| Essay on the True Manner of Playing the Clavier Zweyter Teil | Part II |
Commentary (original text in black)
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| 7. Capitel. Vom Terzquartenaccord 2. Abtheilung. |
Chapter 7. On the 6/4/3 chord Section 2. |
| §. 1. Wenn man zur großen Sexte mit der kleinen Terz die reine Quarte, ohne ausdrückliche Andeutung nimmt, [. . .] man bleibt bequem in der Lage (b), ohne Sprünge zu machen (c), und erhält einen guten Gesang (d): | §1. If one takes the perfect fourth with the major sixth and minor third, although the fourth is not explicitly indicated, [. . .] one remains comfortably in position (b), without making leaps (c), and the voice-leading is good (d): |
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Example (d) above shows the fourth added to the 6–chord (colored notehead), although the fourth is not explicit in the figure. |
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The second example shows less satisfactory voice leading (more parallel motion in outer voices) if the bass note is doubled instead of adding the fourth. |
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Translation © 2024 The Packard Humanities Institute