Probstück 19 · English translation

Nineteenth Probstück Annotations. §. 1. Beating the time might be somewhat necessary here, especially for someone who is not sitting firmly in the saddle. But I doubt whether such a person would want to beat the time himself or rather have the beat given to him. In my opinion, the latter would be the best, so that the rest could be done with more attention. In the meantime, a master needs neither the one nor the other when he plays alone and yet he may not stumble if he is not to be booed at. §. 2. In those places of this piece where the 6 is so frequent, as if it were the place where they all had a rendezvous, one can, especially with two-tailed notes, either use the sixth alone or the third: but in such a way that when the sixth plays the fast notes, the third is not lacking, but lying; and vice versa, where the thirds are going along, the sixth must also be present in the hand. But at which places the sixths follow each other and at which the third can do so, I will elaborate. §. 3. In the second and third measure sixths do the job while the f# is kept as the third to d, which then becomes a fourth to c# and therefore nothing unpleasant, but something decent. In the ninth and tenth measure, on the other hand, the third takes on and leaves the sixth alone, which would sound bad to the f# if they were slower notes; but since they pass quickly, and finally everything stops at the third, nothing bad can happen to the ears. In the other case, however, the sixth makes a pleasant-sounding fifth with the notes in between. §. 4. Wherever the phrase begins with a rest, namely with an eighth, nothing is struck with the following note and nothing in advance either. However, I want to exclude the beginning from this, and I am only talking about the occurrences in the 7th, 8th, 12th, 19th, 20th, 21st, 28th, 29th, 30th, 31st, 32nd, 41st, 44th, 45th, 46th and 52nd measure. Now, in all of these places, the measure does not begin exactly with the rest, but the point is that nothing may be played on the note that follows the rest: because it goes through, it has little special meaning, and after the breaking off i.e. interruption by the rest only serves as a hook, so to speak, by which one thing is attached to another. §. 5. In the fifteenth measure, the sixths prevail and the thirds remain lying. In the 23rd measure, an ornament comes to mind that can be used quite often in the left hand, all the more so because usually a great lack of ornamented playing (as there are: good sharp trills, appoggiaturas, accents, etc.) can be perceived in thorough-bass playing. What I am asking here concerns the leap into the third upward, where one can make a strong slide (Schleifer) in most cases, and thereby give the high note an immense strength. However, such a slide must not be drawn out as in singing, but rather made short and somewhat forceful, just as if one were to place the three fingers at the same time, and only lift one after the other. It can be better shown by playing than by describing it. §. 6. In the 34th and 35th measure, one might wonder where the harsh figures are coming from; however, it is the sixth and the chord to the following notes that are only taken in advance. Everyone can easily recognize the transitus irregularis or the cambiata here. To be sure, they will seem somewhat strange to some in the downbeat of the measure; but as long as it is said in the Hohe Schule der musicalischen Composition, p. 84: To introduce the note cambiate on the first beat of the measure is very seldom permitted, so long will I also make use of this very seldom here, and believe that this exception, in the case of a highly mobile mensur, can pass as regular, if one makes use of it very seldom. §. 7. If one can play a few notes in canon with the right hand in the 41st measure, and let the bass follow, it will not sound bad. Otherwise, there is little more to remember that is not related to what has already been said. §. 8. Mr. St. Lambert calls this tone p. 29. F ut Fa Dieze Mineur, and writes: Rare. F# minor is shorter, and in my case nothing rare.