| 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. |
| Das Exempel (b), wenn man es simpel betrachtet, leidet weder die doppelte Terz zum d, noch das Heraufsteigen dieser Terz bey der letzten Grundnote c, weil dieses f, als die Septime zum g, angesehen wird (c). | Example (b), viewed simply, tolerates neither a doubled third over D, nor the descent of this third at the last bass note C, because this F must be seen as the seventh to G, Example (c). |
Ex. II:126 (b) |
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Ex. II:126 (c) |
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The 6/4/3–chord (colored noteheads) over the first D in the second measure of Example (b) would rather, in this context, be understood as a 7–chord over the G in the bass. Thus, playing G and F on the downbeat is better than doubling the F, as in Example (c), since this would constitute doubling the seventh. |
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