The ART of

ACCOMPANIAMENT
or
A new and well digefted method learn to to

perform the THOROUGH BASS on the

H ARP S I C H O RDV

BY

F. G E M N AN I I I
Opera ii f Part they^/^-
/ : . ^

LONDON Printed for tlieAutlior by John yohnjofl Mtifick Seller in Cheapfide ,

; of wliom may be had all tlie Autlior's Works

J2 Solos for a Violin Opera J.^_ _ _ _ 6 Concertos in ^ Parts from his Solos. -
^Concertos in 7Parts,Oj5.2'i with Additions, - 6* Coijcertos in 8 Parts Op. j-tJ^ _ - _ -
6* Concertos in /Parts Op 55* wdth Additions.
_ Rules for playing in Tafte Op. 8^1^ _ -
J2 Solosfor a Violin Op.4.th_ _ _ A Treatife on good Tafte heing the - _
^,-Solos^foraViolin or Violoncello, Op. - 5^ fecond Part of the Rules. — — _ _
, ;
Leffons for the Harpficliord
The Art of playing on the Violin, tlie firft Part confining of
--
- Examples, and thfe latter Part confifting of J2 Pieccs,or
Solos for, that Inftrnment, Opera .9.t^i _
Girida Armonica or a fare Guide to Harmony & Modulation Op. lo^^
 THE
PRE
moft of
INonly have
F A
the liberal Arts, Treatifes and Syftems have been compofed, which not
been found ufeful to Perfons, who not having the Advantage of the
C E.

Afliftance of Mafters, endeavour by their own Induftry and Genius, to acquire the
Knowledge of thofe Arts, but which the moft eminent Teachers of thofe Arts have
thought expedient to make ufe of in inftruding their Difciples.

I, fome Years fince, began to compofe a Book upon the Subjed; of Thorough Bafs,
which I conceived might anfwer both thofe Purpofes ; but being diverted from my
Defign, by other Matters, I had almoft laid it afide. I have fmce been prevailed

upon, by the Exhortations of fome of my Friends, to finifh the Work ; and here offer
to the Publick, the firft Part thereof, which, if approved of, will be very foon followed
by the Remainder.

Some perhaps will be furprized to find fo Refemblance between this Book, and
little

thofe which have been publiflied by others, upon the fame Subjed. Had any, or all
of thofe Books together, contained compleat Directions for the juft Performance of
Thorough Bafs, I fhould not have offered mine to the Publick. But I will take upon
me to fay, that it is impoffible to arrive at the juft Performance of Thorough Bafs,
by the Help of any, or all of the Books hitherto publifhed.

The Art of Accompagniament confifts in difplaying Harmony, difpofing the Chords,

and in ordering them after a
in a juft Diftribution of the Sounds whereof they confift,
Manner, that may give the Ear the Pleafure of a continued and uninterrupted Melody.
This Obfervation, or rather Principle, is the Ground of my Method, which teaches
the Learner to draw from the Harmony, he holds under his Fingers, diverfified and
agreeable Singings. This Work will alfo be ufeful in leading the Learner into the
Method of Compofing, for the Rules of Compofition do not differ from thofe of
Accompagniament but the common Method of Accompagniament gives the Learner
:

no Hint of the Courfe he is to take in Compofing.

I fhall not in this Work fpeak of the Clefs, of Notes and Meafures, or of Flats and
Sharps ; enumerate the Concords and Difcords.
neither fhall I I fuppofe the Learner

already acquainted with thofe Things but if he is not, it is very eafy to acquire that
:

Knowledge in a fhort Time, by the Afliftance of a Mafter. In fhort, I purpofe in

this Work, to treat of what hath not already been handled by others, and not to
repeat what hath already been repeated an Hundred Times over.

As Rules which fome Perfons have given, for accompanying the feveral
for the
Notes of the Odave or Gammut, they are very uncertain and precarious ; and therefore
ought to be profcribed and forfaken by all true Harmonifts.
 [2]
The Explanation of the EX A MP LES.
Example I.
The Note under the Letter A, having no Figure over it, is to be accompanied with the perfedt Har^^
mony, confifting of the Third, Fifth and Odave. The following Notes, mark'd with the Letter Bj
fhew the different Pofitions of that Harmony.

I repeat here, what I have faid in my

Preface, that the Art of Accompagniament chiefly confifts in
rendering the Sounds of the Harpfichord lafting, for frequent Interruptions of the Sound are inconliftent
with true Melody. The Learner is therefore to obferve not to exhauft the Harmony all at once, that is
to fay, never to lay down all his Fingers at once upon the Keys, but to touch the feveral Notes wherecrf"
the Chords confift in Succeffion.

By this Sign I mean that the foregoing Example is to be repeated, with all the Sharps or Flats
which are under the Sign, joined to the Notes. This Exercife is of abfolute Neceffity.

Example 2.
The Letter A fhews the imperfed Chord, which confifts of the Third, Sixth, and Odave. All that I
have faid in the firft Example may be applied to this.

Example 3*
This Example contains the Chord of the Fourth and Sixth (being the Harmony of the perfed Chord
Inverted) and the feveral Ways of taking that Chord, or different Pofitions of the Harmony.

Example
4.
This Example contains two Notes, making an of a Fifth, both accompanied with the perfed
Interval
Harmony. Take Notice that the accidental Sharp Third muft never be doubled. This is one of thofe
Performances which Theory doth not condemn, but the Ear doth not allow, as it were finding Fault, by
its Nicety, with the doubling the Sound of a Note fo predominant when fingle.

Example
5.
I have placed under the Letter A, fuch Notes of the Bafs, as may be frequently met with, and under
the Letter B, the different Pofitions of the Harmony with which the fame may be accompanied.

Example 6.
You third Note of this Example is accompanied with an accidental Sharp Sixth,
will obferve that the
which muft never be doubled any more than the accidental Sharp Third, nor indeed ought any accidental
Sharp Note ever to be doubled.
Examples 7, 8.
Thefe Examples want no Explanation.
Example 9.
In this Example with accidental Sharps joined to them, which for that.Reafon ought
are feveral Notes
never to be doubled. You and fifth Variations of this Example, and in feveral
will obferve in the fourth
other Examples in this Book, round black Notes without Tails, thefe black Notes are to be ftruck in the
Middle of the Time of the Notes, under or over them j you will alfo obferve feveral Minims having a
Stroke acrofs their Tails. Thofe Minims are to be played as Crochets, and the Crochets immediately
following played in the latter Half of the Time. They are written in this Manner for the Sake of
Diftindion, the Minims with the Stroke acrofs their Tails being Concords, and the following Crotchets
pafling Difcords.

Example 10.
This Example confifts of feveral Cadences, proceeding by Imitation, and three manners of performing
them ; the firft and the fecond fimple, the third varied. I recommend it to the Learner to repeat often
the third, where the Harmony is contrafted this Exercife will be of great Service to him, both to form
•

his Ears to Harmony, and to acquire a good Tafte with Refped to Melody.
 cn
EXAMPLEII,
I have fhewn four Methods of performing this Example, in all which the Melody, for the moft Part,
follows the Bafs in Imitation. I recommend to the Learner to exercife himfelf in the fecond, third,
and fourth, for the fake of improving himfelf in the Art of contrafting the Harmony.

Example 12.
I have fhewn three different manners of performing this The firft and laft Notes of every
Example.
Bar are the fundamental Notes, and the other Notes only paffing Notes, this being a fwift Movement,
and confequently the Time not permitting to play the Harmony upon every Note. The Notes to be
play'd by the Right Hand, where the Bafs refts a Bar, are only introdiidtory or leading to the next Bar.

E X A ^4 P L E 13.
Under the Letter A is represented the Harmony of the perfed: Chord. Under the Numbers i, 2, 3,
4, 5 and 6, is reprefented the fame Harmony, divided into two equal Parts, and difpofed in fix different
Pofitions. Under the Letter B^ and the Numbers i, 2, 3, 4, are reprefented four different manners of
gracing one Note of the Harmony, where that Note is ftrudt twice without changing the Pofition of that
Note. Under the Letter C, and the Numbers i, 2, 3, are reprefented the fame, only the Embellifhment
is in the latter Half of the Bar. Under the Letter D, and the Numbers i, 2, 3, 4, are fhewn feveral
different manners of embellifhiiig two Notes of the Harmony, when thofe Notes are flrud: twice without
changing their Pofition. Under the Letter E, the fame Thing is fhewn, but the Embellifhment is in the
fatter Half of the Bar. Under the Letters F and G, and the Numbers i, 2, 3, immediately following,
are reprefented the reverfe of what was reprefented under the Letters B and C, and the Numbers following
thofe Letters. And under the Letter H, is reprefented the Reverfe of what is reprefented under the
Letters D and E.
Example 14^
In this Example are reprefented feveral different manners of embellifliing the Harmony, where there is

an Interval of a Third.
EXAMPLEI5.
In this Example are fhewn feVeral different manners of embellifhing the Harmony, where there is an
Interval of a Second.
Example 16.
In this Example are fhewn feveral different manners of emblifhing the Harmony, where there is an
Interval of a Fourth.
Example 17.
In this Example are fhewn feveral different manners of embellifhing the Harmony, where there is an
Interval of a Fifth.
Examples 18, 19, 20, 21, 22 and 23.
In thefe Examples are reprefented feveral Scales afcending and defcending, with different Harmonies,
according to the Meafure of the Time, and thofe Harmonies varied and embellifhed according to the
Method fhewn in the 13th, 14th, 15th, and 1 6th Examples. The Letter S, fignifies Scale j the Letter V,
Variation j the Letter T, Tranfpofition. The fmall Numbers which you will fee between the Notes,
fhew the Intervals where you will find the Harmony embellifhed.

Example 24.
In this Example are reprefented feveral Scales in Tripple Time, with various Harmonies. From hence
will appear the Truth of what I have faid in my Preface, viz. that the Rules which fome Perfons have
given for accompanying the feveral Notes of the Odlave or Gammut, are very defedive, uncertain and
precarious.
 ^he foUcwing Works of the Author^ Afr. Geminianij may be had e/'John Johnfon, Mujick-fellery in Cheapfide.

TWELVE Solos Second Edition, with large Additions and Improvements, with the Graces to
for the Violin, the
the Adagio's, and Numbers fhew the manner of Fingering. Opera Prima.
to
, Twelve Solosfor the Violin. Opera Quarta.
Six Concertos from thofe Solos.
'

Six Leflbns for the Harpfichord. .

Six Solos for the Violin. Opera Quinta.

Ditto for the Violoncello.
Six Concertos in 8 Parts. Opera Settima. .
'
. , , .

Rules for playing in Tafte, Opera Ottavai

A
Treatife on Good Tafte, being the fecond Part of the Rules.
The Art of playing the Violin, the firft Part confiding of fuch Rules and Examples as are neceflary to arrive at a
Maftery on that Inftrument, and the latter Part confifting of Twelve Pieces or Solos for a Violin and Violoncello, or
Harpfichord. Opera Nona.
Guida Armonica O Dizionaria Armonica^ being a fure Guide to Harmony and Modulation, in which are exhibited
the various Combinations of Sounds, Confonant and Difonant j Progrcffions of Harmony 5 Ligatures and Cadences,
real and deceptive, very neceflary for all who ftudy the Art of Compofition, and defire to play the Organ or Harp^;
fichord extempore. Opera Decima.

InaJhortTime'wUlbepublilh*di

The Second Edition, of his Twelve Concertos, in 7 Parts. Opera Seconda and Terza. With fevcral additional
Movements, and other Improvements." And the fame Concertos in Score.
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