Probstück 20 · English translation

Twentieth Probstück Annotations §. 1. Whoever can jump firmly here will do well, but another will often stumble, trip or hit the wrong keys. At the end of the fourth measure, one would like to arpeggiate a little, and then to play in the fifth, sixth and seventh measure in this way: This will also be convenient in the fifteenth, sixteenth and seventeenth measure. §. 2. On the two eighth notes at the end of the eighth measure, the right hand plays these notes and alternates with it in the ninth, tenth and eleventh measure, following the bass. In the 18th and 19th measure the same manner occurs again. But one who does not want to lag behind in the 20th and following measures, may not hesitate long, but has to let the fingers gallop. §. 3. Since the second part begins with a specific arpeggio, it implies that the right hand should consequently seek the opportunity to imitate it. This can be done right away in the second measure as follows – – while not forgetting that the bass notes may go along in octaves and thus add gravity. §. 4. In the fifth and sixth measure of the second part, the alternation described above is again taken into account, and if one wants to let thirds go along in the seventh measure in the treble it fills out better than plain chords. Thus, in the ninth, tenth and eleventh measure the above arpeggio must be repeated, and only this must be played on the last four notes of the eleventh measure: §. 5. Nor can it sound bad if at the end of the fourth measure the right hand arpeggiates its chords in the same way the bass arpeggiates its own. However, this shall only be done on these three quarters: That the last notes take octaves with the bass is done on purpose in order to express the main theme, which reappears there, all the more clearly; but where the same notes occur again, they must not be played again with octaves, but in the usual way, like the rest, so that it varies. §. 6. Right after, where the bass remains still, the right hand can emerge just with a broken chord and what is figured. For example: §. 7. In the same way, the 18th measure can easily let the right hand proceed in harmony with the left hand in the just prepared manner. At the beginning of the low bass clef, however, one plays only on every fourth note, and where the bass moves in quarters, this variation is played in the discant: §. 8. That this key must be something rare in France can be seen from St. Lambert's book on thorough-bass, where it reads as follows: Le B Fa Si Beccarre etant un Ton, sur lequel on compose rarement, il n'y a point de modulation qui lui soit particulierement affectée: s'il en avoit une, ce croit la mineure. Mr. de St. Lambert, Traité de l'Accompagnement, p.27. "B is a key in which one rarely composes. There is no third which is particularly associated with it, but if it had one, it would probably be the minor third." Nevertheless, we know that its nature is minor and not major; I have already shown the reasons for this in the second "opening" of the Orchestre (Das beschützte Orchestre, 1717). And that this tone is nothing rare for us is shown by countless examples that are found daily. There are things with trumpets and timpani in B minor, which might seem strange to some; but if he were to hear the chorale, otherwise so movingbeweglich, Ach bleibe bei uns, Herr Jesu Christ, etc., where the singing voices are set in the chamber tone B, and in the modulation into the D major, are accompanied with the above heroic instruments in chorus tone, only once, well performed, it would go to his heart.