2017 Patricia Carpenter Emerging Scholar Award

J. S. Bach’s Chorales: Reconstructing

Eighteenth-Century German Figured-Bass
Pedagogy in Light of a New Source
De re k Re me š

In a recent study by Robin A. Leaver, the Sibley Choralbuch (Rochester, NY) was re-identified as likely
stemming from J. S. Bach’s students in Dresden from around 1730–40 (2016). The manuscript contains
227 figured-bass chorales—melodies with single figured basses—and thus matches the first part of
C. P. E. Bach’s description of his father’s teaching method, where students first received a figured-bass
chorale and added two inner voices. Later, students composed their own basses and figures. Here, the
plural “basses” is significant, because several “multiple-bass” chorale sources have also come to light in
recent years, many stemming from J. S. Bach’s students, Kittel and Kirnberger, who discuss this technique
in their treatises. These sources suggest that a little-known, keyboard chorale tradition also played an
important role in Bach’s pedagogy. The present article attempts to reconstruct this pedagogical process
using contemporaneous German sources.

For as much as we admire J. S. Bach’s music, we know relatively little about how he
taught composition. One thing we do know is that Bach began instruction with figured-
bass chorales. Bach’s chorale harmonizations are still part of the curriculum today,
but they are usually used to teach harmonic analysis, not composition—that is, we use
the same materials (chorale melodies), but to different ends. Thus, developing a clearer
understanding of Bach’s pedagogical methods can inform modern-day pedagogy. But
since very few pedagogical resources by Bach are available for study, inferences must be
made from writings by his students and contemporaries.1 Fortunately, new manuscripts
from Bach’s circle of pupils have recently come to light, promising further clues.2
Among these new sources is the Sibley Choralbuch, rediscovered and assessed
anew by Robin A. Leaver (2016). Contrary to Philipp Spitta and Hans-Joachim Schulze’s
earlier appraisals, Leaver argues convincingly that the Sibley manuscript is indeed the
lost Choralbuch that Breitkopf listed for sale in 1764. The description of the Choralbuch
in Breitkopf’s original catalogue reads: “Complete choral book with figured basses for

1  Einige Reguln ([1725] 1899) is conclusively attributed to J. S. Bach, whereas the authenticity of Vorschriften
und Grundsätze ([1738] 1994) is contested, though it likely stems from Bach’s immediate musical culture. See
Braatz (2012) regarding its authenticity.
2  The recent discovery of a new multiple-bass source from Bach’s pupil Johann Christian Kittel (1732–1809)
prompted Susan McCormick’s recent dissertation, which—with the exception of the Sibley Choralbuch—
catalogues all of the known chorale books stemming from Bach’s pupils and grand-pupils (McCormick 2015,
4–9, 62–63, and 140).
30 THEORY and PRACTICE Volume 42 (2017)

240 melodies in use in Leipzig.”3 Leaver shows that the manuscript in Sibley Library
matches Breitkopf’s description in four key points: 1) it is a “complete” book for the
full church year; 2) it contains the same number of melodies (the difference due to how
one counts); 3) it contains the same number of pages; 4) the melodies were common in
Leipzig (ibid., 24). Only the price remains in doubt, as Schulze had pointed out—he
believes 10 Thalers to be too low (1981, 129–30). It seems likely that the price was
low because Breitkopf was uncertain as to the book’s value, the style being so different
from Bach’s published vocal chorales. Indeed, this was the reason Spitta dismissed the
Sibley manuscript, for he believed the style to be too simple for Bach. Spitta examined
the Sibley Choralbuch in or before 1880, concluding that “The volume exhibits, neither
in Bach’s handwriting nor in the composition of the chorales, a single trace of Bach’s
style or spirit.”4 The settings in the Sibley Choralbuch are indeed simpler than Bach’s
more harmonically adventurous keyboard settings for congregational singing, 5 but
that is precisely the point—the Sibley Choralbuch implies that Bach began his teaching
in a much simpler, more homophonic style than is typically assumed. Leaver’s new
assessment is that the Sibley Choralbuch likely stems not from Bach directly, as the
Breitkopf description suggests, but from Bach’s circle of pupils in Dresden from about
1730 to 1740. The present article investigates the Sibley Choralbuch in a theoretical
light following these findings.6
As Leaver has argued, the settings contained in the Sibley Choralbuch suggest
that there were two separate Bach chorale traditions: the first is the well-known
Choralgesang tradition based on four-part chorales from Bach’s cantatas and passions;
the second, Choralbuch tradition, is not vocal but keyboard-centered.7 Because the
second, Choralbuch style was often improvised, there remains less evidence of its
existence. The Sibley Choralbuch is therefore significant because it sheds light on this
lesser-known, keyboard-based, Bach chorale tradition. While the Sibley Choralbuch
provided the impetus for Leaver’s claim that there were two separate Bach chorale

3  “Bachs. J. S. Vollständiges Choralbuch mit Noten aufgestzten Generalbasse an 240 in Leipzig gewöhnlichen
Melodien. 10 thl” (Schulze 1972, 166). Unless otherwise noted, all translations are my own.
4  “Das Büchlein zeigt aber weder Bachs Handschrift, noch auch im Satze der Choräle eine Spur Bachschen Stiles und
Geistes” (Spitta 1899, 108n149). Translation by Clara Bell and J. A. Fuller Maitland.
5  These include In dulci jubilo (BWV 729a), Gelobet seist du, Jesus Christ (BWV 722a), Vom Himmel hoch
(BWV 738a), and Lobt Gott, ihr Christen, allzugleich (BWV 732a).
6  A modern edition of the Sibley Choralbuch is forthcoming (Leaver and Remeš, eds. 2018).
7  Leaver terms the Choralbuch and Choralgesang styles “keyboard” and “vocal,” respectively (2001, 62; 2016,
29). I prefer the names “Choralbuch” and “Choralgesang” because these styles are not necessarily bound to
specific instruments (i.e., keyboard or voice), though they often are.
 Derek Remeš – Reconstructing Eighteenth-Century German Figured-Bass 31

traditions, I will draw on a variety of eighteenth-century German sources to substantiate

and develop Leaver’s hypothesis, with a particular emphasis on reconstructing
the pedagogical process of harmonizing chorales according to contemporaneous
sources. My main argument is that Bach’s chorale-based pedagogy bridges from the
homophonic Choralbuch style to the ornamented Choralgesang style through multiple-
bass realizations. The implications for pedagogy today are that we, too, should begin
in a simpler, homophonic style with a more consistent emphasis on outer voices and
thoroughbass.
The first part of this article describes Bach’s two-stage pedagogical method and
illustrates the Choralbuch and Choralgesang styles of realization. The second part
examines the first stage of Bach’s method, where the outer voices and and figured bass
are given. The third part investigates the second stage, where students compose multiple
original basslines and figures to a given chorale.

J. S. Bach’s Pedagogy and Choralgesang vs. Choralbuch Styles

C. P. E. Bach’s oft-quoted description of his father’s pedagogy is my point of

departure:
In composition [J. S. Bach] started his pupils right in with what was practical, and omitted
all the dry species of counterpoint that were given by Fux and others. His pupils had to begin
their studies by learning pure four-part thoroughbass. From this he went to chorales; first he
added the basses to them himself, and they had to invent the alto and tenor [what I call “Stage
1”]. Then he taught them to devise the basses [note the plural: “basses”] themselves [“Stage
2”]. He particularly insisted on the writing out of the thoroughbass in parts. [Presumably
later,] In teaching fugues, he began with two-part ones, and so on.

The realization of a thoroughbass and the introduction to chorales are without doubt the
best method of studying composition, as far as harmony is concerned (Wolff 1998, 399).8

The quotation tells us that after teaching the basics of thoroughbass, J. S. Bach
introduced chorales in two stages, as outlined in Example 1. In Stage 1, students receive
a chorale melody in the highest voice, plus a bassline and figures, and are asked to
supply inner voices and ornamentation. Thus, Stage 1 focuses on texture, since the
outer voices and harmony are given. Sources relating to Stage 1 have single basses, like
the Sibley Choralbuch, which because of its water mark can be traced to Dresden around
1730–40 (Leaver 2016, 19–20). As Leaver mentions, Bach had three students active in
Dresden around this time: C. H. Gräbner (1705?–1769), W. F. Bach (1710–1784), and

8  Interestingly, C. P. E. Bach makes no mention of chorales in his Versuch über die wahre Art das Clavier zu
spielen (1753/62).
32 THEORY and PRACTICE Volume 42 (2017)

G. A. Homilius (1714–1785). Since no relevant sources survive from Bach’s Dresden

students, I will turn to musicians outside the Bach circle to help illuminate Stage 1.
These are Michael J. F. Wiedeburg (1720–1800), Justin Heinrich Knecht (1752–1817),
and Johann Gottlob Werner (1777–1822). All three were contemporaries with Bach’s
first generation of pupils, were active in central Germany, and at least two were admirers
of Bach.9 Even though Wiedeburg, Knecht, and Werner were not Bach pupils, the fact
that they describe, in detail, techniques which were likely common knowledge to
educated eighteenth-century musicians like Bach makes them particularly suitable
sources in the present context.

STAGE 1 STAGE 2

STUDENT RECEIVES Chorale, Bassline, and Figures Chorale only

STUDENT PROVIDES Inner voices and Ornamentation Bassline, Figures, and Inner voices

PEDAGOGICAL FOCUS Texture & Ornamentation Harmony & Two-Voice Counterpoint

TYPES OF SOURCES Single-Bass Sources Multiple-Bass Sources

Dresden School (Sibley Choralbuch)

C. H. Gräbner (1705?–1769) J. C. Kittel (1732–1809)
BACH STUDENTS
W. F. Bach (1710–1784) J. P. Kirnberger (1721–1783)
G. A. Homilius (1714–1785)

MUSICIANS OUTSIDE BACH M. J. F. Wiedeburg (1720–1800)

J. D. Heinichen (1683–1729)
CIRCLE WHO ILLUMINATE J. C. Knecht (1752–1817)
David Kellner (1670–1748)
THIS STAGE J. G. Werner (1777–1822)

Example 1
Overview of J. S. Bach’s two-stage pedagogical method and related sources.

According to C. P. E. Bach’s quote, Stage 2 of Bach’s method focuses on outer-

voice counterpoint and harmony; only the chorale melody is given and the student’s
task is to compose increasingly complex basslines and inner voices. Sources relating to
this stage contain multiple basslines for each chorale. The writings of Bach’s students
Johann Christian Kittel (1732–1809) and Johann Philipp Kirnberger (1721–1783), as
well a musician outside the Bach circle named David Kellner (c. 1670–1748), will help
illuminate this second stage.

9  See Knecht (1795–98, 3:18) and Werner (1805, 4).

 33
Example 2. Nun laßt uns Gott dem Herren from the Sibley Choralbuch (anon. ms., likely Dresden, c. 1730–40)

{
Derek Remeš – Reconstructing Eighteenth-Century German Figured-Bass

Tune Source: Selnecker’s Christliche Psalmen (Leipzig, 1587)

# 3 U 6 9 U
& #C ˙ ˙ #˙ ˙ ˙ w w ˙ ˙ ˙ #˙ ˙ w #w

Choralbuch style
(homophonic)
Nun laßt uns Gott dem Herr - en, Dank - sag - en und ihm ehr - en
? ##C ˙ U ˙ ˙ #˙ ˙ U
˙ ˙ ˙ w #˙ ˙ ˙ w
˙ w
Ë [ 6] 4 # 6 # 6 7 7 #

{
#

#
11 13 U 16 19 U
˙
& # #˙ ˙ ˙ ˙ ˙ w w ˙ ˙ ˙ ˙ w w
Von weg - en sein - er Gab - en, Die wir emp - fang - en hab - en.
? ## œ #˙ ˙ w U
w ˙ #˙ ˙ U
œ ˙ ˙ ˙ œ w
œ w
# 6 6 # # 5 6 6 4 #
6 Ä
2

Translation (text for verse one; not in original): “Now let us give thanks to the Lord and honor him on account of his gifts which we have received.”

Example 2
ExampleNun
3. J. laßt unssetting
S. Bach’s Gott dem
of NunHerren
laßt unsfrom the Herren
Gott dem Sibley from
Choralbuch (anon.
Cantata BWV 165,ms., likely
O heilges Dresden,
Geist c. 1730–40).
und Wasserbad

° ###c U 3 U 5 Uœ 7 U
œ œ œ œœœœ œœœ œ œ œ œœ œœœ ˙ œ œ œ œ œ œ ˙ œ œ œ œ œœ ˙ œ
Choralgesang style

S. &
(ornamented)

Nun laßt uns Gott, dem Herr - en, Dank-sa - en und ihm ehr - en Von weg-en sein - er Gab - en, Die wir emp-fang - en hab - en.

## U U U U
A. &#cœ œ œ œ œ œ œ™ j
œ œ œ œ™ j
œ #œ œ œ œ #œ œ #œ œ œ œ œ œ œœœ œ œ œ œœœ œ œ œœœ œ
Nun laßt uns Gott, dem Herr - en, Dank-sa - en und ihm ehr - en Von weg-en sein - er Gab - en, Die wir emp-fang - en hab - en.

## U U œ U œ œ œ œU
& # c œ œ œœœ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ #œJ œ œJ œ œ œ œ œ œ nœ œ œ œ
‹
T.

Nun laßt uns Gott, dem Herr - en, Dank-sa - en und ihm ehr - en Von weg-en sein - er Gab - en, Die wir emp-fang - en hab - en.

? ###c œ œ œ œ œ œ œ U œœ œœ ˙ U
œ œ œœœœœ U œ œ œ nœ œ œ U
¢
œ œ #œ œ #œ œ ˙ œ #œ ˙
B. œ œ œ œ
Nun laßt uns Gott, dem Herr - en, Dank-sa - en und ihm ehr - en Von weg-en sein - er Gab - en, Die wir emp-fang - en hab - en.

Original key: G major. Text replaced for comparison with Example 2. Continuo doubles bass voice and includes no figured bass.
Translation (text for verse one; not in original): “Now let us give thanks to the Lord and honor him on account of his gifts which we have received.”

Example 3
J. S. Bach’s setting of Nun laßt uns Gott dem Herren
from Cantata BWV 165,O heilges Geist und Wasserbad.
34 THEORY and PRACTICE Volume 42 (2017)

Examples 2 and 3 illustrate the difference between the Choralbuch and

Choralgesang styles. In general, the Choralbuch style is vertically oriented: it is more
triadic, consonant, diatonic, and disjunct; moreover, it was often improvised in the
context of organ accompaniment for congregational singing, where only the chorale
was sung. In contrast, the Choralgesang style is horizontally oriented: it uses more
dissonant figures, suspensions, is more chromatic, and has faster note values and more
conjunct motion; in addition, the Choralgesang style was less often improvised, instead
being written out for concerted music where each of the four voices were sung.
All chorales in the Sibley Choralbuch are presented in the same manner and the
same style as Example 2: the chorale tune is provided in the soprano part along with
a figured bassline in a simple, unornamented style, as a student would receive in Stage
1 of Bach’s method. The student would then compose or improvise the inner voices,
either in a lesson with Bach, alone at home, or during the church service at the organ.
Example 3 is Bach’s vocal setting of the same chorale. Its numerous non-chord tones and
tonicizations are typical of the Choralgesang style. Such settings, which are often used
for harmonic analysis today, originate mostly from Bach’s cantatas and passions and
were originally written for choir. C. P. E. Bach writes in the preface to the first edition of
his father’s chorales in 1765 that he reduced them from four to two staves to make them
easier to read at the keyboard.10 This condensed format has led generations of musicians
and teachers to often mistake Bach’s vocal settings for keyboard music, even though the
inner voices are unidiomatic for the keyboard. Indeed, Emanuel Bach makes special note
of the “natural flow of the inner voices and bass, which are what above all distinguish
these chorales” (Wolff 1998, 379). Given their popularity today, it is surprising to learn
that C. P. E.’s first edition of his father’s chorales sold poorly. According to Matthew
Dirst, the chorales were “controversial even among admirers, who questioned their
style and utility while praising their creator’s mastery of Harmonie” (2012, 35). Abbé
Vogler (1749–1814) and Carl Maria von Weber (1786–1826) even deplore Bach’s vocal
chorales’ lack of “noble simplicity” and “dignity” (Blume 1974, 346).11 The newly
rediscovered Sibley Choralbuch implies the existence of a second, simpler, keyboard-
based Bach chorale tradition that was, in fact, quite similar to eighteenth-century norms

10  The chorales were “originally set out on four staves for four singers. They have been presented on two
staves to accommodate lovers of the organ and the clavier, since they are easier to read in that form” (Wolff 1998,
379). Regarding the format of Bach’s chorales, see Dirst (2012, 44-47).
11  Critics of Bach’s vocal chorales may have also confused them for keyboard music, specifically congregational
accompaniment, which was traditionally more conservative. For example, Johann Christoph Kühnau (1735–
1805) acknowledged Bach’s settings as masterpieces but considered them too difficult and inappropriate for
church (1786, iv).
 Derek Remeš – Reconstructing Eighteenth-Century German Figured-Bass 35

for Choralbuch settings. In addition to its function in organ chorale accompaniment

during the church service, the Choralbuch style was likely the starting point in Bach’s
pedagogical method.

Stage 1: Adding Inner Voices and Ornamentation

In the first stage of Bach’s method the chorale and figured bassline are given,
and the student adds the inner voices. The fact that the outer-voices and figures are
predetermined focuses the student’s attention on textural matters—that is, the
number of voices and their degree of ornamentation. Example 4 outlines five types of
texture described variously in the writings of Knecht, Werner, and Wiedeburg. Types
1 and 2—the “Close [eng] Style” and the “Spread [zerstreut] Style”—are relatively
straightforward. Type 3 begins to add ornamentation. The bottom of Example 4 lists
Knecht’s subtypes 3.1, 3.2, etc. These add ornamentation to the bass alone, then to
the lower three voices, and then to all voices, including the chorale melody, ending
with Type 3.4, which uses imitative counterpoint in the accompanying voices. Type 4 is
the “Full-voiced [vollstimmig or vollgriffen] Style,” where the player supplies as many
notes as possible between the outer voices; as long as the outer voices move in good
counterpoint, parallel and direct motion with the middle voices is tolerated. Thus, the
“Full-voiced Style” affords organists and harpsichordists a degree of dynamic control
by varying the number of voices. Type 5 is the “Unison style” [im Einklang], which is
used exclusively in congregational singing and thus is not the focus of the current study.
Examples 5 through 9 work progressively through the types given in Example
4. Example 5 provides three different types of realization using the same chorale tune
as in Example 2, but in C major. Example 5a is Type 1, or the “Close Style.” Here the
right hand takes the upper three voices while the left hand takes the bass (often called
“keyboard style” today). Werner writes that the “Close Style” is the oldest type, already
known in Martin Luther’s time, but it is still in use in 1805. But according to Werner,
the “close style” is not suitable to human voices because the tenor is too high; moreover,
the “pleasing middle range of the organ lies unused” (1805, 4). Example 5b is Type 2,
the “Spread Style,” which essentially moves the alto voice of 5a down an octave. Werner
describes how this method is superior to the “close style” because it remedies the above-
mentioned problems: the tenor is now low enough to be sung and the middle range of
the organ is not ignored; moreover, according to Werner, the “spread style” is easier to
read (ibid., 4–5).
The “Full-voiced Style” appears in Example 5c, where, according to Knecht and
Wiedeburg, parallel octaves and fifths are allowed (Knecht 1795–98, 3:76; Wiedeburg
36 THEORY and PRACTICE Volume 42 (2017)
Example 4. Five textures for realizing a figured-bass chorale from Knecht (1795–98, 3:20, 36, 82–107),
Werner (1805, 1–9), and Wiedeburg (1765–75, 2:293–96)

T E X T U R E
TYPE 1 2 3 4 5
ORNAMENTED
NAME CLOSE STYLE SPREAD STYLE
STYLE
FULL-VOICED STYLE UNISON STYLE

NUMBER OF
Four Four Four or Five Five to Nine One
VOICES
EXAMPLES IN
Ex. 5a Ex. 5b Exx. 6, 7, 8 Exx. 5c, 9 none
THIS PAPER

- Homorhythmic - Simple rhythms in - More active - Usually parallel 5ths - Single voice
with upper three opening position rhythm, still in and 8ves are allowed doubled in
voices in close - Tenor is lower open position in the middle voices if three or four
position than in the close - All voices may be the outer voices move octaves with
DESCRIPTION - Wide gap style ornamented, even in good counterpoint pedal
between bass and - Harder because the soprano - Avoid thirds in the - Used in
tenor left hand and - Bach’s chorales left hand (too thick) congregatio
- Older method, pedal are now from the cantatas nal singing
for beginners independent belong to this for variety
type
- 3.1: Ornamented - 4.1a: Thick chordal
bass & varied
texture; middle voices
harm.
- may have parallel
3.2: Ornamented
5ths and 8ves
A, T, and B -
- 4.1b: Variation: Hold
KNECHT’S 3.3: All voices
chords half value,
ornamented (also
SUBTYPES chorale in
always sustaining the
soprano
(3:82–107) soprano) -
- 4.2: Five or six
3.4:
independent
Contrapuntal,
ornamented voices
canonic, or fugal
without parallels
ornamentation

Example 4
Five textures for realizing a gured-bass chorale from Knecht (1795–98, 3:20, 36, 82–107),
Werner (1805, 1–9), and Wiedeburg (1765–75, 2:293–96).

1765–75, 2:293-94). Examples 6 through 9 begin to add ornamentation. Example 6

is Type 3.1, an ornamented bass. Here Knecht adds passing notes in smaller values
than the chorale, which moves in half notes. In Example 7 Knecht offers three ways
of varying the lower three voices, keeping the chorale in the soprano unaltered.
Example 8 shows two ways of ornamenting all voices, including the chorale melody:
Knecht gives the unaltered melody (for singing) in the top staff of Example 8a and
the ornamented version (for playing) in the middle staff. Example 9 is Knecht’s
subtype 4.2, a variation on the “Full-voiced Style” where parallels are not allowed.
According to Knecht, five- and six-voice textures are possible in this style, as shown
in Examples 9a and 9b, respectively. As these various harmonizations show, the types
outlined in Example 4 introduce progressively more complex textures: we began with
an unornamented, Choralbuch style (Example 5) and ended with six independent
voices in a more ornamented, flowing, Choralgesang style (Example 9b). Were such
ornamentation techniques unique to Knecht? Or is it likely that, after beginning
 37
Example 5. Three styles of realizing Nun laßt uns Gott dem Herren, from Knecht’s Orgelschule (Leipzig, 1795–98)

{{ {{ {{
Derek Remeš – Reconstructing Eighteenth-Century German Figured-Bass

Example
a) Type 1:5.Close
Three styles
Style of realizing Nun laßtb)uns
(3:20) Gott
Type dem Herren,
2: Spread from Knecht’s Orgelschulec)(Leipzig,
Style (3:36) Type 4.1a:1795–98)
Full-voiced Style with Parallels (3:75)
a) Type 1: Close Style (3:20) U [etc.] b) Type 2: Spread Style (3:36) U [etc.] c) Type 4.1a: Full-voiced Style with Parallels (3:75) U[etc.]
& C Ó ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ w C Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ w [etc.] & C Ó ˙˙ ˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙˙ ˙˙˙˙ U w
˙ 5.˙Three˙ styles
˙ ˙ ˙ w
˙ of realizingw
UNun
[etc.] & ˙ dem ˙ Herren,
˙ ˙ from ˙ Knecht’s
˙™ w
U ˙˙ 1795–98)
˙˙ w [etc.]
w
w
Example
C Ó ˙ ˙ ˙ ˙
˙˙ ˙˙ ˙˙ ˙˙˙ ˙˙ ˙˙ ˙˙ w ˙ ˙ w laßt uns
C Gott
Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w
Orgelschule (Leipzig,
C Ó ˙ ˙
˙ ˙ ˙ ˙ ˙
˙ ˙ w

{ { {
& w & ˙ ˙ ˙ ˙™ œ w & ˙
˙ ˙ ˙
˙ ˙ ˙
˙ ˙ ˙ ˙ w
w
U ˙ U ˙ Full-voiced
˙˙ ˙˙ Style˙˙˙ with ˙ ˙˙ U
˙˙ Parallels w
Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ w [etc.] ? C Ó ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙ w
?a)C Type w [etc.] ? C Ó ˙˙˙ ˙˙ ˙ ˙ ˙˙ ˙(3:75)w w
1: Close Style (3:20) b) Type 2: Spread Style (3:36) c) Type 4.1a:
˙ w
? C Ó ˙ ˙ ˙˙ ˙ ˙ ˙˙ ˙˙ w U ˙ ˙
? C Ó ˙˙ ˙ ˙˙˙ ˙ ˙˙ ˙˙ ˙˙ ww ˙ U ? C Ó ˙˙ ˙ ˙ ˙ ˙
˙ ˙ ˙˙ ˙˙ ˙ ww[etc.]
˙ ˙ ˙ U
& ˙˙ ˙˙ ˙˙ ˙˙˙ ˙˙ ˙˙ ˙˙ w & ˙ ˙ ˙ ˙™ of œthose & ˙ ˙ ˙
˙ ˙ ˙ ˙ ˙
˙ w
w ˙ are
[alto and tenor ˙ near-exact
˙ ˙ inversion w in Ex. 5a] ˙ ˙˙ fifths
˙˙ ˙˙ [parallel ˙ and˙˙ octaves]
˙˙ w
w
Example 5
U U ˙ ˙ ˙ U

{{
? Ó ˙˙ ˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙ w C Ó ˙˙˙ ˙˙˙(Leipzig, ˙˙ ˙˙ ˙˙ ˙ w
[alto and tenor are near-exact inversion of those in Ex. 5a]
˙ ˙ ˙ ˙ w ˙˙ 197–98, w
[parallel fifths and octaves]
?C Ó ˙ w Knecht’s?Orgelschule
˙ ˙ 3.1: Varied
Three styles of realizing Nun laßt uns Gott dem Herren,
Example 6. Type bass (and harmony) Cusing ˙ Jesu, wir sind hier, from
Liebster
from Knecht’s Orgelschule (Leipzig, 1795–98). 3:83) w
# ™™
Example 6. Type 3.1: Varied bass (and harmony) using frominKnecht’s
Ex. 5a] Orgelschule (Leipzig, 197–98, 3:83)
˙ Liebster Jesu, wir sind hier,
& #C ˙˙˙ œ̇˙ œ œ̇ œ œ̇ ™ œ ˙œ ™ œ ˙œ ˙
˙˙ ˙˙™ œ ˙˙™œ œ œ ˙œ œœ
[alto and tenor
w
are near-exact
w
inversion of those
˙ œ [parallel
w
˙˙ ˙œ œ w
fifths and octaves]

™™
˙ ˙ w J w
w
™ œJ Orgelschule
C ˙ ˙ ˙ œ w J ˙ ˙ w

{
™
& ˙˙ ˙˙ œ œ œ ˙ œ
˙™Varied bass (and˙™ harmony) using w œ̇ œ œ̇
w Jesu,˙ wir sind hier,
œœ Liebster
U œ œ̇from ˙
œ œ ˙ œ ˙ ˙ ˙
œ3:83) w
w
™™
˙ œ œ œ œ œ œ œ œ œ œ œ w
? #C
Example 6. Type 3.1:
œ œ œ̇ œ w œ œ J œ œ œœ #œ œœ #œ œœ nœ œ œ nœ
Knecht’s (Leipzig, 197–98,
?#C ˙˙ ™
œ œ w
œ œ œ œ ˙œ œ œ œ œ œ œ œ U œ œw œ œ œœ #œ œœ œ #œœ œœ œ nœ œ nœ œ w
uw
™™
& ˙˙ ™ ˙˙ ˙˙™ œ ˙™ ˙
œœ œ œ œ ˙œœ œ œœ œ w
w
w
w
œ
œ̇˙ œ œ̇ œœ œ̇ ™ œ ˙œ ™ œ œ ˙œ ˙
œ̇ ˙ œ ˙˙ œ ˙œ œ u
w
w
˙ œ J J w
U danket alle Gott, from œ œ œ 1795–98)
œ (Leipzig, ™™

{{ {{
? #C 7. Typeœ 3.2:œ Varied œ œ œmiddle œ w œKnecht’s Orgelschule
œ œ
œ œ œ #œ œœ #œ œ nœ œ œ nœ
˙ ™ 7. Type 3.2: Varied middle voices
œ w œ
Example voices and bass using Nun
œ œ œand œ œbass
œ œusing
œ Nun danket
Example œ̇ œ6 w
Example a) (3:87–88) alle Gott, from Knecht’s Orgelschule (Leipzig, 1795–98)
b) (3:88–89) œ u
Type 3.1: Varied bass (and harmony) using Liebster Jesu, wir sind hier,
#Ca) ≈(3:87–88) œ œ ˙ ˙ ˙
[etc.]
b) #(3:88–89)˙ ˙˙ ˙˙ U [etc.]
& # Ó≈ œ œ œ œ œ ≈ œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ[etc.]
from Knecht’s œ & #C (Leipzig,
Orgelschule Ó ˙˙˙ 3:83).
˙˙ 197–98, ˙˙˙ ˙ ˙
w
w
w
˙Varied middle ˙voices and bass
˙ ˙ ˙ ˙ ˙˙ ˙˙ Uw
[etc.]

{ {
& C
Example
œ œ œ
7. TypeœRH œ
3.2: œ
œœœ œœœ ≈œœœœœœœ≈œœœ œœœ usingœNun danket alleC Gott,
& Ó ˙
from
˙ ˙ ˙
Knecht’s ˙
Orgelschule
˙ (Leipzig,
˙ 1795–98)
˙ w
w
Ó œ œ ≈
RH ≈ œ œ œ œ œ œ œ ≈ œ œ œ œ œ ≈ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ ˙
LH LH
? #Ca) Ó(3:87–88) ? #C Ó
b) (3:88–89)
œ œ œ œ #œ œ œ [etc.]
# Ó≈ LH ˙≈ œ œ œ œ œ œ # ˙œ œ œ ˙ U
[etc.]
œ ˙ œ œ œ œ Ó LH œ œ Œ œ œ œw œ œ ˙

{{
? #CC Ó œ œ œ œ œ œ ≈˙ œ œœ œ œ œ œœ œ ˙≈≈ œœ œœ œœ œ œœ œœ œœ ˙≈≈ œ œœ œ œ œ œœ œ
& ? #CC Ó
& ˙˙˙œ œ œ ˙˙˙œ Œœ
œ œ ˙˙˙œ nœ Œœ œ ˙˙œ Œ œ ˙˙œœ œ œŒ #œ w
œœœ
u
w œ
Óœ Pedal ˙ ˙ Ó œ Œ œ Œ œ Œ wœ
œ Œ œ Œ u
Pedal
RH ˙
U
c) (3:89–90) Pedal [etc.]
#Ó
Pedal
˙˙˙ ≈ œ œ œ œ œ œ œ˙˙˙ ≈ œ œ œ œ œ œ œ ≈ œ œ˙˙œ œ œ œ œ ˙LH œ œ œ œ ˙˙˙ w
? #C Ó˙˙ œ œ œ nœ œ œ w œ ˙
LH
? ##Cc) Ó(3:89–90)
& ˙ œœ œ œ œU wœ œ œ œ #œ œ [etc.]
& ÓÓ
˙˙
˙ Pedal ˙ ˙˙˙˙ ˙ ˙˙˙ Ó˙˙˙ œ Œ œ Œ˙˙˙ œ Œ w wœ œ

{
œ Œw w œ Œ u
œ œ œ œ œ œ Pedal œ œ œ œ œ œ ˙˙
? # c)Ó (3:89–90)
LH
œ œ œœ œ œ œœ œ œ œ œœ œ œ œœ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ ˙ [etc.]
LH œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙œ œ œ œ œ œ œœ œ ˙˙œ œ œœ œ œ œ œœ œ œœ œ œ œ œœ œ ˙˙˙
? # Ó Pedal ˙˙˙œ œ œ œ ˙œ˙˙ œ œ œœ ˙˙˙œœ œœ
# Ó œ ˙˙œœ œœ œ œœ œ U
w
w œ
& Ó œ œ œ œ œ œ ˙œœ œ œ wœ u
˙
œ œ œ u
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙˙
Pedal
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
?# Ó œ œ œ œœ œœ œ œ œ œ œ œ œ ˙
LH
Ó œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ ˙
Pedal
œ œ u

Example 7
Type 3.2: Varied middle voices and bass using Nun danket alle Gott,
from Knecht’s Orgelschule (Leipzig, 1795–98).
 38
Example 8. Type 3.3: All voices ornamented, from Knecht’s Orgelschule (Leipzig, 1795–98)

THEORY and PRACTICE Volume 42 (2017)

a) O heil’ger Geist, kehr bei uns ein [Wie schön leuchtet der Morgenstern] (3:93–94)
Einfache Melodie zum Singen [”Unornamented melody to sing”]
U [etc.]

{
˙
& bC Ó 8. Type˙3.3: All voices ornamented, from˙Knecht’s Orgelschule ˙ ˙ ˙ ˙
Example ˙ (Leipzig, 1795–98)
œ œ œ œ nU
Figurirte
a) O heil’gerMelodie zum Orgelspielen [”Ornamented
bei uns ein [Wie melodydertoMorgenstern]
play on the organ”]
(3:93–94)
œ œ œ œ
Geist, kehr schön leuchtet
œ œ œ œmelody œ œ
bC Ó Melodieœ zumœ Singen
&Einfache œ [”Unornamented œ œ œ œ œ œ œ œ
œ toœ sing”] #œ ˙
U [etc.]

{
& bC Ó ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙ œ #œ œ œ œ U
?Figurirte
C Ó œ̇ zumœ Orgelspielen œœ œ œ melody
œ œ [”Ornamented œ œ toœplayœon the organ”]
œœ Œ œ Œ œ œ ˙˙
˙ œŒ œ œŒ œ œœ œ
b Ó #œœ nU
Melodie
C œ Œ œœ œ œ œ œ ˙
& b Ó œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
U
b) Allein Gott in der Höh sey Ehr (3:95–96) Unadorned melody in top staff is not in original.
œ #œ œ U œ œ

{
œ̇ œ œ˙ œ œœ œ œ ˙ œ œ œ ˙ œ
[etc.]
# œ˙ ˙œ ˙˙
&bC ÓÓ
? ˙ œ Œ œ Œ ˙ œ
œ ˙ w œ
œ
Ó Œ Œ Œ U
œ œ œ œ œœ œ r œ œ œœœœ œ
œ œ ˙˙ ™™
j r œœ œ œ œ
™
#® œ œ œ œ œ œ œ œ
˙™
&Allein Gott œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ
œ œ
œ ‰ œ
œ œ œ œ œ œ œ
œ œ œ œ œ œ # œ œ œ œ œ œœ œ œ œ œ
# œ œœ œ œ œ œ
b) in der Höh sey Ehr (3:95–96) Unadorned melody in top staff is not in original.
R U

{
[etc.]
& Ó ˙œ j ˙j n œœ ˙œœ œœ ˙œœ œ œ œ œœ œ ˙œ œ œœœœ ˙ œ ˙ œ wœœ U
œœ ‰ œ œ œ œ œ
?# Ó
œ œœœ ‰ œœœœ ‰ ‰ œ œ ‰ ‰ œJ œJœ œ œ œ œ #œœr œ œ œœ œ œ œ œ œ œ œ ‰ œœ ‰ œ
R œ J ‰ U® œ œ œ œ œ ˙˙˙
‰ œœœ œœJ œœ œ œJ œ œ œ œ œ œ œ œ œ œ œ ˙˙ ™™œ
j œ
& ® œœœœœœœœ œœœœ ™œ œœ# œœ œ™ œœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œœR
# œ J œ œ œœ œ œ œ œœJ œœ œ œ r ˙
œœœ9. Type 4.2: Five or six independent voices,
œœ œœ ˙™

{
œœ œœ œ œ œ8œœ œ œœ œ œœœœ œ
Example from Knecht’s Orgelschule (Leipzig, 1795–98)
n œœ œœ Example
œ œ U
?a)# Five
Ó
voices: Ach bleib mit œœ deiner Gnade
œ ‰
j
œœ ‰ (3:79) œœj ‰ ‰ Type œ œ 3.3: ‰ ‰ œ voicesœ #œœ œ œ œ œœ œ œ œ œœ ‰ œœœ ‰ œœ ‰ ® œ œ œ œ ˙˙˙
œ œ
œ œ
œ
All
J J U
ornamented,
J 1795–98). R œ J J U œ œ œ ˙
Fünfstimmig. Mit obligatem Pedal.
J ˙ Knecht’s ˙ J [etc.]
& bC ˙˙ 9. Typeœ̇ 4.2:˙ Five ˙ orœsix independent
from ˙˙™ Orgelschule˙ œ (Leipzig,
˙˙ ˙˙ ˙˙ ˙œ ˙ ˙ œ ˙˙
œ̇ œ bœ œ™voices, nœJ from ˙ ˙˙

{
Example Knecht’s Orgelschule (Leipzig, 1795–98)
œ̇ œ ˙˙
œ̇ ˙ mit deiner œw ˙(3:79) œ ™
˙˙
a) Five voices: Ach bleib
? bCFünfstimmig. œ Gnade œ̇ œ ˙˙ ˙ ˙˙ œ̇ œ ˙ œ #˙
˙˙˙ [etc.]
Mit obligatemœ̇Pedal.
œ ˙ ˙ U˙ ˙ ˙ œ œ ˙ U˙˙
˙ œ ˙ ˙ ˙˙ ˙ ˙ ˙ ˙ œ
& bC ˙˙ œ̇ ˙ ˙ œ
œ œ̇ œ bœ œ™ nœJ ˙™
˙
œ u ˙
˙ ˙ ˙ ˙
˙ ˙ œ ˙ ˙ œ u˙
˙ ˙˙

{
b) Six voices: In allen meinen Thaten (3:80)
œ ˙
˙˙ ˙ ™
˙˙ ˙
œ̇Mit obligatem Pedal. w œ œ ˙ œ œ̇ œ ˙U ˙ ˙ ˙ œ̇ œ ˙ œ̇ ˙ # ˙
? b#C Sechsstimmig. ˙ ˙ ˙ œ œ œ ˙˙ U ˙˙˙ [etc.]
& C ˙˙˙˙ œ œ ˙˙œ̇ œ ˙œ ˙œ œ œ ˙˙˙ ˙ w ˙
w˙ ™ ˙ œ œ œ ˙˙˙ ˙œ˙ œ˙ œ œ ˙˙˙
˙
˙œ œ ˙˙ œ wœ ˙
œ
œ̇œ œœ œœ ˙ ˙ u ˙ œ
œ œ œ œ # œ #œ ˙ œ œ# œ œ œ œ ˙˙˙ ˙˙
œ u

{
b) Six voices: In allen meinenœ Thaten œ œ œ œ
˙ œ˙ œ œ œ œœ œœ œ œœ œœ œœ œœ Œ œ œ̇ œ œ
œ˙ œ œ œ Mit œ̇ œPedal. œ œ œ œ̇ œ œ œ ˙ œ œ œ ˙œ œ œ
(3:80)
? #CSechsstimmig.
#C ˙˙
ẇ obligatem
˙ ẇ ˙ U˙˙ ˙ ˙ œ œ œ œ̇˙ œ œ#œ œ œœ ˙ œ ˙œ œ#œ œ ˙˙ ˙˙œœ œ[etc.]
˙ U˙ nœ
™
˙ ˙ œ ˙
˙ w
w ˙ ˙ ˙ œ ˙
˙ ˙ ˙ ˙
& ˙˙ œ ˙ œ œ œ ˙ ˙ œ œ œ ˙ œ œ œ ˙ ˙ œ œ œ ˙ w œ œ œ ˙
œ̇œ œœ œœ ˙ ˙ ˙ ˙ ˙ œ œ œ œ # œ #œ ˙ œ# œ œ œ œ ˙˙ ˙˙
œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ
œ œ
œ œ
œ œ œ œ Œ œ œ̇ œ
? #C ˙œ œ œ ẇ œ̇ œ̇ œ œ œ ˙˙ œ œ˙ œ ˙˙ ˙˙ œ œ œ œ œ œ̇˙ œ œ#œ œ œ ˙ œ œ ˙œ œ œ ˙˙ ˙˙œœ œ
˙ ˙ ẇ ˙ œ œ œ ˙ #œ nœ
˙ ˙

Example 9
Type 4.2: Five or six independent voices,
from Knecht’s Orgelschule (Leipzig, 1795–98).
 Derek Remeš – Reconstructing Eighteenth-Century German Figured-Bass 39

with the simple style of the Sibley Choralbuch, Bach challenged his students to write
increasingly complex realizations that began to imitate the highly ornamented style of
his Choralgesang settings? Two accounts of Bach’s playing and teaching would seem
to suggest the latter. First, in Arnstadt Bach ornamented a chorale melody with such
“strange tones” that he confused the congregation (Wolff 1998, 399)—clearly he was
no stranger to varied harmonizations. Second, according to Johann Gotthilf Ziegler in a
letter dating 1746, Bach advised him to play “not offhand but according to the Affekt of
the words” (ibid., 336). If what Christoph Wolff says is true, that Bach’s genius lay in his
ability to probe “the possible” in the art (2000, 338), then it seems likely that, at least
with some students, Bach would have introduced chorale harmonization techniques
similar to those given by Knecht in order that students’ accompaniments would have
the potential to better reflect the meaning of the text at any given point. That a chorale
harmonization reflect the meaning of the text was also a central point in both Kittel and
Kirnberger’s treatises as well. Thus, the ornamentation techniques in Stage 1 represents
both a pedagogical strategy for beginning composers and a means of textual expression
for advanced organists accompanying congregational singing.

Stage 2: Composing New Basslines and Middle Voices

In the second stage of Bach’s method, students begin composing their own
basslines and middle voices to a given chorale. Whereas Stage 1 addressed texture
and ornamentation, Stage 2 focuses on harmony and simple two-voice counterpoint.
According to Kirnberger, the bassline is written first, and then figures are added
afterward (1982, 284). For this reason, the third section of this article has two parts,
the first of which discusses the process of composing basslines alone, or what I call
“Stage 2a.”

Stage 2a: Composing New Basslines

Example 10 shows Kirnberger’s classification of harmonic types, which I label A,
B, C, and D (Kirnberger 1982, 284–86). All four harmonic types rely on the idea of
chordal inversion to identify the root, which shows Rameau’s influence on Kirnberger.
Type A allows for triads in any inversion from scale degrees one, four, and five, with the
possibility of the dominant chord having a seventh; Type B includes inverted triads on
all diatonic degrees; Type C has inverted triads from degrees one, four, and five of
neighboring keys within one accidental, and especially secondary dominants; and lastly,
Type D includes secondary dominants from remote keys, enharmonic progressions, and
sudden harmonic shifts. Example 11 shows some common types of basslines, a
40 THEORY and PRACTICE Volume 42 (2017)
Example 10. Kirnberger’s harmonic types from The Strict Art of Musical Composition (1982, 284–86)

H A R M O N Y
Kirnberger’s Types A B C D
Dominants from remote
Description 1, 4, and 5 from
Triads from Triads from all keys, enharmonic
(all types include neighboring keys
1, 4, and 5 only diatonic degrees progressions,
chord inversions) (especially dominants)
and sudden shifts

Example 10
Kirnberger’s harmonic types from The Strict Art of Musical Composition (1982, 284–86).

Example 11. Types of basslines in multiple-bass source of Bach’s pupils (after McCormick 2015, 23)
classification which builds on Susan McCormick’s survey of several multiple-bass
Diatonic vs. Chromatic (Bass itself)
sources (2015, 25). Generally speaking, basslines may be diatonic or chromatic, conjunct
Conjunct vs. Disjunct
or disjunct, move in parallelParallel or contrary motion to the chorale melody (a feature
vs. Contrary to the Chorale
Kirnberger emphasizes [1982, 305]), isorhythmic
Homorhythmic vs. Faster NCT’swith the chorale or in faster values,
or Leaps
and the bass may have suspensions, pedal points, or may even imitate the chorale. These
Bass Suspensions
factors—not Fuxian species counterpoint, Pedal PointEmanuel Bach’s quote emphasizes—
Example 10. Kirnberger’s harmonic types from The Strict Art of Musical Composition (1982, 284–86)
constitute the student’s introduction Imitative oftoChorale or Inner
two-voice Voices
counterpoint, where the upper voice
is predetermined by the chorale H melody,
A RandMthe O studentN supplies
Y the bassline. Kirnberger
demonstrates
Kirnberger’s Typeshow basslines
A become B more smooth C and interesting by moving
D
progressively through Types A, B, C, and D. Thus, there is a pedagogical Dominants progression
from remote
Description 1, 4, and 5 from
implied within Triads from Triads from all in Type Akeys, enharmonic
(all types include this four-fold classification, sinceneighboringthe basses keys lack variety and
1, 4, and 5 only diatonic degrees progressions,
chord inversions) (especially dominants)
become smoother and more interesting with each progressive increase in harmonic
and sudden shifts
resources. Since Kirnberger was a student of Bach, it is possible Kirnberger’s classification
may represent the use of new ideas borrowed from Rameau to describe a procedure
Kirnberger learned from Bach.
Example 11. Types of basslines in multiple-bass source of Bach’s pupils (after McCormick 2015, 23)

Diatonic vs. Chromatic (Bass itself)

Conjunct vs. Disjunct
Parallel vs. Contrary to the Chorale
Homorhythmic vs. Faster NCT’s or Leaps
Bass Suspensions
Pedal Point
Imitative of Chorale or Inner Voices

Example 11
Types of basslines in multiple-bass source of Bach’s pupils (after McCormick 2015, 23).

An example from Kittel (Bach’s final and supposedly “star” pupil) demonstrates
how this pedagogical progression may have worked in Bach’s pedagogy. To illustrate,
Kittel’s harmonizations (Example 12) are labeled with Kirnberger’s harmonic types
(Example 10) and bass types (Example 11). Composing the bassline (Stage 2a) is a
 41 Example 12. Kittel’s harmonizations of Jesu meine Freude from Der Angehende Praktische Organist (Erfurt 1808, 1:30–32)

& bc œ œ œ œ ˙ ˙
Derek Remeš – Reconstructing Eighteenth-Century German Figured-Bass

{
“lacking variety in harmony”
1 [Type A; diatonic; homophonic]
Chorale:
“richer in harmony” “good” “pure, yet forcedly chromatic”
2 [Type C; diatonic; parallel; conjunct] 3 4 [Type C; chromatic, contrary motion]
[Type B; diatonic, parallel; conjunct]

& bc œœœ œœœ œ œœ ˙œ # œ ˙

œ̇ œ œ̇ œ ˙œ # œ ˙
œ œ œ̇ œ
œ ˙œ # œ ˙
œœ œœ œ œ
œ # œ œœ œ n œœ œ ˙
#œ
? bc œ œ œœ œœ œ™ œj ˙˙ œœ #œœ œœ œ œ œ œ ˙ œœ œœœ œœ œ œ œ œ ˙ œ ˙
˙ œ œ œ œ œ œ œ œ œ nœœ n œœ #œœ ˙˙
˙ ˙
# n # # # 6 6

{
6 6 4 ¢ 6 6 6 6 6 6 6 8 7
2 4 5 8 7 4 5 8 7 5
“better chromaticism” “even better” “rich in harmony”
5 [Type C; all voices chromatic; parallel; faster values] 6 [Type C; pedal point; imitative of A/T; chr. figures] 7 [Type C; faster values; chromatic bass and figures]
& b ‰œ œ œœ bœ œœ œ œ œ œœœ œ œœœ œœ œ œ œ ˙
J # œ œœ ˙œ™ # œJ ˙ ‰ # œJ œ n œ n œ # œ œœ ˙œ #œ ˙ #œ nœ nœ #œ ˙
? b ‰ œj #œœ n#œœ œ œ œ œ #œ nœ ˙ ‰̇ œj œ #œ œœ œ nœœ œ œ œ œ œ ˙
˙
nœ bœ œ
œ œ œ #œ œ #œ œ œ œ œœ˙
nœ bœ œ #œ ˙ œ œ œ œ œ œ ˙
œ ˙ [no figures] [no figures]

& b œ nœ œ œ ˙ #˙
[no figures]

{
Chorale:
“natural bass” “good bass” “pure and chromatic bass” “a little too sharp”
8 [Type C; homophonic; disjunct] 9 [Type C; homophonic] 10 “more artful bass”
11 12 [Type C; disjunct]
[Type C; chromatic bass] [Type C; chromatic upper voices]

& b œœœ nœœ̇ œ˙ œœ #

œ̇œ œœ ˙˙˙ œœœ nœœ̇ œ˙ œœ
#
œ̇œ œœ œ ˙˙˙ œœ̇ nœœ œœœ bœœ œ̇˙ #œ #˙˙˙ œ̇œ nœœ œœœ b #œœœ œ̇˙ #œ #˙˙˙ œœ̇ nœœ œœ #œœœ
œ œ̇œ #œœ #˙˙˙

?b œ œ œ œ ˙
œ œ ˙ ˙ œ œ œ œ œ bœ ˙ nœ bœ ˙
œ œ ˙
b˙ ˙ œ #œ œ œ œ nœ œ ˙
n 6 6 # 4n 6 # 7 6 # # #
3 b 6 7 #
5 6 8 6
3b
5 8 7 63 8
#
¢ 6
œ
§ 7
2
œ œ œ w
4 3
Chorale: &b

{
“natural bass” “beautiful” “too foreign to the chorale” “clever” “harmonic” “chromatic”
13 [Type B; disjunct] 14 [Type B; conjunct] 15 [Type C; chromatic] 16 [Type B; homophonic] 17 [Type C; suspensions in all voices] 18 [Type C; chromatic bass & tenor]

œœ œ œ œ œœ œœ̇ œœ #œœœ œ w œ œ œ̇œ œœ œ œœ œ w œœ œ œ œœ œœ w œœ œœœ œœœ œœ œœwœ œ œœ œ˙œ œ œœ œœ̇ nœœ #bœœœ wœœ œœ œœ œ Œ
& b œœœ œ̇ œ #œœ œ w
w
w œ
w
w œ
w
w œ œ˙ œ w
#œ w œ #œ nœ Œ œ œŒ
œ œ œ œœ œ œ nœ œ # œ w œ œ œœœ œ œ œ
?b œ œ w w œ œ œ œ w œ œ œ œ
œ œ #œ nœ #œ œ
˙
6 # 5 4 6 6 # 6 #
4 3 4 n 5n 4 3n
6 8 7 6 5 6 4 6 7 6 § 5 6 5 5 4 6 6 ¢ 6 6 5
5 8 7 3 4 5 8 7 5 5 8 7 2 3 4 5 3
3

Example 12
Kittel’s harmonizations of Jesu meine Freude from Der Angehende Praktische Organist (Erfurt 1808, 1:30–32).
42 THEORY and PRACTICE Volume 42 (2017)

separate step from composing the figures and middle voices (Stage 2b) in theory, but
in practice, one assumes that a fluent knowledge of the Rule of the Octave (discussed
below) would mean that the student already knows which figures are implied by a
particular bass scale degree. That is, Stages 2a and 2b are only separate in theory. That
is why Stage 2a is illustrated using Example 12, even though this example includes
middle voices.
Examples 12.1 through 12.7 all ornament the same chorale phrase, shown above in
the single staff. The central point conveyed in these examples is that each harmonization
becomes increasingly more complex, gradually progressing from nearer to Type A in
Kirnberger’s classification to nearer Type C (never reaching Type D, however). That
is, like Knecht, Kittel’s harmonizations transition from more Choralbuch-like to more
Choralgesang-like. The difference is that the “complexity” now focuses on harmonic,
rather than ornamental variety, as in Stage 1. After Example 12.7, the ornamentation
“resets” for the next phrase of the chorale melody in Example 12.8, and Kittel starts
over in a simpler style with the description “natural bass,” meaning diatonic and mostly
triadic. Although Kittel’s path from simple to complex harmony does not traverse
Kirnberger’s four-fold classification (A, B, C, and D) exactly, it is clear that for both
Bach pupils, each chorale phrase functions like a cantus firmus, or stable reference
point, for increasingly complex harmonizations.12

Stage 2b: Adding Figures and Middle Voices

After having composed a bassline, students add figures and middle voices.
Example 13 outlines the most prevalent types of figures in a manner similar to the
bassline types in Example 11. (“N” stands for “neighbor” and “P” for “passing.”)
Examples 14 through 17 come from a very important treatise by David Kellner (1670–
1748) called Treulicher Unterricht (Hamburg 1732). Though Kellner never studied
with Bach, his treatise is relevant to the present article for several reasons. First, Georg
Example 13. Types of figures (i.e., Middle Voices)

Diatonic vs. Chromatic

Homophonic vs. Faster non-CT’s (N, P)
Suspensions
Imitative of the Chorale/Each Other

Example 13
Types of figures (i.e., Middle Voices).
Example 14. Kellner’s figures for the Rule of the Octave from Treulicher Unterricht (2nd ed. 1737, 31)

{
& %%% %% %% %% % %%
12  Kirnberger, Koch, and Wiedeburg repeatedly refer to the chorale as athe figures (Kirnberger
(1722, 232): 1982; Koch

%%% %%
Hypothetical realization after Rameau, Traité de l’harmonie, who uses cantus
same firmus

% % % %% %
1782, 231–374; Wiedeburg 1775). While one tends to associate the term with species counterpoint today, in the

%
eighteenth century it merely referred to a melody—either a Protestant chorale or a Catholic chant.

? w
w w w w w
w w
 Derek Remeš – Reconstructing Eighteenth-Century German Figured-Bass 43

Philipp Telemann (1681–1767), godfather to C. P. E. Bach, endorsed the second edition,

showing Kellner’s basic accuracy and an indirect link to the Bach family. Second,
Kellner’s treatise was enormously popular, going through eight editions between
1732 and 1791, the first of which sold 2,000 copies (according to Telemann’s preface).
Such an impressive print run stands in stark contrast to Johann David Heinichen’s
(1683–1729) monumental treatise, Der General-bass in der Composition, which only
had one edition in 1728. But Heinichen is still relevant for us because Bach knew his
treatise, selling copies of it from his home in Leipzig (Leaver and Zager 2017, 18). Yet
Heinichen’s treatise is clearly aimed at the extremely gifted, would-be Kapellmeister,
whereas Kellner’s treatise is intended for less gifted pupils who would take more modest
positions. Because of this difference in intended audience, Kellner’s treatise is more
representative of the average level of knowledge that most eighteenth-century German
keyboard players possessed. Bach’s more famous pupils tend to be remembered, but one
should keep in mind that he had a constant stream of students of varied abilities. This is
all to say that one should not discount Kellner as a window into Bach’s musical culture
merely because Kellner’s treatise is aimed at less talented students. Besides, Kellner
borrows heavily from Heinichen anyway. In sum, Kellner’s basic accuracy, popularity,
introductory level, and his connection to Heinichen and Telemann justify his inclusion
here, even though Kellner was not a Bach student.13
Examples 14 through 17 provide the most important figures in Kellner’s treatise.
All are taken from the second edition (1737) because this is the one Telemann endorsed.
Example 14 is Kellner’s Rule of the Octave, which assigns normative figures to each
bass degree in ascending and descending conjunct motion.14 The Rule of the Octave is
the basic point of departure for harmonizing unfigured basses, but of course basslines
do not always move by step and are not always this consonant. Kellner says that some
variety (i.e., leaps) comes through chordal inversion [Umkehrung or Verkehrung], as
shown in Example 15. According to Kellner, the unprepared dissonant bass note F
at Example 15c is justified through an inversion of the parts in Examples 15a and
15b.15 Unlike Kirnberger, Kellner’s (and Heinichen’s) understanding of inversion exists

13  The first English translation of Kellner is forthcoming with a modern edition of the Sibley Choralbuch (Leaver
and Remeš, eds. 2018).
14  The figures are Kellner’s; the ascending harmonization is borrowed from Rameau, but it corresponds
exactly to Kellner’s figures.
15  Kellner writes, “Those who are not fully educated in this matter are confused, and ask ‘From where does
this unprepared dissonance [at Example 15c] come?’ because, for all they know, this is the only way such an
inversion may be allowed. The following example [Example 15] serves to explain this matter. At (c), the second
note [bass note F] represents an inversion of the parts that had occurred in the second chords of (a) and (b)”
(1737, 40). “Diejenigen, so in dieser Sache keinen vollkommenen Unterricht haben, verwundern sich, woher
 Homophonic vs. Faster non-CT’s (N, P)
Suspensions
Imitative of the Chorale/Each Other

44 THEORY and PRACTICE Volume 42 (2017)

Example 14. Kellner’s figures for the Rule of the Octave from Treulicher Unterricht (2nd ed. 1737, 31)

{
& %%% %%% %% %% %% %% % %%
Hypothetical realization after Rameau, Traité de l’harmonie, who uses the same figures (1722, 232):

% % % % %% %
? w
w w w w
w w w

{
8 6 8 6 8 8 6 8
5 4 6 5 5 6 5 5
3 3 3 3 3 3 3 3

%%
& %%% #%%% %% %% %% %%% %%
Hypothetical realization (my own):

% % % % %
? w
w w w w w w w
8 8 ´ 8 6 8 6 8
5 6 4 5 4 6 4 5
3 3 3 3 2 3 3 3

Example 16. Kellner’s tables of signatures

Example 14
Kellner’s figures for the Rule of the Octave from Treulicher Unterricht (2nd ed. 1737, 31). The most common [abbreviated]

independently from Rameau’s fundamental bass theory—for Kellner, and indeed, most s 8t 6 - 5
Germans in the first half of the eighteenth century, inversion simply means a swapping b 5i 6t

of parts, without reference to a generative root. Thus, as Example 15 demonstrates, the 2 6r 6r -[ 5e

Rule of the Octave may also determine the implied harmony of leaping basslines, even 4w 6 6
when they involve unprepared
Example 15.dissonances.
16
Kellner on chord inversion (2nd ed. 1737, 40)
5w
2 6

aug. 2nd 6® aug. 6th

6 6 6
4 [ 6] 5! 4 7y
? ˙ œ œ
3 2 4e

œ œ ˙
6

œ œ ˙ 4 - 3 8t 7

4 8t 7 - 6
(a) (b) (c) 7rs
¢ 6w

Example 15 dim. 4th 6y 9

Kellner on chord inversion (2nd ed. 1737, 40).
5b 6e 9 - 8

aug. 5th 7w 7e 9r
dann diese unpræparirte Dissonanz entstehe? daher können sie allhie begreiffen, daß eine sothane Verkehrung 8e 9y
5 - 6
der Stimmen es zulasse. Nachgeseztes Exempel kan die Sache mehr erläutern. An statt der zweyten Note so wohl
9u -[ 8y
bey (a) als auch (b) findet man bey (c) die Umkehrung auch bey der zweiten Note.”
16  Kellner writes that “While it may often seem that, in modern compositions, composers omit preparations
when they are forced to do so, in reality, this arises from the inversion [Verwechselung] of voices, because, at the The required voices to
moment of the dissonance, the bass trades places with an upper voice, a topic which was already mentioned in
certain places [in this treatise]” (1737, 89). “Indessen scheinet es offt in den modernen Compositionen, als wann
 DerekExample
Remeš 16.–Kellner’s
Reconstructing Eighteenth-Century
tables of signatures (2nd ed. 1737, 28) German Figured-Bass 45

The most common [abbreviated] signatures

s 8t 6 - 5 8e

b 5i 6t 3

2 6r 6r -[ 5e 8
4w 6 6 8e

on chord inversion (2nd ed. 1737, 40)

5w
2 6 b 8e
aug. 2nd 6® aug. 6th ¢e
6 6
] 5! 4 7y
œ œ
2 4e

œ ˙
6 3

œ œ ˙ 4 - 3 8t 7 5e

4 8t 7 - 6 3
(b) (c) 7rs
¢ 6w 5

dim. 4th 6y 9 5e

5b 6e 9 - 8 5w

aug. 5th 7 w 7e 9r 5

5 - 6 8e 9y 3
9u -[ 8y 3

The required voices to be added

Example 16
Kellner’s tables of signatures (2nd ed. 1737, 28).

Example 16 reproduces Kellner’s two tables of signatures, in which he gives

all the most common abbreviated figures on the left, and the required intervals to be
added on the right. Such a concise reference of available figures would be very useful for
harmonizing an unfigured bassline. But Kellner’s most useful and enduring contribution
to figured bass pedagogy is shown in Example 17. Whereas the Rule of the Octave in
Example 14 focuses mostly on consonance, the two tables in Example 17 summarize
Kellner’s conception of dissonance. These tables outline a method for adding dissonant
figures to an unfigured bassline in the clearest manner of any source known to the
present author. The tables are essentially a digest of Heinichen’s chapter on unfigured
basses (1728, 2:725–768). Indeed, that Wiedeburg referenced these tables fifty years
after its publication is an indication of their lasting pedagogical value (1765–75, 3:2).
As in the Rule of the Octave, the first parameter in Example 17 is the scale degree
of the bass note, listed in the left-hand column. The second parameter is the type of

die Componisten, da, wo es nothwendig erfordert wird, die Præparation nicht observiret: Solches aber entstehet
nur aus der Verwechselung der Partien, weil bey der Dissonanz die Baß-Note in die Ober-Stimme, und eine von
den Ober-Stimmen in den Baß gesezt werden, wovon an einigen Orten schon vorher Erwehnung gethan.”
46 THEORY and PRACTICE Volume 42 (2017)

Example 17. Kellner’s tables of available dissonances (2nd ed. 1737, 96–97)

MAJOR KEYS
[TYPE OF BASS MOTION]
IN [STEPWISE] IN [STEPWISE] IN [STEPWISE] THESE FIGURES DO NOT REFLECT
BASS SCALE DEGREE ASCENDING DESCENDING ASCENDING [STEPWISE] ASCENDING OR
ONLY ONLY OR DESCENDING DESCENDING MOTION [i.e. LEAPS]
2w 5rs 6rs 5r -e 6r -[ 5e 7rs
1 7 9
6rd
2 7 9
6rs b [ n]
3 7 9
4 5 b* ¢ 7 9

5 5r -e 6r -[ 5e 7y 7t 6r 5r -e 7 9
6rd §rd
6 7 9

7 5 b 6rs
b [ n] 7 9

MINOR KEYS
[TYPE OF BASS MOTION]
IN [STEPWISE] IN [STEPWISE] IN [STEPWISE] THESE FIGURES DO NOT REFLECT
BASS SCALE DEGREE ASCENDING DESCENDING ASCENDING [STEPWISE] ASCENDING OR
ONLY ONLY OR DESCENDING DESCENDING MOTION [i.e. LEAPS]
5w 5rs 6rs 5r -e 6r -[ 5e 7rs
1 7 9
§rd
2
§t
b 7 9

3 aug. 5th 7 9
6®s 6®d
6t *b 7
4 dim. 7th* b 9
6rs 5r s- 6r -[ 5
5 b s 7y 7t 6r 5r -
s 7 9

raised 7 §t
b
6 aug. 2nd 6®d
lowered aug. 6th
7
raised dim. 4th, 5 b
7 dim. 7th
lowered 7
*When scale degree four in the bass is raised a semitone.

Example 17
Kellner’s tables of available dissonances (2nd ed. 1737, 96–97).

bass motion: either ascending or descending, and either conjunct or disjunct. The four
columns to the right show how the available dissonant figures depend on the type of
bass motion: first, for ascending stepwise motion; next, for descending stepwise motion;
then, for either ascending or descending stepwise motion; and finally, in the far right
 Derek Remeš – Reconstructing Eighteenth-Century German Figured-Bass 47

column, for leaps, which has the most available dissonances.17 In sum, Examples 14
through 17 represent the essentials of a very popular method for training eighteenth-
century German students to figure an unfigured bassline. In fact, these examples likely
represent a base level of knowledge that many students were familiar with. And since
Example 17, in particular, is a refinement of many of Heinichen’s ideas, and because
Telemann (godfather to Emanuel Bach) endorsed the second edition of Kellner, it is all
the more likely that J. S. Bach may have used similar methods with his own students
and conceived of this process in a similar way. If Bach’s students were to use a method
similar to Example 17, their task would be simplified because the chorale melody is
always given. That is, a given soprano note restricts the choice of figure for a given bass
note, simplifying the harmonization process.
Kittel and Kirnberger, two of Bach’s students, provide the best models for how
Stage 2 of Bach’s pedagogical method works in practice. Multiple-bass chorales figure
prominently in both of their pedagogical methods, and they both claim their methods come
from Bach, at least in part.18 Example 18 is from a manuscript attributed to Kittel (1791).
The chorale is given at the top, followed by eight basslines. Each chorale phrase is labeled
in brackets using Kirnberger’s harmonic types (Example 10) and the bassline descriptions
(Example 11), just as in Example 12.
The most notable feature of these eight basslines is that they begin in the homophonic
Choralbuch style and end in an ornamented Choralgesang style. This is more due to a
gradual acceleration of surface rhythm (from half notes to quarter notes) than due to a
progression through Kirnberger’s harmonic Types A–D, even though the last harmonization
does use all Type C. At this point it must be emphasized that while the Choralgesang style
is usually used for voices, it need not be. Basslines six and seven in Example 18 are indeed
ornamented, but the leaps resemble a more active, instrumental style than flowing, vocal
style. Still, the overall trend exhibited in the eight basslines is toward smaller note values,
more tonicizations, and more suspensions. These factors are in keeping with the description
of the Choralgesang style given in the first part of this article.

17  Example 17 includes only one chromatic alteration: the raised fourth degree. The same occurs in Wiedeburg’s
table for harmonizing chorales (1765–75, 3:359). Wiedeburg dedicates two chapters to chorale harmonization
and includes a chorale with one hundred basses (1765–75, 3:504–534)! I discuss Wiedeburg in greater depth
in my forthcoming dissertation, which addresses the compositional pedagogy of Bach and his contemporaries.
18  Kittel claimed that his teaching was framed “entirely according to Bachian principles” (McCormick 2015,
i). Kirnberger also claimed his ideas were rooted in those of J. S. Bach: “His [J. S. Bach’s] method is the best
because he proceeds step by step from the simplest to the most difficult, whereby even the step to fugue itself
is no more difficult than any other step. For this reason, I consider the method of Johann Sebastian Bach to be
the only and best one” (Kirnberger 1986, 75). Admittedly, this comment was made in the context of evaluating
counterpoint treatises, not chorale harmonization.
 48
Example 18. Kittel’s multiple basses for Liebster Jesu wir sind hier from 25 Chorale... (ms., Erfurt, 1791)
Original Key: G # Major

THEORY and PRACTICE Volume 42 (2017)

1 CHORALE (four phrases) 2 3 4
U U
w ™™ ˙
#˙ ˙ ˙ U U
{& ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙
œœ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w w

[Type C; homophonic; diatonic] [Type A; homophonic; diatonic] [Type C; homophonic; diatonic] [Type B; homophonic; diatonic]

°? # ˙ ˙ ˙ œ œ 43 ˙ 6
™ ˙
w ™
´ 6 6 6 6 4 3 6 6 4 # 6 6 6 4 3
˙ ˙ w ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ w
8 7
1.
˙ ˙ ˙ w
[Type C; bass suspension] [Type B; diatonic; conjunct] [Type C; homophonic; diatonic] [Type B; diatonic; conjunct]
more Choralbuch style

™
8 2 6 ´ 6 6 5 6 6 4 3 6 6 6 6 4 # 6 6 5 6 6 6 87

w ™ ˙
?# w ˙ ˙
3 4 4 3 8 7 4 4 3 5
˙ w ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w
2.
˙ ˙ ˙ ˙ ˙ ˙ ˙
[Type C; conjunct; chromatic] [Type C; conjunct; chromatic] [Type C; homophonic; diatonic] [Type C; bass suspension]

™
6 6 8 7 6 5 5 ´ 3 4 6 4 6 4 6 4 3 4 6 6 6 7 4 3 6 4 3 - 6 4

w ™ ˙
3 8
?# ˙ n˙ ˙
5 5 2 2 7 2 5 # 5§ 8
˙
3§
˙
7 3

˙ ˙ ˙ ˙ #˙ nw ˙ ˙ œœw ˙ ˙ ˙ ˙ ˙™ œ ˙ ˙ w
3.
˙ ˙ w w
[Type B; disjunct] [Type C] [Type C] [Type B; conjunct]

5[#]
MULTIPLE BASSES

n
?# ˙ ˙ ˙ ™
6 6 6 4 3 4 6 6 6 4 3 5 4 6 6 6 6 4 # 6 5 5 6 6 87 8

w ™ ˙
˙ ˙ ˙ 3˙ ˙ ˙ ˙
˙ ˙™
3 3 3 3 5 3
4. œ œ w ˙ ˙ ˙ w ˙ ˙ œw ˙ ˙ œ œ ˙ ˙ ˙ w
[Type C; disjunct; upper suspensions] [Type C; disjunct; upper suspensions] [Type C; homophonic; diatonic; conjunct] [Type C; conjunct; upper suspensions]

™ ˙
5n 3n

w ™
6 8 7 7 ´ 43 6 6 9 8 4 3 6 98 4 3 4 6 4 6 4 # 4 4 3 6 5 6 4 3 8
?# ˙ œ œ ˙ ˙ ˙ ˙ ˙ ˙
43 8 7 2 3 4 3 8 7 3
˙ w ˙ ˙ ˙ w ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ˙ w
5.
˙ ˙ w
[Type B; faster values] [Type C; faster values; suspensions] [Type C; faster values; suspensions] [Type C; faster values; suspensions]
6 6n
5n
™
5 -5 6 4 3 8 8 - 6 4 4 3 5 - 7 4 6 6 5 6 76 4 3 8

w ™ œ œ œ œ œ
5 6 6 4 3
?# œœ ˙ œ˙ œ œ œ nœ œœ œ
5 4 3 - 8 7 3 3 - 3 2 - # 2 3 8 7 3
more Choralgesang style

3
6.
˙ œ œœ œ ˙ ˙ œ œ w œ œ ˙™ œ˙ ˙ w ˙ ˙ œ œ œ ˙ ˙ w w
˙
[Type C; faster values; upper suspension] [Type B; faster values; conjunct] [Type C; faster values] [Type C; faster values]

™
w ™ ˙
7´ 6 6 4 3 8 76 6 6 66 4 6 4 3 8 5 6 4 6 46 ´ 4 # 6 7 5 5 6 6 8 7
?# ˙ ˙ œ Œ œœ œ œ˙ œ œ w œ œœ œ œ ˙ ˙
45 2 8 7 3 3 2 3 § 3 3 5

œ œ œ w
˙ w
7.
œ ˙ œœ œ œ ˙ ˙ œ œœ œ
˙ w œ œ œœœ ˙
(imitation)
[Type C; faster values] [Type C; faster values; suspensions] [Type C; faster values] [Type C; faster values]

œ ˙ ˙ w ™™ œ #œ œ œ œ œ w
65 6 6 4 3 - 6 6 986 6 5 5 -9 6 6 87 5 6 6 5 4 3 6 9 8 5 6 - 6 6 9 3 6 87
? # #˙ œnœ œ œœ œ œ nœ œ ˙™ #œ œ ˙ #˙ œ œ 5 ˙
¢ œ œ œœ nœ œ œ nœ œ œ
5 4 32 - 5 3 4 3 2 5 3 4

œ w #˙ ˙ œ œ
8.
œœœ œ ˙ w

Example 18
Kittel’s multiple basses for Liebster Jesu wir sind hier from 25 Chorale... (ms., Erfurt, 1791).
 Derek Remeš – Reconstructing Eighteenth-Century German Figured-Bass 49

Example 19 by Kirnberger exhibits the same overall trend from the Choralbuch
style to the Choralgesang style, but in a different way than Kittel. Whereas Kittel used more
varied rhythms and more conservative harmonies (never reaching Type D), Kirnberger’s
settings remain in half notes throughout and become much more chromatic.19 For
example, consider the last two basslines—Type D in Kirnberger’s classification. Given the
criticisms of the complexity of Bach’s vocal chorales quoted above, it seems likely that
this level of chromaticism would not usually be appropriate for organ accompaniment of
congregational singing, which was Kittel’s primary goal. Rather, Kirnberger is testing how
far he can take the chromaticism as a compositional exercise. Thus, Kittel and Kirnberger’s
different approaches to multiple-bass harmonization are the result of their different goals:
Kittel is training organists to accompany congregations, while Kirnberger is training
composers. For this reason (and as a rhetorical appeals to copia, or abundance), Kirnberger
is adamant that countless variations are possible beyond the twenty-six harmonizations
he gives.20 Therefore, it seems that Stage 2 in Bach’s pedagogy was designed to explore
the full range of harmonic resources and ornamental possibilities with the chorale melody
held constant as a cantus firmus. Such a pedagogical strategy would be especially fitting
for a composer like Bach, whose explorations of “the possible” in nearly every genre and
style of his day still move and fascinate listeners three centuries later.

Summary and Conclusion

Leaver’s recent reassessment of the Sibley Choralbuch suggests the existence

of two distinct styles of chorale harmonization in Bach’s pedagogy—the Choralbuch
style and the Choralgesang style. I argue that Bach’s two-stage method described by C.
P. E. Bach bridges between the two types of realization. In Stage 1, which addressed
texture, Types 1, 2, and 4.1 belong to the homophonic Choralbuch style, whereas
Types 3 and 4.2 belong to the ornamented Choralgesang style. In Stage 2, which
addresses harmony and simple outer-voice counterpoint, realizations in the Choralbuch
style tend to use harmonic Types A and B because these are diatonic. In contrast, the
Choralgesang style tends to use Types C and D because these are more chromatic. The
chorale remains a cantus firmus, or fixed point of reference throughout both stages.
Eventually the restriction of the chorale framework was discarded and Bach’s lessons

19  The quoted descriptions in Example 19 are Kirnberger’s; the bracketed text is mine.
20  He writes that “We cannot help being amazed at the variety that harmony offers. The harmonies that could
be used with this melody are not at all exhausted by these twenty-six basses. If one now considers that at least as
many melodies can be written to each of these basses, that each melody can be changed again in countless ways
by florid counterpoint—what wealth, what diversity!” (Kirnberger 1982, 305–6).
 50
Example 19. Kirnberger’s multiple basses (selection from 26 total) from The Strict Art (1982 [1771–91], 300–305)

THEORY and PRACTICE Volume 42 (2017)

Ach Gott und Herr, wie gross und schwer sind mein be - gang - ne Sün - den
b U U U
CHORALE: { &b C ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙

°? bC
2 4 6 8
˙ ˙ ˙ ˙ ˙
§ 6 6 6 6 § 6 4 § 6
”Natural” 1. b ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ w ˙
[Type C; disjunct]

more Choralbuch style

6
”Greater variety” ? bbC ˙
§
˙ ˙ ˙ ˙ ˙ 6 y 6 §
˙ ˙ 5 §
˙ ˙
5
˙
2. ˙ ˙ ˙ ˙ œ œ ˙
[Type C; disjunct]
6 r 6 6
˙
r 6
? bbC ˙ ˙
´ 6 6 y
˙ ˙
5 2 5 2 5 5
“Foreign Dominants” #˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ n˙ #˙
[Type C; mostly conj.]
3.
#˙
? bbC ˙ ˙ ˙ ˙
6 r 4 I 6

[Type C; conjunct;
4 2
˙
6
b2˙ ˙
´
˙
m
n´˙ ˙ ˙ n˙
6
˙
2
˙
5
n˙ ˙
y
˙
8.
little chromaticism]
5 7
? bbC ˙ n˙ b˙
m 2 6 2 6 m 7 § 7 4 e 7
[Type C; conjunct;
12. ˙ ˙ b˙ ˙ ˙ ˙ ˙ n˙ ˙ n˙ ˙ #˙ ˙ #˙
very chromatic]
˙

MULTIPLE BASSES
˙
7 6 5 R

? bbC ˙
§
˙ ˙
6 6 5 6 6 6
˙ ˙
y
˙ n˙
6
˙
4 2
˙
6 y
˙
“Parallel motion” 14. ˙ ˙ ˙ ˙ ˙
[Type C]
? bC
6
˙
7
b2˙ ˙
6 7
˙ ˙
5
n6˙ ˙ ˙ ˙
§
˙
7
w
Y
˙
6
˙
“Contrary motion” 16. b ˙ ˙ ˙
[Type C]
R 6 4 6 §4

? bbC n˙
m
˙ ˙C ˙
B
b˙
C
˙
N
#˙
7
b˙
C m 7 § 6 5 2 6 y
[Type C; chromatic;
17. n˙ ˙ n˙ ˙ ˙ w ˙ ˙
contrary motion]
˙ ˙ ˙
r 6 7
“Contrary motion”
? bbC ˙
7 § 6 7
˙ b˙ ˙ n˙
y
˙
6
˙
2
˙
6 5
˙ § §

more Choralgesang style

[Type C/D; 18. n˙ ˙ b˙ n˙ ˙
very chromatic]
˙ ˙ ˙ ˙ ˙ ˙
4§ 6 6 §4 6 §4
˙ b˙ n˙ ˙ ˙
6 2 6 7 6 6 6§
? bbC Ó ˙ ˙ ˙ ˙
2 4 5 2 5 2

“Canonic Imitation” 20. Ó

˙6 b2˙ ˙ b2˙
4 6
? bbC ˙ ˙ n˙ ˙ n˙ ˙
6 n
b˙ n˙ b˙
6 6 6 6 § !
˙ ˙
5
[Type D; disjunct] 24. n˙ b˙
8 - 7
˙
4 4 n 4 m 7 7 5
b5˙ ˙ ˙
3 4 5
? bbC Ó ˙ ˙ ˙ ˙ ˙ #e˙
¢
˙ n˙ ˙ n˙
2 m 1 2 3 W 4 2 5 6 # 3 y
[Type D; conjunct] 26. ˙ b˙

Example 19
Kirnberger’s multiple basses (selection from 26 total) from The Strict Art (1982 [1771–91], 300–305).
 Derek Remeš – Reconstructing Eighteenth-Century German Figured-Bass 51

would then address fugal composition. But even here the pupil was not completely
untethered, because the conceptual framework of figured bass had been internalized
and likely continued to inform the composition of free, contrapuntally oriented works.
That is, upper voices were still determined primarily by the bass scale degree in both
harmonically and contrapuntally oriented genres.
Bach’s ordering of topics—figured bass, chorale harmonization, fugue—implies
that he viewed an understanding of figured bass as a prerequisite to the study of fugue.21
And since Bach was training composers, it seems likely that his pedagogical method
would reflect his own compositional outlook. Although one often associates figured
bass more with harmony than with counterpoint today, the pedagogical method
reconstructed in this article (and, indeed, the early seventeenth-century origins of
figured bass) suggest that one should view thoroughbass as equally capable of describing
vertical and horizontal dimensions of music. These findings suggest two directions for
the future: first, an increased reliance on figured bass and bass-degree-oriented thinking
in analyses of contrapuntal genres; and second, a more consistent emphasis on figured
bass and the Rule of the Octave in music theory pedagogy, regardless of whether one is
teaching “harmony” or “counterpoint.”22 Like Bach’s method, where the chorale was a
musical cantus firmus for realizations that bridge from homophony to ornamentation,
so should figured bass act as a conceptual cantus firmus—a theoretical bridge between
harmonic and contrapuntal modes of thought.

21  McCormick (2015, 246) and Renwick (2001, 1–8) also describe a pedagogical progression from figured bass to
fugue in connection with J. S. Bach.
22  The strict division between “harmony” and “counterpoint” which became so prevalent in the Paris
Conservatory in the nineteenth-century (and largely characterizes present-day thought) was foreign to the
eighteenth century.
52 THEORY and PRACTICE Volume 42 (2017)

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