art de la Basse Fondamentale" 35 Rameau's "L'Art de la Basse Fondamentale" 35 Rameau's "L'Art de la Basse Fondamentale" 35 Rameau's "L'Art de la Basse Fondamentale" 35 Rameau's "L'Art de la Basse Fondamentale" 35 Rameau's "L'Art de la Basse Fondamentale" 35

solely by empirical versimilitude, but also by its heuristic power, its ability to offer an explanatory model or paradigm by means of which the greatest number of empirical phenomena may be plausibly accounted for. And Rameau's fundamental bass meets this criteria. Both the theoretical and the practical analysis of musical events can, and ought to, stand side by side in a precarious dialectic, each drawing support from and con- tributing to the other in a constant symbiosis.

solely by empirical versimilitude, but also by its heuristic power, its ability to offer an explanatory model or paradigm by means of which the greatest number of empirical phenomena may be plausibly accounted for. And Rameau's fundamental bass meets this criteria. Both the theoretical and the practical analysis of musical events can, and ought to, stand side by side in a precarious dialectic, each drawing support from and con- tributing to the other in a constant symbiosis.

solely by empirical versimilitude, but also by its heuristic power, its ability to offer an explanatory model or paradigm by means of which the greatest number of empirical phenomena may be plausibly accounted for. And Rameau's fundamental bass meets this criteria. Both the theoretical and the practical analysis of musical events can, and ought to, stand side by side in a precarious dialectic, each drawing support from and con- tributing to the other in a constant symbiosis.

solely by empirical versimilitude, but also by its heuristic power, its ability to offer an explanatory model or paradigm by means of which the greatest number of empirical phenomena may be plausibly accounted for. And Rameau's fundamental bass meets this criteria. Both the theoretical and the practical analysis of musical events can, and ought to, stand side by side in a precarious dialectic, each drawing support from and con- tributing to the other in a constant symbiosis.

solely by empirical versimilitude, but also by its heuristic power, its ability to offer an explanatory model or paradigm by means of which the greatest number of empirical phenomena may be plausibly accounted for. And Rameau's fundamental bass meets this criteria. Both the theoretical and the practical analysis of musical events can, and ought to, stand side by side in a precarious dialectic, each drawing support from and con- tributing to the other in a constant symbiosis.

solely by empirical versimilitude, but also by its heuristic power, its ability to offer an explanatory model or paradigm by means of which the greatest number of empirical phenomena may be plausibly accounted for. And Rameau's fundamental bass meets this criteria. Both the theoretical and the practical analysis of musical events can, and ought to, stand side by side in a precarious dialectic, each drawing support from and con- tributing to the other in a constant symbiosis.

It does no discredit to Rameau to acknowledge the obvious fact that he was not always successful in resolving this dialectic. But what theorist dare claim to have been? As with any success- ful scientific theory, the fundamental bass posed frustrating anomalies and logical inconsistencies that challenged Rameau throughout his life, and generations of theorists which fol- lowed, yet it also proved resilient enough to survive to our own day as the dominant paradigm of tonal harmony.

It does no discredit to Rameau to acknowledge the obvious fact that he was not always successful in resolving this dialectic. But what theorist dare claim to have been? As with any success- ful scientific theory, the fundamental bass posed frustrating anomalies and logical inconsistencies that challenged Rameau throughout his life, and generations of theorists which fol- lowed, yet it also proved resilient enough to survive to our own day as the dominant paradigm of tonal harmony.

It does no discredit to Rameau to acknowledge the obvious fact that he was not always successful in resolving this dialectic. But what theorist dare claim to have been? As with any success- ful scientific theory, the fundamental bass posed frustrating anomalies and logical inconsistencies that challenged Rameau throughout his life, and generations of theorists which fol- lowed, yet it also proved resilient enough to survive to our own day as the dominant paradigm of tonal harmony.

It does no discredit to Rameau to acknowledge the obvious fact that he was not always successful in resolving this dialectic. But what theorist dare claim to have been? As with any success- ful scientific theory, the fundamental bass posed frustrating anomalies and logical inconsistencies that challenged Rameau throughout his life, and generations of theorists which fol- lowed, yet it also proved resilient enough to survive to our own day as the dominant paradigm of tonal harmony.

It does no discredit to Rameau to acknowledge the obvious fact that he was not always successful in resolving this dialectic. But what theorist dare claim to have been? As with any success- ful scientific theory, the fundamental bass posed frustrating anomalies and logical inconsistencies that challenged Rameau throughout his life, and generations of theorists which fol- lowed, yet it also proved resilient enough to survive to our own day as the dominant paradigm of tonal harmony.

It does no discredit to Rameau to acknowledge the obvious fact that he was not always successful in resolving this dialectic. But what theorist dare claim to have been? As with any success- ful scientific theory, the fundamental bass posed frustrating anomalies and logical inconsistencies that challenged Rameau throughout his life, and generations of theorists which fol- lowed, yet it also proved resilient enough to survive to our own day as the dominant paradigm of tonal harmony.

Appendix: Contents of "L'Art"

L'Art de la Basse Fondamentale d'ou se tirent la connaissance et la pratique de la composition et de I'accompagnement

Appendix: Contents of "L'Art"

L'Art de la Basse Fondamentale d'ou se tirent la connaissance et la pratique de la composition et de I'accompagnement

Appendix: Contents of "L'Art"

L'Art de la Basse Fondamentale d'ou se tirent la connaissance et la pratique de la composition et de I'accompagnement

Appendix: Contents of "L'Art"

L'Art de la Basse Fondamentale d'ou se tirent la connaissance et la pratique de la composition et de I'accompagnement

Appendix: Contents of "L'Art"

L'Art de la Basse Fondamentale d'ou se tirent la connaissance et la pratique de la composition et de I'accompagnement

Appendix: Contents of "L'Art"

L'Art de la Basse Fondamentale d'ou se tirent la connaissance et la pratique de la composition et de I'accompagnement

Preface (draft 1) Preface (draft 2) Preface (draft 3)

Premiere Partie (draft 1)

Developpement de la basse fondamentale sous tous les chants possible

Legon 1 Gamme des degres, ou intervalles

diatoniques et harmoniques

Preface (draft 1) Preface (draft 2) Preface (draft 3)

Premiere Partie (draft 1)

Developpement de la basse fondamentale sous tous les chants possible

Legon 1 Gamme des degres, ou intervalles

diatoniques et harmoniques

Preface (draft 1) Preface (draft 2) Preface (draft 3)

Premiere Partie (draft 1)

Developpement de la basse fondamentale sous tous les chants possible

Legon 1 Gamme des degres, ou intervalles

diatoniques et harmoniques

Preface (draft 1) Preface (draft 2) Preface (draft 3)

Premiere Partie (draft 1)

Developpement de la basse fondamentale sous tous les chants possible

Legon 1 Gamme des degres, ou intervalles

diatoniques et harmoniques

Preface (draft 1) Preface (draft 2) Preface (draft 3)

Premiere Partie (draft 1)

Developpement de la basse fondamentale sous tous les chants possible

Legon 1 Gamme des degres, ou intervalles

diatoniques et harmoniques

Preface (draft 1) Preface (draft 2) Preface (draft 3)

Premiere Partie (draft 1)

Developpement de la basse fondamentale sous tous les chants possible

Legon 1 Gamme des degres, ou intervalles

diatoniques et harmoniques

Folio # 1 2 3v

Folio # 1 2 3v

Folio # 1 2 3v

Folio # 1 2 3v

Folio # 1 2 3v

Folio # 1 2 3v

7 7 7 7 7 7

7 7 7 7 7 7

[2]

3 Du mode, ou ton, et des notes fondamentales qui le composent

4 Du nom que doivent porter les notes de la basse fondamentale, et celles du sujet sous le titre de notes connues

[2]

3 Du mode, ou ton, et des notes fondamentales qui le composent

4 Du nom que doivent porter les notes de la basse fondamentale, et celles du sujet sous le titre de notes connues

[2]

3 Du mode, ou ton, et des notes fondamentales qui le composent

4 Du nom que doivent porter les notes de la basse fondamentale, et celles du sujet sous le titre de notes connues

[2]

3 Du mode, ou ton, et des notes fondamentales qui le composent

4 Du nom que doivent porter les notes de la basse fondamentale, et celles du sujet sous le titre de notes connues

[2]

3 Du mode, ou ton, et des notes fondamentales qui le composent

4 Du nom que doivent porter les notes de la basse fondamentale, et celles du sujet sous le titre de notes connues

[2]

3 Du mode, ou ton, et des notes fondamentales qui le composent

4 Du nom que doivent porter les notes de la basse fondamentale, et celles du sujet sous le titre de notes connues

5 Moyen de trouver la basse fondamentale sous un sujet donne, et de la plus parfaite succession

5 Moyen de trouver la basse fondamentale sous un sujet donne, et de la plus parfaite succession

5 Moyen de trouver la basse fondamentale sous un sujet donne, et de la plus parfaite succession

5 Moyen de trouver la basse fondamentale sous un sujet donne, et de la plus parfaite succession

5 Moyen de trouver la basse fondamentale sous un sujet donne, et de la plus parfaite succession

5 Moyen de trouver la basse fondamentale sous un sujet donne, et de la plus parfaite succession

*Indicates an accompanying section ("explication") with commentary on now-lost musical examples *Indicates an accompanying section ("explication") with commentary on now-lost musical examples *Indicates an accompanying section ("explication") with commentary on now-lost musical examples *Indicates an accompanying section ("explication") with commentary on now-lost musical examples *Indicates an accompanying section ("explication") with commentary on now-lost musical examples *Indicates an accompanying section ("explication") with commentary on now-lost musical examples

8

8v

8

8v

8

8v

8

8v

8

8v

8

8v

9 9 9 9 9 9 * * * * * *

Page 20: Cópia de Rameau's L'Art de La Basse Fondamentale

36 Music Theory Spectrum 36 Music Theory Spectrum 36 Music Theory Spectrum 36 Music Theory Spectrum 36 Music Theory Spectrum 36 Music Theory Spectrum

6 De la mesure, de ses tems, de la syncope, et de la valeur des notes fondamentales dans chaque mesure

Article

6 De la mesure, de ses tems, de la syncope, et de la valeur des notes fondamentales dans chaque mesure

Article

6 De la mesure, de ses tems, de la syncope, et de la valeur des notes fondamentales dans chaque mesure

Article

6 De la mesure, de ses tems, de la syncope, et de la valeur des notes fondamentales dans chaque mesure

Article

6 De la mesure, de ses tems, de la syncope, et de la valeur des notes fondamentales dans chaque mesure

Article

6 De la mesure, de ses tems, de la syncope, et de la valeur des notes fondamentales dans chaque mesure

Article

1 [La mesure]

2 [La syncope]

3 [La basse fondamentale et la syncope]

[7]

8 Des cadences ou repos dans le sujet et dans les b.sse fond.ale

9 De la succession fond.ale et la tonique par seconde en montant, et par tierce en descendant

1 De la seconde en montant

2 De la tierce en descendant

3 Da la preference de la tierce sur la seconde d'ou nait l'arbitraire entre ces deux successions et de la necessit6 de marquer les differentes basses fondamentales possibles

[10] Des tons naturels, et transposes ou l'on explique l'ordre, et la nature des diezes, bemols, et bequares

[11] Du rapport des tons

[12] Moyens de connaitre le ton dans le sujet

1 De la note sensible, et des accidens que produisent en consequence les diezes, les bemols, et les bequares

1 [La mesure]

2 [La syncope]

3 [La basse fondamentale et la syncope]

[7]

8 Des cadences ou repos dans le sujet et dans les b.sse fond.ale

9 De la succession fond.ale et la tonique par seconde en montant, et par tierce en descendant

1 De la seconde en montant

2 De la tierce en descendant

3 Da la preference de la tierce sur la seconde d'ou nait l'arbitraire entre ces deux successions et de la necessit6 de marquer les differentes basses fondamentales possibles

[10] Des tons naturels, et transposes ou l'on explique l'ordre, et la nature des diezes, bemols, et bequares

[11] Du rapport des tons

[12] Moyens de connaitre le ton dans le sujet

1 De la note sensible, et des accidens que produisent en consequence les diezes, les bemols, et les bequares

1 [La mesure]

2 [La syncope]

3 [La basse fondamentale et la syncope]

[7]

8 Des cadences ou repos dans le sujet et dans les b.sse fond.ale

9 De la succession fond.ale et la tonique par seconde en montant, et par tierce en descendant

1 De la seconde en montant

2 De la tierce en descendant

3 Da la preference de la tierce sur la seconde d'ou nait l'arbitraire entre ces deux successions et de la necessit6 de marquer les differentes basses fondamentales possibles

[10] Des tons naturels, et transposes ou l'on explique l'ordre, et la nature des diezes, bemols, et bequares

[11] Du rapport des tons

[12] Moyens de connaitre le ton dans le sujet

1 De la note sensible, et des accidens que produisent en consequence les diezes, les bemols, et les bequares

1 [La mesure]

2 [La syncope]

3 [La basse fondamentale et la syncope]

[7]

8 Des cadences ou repos dans le sujet et dans les b.sse fond.ale

9 De la succession fond.ale et la tonique par seconde en montant, et par tierce en descendant

1 De la seconde en montant

2 De la tierce en descendant

3 Da la preference de la tierce sur la seconde d'ou nait l'arbitraire entre ces deux successions et de la necessit6 de marquer les differentes basses fondamentales possibles

[10] Des tons naturels, et transposes ou l'on explique l'ordre, et la nature des diezes, bemols, et bequares

[11] Du rapport des tons

[12] Moyens de connaitre le ton dans le sujet

1 De la note sensible, et des accidens que produisent en consequence les diezes, les bemols, et les bequares

1 [La mesure]

2 [La syncope]

3 [La basse fondamentale et la syncope]

[7]

8 Des cadences ou repos dans le sujet et dans les b.sse fond.ale

9 De la succession fond.ale et la tonique par seconde en montant, et par tierce en descendant

1 De la seconde en montant

2 De la tierce en descendant

3 Da la preference de la tierce sur la seconde d'ou nait l'arbitraire entre ces deux successions et de la necessit6 de marquer les differentes basses fondamentales possibles

[10] Des tons naturels, et transposes ou l'on explique l'ordre, et la nature des diezes, bemols, et bequares

[11] Du rapport des tons

[12] Moyens de connaitre le ton dans le sujet

1 De la note sensible, et des accidens que produisent en consequence les diezes, les bemols, et les bequares

1 [La mesure]

2 [La syncope]

3 [La basse fondamentale et la syncope]

[7]

8 Des cadences ou repos dans le sujet et dans les b.sse fond.ale

9 De la succession fond.ale et la tonique par seconde en montant, et par tierce en descendant

1 De la seconde en montant

2 De la tierce en descendant

3 Da la preference de la tierce sur la seconde d'ou nait l'arbitraire entre ces deux successions et de la necessit6 de marquer les differentes basses fondamentales possibles

[10] Des tons naturels, et transposes ou l'on explique l'ordre, et la nature des diezes, bemols, et bequares

[11] Du rapport des tons

[12] Moyens de connaitre le ton dans le sujet

1 De la note sensible, et des accidens que produisent en consequence les diezes, les bemols, et les bequares

lOv lOv lOv lOv lOv lOv

lOv

11

11

lOv

11

11

lOv

11

11

lOv

11

11

lOv

11

11

lOv

11

11

12 12 12 12 12 12

2 Du Doute qu'on dois se former sur la note sensible des tons majeurs

3 Des intervales propres a faire connaitre le ton dans le sujet

4 Trouver naturellement la b.se fond.le de tous les repos, d'ou suit la connaissance du ton

2 Du Doute qu'on dois se former sur la note sensible des tons majeurs

3 Des intervales propres a faire connaitre le ton dans le sujet

4 Trouver naturellement la b.se fond.le de tous les repos, d'ou suit la connaissance du ton

2 Du Doute qu'on dois se former sur la note sensible des tons majeurs

3 Des intervales propres a faire connaitre le ton dans le sujet

4 Trouver naturellement la b.se fond.le de tous les repos, d'ou suit la connaissance du ton

2 Du Doute qu'on dois se former sur la note sensible des tons majeurs

3 Des intervales propres a faire connaitre le ton dans le sujet

4 Trouver naturellement la b.se fond.le de tous les repos, d'ou suit la connaissance du ton

2 Du Doute qu'on dois se former sur la note sensible des tons majeurs

3 Des intervales propres a faire connaitre le ton dans le sujet

4 Trouver naturellement la b.se fond.le de tous les repos, d'ou suit la connaissance du ton

2 Du Doute qu'on dois se former sur la note sensible des tons majeurs

3 Des intervales propres a faire connaitre le ton dans le sujet

4 Trouver naturellement la b.se fond.le de tous les repos, d'ou suit la connaissance du ton

* * * * * *

* * * * * *

* * * * * *

13

13

14v

13

13

14v

13

13

14v

13

13

14v

13

13

14v

13

13

14v

15 * 15 * 15 * 15 * 15 * 15 *

17

18

19v

17

18

19v

17

18

19v

17

18

19v

17

18

19v

17

18

19v

5 Moyens de connaitre les tons successifs par leur raports reciproques

6 Du moment precis ou le ton change et de la succession fond.le en pareil cas

[13] Du passage d'une tonique a une autre, des notes sensees toniques, et des toniques etrangeres ou passageres

[14] De la liaison, ou l'on rappelle tout ce que l'harmonie a de commun dans les accords, dans la succession fond.le et dans les tons successifs

[15] Des imitations du chant, et de la basse fond.le en consequence

1 Des imitations dans le meme ton

2 Des imitations de chant dans different tons

16 De la possibilite de partager une note du sujet en deux valeurs pour faciliter la succession fond.le prescrite

5 Moyens de connaitre les tons successifs par leur raports reciproques

6 Du moment precis ou le ton change et de la succession fond.le en pareil cas

[13] Du passage d'une tonique a une autre, des notes sensees toniques, et des toniques etrangeres ou passageres

[14] De la liaison, ou l'on rappelle tout ce que l'harmonie a de commun dans les accords, dans la succession fond.le et dans les tons successifs

[15] Des imitations du chant, et de la basse fond.le en consequence

1 Des imitations dans le meme ton

2 Des imitations de chant dans different tons

16 De la possibilite de partager une note du sujet en deux valeurs pour faciliter la succession fond.le prescrite

5 Moyens de connaitre les tons successifs par leur raports reciproques

6 Du moment precis ou le ton change et de la succession fond.le en pareil cas

[13] Du passage d'une tonique a une autre, des notes sensees toniques, et des toniques etrangeres ou passageres

[14] De la liaison, ou l'on rappelle tout ce que l'harmonie a de commun dans les accords, dans la succession fond.le et dans les tons successifs

[15] Des imitations du chant, et de la basse fond.le en consequence

1 Des imitations dans le meme ton

2 Des imitations de chant dans different tons

16 De la possibilite de partager une note du sujet en deux valeurs pour faciliter la succession fond.le prescrite

5 Moyens de connaitre les tons successifs par leur raports reciproques

6 Du moment precis ou le ton change et de la succession fond.le en pareil cas

[13] Du passage d'une tonique a une autre, des notes sensees toniques, et des toniques etrangeres ou passageres

[14] De la liaison, ou l'on rappelle tout ce que l'harmonie a de commun dans les accords, dans la succession fond.le et dans les tons successifs

[15] Des imitations du chant, et de la basse fond.le en consequence

1 Des imitations dans le meme ton

2 Des imitations de chant dans different tons

16 De la possibilite de partager une note du sujet en deux valeurs pour faciliter la succession fond.le prescrite

5 Moyens de connaitre les tons successifs par leur raports reciproques

6 Du moment precis ou le ton change et de la succession fond.le en pareil cas

[13] Du passage d'une tonique a une autre, des notes sensees toniques, et des toniques etrangeres ou passageres

[14] De la liaison, ou l'on rappelle tout ce que l'harmonie a de commun dans les accords, dans la succession fond.le et dans les tons successifs

[15] Des imitations du chant, et de la basse fond.le en consequence

1 Des imitations dans le meme ton

2 Des imitations de chant dans different tons

16 De la possibilite de partager une note du sujet en deux valeurs pour faciliter la succession fond.le prescrite

5 Moyens de connaitre les tons successifs par leur raports reciproques

6 Du moment precis ou le ton change et de la succession fond.le en pareil cas

[13] Du passage d'une tonique a une autre, des notes sensees toniques, et des toniques etrangeres ou passageres

[14] De la liaison, ou l'on rappelle tout ce que l'harmonie a de commun dans les accords, dans la succession fond.le et dans les tons successifs

[15] Des imitations du chant, et de la basse fond.le en consequence

1 Des imitations dans le meme ton

2 Des imitations de chant dans different tons

16 De la possibilite de partager une note du sujet en deux valeurs pour faciliter la succession fond.le prescrite

* * * * * *

[17]

[18]

[17]

[18]

[17]

[18]

[17]

[18]

[17]

[18]

[17]

[18] 20 * 20 * 20 * 20 * 20 * 20 *

De la Breve

Du rapport necessaire entre la bass fond.le et le sujet

De la Breve

Du rapport necessaire entre la bass fond.le et le sujet

De la Breve

Du rapport necessaire entre la bass fond.le et le sujet

De la Breve

Du rapport necessaire entre la bass fond.le et le sujet

De la Breve

Du rapport necessaire entre la bass fond.le et le sujet

De la Breve

Du rapport necessaire entre la bass fond.le et le sujet

21

21v *

21

21v *

21

21v *

21

21v *

21

21v *

21

21v *

22v

24v

22v

24v

22v

24v

22v

24v

22v

24v

22v

24v

26

27

29

26

27

29

26

27

29

26

27

29

26

27

29

26

27

29

30v 30v 30v 30v 30v 30v

31 31 31 31 31 31

33

33v

34

33

33v

34

33

33v

34

33

33v

34

33

33v

34

33

33v

34

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

35 * 35 * 35 * 35 * 35 * 35 *

*

*

*

*

*

*

*

*

*

*

*

*

*i

*i

*i

*i

*i

*i

*i

*i

*i

*i

*i

*i

* * * * * *

Page 21: Cópia de Rameau's L'Art de La Basse Fondamentale

Rameau's "L'Art de la Basse Fondamentale" 37 Rameau's "L'Art de la Basse Fondamentale" 37 Rameau's "L'Art de la Basse Fondamentale" 37 Rameau's "L'Art de la Basse Fondamentale" 37 Rameau's "L'Art de la Basse Fondamentale" 37 Rameau's "L'Art de la Basse Fondamentale" 37

[19] De l'entrelacement des tons

[20] De la basse fond.le en retrogradant

1 Des chiffres en particulier et lumiere de chiffrer la basse fond.le dont on tire de nouveaux secours

2 Verification de la basse fond.le a la faveur du chiffre

[21] Recapitulation

1 De la succession fond.le

2 Du rapport de la basse fond.'e avec le sujet

[19] De l'entrelacement des tons

[20] De la basse fond.le en retrogradant

1 Des chiffres en particulier et lumiere de chiffrer la basse fond.le dont on tire de nouveaux secours

2 Verification de la basse fond.le a la faveur du chiffre

[21] Recapitulation

1 De la succession fond.le

2 Du rapport de la basse fond.'e avec le sujet

[19] De l'entrelacement des tons

[20] De la basse fond.le en retrogradant

1 Des chiffres en particulier et lumiere de chiffrer la basse fond.le dont on tire de nouveaux secours

2 Verification de la basse fond.le a la faveur du chiffre

[21] Recapitulation

1 De la succession fond.le

2 Du rapport de la basse fond.'e avec le sujet

[19] De l'entrelacement des tons

[20] De la basse fond.le en retrogradant

1 Des chiffres en particulier et lumiere de chiffrer la basse fond.le dont on tire de nouveaux secours

2 Verification de la basse fond.le a la faveur du chiffre

[21] Recapitulation

1 De la succession fond.le

2 Du rapport de la basse fond.'e avec le sujet

[19] De l'entrelacement des tons

[20] De la basse fond.le en retrogradant

1 Des chiffres en particulier et lumiere de chiffrer la basse fond.le dont on tire de nouveaux secours

2 Verification de la basse fond.le a la faveur du chiffre

[21] Recapitulation

1 De la succession fond.le

2 Du rapport de la basse fond.'e avec le sujet

[19] De l'entrelacement des tons

[20] De la basse fond.le en retrogradant

1 Des chiffres en particulier et lumiere de chiffrer la basse fond.le dont on tire de nouveaux secours

2 Verification de la basse fond.le a la faveur du chiffre

[21] Recapitulation

1 De la succession fond.le

2 Du rapport de la basse fond.'e avec le sujet

Premiere Partie [draft 2]

Developpement de la basse fond.le sous tous les chants possibles par des consonances

Legon

1 Gammes des degres ou intervales diatoniques et harmoniques

2 Des consonances, de leur renversement et de leur situation relativement a la note

qu'on exprime

3 De la basse fond.le et de son harmonie ou de son accord

[4]

5 De la maniere de trouver la basse fond.'e sous un chant donne

Premiere Partie [draft 2]

Developpement de la basse fond.le sous tous les chants possibles par des consonances

Legon

1 Gammes des degres ou intervales diatoniques et harmoniques

2 Des consonances, de leur renversement et de leur situation relativement a la note

qu'on exprime

3 De la basse fond.le et de son harmonie ou de son accord

[4]

5 De la maniere de trouver la basse fond.'e sous un chant donne

Premiere Partie [draft 2]

Developpement de la basse fond.le sous tous les chants possibles par des consonances

Legon

1 Gammes des degres ou intervales diatoniques et harmoniques

2 Des consonances, de leur renversement et de leur situation relativement a la note

qu'on exprime

3 De la basse fond.le et de son harmonie ou de son accord

[4]

5 De la maniere de trouver la basse fond.'e sous un chant donne

Premiere Partie [draft 2]

Developpement de la basse fond.le sous tous les chants possibles par des consonances

Legon

1 Gammes des degres ou intervales diatoniques et harmoniques

2 Des consonances, de leur renversement et de leur situation relativement a la note

qu'on exprime

3 De la basse fond.le et de son harmonie ou de son accord

[4]

5 De la maniere de trouver la basse fond.'e sous un chant donne

Premiere Partie [draft 2]

Developpement de la basse fond.le sous tous les chants possibles par des consonances

Legon

1 Gammes des degres ou intervales diatoniques et harmoniques

2 Des consonances, de leur renversement et de leur situation relativement a la note

qu'on exprime

3 De la basse fond.le et de son harmonie ou de son accord

[4]

5 De la maniere de trouver la basse fond.'e sous un chant donne

Premiere Partie [draft 2]

Developpement de la basse fond.le sous tous les chants possibles par des consonances

Legon

1 Gammes des degres ou intervales diatoniques et harmoniques

2 Des consonances, de leur renversement et de leur situation relativement a la note

qu'on exprime

3 De la basse fond.le et de son harmonie ou de son accord

[4]

5 De la maniere de trouver la basse fond.'e sous un chant donne

36

37v

41

43

36

37v

41

43

36

37v

41

43

36

37v

41

43

36

37v

41

43

36

37v

41

43

45

45v

45

45v

45

45v

45

45v

45

45v

45

45v

* 6 De la distinction des tems de la mesure, de * la syncope, de la valeur des notes fond.les

dans chaque mesure, et de la breve

7 Du nom que doit porter chaque note de la * basse fond.le

8 De la succession fond.le par seconde et par * tierce

9 De la mediante, et de la note sensible

10 Des different tons, soit naturels soit transposes

* 6 De la distinction des tems de la mesure, de * la syncope, de la valeur des notes fond.les

dans chaque mesure, et de la breve

7 Du nom que doit porter chaque note de la * basse fond.le

8 De la succession fond.le par seconde et par * tierce

9 De la mediante, et de la note sensible

10 Des different tons, soit naturels soit transposes

* 6 De la distinction des tems de la mesure, de * la syncope, de la valeur des notes fond.les

dans chaque mesure, et de la breve

7 Du nom que doit porter chaque note de la * basse fond.le

8 De la succession fond.le par seconde et par * tierce

9 De la mediante, et de la note sensible

10 Des different tons, soit naturels soit transposes

* 6 De la distinction des tems de la mesure, de * la syncope, de la valeur des notes fond.les

dans chaque mesure, et de la breve

7 Du nom que doit porter chaque note de la * basse fond.le

8 De la succession fond.le par seconde et par * tierce

9 De la mediante, et de la note sensible

10 Des different tons, soit naturels soit transposes

* 6 De la distinction des tems de la mesure, de * la syncope, de la valeur des notes fond.les

dans chaque mesure, et de la breve

7 Du nom que doit porter chaque note de la * basse fond.le

8 De la succession fond.le par seconde et par * tierce

9 De la mediante, et de la note sensible

10 Des different tons, soit naturels soit transposes

* 6 De la distinction des tems de la mesure, de * la syncope, de la valeur des notes fond.les

dans chaque mesure, et de la breve

7 Du nom que doit porter chaque note de la * basse fond.le

8 De la succession fond.le par seconde et par * tierce

9 De la mediante, et de la note sensible

10 Des different tons, soit naturels soit transposes

11

12

11

12

11

12

11

12

11

12

11

12

47 47 47 47 47 47

Du rapport des tons

Moyens de reconnaitre le ton dans le chant

1 Des repos ou cadences

2 De la note sensible, et des accidens que produisent

3 Des intervales propres a faire reconnaitre le ton dans le chant

Du rapport des tons

Moyens de reconnaitre le ton dans le chant

1 Des repos ou cadences

2 De la note sensible, et des accidens que produisent

3 Des intervales propres a faire reconnaitre le ton dans le chant

Du rapport des tons

Moyens de reconnaitre le ton dans le chant

1 Des repos ou cadences

2 De la note sensible, et des accidens que produisent

3 Des intervales propres a faire reconnaitre le ton dans le chant

Du rapport des tons

Moyens de reconnaitre le ton dans le chant

1 Des repos ou cadences

2 De la note sensible, et des accidens que produisent

3 Des intervales propres a faire reconnaitre le ton dans le chant

Du rapport des tons

Moyens de reconnaitre le ton dans le chant

1 Des repos ou cadences

2 De la note sensible, et des accidens que produisent

3 Des intervales propres a faire reconnaitre le ton dans le chant

Du rapport des tons

Moyens de reconnaitre le ton dans le chant

1 Des repos ou cadences

2 De la note sensible, et des accidens que produisent

3 Des intervales propres a faire reconnaitre le ton dans le chant

13 Des repos ou des cadences dans la basse fondamentale

13 Des repos ou des cadences dans la basse fondamentale

13 Des repos ou des cadences dans la basse fondamentale

13 Des repos ou des cadences dans la basse fondamentale

13 Des repos ou des cadences dans la basse fondamentale

13 Des repos ou des cadences dans la basse fondamentale

47

47v

47

47v

47

47v

47

47v

47

47v

47

47v

14 Recapitulation de la succession fond.'e avec quelques augmentations, ou l'on rappelle les droits de la tonique

14 Recapitulation de la succession fond.'e avec quelques augmentations, ou l'on rappelle les droits de la tonique

14 Recapitulation de la succession fond.'e avec quelques augmentations, ou l'on rappelle les droits de la tonique

14 Recapitulation de la succession fond.'e avec quelques augmentations, ou l'on rappelle les droits de la tonique

14 Recapitulation de la succession fond.'e avec quelques augmentations, ou l'on rappelle les droits de la tonique

14 Recapitulation de la succession fond.'e avec quelques augmentations, ou l'on rappelle les droits de la tonique

15

16

15

16

15

16

15

16

15

16

15

16

48v 48v 48v 48v 48v 48v

Du moment precis ou le ton change

Moyens de composer la basse en retrogradant d'ou l'on peut aisement eviter a plusieurs difficultes

Du moment precis ou le ton change

Moyens de composer la basse en retrogradant d'ou l'on peut aisement eviter a plusieurs difficultes

Du moment precis ou le ton change

Moyens de composer la basse en retrogradant d'ou l'on peut aisement eviter a plusieurs difficultes

Du moment precis ou le ton change

Moyens de composer la basse en retrogradant d'ou l'on peut aisement eviter a plusieurs difficultes

Du moment precis ou le ton change

Moyens de composer la basse en retrogradant d'ou l'on peut aisement eviter a plusieurs difficultes

Du moment precis ou le ton change

Moyens de composer la basse en retrogradant d'ou l'on peut aisement eviter a plusieurs difficultes

17 Des imitations de chant ou le ton peut changer et de la succession fond.le en consequence

17 Des imitations de chant ou le ton peut changer et de la succession fond.le en consequence

17 Des imitations de chant ou le ton peut changer et de la succession fond.le en consequence

17 Des imitations de chant ou le ton peut changer et de la succession fond.le en consequence

17 Des imitations de chant ou le ton peut changer et de la succession fond.le en consequence

17 Des imitations de chant ou le ton peut changer et de la succession fond.le en consequence 48v 48v 48v 48v 48v 48v

50 *

50v

50 *

50v

50 *

50v

50 *

50v

50 *

50v

50 *

50v

51v

52

52v

54

54v

51v

52

52v

54

54v

51v

52

52v

54

54v

51v

52

52v

54

54v

51v

52

52v

54

54v

51v

52

52v

54

54v

*

*

*

*

*

*

*

*

*

*

*

*

54v 54v 54v 54v 54v 54v

55 *

56v

56v *

55 *

56v

56v *

55 *

56v

56v *

55 *

56v

56v *

55 *

56v

56v *

55 *

56v

56v *

* * * * * * 57

58

57

58

57

58

57

58

57

58

57

58

58v * 58v * 58v * 58v * 58v * 58v *

60 * 60 * 60 * 60 * 60 * 60 *

Page 22: Cópia de Rameau's L'Art de La Basse Fondamentale

38 Music Theory Spectrum 38 Music Theory Spectrum 38 Music Theory Spectrum 38 Music Theory Spectrum 38 Music Theory Spectrum 38 Music Theory Spectrum

18 De la possibilite de partager une note du chant en deux valeurs egales

19 Des differentes basses fond.les dont un chant est susceptible

[1]

2 Du double employ qu'occasionent les tierces et les sixtes successives

3 Le secours mutuel qui se pretent les parties pour sauver une dissonance

4 Du secours mutuel que se pretent la tierce, et la septieme d'une dominante tonique dans le cas precedent ou il s'agit des quintes successives

5 Ce qu'il faut observer dans la pratique des tierces et des sixtes

6 Succession des tierces ou des sixtes ou le ton change

6[7] De la cadence rompue renversee dans le sujet

18 De la possibilite de partager une note du chant en deux valeurs egales

19 Des differentes basses fond.les dont un chant est susceptible

[1]

2 Du double employ qu'occasionent les tierces et les sixtes successives

3 Le secours mutuel qui se pretent les parties pour sauver une dissonance

4 Du secours mutuel que se pretent la tierce, et la septieme d'une dominante tonique dans le cas precedent ou il s'agit des quintes successives

5 Ce qu'il faut observer dans la pratique des tierces et des sixtes

6 Succession des tierces ou des sixtes ou le ton change

6[7] De la cadence rompue renversee dans le sujet

18 De la possibilite de partager une note du chant en deux valeurs egales

19 Des differentes basses fond.les dont un chant est susceptible

[1]

2 Du double employ qu'occasionent les tierces et les sixtes successives

3 Le secours mutuel qui se pretent les parties pour sauver une dissonance

4 Du secours mutuel que se pretent la tierce, et la septieme d'une dominante tonique dans le cas precedent ou il s'agit des quintes successives

5 Ce qu'il faut observer dans la pratique des tierces et des sixtes

6 Succession des tierces ou des sixtes ou le ton change

6[7] De la cadence rompue renversee dans le sujet

18 De la possibilite de partager une note du chant en deux valeurs egales

19 Des differentes basses fond.les dont un chant est susceptible

[1]

2 Du double employ qu'occasionent les tierces et les sixtes successives

3 Le secours mutuel qui se pretent les parties pour sauver une dissonance

4 Du secours mutuel que se pretent la tierce, et la septieme d'une dominante tonique dans le cas precedent ou il s'agit des quintes successives

5 Ce qu'il faut observer dans la pratique des tierces et des sixtes

6 Succession des tierces ou des sixtes ou le ton change

6[7] De la cadence rompue renversee dans le sujet

18 De la possibilite de partager une note du chant en deux valeurs egales

19 Des differentes basses fond.les dont un chant est susceptible

[1]

2 Du double employ qu'occasionent les tierces et les sixtes successives

3 Le secours mutuel qui se pretent les parties pour sauver une dissonance

4 Du secours mutuel que se pretent la tierce, et la septieme d'une dominante tonique dans le cas precedent ou il s'agit des quintes successives

5 Ce qu'il faut observer dans la pratique des tierces et des sixtes

6 Succession des tierces ou des sixtes ou le ton change

6[7] De la cadence rompue renversee dans le sujet

18 De la possibilite de partager une note du chant en deux valeurs egales

19 Des differentes basses fond.les dont un chant est susceptible

[1]

2 Du double employ qu'occasionent les tierces et les sixtes successives

3 Le secours mutuel qui se pretent les parties pour sauver une dissonance

4 Du secours mutuel que se pretent la tierce, et la septieme d'une dominante tonique dans le cas precedent ou il s'agit des quintes successives

5 Ce qu'il faut observer dans la pratique des tierces et des sixtes

6 Succession des tierces ou des sixtes ou le ton change

6[7] De la cadence rompue renversee dans le sujet

60v * 60v * 60v * 60v * 60v * 60v *

61v * 61v * 61v * 61v * 61v * 61v *

62v *

64 *

62v *

64 *

62v *

64 *

62v *

64 *

62v *

64 *

62v *

64 *

65 65 65 65 65 65

2 De la onzieme, dite quarte

3 Des dissonances superflues qu'introduit la supposition

4 La supposition peut se sousentendre sans qu'il paroisse aucune dissonance dans le sujet

2 De la onzieme, dite quarte

3 Des dissonances superflues qu'introduit la supposition

4 La supposition peut se sousentendre sans qu'il paroisse aucune dissonance dans le sujet

2 De la onzieme, dite quarte

3 Des dissonances superflues qu'introduit la supposition

4 La supposition peut se sousentendre sans qu'il paroisse aucune dissonance dans le sujet

2 De la onzieme, dite quarte

3 Des dissonances superflues qu'introduit la supposition

4 La supposition peut se sousentendre sans qu'il paroisse aucune dissonance dans le sujet

2 De la onzieme, dite quarte

3 Des dissonances superflues qu'introduit la supposition

4 La supposition peut se sousentendre sans qu'il paroisse aucune dissonance dans le sujet

2 De la onzieme, dite quarte

3 Des dissonances superflues qu'introduit la supposition

4 La supposition peut se sousentendre sans qu'il paroisse aucune dissonance dans le sujet

81

82

83

81

82

83

81

82

83

81

82

83

81

82

83

81

82

83

5 La note sensible comme fond.le peut etre substituee a la dominante tonique 84v *

5 La note sensible comme fond.le peut etre substituee a la dominante tonique 84v *

5 La note sensible comme fond.le peut etre substituee a la dominante tonique 84v *

5 La note sensible comme fond.le peut etre substituee a la dominante tonique 84v *

5 La note sensible comme fond.le peut etre substituee a la dominante tonique 84v *

5 La note sensible comme fond.le peut etre substituee a la dominante tonique 84v *

8[24] De la suspension

1 De l'accord de la quarte par suspension

2 De la sixte par suspension jointe a la quarte

8[24] De la suspension

1 De l'accord de la quarte par suspension

2 De la sixte par suspension jointe a la quarte

8[24] De la suspension

1 De l'accord de la quarte par suspension

2 De la sixte par suspension jointe a la quarte

8[24] De la suspension

1 De l'accord de la quarte par suspension

2 De la sixte par suspension jointe a la quarte

8[24] De la suspension

1 De l'accord de la quarte par suspension

2 De la sixte par suspension jointe a la quarte

8[24] De la suspension

1 De l'accord de la quarte par suspension

2 De la sixte par suspension jointe a la quarte

65v * 65v * 65v * 65v * 65v * 65v *

85v

85v

86

85v

85v

86

85v

85v

86

85v

85v

86

85v

85v

86

85v

85v

86

3 De la succession fond.le et de celle de la basse continue dans la suspension 86

3 De la succession fond.le et de celle de la basse continue dans la suspension 86

3 De la succession fond.le et de celle de la basse continue dans la suspension 86

3 De la succession fond.le et de celle de la basse continue dans la suspension 86

3 De la succession fond.le et de celle de la basse continue dans la suspension 86

3 De la succession fond.le et de celle de la basse continue dans la suspension 86

66v * 66v * 66v * 66v * 66v * 66v *

67 * 67 * 67 * 67 * 67 * 67 *

7[8] D'une succession de tierces et de sixtes fond6e sur la cadence rompue 69 *

7[8] D'une succession de tierces et de sixtes fond6e sur la cadence rompue 69 *

7[8] D'une succession de tierces et de sixtes fond6e sur la cadence rompue 69 *

7[8] D'une succession de tierces et de sixtes fond6e sur la cadence rompue 69 *

7[8] D'une succession de tierces et de sixtes fond6e sur la cadence rompue 69 *

7[8] D'une succession de tierces et de sixtes fond6e sur la cadence rompue 69 *

4[20] Du rapport de la basse continue avec le sujet

5[21] Du choix qu'on doit faire dans l'harmonie fond.le pour la basse continue

4[20] Du rapport de la basse continue avec le sujet

5[21] Du choix qu'on doit faire dans l'harmonie fond.le pour la basse continue

4[20] Du rapport de la basse continue avec le sujet

5[21] Du choix qu'on doit faire dans l'harmonie fond.le pour la basse continue

4[20] Du rapport de la basse continue avec le sujet

5[21] Du choix qu'on doit faire dans l'harmonie fond.le pour la basse continue

4[20] Du rapport de la basse continue avec le sujet

5[21] Du choix qu'on doit faire dans l'harmonie fond.le pour la basse continue

4[20] Du rapport de la basse continue avec le sujet

5[21] Du choix qu'on doit faire dans l'harmonie fond.le pour la basse continue

71 *

73

71 *

73

71 *

73

71 *

73

71 *

73

71 *

73

6[22] Nouvelles observations sur le meme sujet 75v * 6[22] Nouvelles observations sur le meme sujet 75v * 6[22] Nouvelles observations sur le meme sujet 75v * 6[22] Nouvelles observations sur le meme sujet 75v * 6[22] Nouvelles observations sur le meme sujet 75v * 6[22] Nouvelles observations sur le meme sujet 75v *

7[23] De la supposition

1 De la neuvieme

7[23] De la supposition

1 De la neuvieme

7[23] De la supposition

1 De la neuvieme

7[23] De la supposition

1 De la neuvieme

7[23] De la supposition

1 De la neuvieme

7[23] De la supposition

1 De la neuvieme

78v

79

78v

79

78v

79

78v

79

78v

79

78v

79

4 Comment la suspension peut etre sousentendue et comment on la chiffre

5 De la quarte et de la sixte par suspension au dessus d'une dominante tonique

6 De la meme suspension sur des dominantes successives

7 De la quarte, de la sixte, et de la neuvieme, par suspension au dessus d'une tonique

8 De la suspension sur des dominantes successives ou se joint la note sensible comme fond.le

4 Comment la suspension peut etre sousentendue et comment on la chiffre

5 De la quarte et de la sixte par suspension au dessus d'une dominante tonique

6 De la meme suspension sur des dominantes successives

7 De la quarte, de la sixte, et de la neuvieme, par suspension au dessus d'une tonique

8 De la suspension sur des dominantes successives ou se joint la note sensible comme fond.le

4 Comment la suspension peut etre sousentendue et comment on la chiffre

5 De la quarte et de la sixte par suspension au dessus d'une dominante tonique

6 De la meme suspension sur des dominantes successives

7 De la quarte, de la sixte, et de la neuvieme, par suspension au dessus d'une tonique

8 De la suspension sur des dominantes successives ou se joint la note sensible comme fond.le

4 Comment la suspension peut etre sousentendue et comment on la chiffre

5 De la quarte et de la sixte par suspension au dessus d'une dominante tonique

6 De la meme suspension sur des dominantes successives

7 De la quarte, de la sixte, et de la neuvieme, par suspension au dessus d'une tonique

8 De la suspension sur des dominantes successives ou se joint la note sensible comme fond.le

4 Comment la suspension peut etre sousentendue et comment on la chiffre

5 De la quarte et de la sixte par suspension au dessus d'une dominante tonique

6 De la meme suspension sur des dominantes successives

7 De la quarte, de la sixte, et de la neuvieme, par suspension au dessus d'une tonique

8 De la suspension sur des dominantes successives ou se joint la note sensible comme fond.le

4 Comment la suspension peut etre sousentendue et comment on la chiffre

5 De la quarte et de la sixte par suspension au dessus d'une dominante tonique

6 De la meme suspension sur des dominantes successives

7 De la quarte, de la sixte, et de la neuvieme, par suspension au dessus d'une tonique

8 De la suspension sur des dominantes successives ou se joint la note sensible comme fond.le

86v

87

88

88v *

86v

87

88

88v *

86v

87

88

88v *

86v

87

88

88v *

86v

87

88

88v *

86v

87

88

88v *

90 90 90 90 90 90

Page 23: Cópia de Rameau's L'Art de La Basse Fondamentale

Rameau's "L'Art de la Basse Fondamentale" 39 Rameau's "L'Art de la Basse Fondamentale" 39 Rameau's "L'Art de la Basse Fondamentale" 39 Rameau's "L'Art de la Basse Fondamentale" 39 Rameau's "L'Art de la Basse Fondamentale" 39 Rameau's "L'Art de la Basse Fondamentale" 39

9 Des suspensions successives, ou se

joignent la supposition et la septieme diminuee

10 Cas ou la suspension peut etre sauvee sur une seule note fond.le

11 Des suspensions dans la basse

9 Des suspensions successives, ou se

joignent la supposition et la septieme diminuee

10 Cas ou la suspension peut etre sauvee sur une seule note fond.le

11 Des suspensions dans la basse

9 Des suspensions successives, ou se

joignent la supposition et la septieme diminuee

10 Cas ou la suspension peut etre sauvee sur une seule note fond.le

11 Des suspensions dans la basse

9 Des suspensions successives, ou se

joignent la supposition et la septieme diminuee

10 Cas ou la suspension peut etre sauvee sur une seule note fond.le

11 Des suspensions dans la basse

9 Des suspensions successives, ou se

joignent la supposition et la septieme diminuee

10 Cas ou la suspension peut etre sauvee sur une seule note fond.le

11 Des suspensions dans la basse

9 Des suspensions successives, ou se

joignent la supposition et la septieme diminuee

10 Cas ou la suspension peut etre sauvee sur une seule note fond.le

11 Des suspensions dans la basse

Deuxieme Partie [draft 1] Principes de Composition ou se

developpent toutes les successions fondamentales relativent aux dissonances dans un chant donne

Deuxieme Partie [draft 1] Principes de Composition ou se

developpent toutes les successions fondamentales relativent aux dissonances dans un chant donne

Deuxieme Partie [draft 1] Principes de Composition ou se

developpent toutes les successions fondamentales relativent aux dissonances dans un chant donne

Deuxieme Partie [draft 1] Principes de Composition ou se

developpent toutes les successions fondamentales relativent aux dissonances dans un chant donne

Deuxieme Partie [draft 1] Principes de Composition ou se

developpent toutes les successions fondamentales relativent aux dissonances dans un chant donne

Deuxieme Partie [draft 1] Principes de Composition ou se

developpent toutes les successions fondamentales relativent aux dissonances dans un chant donne

Legon

1 De la dissonance en general et de sa basse fondamentale

2 Maniere dont la dissonance doit etre

precedee et suivie sous les titres de

preparer et sauver

3 Des notes syncopees du chant

1 Du cas ou la note syncop6e doit former la septieme

2 Application des premieres regles a celles de l'article precedent

Legon

1 De la dissonance en general et de sa basse fondamentale

2 Maniere dont la dissonance doit etre

precedee et suivie sous les titres de

preparer et sauver

3 Des notes syncopees du chant

1 Du cas ou la note syncop6e doit former la septieme

2 Application des premieres regles a celles de l'article precedent

Legon

1 De la dissonance en general et de sa basse fondamentale

2 Maniere dont la dissonance doit etre

precedee et suivie sous les titres de

preparer et sauver

3 Des notes syncopees du chant

1 Du cas ou la note syncop6e doit former la septieme

2 Application des premieres regles a celles de l'article precedent

Legon

1 De la dissonance en general et de sa basse fondamentale

2 Maniere dont la dissonance doit etre

precedee et suivie sous les titres de

preparer et sauver

3 Des notes syncopees du chant

1 Du cas ou la note syncop6e doit former la septieme

2 Application des premieres regles a celles de l'article precedent

Legon

1 De la dissonance en general et de sa basse fondamentale

2 Maniere dont la dissonance doit etre

precedee et suivie sous les titres de

preparer et sauver

3 Des notes syncopees du chant

1 Du cas ou la note syncop6e doit former la septieme

2 Application des premieres regles a celles de l'article precedent

Legon

1 De la dissonance en general et de sa basse fondamentale

2 Maniere dont la dissonance doit etre

precedee et suivie sous les titres de

preparer et sauver

3 Des notes syncopees du chant

1 Du cas ou la note syncop6e doit former la septieme

2 Application des premieres regles a celles de l'article precedent

Deuixieme Partie [draft 2] Developpement de la basse fond.1' sous tous les chants possibles, par des consonances, et des dissonances dans tous les genres de musique

Deuixieme Partie [draft 2] Developpement de la basse fond.1' sous tous les chants possibles, par des consonances, et des dissonances dans tous les genres de musique

Deuixieme Partie [draft 2] Developpement de la basse fond.1' sous tous les chants possibles, par des consonances, et des dissonances dans tous les genres de musique

Deuixieme Partie [draft 2] Developpement de la basse fond.1' sous tous les chants possibles, par des consonances, et des dissonances dans tous les genres de musique

Deuixieme Partie [draft 2] Developpement de la basse fond.1' sous tous les chants possibles, par des consonances, et des dissonances dans tous les genres de musique

Deuixieme Partie [draft 2] Developpement de la basse fond.1' sous tous les chants possibles, par des consonances, et des dissonances dans tous les genres de musique

92 * 92 * 92 * 92 * 92 * 92 *

94v *

96v

94v *

96v

94v *

96v

94v *

96v

94v *

96v

94v *

96v

98 98 98 98 98 98

98 98 98 98 98 98

98

98v

98v

98

98v

98v

98

98v

98v

98

98v

98v

98

98v

98v

98

98v

98v

* * * * * *

99v 99v 99v 99v 99v 99v

100 100 100 100 100 100

Legon

1

2

Legon

1

2

Legon

1

2

Legon

1

2

Legon

1

2

Legon

1

2

De la dissonance, et de sa basse fond.'e

Maniere dont la dissonance doit etre prepar6e et suivie sous les titres de preparer et de sauver

De la dissonance, et de sa basse fond.'e

Maniere dont la dissonance doit etre prepar6e et suivie sous les titres de preparer et de sauver

De la dissonance, et de sa basse fond.'e

Maniere dont la dissonance doit etre prepar6e et suivie sous les titres de preparer et de sauver

De la dissonance, et de sa basse fond.'e

Maniere dont la dissonance doit etre prepar6e et suivie sous les titres de preparer et de sauver

De la dissonance, et de sa basse fond.'e

Maniere dont la dissonance doit etre prepar6e et suivie sous les titres de preparer et de sauver

De la dissonance, et de sa basse fond.'e

Maniere dont la dissonance doit etre prepar6e et suivie sous les titres de preparer et de sauver

[1]

2 De la succession fond.le relative a celle de la septieme prepar6e et sauvee

[3] Savoir par quelles consonances la septieme se prepare, et se sauve relativement a la basse fond.le

3 Des notes syncopdes dans le sujet

1 Des cas ou la note syncopee doit former la septieme

2 La septieme peut n'etre pas sauvee immediatement

[1]

2 De la succession fond.le relative a celle de la septieme prepar6e et sauvee

[3] Savoir par quelles consonances la septieme se prepare, et se sauve relativement a la basse fond.le

3 Des notes syncopdes dans le sujet

1 Des cas ou la note syncopee doit former la septieme

2 La septieme peut n'etre pas sauvee immediatement

[1]

2 De la succession fond.le relative a celle de la septieme prepar6e et sauvee

[3] Savoir par quelles consonances la septieme se prepare, et se sauve relativement a la basse fond.le

3 Des notes syncopdes dans le sujet

1 Des cas ou la note syncopee doit former la septieme

2 La septieme peut n'etre pas sauvee immediatement

[1]

2 De la succession fond.le relative a celle de la septieme prepar6e et sauvee

[3] Savoir par quelles consonances la septieme se prepare, et se sauve relativement a la basse fond.le

3 Des notes syncopdes dans le sujet

1 Des cas ou la note syncopee doit former la septieme

2 La septieme peut n'etre pas sauvee immediatement

[1]

2 De la succession fond.le relative a celle de la septieme prepar6e et sauvee

[3] Savoir par quelles consonances la septieme se prepare, et se sauve relativement a la basse fond.le

3 Des notes syncopdes dans le sujet

1 Des cas ou la note syncopee doit former la septieme

2 La septieme peut n'etre pas sauvee immediatement

[1]

2 De la succession fond.le relative a celle de la septieme prepar6e et sauvee

[3] Savoir par quelles consonances la septieme se prepare, et se sauve relativement a la basse fond.le

3 Des notes syncopdes dans le sujet

1 Des cas ou la note syncopee doit former la septieme

2 La septieme peut n'etre pas sauvee immediatement

3 La septieme doit etre traitee comme son harmonique

4 Cas ou la septieme d'une dominante

tonique n'exige aucune preparation, et ou l'on peut monter de tierce sur cette dominante tonique

5 Arbitraire entre la soudominante et la dominante tonique dans le cas de l'article precedent

6 Ce qui prepare et sauve la septieme peut etre sousentendu

7 Il n'est pas necessaire qu'une note syncope pour former septieme

3 La septieme doit etre traitee comme son harmonique

4 Cas ou la septieme d'une dominante

tonique n'exige aucune preparation, et ou l'on peut monter de tierce sur cette dominante tonique

5 Arbitraire entre la soudominante et la dominante tonique dans le cas de l'article precedent

6 Ce qui prepare et sauve la septieme peut etre sousentendu

7 Il n'est pas necessaire qu'une note syncope pour former septieme

3 La septieme doit etre traitee comme son harmonique

4 Cas ou la septieme d'une dominante

tonique n'exige aucune preparation, et ou l'on peut monter de tierce sur cette dominante tonique

5 Arbitraire entre la soudominante et la dominante tonique dans le cas de l'article precedent

6 Ce qui prepare et sauve la septieme peut etre sousentendu

7 Il n'est pas necessaire qu'une note syncope pour former septieme

3 La septieme doit etre traitee comme son harmonique

4 Cas ou la septieme d'une dominante

tonique n'exige aucune preparation, et ou l'on peut monter de tierce sur cette dominante tonique

5 Arbitraire entre la soudominante et la dominante tonique dans le cas de l'article precedent

6 Ce qui prepare et sauve la septieme peut etre sousentendu

7 Il n'est pas necessaire qu'une note syncope pour former septieme

3 La septieme doit etre traitee comme son harmonique

4 Cas ou la septieme d'une dominante

tonique n'exige aucune preparation, et ou l'on peut monter de tierce sur cette dominante tonique

5 Arbitraire entre la soudominante et la dominante tonique dans le cas de l'article precedent

6 Ce qui prepare et sauve la septieme peut etre sousentendu

7 Il n'est pas necessaire qu'une note syncope pour former septieme

3 La septieme doit etre traitee comme son harmonique

4 Cas ou la septieme d'une dominante

tonique n'exige aucune preparation, et ou l'on peut monter de tierce sur cette dominante tonique

5 Arbitraire entre la soudominante et la dominante tonique dans le cas de l'article precedent

6 Ce qui prepare et sauve la septieme peut etre sousentendu

7 Il n'est pas necessaire qu'une note syncope pour former septieme

100

100

100

100

100

100

100

100

100

100

100

100

lOOv

lOOv

lOlv

101v *

102 *

103 *

103v

103v *

104v *

lOOv

lOOv

lOlv

101v *

102 *

103 *

103v

103v *

104v *

lOOv

lOOv

lOlv

101v *

102 *

103 *

103v

103v *

104v *

lOOv

lOOv

lOlv

101v *

102 *

103 *

103v

103v *

104v *

lOOv

lOOv

lOlv

101v *

102 *

103 *

103v

103v *

104v *

lOOv

lOOv

lOlv

101v *

102 *

103 *

103v

103v *

104v *

106 * 106 * 106 * 106 * 106 * 106 *

Page 24: Cópia de Rameau's L'Art de La Basse Fondamentale

40 Music Theory Spectrum 40 Music Theory Spectrum 40 Music Theory Spectrum 40 Music Theory Spectrum 40 Music Theory Spectrum 40 Music Theory Spectrum

8 Des cas ou la note syncopee ne peut former septieme quoiqu'elle descende diatoniquement

4 Recapitulation de la septieme

5 [De la septieme diminu6e]

1 De la septieme diminu6e et de sa basse fond.'e

2 De l'accord de la septieme diminuee et de ses notes communes avec celuy de la dominante tonique

3 La note sensible et la dominante tonique

4 Maniere dont la note sensible et la septieme diminuee doivent etre precedees et suivies

5 Arbitraire entre la soudominante et la note sensible

6 Application des regles precedentes a la note sensible d'une dominante tonique

6 Recapitulation de la septieme diminuee

7 Des cadences rompues et interrompues

1 De la cadence rompue

2 De la cadence interompue

8 De l'imitation des cadences, ou l'on rappelle toutes les successions fondamentales

9 De la sixte ajoutee

8 Des cas ou la note syncopee ne peut former septieme quoiqu'elle descende diatoniquement

4 Recapitulation de la septieme

5 [De la septieme diminu6e]

1 De la septieme diminu6e et de sa basse fond.'e

2 De l'accord de la septieme diminuee et de ses notes communes avec celuy de la dominante tonique

3 La note sensible et la dominante tonique

4 Maniere dont la note sensible et la septieme diminuee doivent etre precedees et suivies

5 Arbitraire entre la soudominante et la note sensible

6 Application des regles precedentes a la note sensible d'une dominante tonique

6 Recapitulation de la septieme diminuee

7 Des cadences rompues et interrompues

1 De la cadence rompue

2 De la cadence interompue

8 De l'imitation des cadences, ou l'on rappelle toutes les successions fondamentales

9 De la sixte ajoutee

8 Des cas ou la note syncopee ne peut former septieme quoiqu'elle descende diatoniquement

4 Recapitulation de la septieme

5 [De la septieme diminu6e]

1 De la septieme diminu6e et de sa basse fond.'e

2 De l'accord de la septieme diminuee et de ses notes communes avec celuy de la dominante tonique

3 La note sensible et la dominante tonique

4 Maniere dont la note sensible et la septieme diminuee doivent etre precedees et suivies

5 Arbitraire entre la soudominante et la note sensible

6 Application des regles precedentes a la note sensible d'une dominante tonique

6 Recapitulation de la septieme diminuee

7 Des cadences rompues et interrompues

1 De la cadence rompue

2 De la cadence interompue

8 De l'imitation des cadences, ou l'on rappelle toutes les successions fondamentales

9 De la sixte ajoutee

8 Des cas ou la note syncopee ne peut former septieme quoiqu'elle descende diatoniquement

4 Recapitulation de la septieme

5 [De la septieme diminu6e]

1 De la septieme diminu6e et de sa basse fond.'e

2 De l'accord de la septieme diminuee et de ses notes communes avec celuy de la dominante tonique

3 La note sensible et la dominante tonique

4 Maniere dont la note sensible et la septieme diminuee doivent etre precedees et suivies

5 Arbitraire entre la soudominante et la note sensible

6 Application des regles precedentes a la note sensible d'une dominante tonique

6 Recapitulation de la septieme diminuee

7 Des cadences rompues et interrompues

1 De la cadence rompue

2 De la cadence interompue

8 De l'imitation des cadences, ou l'on rappelle toutes les successions fondamentales

9 De la sixte ajoutee

8 Des cas ou la note syncopee ne peut former septieme quoiqu'elle descende diatoniquement

4 Recapitulation de la septieme

5 [De la septieme diminu6e]

1 De la septieme diminu6e et de sa basse fond.'e

2 De l'accord de la septieme diminuee et de ses notes communes avec celuy de la dominante tonique

3 La note sensible et la dominante tonique

4 Maniere dont la note sensible et la septieme diminuee doivent etre precedees et suivies

5 Arbitraire entre la soudominante et la note sensible

6 Application des regles precedentes a la note sensible d'une dominante tonique

6 Recapitulation de la septieme diminuee

7 Des cadences rompues et interrompues

1 De la cadence rompue

2 De la cadence interompue

8 De l'imitation des cadences, ou l'on rappelle toutes les successions fondamentales

9 De la sixte ajoutee

8 Des cas ou la note syncopee ne peut former septieme quoiqu'elle descende diatoniquement

4 Recapitulation de la septieme

5 [De la septieme diminu6e]

1 De la septieme diminu6e et de sa basse fond.'e

2 De l'accord de la septieme diminuee et de ses notes communes avec celuy de la dominante tonique

3 La note sensible et la dominante tonique

4 Maniere dont la note sensible et la septieme diminuee doivent etre precedees et suivies

5 Arbitraire entre la soudominante et la note sensible

6 Application des regles precedentes a la note sensible d'une dominante tonique

6 Recapitulation de la septieme diminuee

7 Des cadences rompues et interrompues

1 De la cadence rompue

2 De la cadence interompue

8 De l'imitation des cadences, ou l'on rappelle toutes les successions fondamentales

9 De la sixte ajoutee

106

107

110

106

107

110

106

107

110

106

107

110

106

107

110

106

107

110

110

110

110

llOv *

113 *

115 *

116v *

119v

120 *

120v *

121v *

123

110

110

110

llOv *

113 *

115 *

116v *

119v

120 *

120v *

121v *

123

110

110

110

llOv *

113 *

115 *

116v *

119v

120 *

120v *

121v *

123

110

110

110

llOv *

113 *

115 *

116v *

119v

120 *

120v *

121v *

123

110

110

110

llOv *

113 *

115 *

116v *

119v

120 *

120v *

121v *

123

110

110

110

llOv *

113 *

115 *

116v *

119v

120 *

120v *

121v *

123

1 Premiere moyen d'employer la sixte ajoutee

2 Deuxieme moyen d'employer la sixte ajoutee meme sur la tonique

10 Des nouvelles notes communes qu'introduit la sixte ajoutee

11 Du double employ entre la sutonique et soudominante

1 De la preference necessaire a la sutonique ou a la soudominante dans le meme ton

2 De la preference d'une a la soudominante dans les changement de ton possibles, ou forcee

12 Des imitations de chant en faveur de la dissonance

13 Du chromatique

1 Du chromatique en montant

2 Du chromatique en descendant par des consonances

3 Du chromatique en descendant par des dissonances

14 Du genre enharmonique

1 Moyen de passer dans douze tons different a la faveur de l'enharmonique

2 Pratique de l'enharmonique

15 Du diatonique enharmonique

1 Premiere moyen d'employer la sixte ajoutee

2 Deuxieme moyen d'employer la sixte ajoutee meme sur la tonique

10 Des nouvelles notes communes qu'introduit la sixte ajoutee

11 Du double employ entre la sutonique et soudominante

1 De la preference necessaire a la sutonique ou a la soudominante dans le meme ton

2 De la preference d'une a la soudominante dans les changement de ton possibles, ou forcee

12 Des imitations de chant en faveur de la dissonance

13 Du chromatique

1 Du chromatique en montant

2 Du chromatique en descendant par des consonances

3 Du chromatique en descendant par des dissonances

14 Du genre enharmonique

1 Moyen de passer dans douze tons different a la faveur de l'enharmonique

2 Pratique de l'enharmonique

15 Du diatonique enharmonique

1 Premiere moyen d'employer la sixte ajoutee

2 Deuxieme moyen d'employer la sixte ajoutee meme sur la tonique

10 Des nouvelles notes communes qu'introduit la sixte ajoutee

11 Du double employ entre la sutonique et soudominante

1 De la preference necessaire a la sutonique ou a la soudominante dans le meme ton

2 De la preference d'une a la soudominante dans les changement de ton possibles, ou forcee

12 Des imitations de chant en faveur de la dissonance

13 Du chromatique

1 Du chromatique en montant

2 Du chromatique en descendant par des consonances

3 Du chromatique en descendant par des dissonances

14 Du genre enharmonique

1 Moyen de passer dans douze tons different a la faveur de l'enharmonique

2 Pratique de l'enharmonique

15 Du diatonique enharmonique

1 Premiere moyen d'employer la sixte ajoutee

2 Deuxieme moyen d'employer la sixte ajoutee meme sur la tonique

10 Des nouvelles notes communes qu'introduit la sixte ajoutee

11 Du double employ entre la sutonique et soudominante

1 De la preference necessaire a la sutonique ou a la soudominante dans le meme ton

2 De la preference d'une a la soudominante dans les changement de ton possibles, ou forcee

12 Des imitations de chant en faveur de la dissonance

13 Du chromatique

1 Du chromatique en montant

2 Du chromatique en descendant par des consonances

3 Du chromatique en descendant par des dissonances

14 Du genre enharmonique

1 Moyen de passer dans douze tons different a la faveur de l'enharmonique

2 Pratique de l'enharmonique

15 Du diatonique enharmonique

1 Premiere moyen d'employer la sixte ajoutee

2 Deuxieme moyen d'employer la sixte ajoutee meme sur la tonique

10 Des nouvelles notes communes qu'introduit la sixte ajoutee

11 Du double employ entre la sutonique et soudominante

1 De la preference necessaire a la sutonique ou a la soudominante dans le meme ton

2 De la preference d'une a la soudominante dans les changement de ton possibles, ou forcee

12 Des imitations de chant en faveur de la dissonance

13 Du chromatique

1 Du chromatique en montant

2 Du chromatique en descendant par des consonances

3 Du chromatique en descendant par des dissonances

14 Du genre enharmonique

1 Moyen de passer dans douze tons different a la faveur de l'enharmonique

2 Pratique de l'enharmonique

15 Du diatonique enharmonique

1 Premiere moyen d'employer la sixte ajoutee

2 Deuxieme moyen d'employer la sixte ajoutee meme sur la tonique

10 Des nouvelles notes communes qu'introduit la sixte ajoutee

11 Du double employ entre la sutonique et soudominante

1 De la preference necessaire a la sutonique ou a la soudominante dans le meme ton

2 De la preference d'une a la soudominante dans les changement de ton possibles, ou forcee

12 Des imitations de chant en faveur de la dissonance

13 Du chromatique

1 Du chromatique en montant

2 Du chromatique en descendant par des consonances

3 Du chromatique en descendant par des dissonances

14 Du genre enharmonique

1 Moyen de passer dans douze tons different a la faveur de l'enharmonique

2 Pratique de l'enharmonique

15 Du diatonique enharmonique

123v * 123v * 123v * 123v * 123v * 123v *

124

125

124

125

124

125

124

125

124

125

124

125

*

*

*

*

*

*

*

*

*

*

*

*

127 127 127 127 127 127

128 128 128 128 128 128 * * * * * *

128v *

130 *

132

132 *

132v *

134 *

135v

136

136v *

138

128v *

130 *

132

132 *

132v *

134 *

135v

136

136v *

138

128v *

130 *

132

132 *

132v *

134 *

135v

136

136v *

138

128v *

130 *

132

132 *

132v *

134 *

135v

136

136v *

138

128v *

130 *

132

132 *

132v *

134 *

135v

136

136v *

138

128v *

130 *

132

132 *

132v *

134 *

135v

136

136v *

138

Page 25: Cópia de Rameau's L'Art de La Basse Fondamentale

Rameau's "L'Art de la Basse Fondamentale" 41 Rameau's "L'Art de la Basse Fondamentale" 41 Rameau's "L'Art de la Basse Fondamentale" 41 Rameau's "L'Art de la Basse Fondamentale" 41 Rameau's "L'Art de la Basse Fondamentale" 41 Rameau's "L'Art de la Basse Fondamentale" 41

16 Du chromatique enharmonique

17 Des notes pour le gout du chant

1 Des notes de gout par des intervales consonant

2 Des notes de gout par degres diatoniques

18 Ce qu'il faut observer dans les cas ou le sujet peut representer deux parties differentes

16 Du chromatique enharmonique

17 Des notes pour le gout du chant

1 Des notes de gout par des intervales consonant

2 Des notes de gout par degres diatoniques

18 Ce qu'il faut observer dans les cas ou le sujet peut representer deux parties differentes

16 Du chromatique enharmonique

17 Des notes pour le gout du chant

1 Des notes de gout par des intervales consonant

2 Des notes de gout par degres diatoniques

18 Ce qu'il faut observer dans les cas ou le sujet peut representer deux parties differentes

16 Du chromatique enharmonique

17 Des notes pour le gout du chant

1 Des notes de gout par des intervales consonant

2 Des notes de gout par degres diatoniques

18 Ce qu'il faut observer dans les cas ou le sujet peut representer deux parties differentes

16 Du chromatique enharmonique

17 Des notes pour le gout du chant

1 Des notes de gout par des intervales consonant

2 Des notes de gout par degres diatoniques

18 Ce qu'il faut observer dans les cas ou le sujet peut representer deux parties differentes

16 Du chromatique enharmonique

17 Des notes pour le gout du chant

1 Des notes de gout par des intervales consonant

2 Des notes de gout par degres diatoniques

18 Ce qu'il faut observer dans les cas ou le sujet peut representer deux parties differentes

Troisieme Partie

Developpement de la basse continue et des licences qu'elle occasionne

1 De la basse continue

2 Comment la basse continue se tire de la fond.le

3 Des intervales que forme la basse continue avec le sujet

Troisieme Partie

Developpement de la basse continue et des licences qu'elle occasionne

1 De la basse continue

2 Comment la basse continue se tire de la fond.le

3 Des intervales que forme la basse continue avec le sujet

Troisieme Partie

Developpement de la basse continue et des licences qu'elle occasionne

1 De la basse continue

2 Comment la basse continue se tire de la fond.le

3 Des intervales que forme la basse continue avec le sujet

Troisieme Partie

Developpement de la basse continue et des licences qu'elle occasionne

1 De la basse continue

2 Comment la basse continue se tire de la fond.le

3 Des intervales que forme la basse continue avec le sujet

Troisieme Partie

Developpement de la basse continue et des licences qu'elle occasionne

1 De la basse continue

2 Comment la basse continue se tire de la fond.le

3 Des intervales que forme la basse continue avec le sujet

Troisieme Partie

Developpement de la basse continue et des licences qu'elle occasionne

1 De la basse continue

2 Comment la basse continue se tire de la fond.le

3 Des intervales que forme la basse continue avec le sujet

139v

139v

140 *

142 *

144v *

139v

139v

140 *

142 *

144v *

139v

139v

140 *

142 *

144v *

139v

139v

140 *

142 *

144v *

139v

139v

140 *

142 *

144v *

139v

139v

140 *

142 *

144v *

146

146

146v

146v

146

146

146v

146v

146

146

146v

146v

146

146

146v

146v

146

146

146v

146v

146

146

146v

146v

4 Comment se chiffre la basse continue

1 Chiffres de l'accord parfait et de son renversement

2 Chiffres de l'accord de septieme, et de son renversement

3 Chiffres d'un accord de septieme, ou se trouve la note sensible et de son renversement

4 Chiffres de 1'accord de septieme diminuee et de son renversement

5 Chiffres des accords par supposition

6 Chiffres des accords par suspension

7 Chiffres des suspensions successives

8 Reflexions sur le chiffre

5 De la succession de la basse continue ou l'on traite de la difference des repos ou cadences

6 Du choix qu'on doit faire dans l'harmonie fond.le pour la basse continue et pour sa succession

7 Du rapport de la basse continue avec le sujet

4 Comment se chiffre la basse continue

1 Chiffres de l'accord parfait et de son renversement

2 Chiffres de l'accord de septieme, et de son renversement

3 Chiffres d'un accord de septieme, ou se trouve la note sensible et de son renversement

4 Chiffres de 1'accord de septieme diminuee et de son renversement

5 Chiffres des accords par supposition

6 Chiffres des accords par suspension

7 Chiffres des suspensions successives

8 Reflexions sur le chiffre

5 De la succession de la basse continue ou l'on traite de la difference des repos ou cadences

6 Du choix qu'on doit faire dans l'harmonie fond.le pour la basse continue et pour sa succession

7 Du rapport de la basse continue avec le sujet

4 Comment se chiffre la basse continue

1 Chiffres de l'accord parfait et de son renversement

2 Chiffres de l'accord de septieme, et de son renversement

3 Chiffres d'un accord de septieme, ou se trouve la note sensible et de son renversement

4 Chiffres de 1'accord de septieme diminuee et de son renversement

5 Chiffres des accords par supposition

6 Chiffres des accords par suspension

7 Chiffres des suspensions successives

8 Reflexions sur le chiffre

5 De la succession de la basse continue ou l'on traite de la difference des repos ou cadences

6 Du choix qu'on doit faire dans l'harmonie fond.le pour la basse continue et pour sa succession

7 Du rapport de la basse continue avec le sujet

4 Comment se chiffre la basse continue

1 Chiffres de l'accord parfait et de son renversement

2 Chiffres de l'accord de septieme, et de son renversement

3 Chiffres d'un accord de septieme, ou se trouve la note sensible et de son renversement

4 Chiffres de 1'accord de septieme diminuee et de son renversement

5 Chiffres des accords par supposition

6 Chiffres des accords par suspension

7 Chiffres des suspensions successives

8 Reflexions sur le chiffre

5 De la succession de la basse continue ou l'on traite de la difference des repos ou cadences

6 Du choix qu'on doit faire dans l'harmonie fond.le pour la basse continue et pour sa succession

7 Du rapport de la basse continue avec le sujet

4 Comment se chiffre la basse continue

1 Chiffres de l'accord parfait et de son renversement

2 Chiffres de l'accord de septieme, et de son renversement

3 Chiffres d'un accord de septieme, ou se trouve la note sensible et de son renversement

4 Chiffres de 1'accord de septieme diminuee et de son renversement

5 Chiffres des accords par supposition

6 Chiffres des accords par suspension

7 Chiffres des suspensions successives

8 Reflexions sur le chiffre

5 De la succession de la basse continue ou l'on traite de la difference des repos ou cadences

6 Du choix qu'on doit faire dans l'harmonie fond.le pour la basse continue et pour sa succession

7 Du rapport de la basse continue avec le sujet

4 Comment se chiffre la basse continue

1 Chiffres de l'accord parfait et de son renversement

2 Chiffres de l'accord de septieme, et de son renversement

3 Chiffres d'un accord de septieme, ou se trouve la note sensible et de son renversement

4 Chiffres de 1'accord de septieme diminuee et de son renversement

5 Chiffres des accords par supposition

6 Chiffres des accords par suspension

7 Chiffres des suspensions successives

8 Reflexions sur le chiffre

5 De la succession de la basse continue ou l'on traite de la difference des repos ou cadences

6 Du choix qu'on doit faire dans l'harmonie fond.le pour la basse continue et pour sa succession

7 Du rapport de la basse continue avec le sujet

147v

148

148v

148v

149

149v

149v

150

150

151

152

152v *

147v

148

148v

148v

149

149v

149v

150

150

151

152

152v *

147v

148

148v

148v

149

149v

149v

150

150

151

152

152v *

147v

148

148v

148v

149

149v

149v

150

150

151

152

152v *

147v

148

148v

148v

149

149v

149v

150

150

151

152

152v *

147v

148

148v

148v

149

149v

149v

150

150

151

152

152v *