Jean-Philippe Rameau · section 85 of 109

Chapter forty-two

Useful Observations on the Preceding Chapter

1. One may compose a bass beneath another part without the aid of the fundamental bass by knowing consonant succession, which we have defined precisely enough to leave no doubt. Remember to pass as often as possible from a perfect consonance to an imperfect one and back; avoid two perfect consonances in succession when possible. Imperfect consonances may follow one another, but do not abuse this freedom and thus offend variety. Give the bass diatonic motion as much as possible, though consonant motion should occur from time to time, especially at principal cadences, where it is absolutely necessary.

2. A bass may be composed from the chord successions established in the rules of the octave, 7 and 6, 2 and 6/5, 9, and others, where one sees that a certain chord must be followed by another, and so forth. See Chapters XI, XXI, XXII, XXVII, XXVIII, and XXIX.

3. For variety, use the examples specifying different bass movements beneath the same upper part. See Chapter XVII. Among the four parts in those examples one can always find a part corresponding to what you have composed: two successive notes in one part matching your upper part’s succession, another pair in another part, and so on. To avoid mistakes, carefully check whether the progressions occur in the same mode or key. Compare notes not by name but by their rank in your key and the examples’ key. Thus, though the examples are in C, a progression from mediant to dominant, or sixth note to fourth, and so forth, can always bear the same chords in any key.

Next consult Chapters XIV and XVIII on preparing and resolving dissonances, so that none is used without understanding.

Also consult Chapters XXIV and XXVI, Articles I, II, and III, on passing from one key to another, distinguishing keys, and recognizing the chords required by bass notes in any progression. Together these kinds of knowledge remove countless doubts that arise continually.

Once reasonably secure in all these matters, study how licenses may be used at the proper time and place. Figure the upper melody, and the bass too if desired, always observing principal beats and the note that must form the chord on each beat, so the bass can be figured accurately. When doubtful about chord foundations, place a fundamental bass beneath the two composed parts. This shows whether any fault has occurred and which chords belong to the continuo notes. Remember that a note forming a third, fifth, or seventh with the fundamental bass can bear only its corresponding chord. If the continuo note lies a third or fifth below the fundamental, the chord is by supposition, and its use must be checked against the rules.

Once the bass is correctly figured, nothing is easier than adding two or three parts, unless overly elaborate melody in the upper part or bass prevents arranging them with complete regularity. Thus the more parts there are, the more the bass must conform to the fundamental bass’s progression. We have nevertheless given several ways of making a bass move stepwise in four or five parts through an ascending or descending octave, using ordinary chords, various sixth chords, 7 and 6, 2 and 6/5, 9, and so forth. We shall now see what must be observed in composition for several parts.