| Essay on the True Manner of Playing the Clavier Zweyter Teil | Part II |
Commentary (original text in black)
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| 1. Capitel. Von den Intervallen und den Signaturen | Chapter 1. On intervals and their signatures |
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| Example (a) can also be understood as a retardation of the bass note. At (b) the bass is essentially an anticipation. As Mitchell notes, Bach’s definition of anticipation differs from modern usage. Most modern readers would consider (a) to be a delay of the bass note, given its metrical position, not an anticipation of the upper voices, as Bach does. Note in the first example at (b) that the upper voices remain held until the barline, despite the absence of a figure over the first G. | |
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