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                <title type="part">Realisation of Probstück 4 by J.-C. Dijoux (English translation)</title>
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                    <persName xml:id="pfeffer">
                        <surname>Pfeffer</surname>
                        <forename>Niels</forename>
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                <editor role="translator">Claude (Anthropic), checked by Niels Pfeffer</editor>
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                    <persName>
                        <surname>Pfeffer</surname>
                        <forename>Niels</forename>
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                        <p>Creative Commons Attribution 4.0 International License</p>
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            <sourceDesc>
                <p>Translation of Dijoux's French notes on the realisation (comments_fr.xml).</p>
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            <change when="2026-11-01" who="#pfeffer">Translation checked by Niels Pfeffer.</change>
            <change when="2026-10-29">First draft of the translation made with a large language model (Claude, Anthropic).</change>
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            <div type="score">
                <head>Johann Mattheson: Grosse Generalbaß-Schule, Ober-Classe, Prob-Stück 4</head>
                <lb/>

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                <head>Notes on the realisation</head>

                <p>
                    <s corresp="comments_fr.xml#p0-1-s1">The realisation above was constructed according to Mattheson’s instructions in
                    the <foreign xml:lang="deu">Erläuterung</foreign> that follows the Prob-Stück in question.</s> <s corresp="comments_fr.xml#p0-1-s2">As far as
                    possible, the aim was to make the right-hand part meaningful, i. e. to have it use as
                    many elements taken from the bass itself as possible.</s> <s corresp="comments_fr.xml#p0-1-s3">In this way, Mattheson’s precept
                    “<quote xml:lang="deu">daß alles aneinander hänget</quote>” [that everything is connected] holds true for
                    the whole musical edifice, or almost.</s>
                </p>

                <p>
                    <s corresp="comments_fr.xml#p0-2-s1">The Phrygian cadences have been provided with trills, as Mattheson
                    and Saint-Lambert indicate.</s> <s corresp="comments_fr.xml#p0-2-s2">In every case these trills have been written
                    in the bass as well as in the alto, but it is left to the performer whether actually
                    to play them as double trills or, as the case may be, as single trills –
                    <foreign xml:lang="lat">varietas</foreign> must take precedence above all.</s>
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