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<font face="Calibri">Dear Nick, Vasili, and all,<br>
<br>
Dandrieu indeed gives a figure where the degrees of the C scale
are numbered 1, b2 (or b9), n2 (or n9), b3 (or #2), n3, 4, #4 (or
b5), 5, b6 (or #5), 6 (or b7 [sic]), b7, n7 and 8 (where 'n'
stands for natural). This is an isolated and therefore most
interesting case in France at this time. It is not entirely clear,
however, whether these figures possibly refer to bass notes (b9,
n9 and #2, particularly, are somewhat troublesome in this
respect). <br>
<br>
Dandrieu also appears one of the firsts, probably the first, to
use the term <i>soudominante</i>, which was not very common in
the first half of the 18th century and which even Fétis did not
use more than a century later (Fétis said "the 4th degree of the
scale"!).<br>
<br>
François Campion, describing the règle de l'octave, for which bass
numbers would have been quite convenient, fell compelled to notate
it in twelve transpositions, in major and in minor, i.e. two times
twelve almost identical staves (but for the transposition) and
never thought of numbering the degrees.<br>
<br>
Quirinus Van Blankenburg, who published his <i>Elementa musica</i>
in Dutch in 1739, derided French theory in general and François
Campion in particular, saying:<br>
</font>
<blockquote><i><i>zal men de namen der schale nomberen en zeggen met
Campion blz. 22 dat N. 1 zal hebben een 3 en 5, N. 2 een 6,
enz.</i>[<i>?</i>]<br>
</i>Shall one number the degrees of the scales and say with
Campion p. 22 that n. 1 shall have a 3 and a 5, n. 2 a 6, etc.?<br>
</blockquote>
This, to me, was until now the first clear European reference to a
numbering of the bass degrees. I did not pay enough attention to the
Kayser manuscript, as quoted by Lester, and I will do so as soon as
possible.<br>
<br>
<font face="Calibri"><br>
<br>
</font>
<div class="moz-cite-prefix">Le 15/05/2014 21:34, Vasili Byros a
écrit :<br>
</div>
<blockquote
cite="mid:A9A77B23-8D79-474C-A6E6-34C384B6C37C@aya.yale.edu"
type="cite">
<div>Dear Nick,</div>
<div><br>
</div>
<div>The following are just two examples from the first half of
the century, of French and German provenance respectively:</div>
<div><br>
</div>
<div>1) Dandrieu's <i>Principes de l'accompagnement du clavecin</i> from
1719 (also the first treatise, I believe, to use the term <i>soudominante
</i>for scale degree 4). </div>
<div>2) The so-called Kayser copy of the Well-Tempered Clavier
(Book I), which features analytic annotations of a couple fugues
and a prelude; the annotations include scale-degree analyses of
the bass. For a discussion in English, see Lester, <i>Compositional
Theory in the Eighteenth Century</i> (1992), 82–85. The Kayser
manuscript dates from 1722–23.</div>
<div><br>
</div>
<div>Dandrieu uses names (for example, <i>soufinale</i> for the
leading tone). The Kayser uses numbers.</div>
<div><br>
</div>
All best,
<div>Vasili</div>
<div>
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class="Apple-style-span" style="border-collapse:
separate; color: rgb(0, 0, 0); font-family: 'Myriad
Apple'; font-style: normal; font-variant: normal;
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font-style: normal; font-variant: normal;
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widows: 2; word-spacing: 0px;
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<div><span class="Apple-style-span" style="border-collapse:
separate; color: rgb(0, 0, 0); font-family: 'Myriad
Apple'; font-style: normal; font-variant: normal;
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line-height: normal; orphans: 2; text-align:
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white-space: normal; widows: 2; word-spacing: 0px;
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-webkit-text-decorations-in-effect: none;
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-webkit-text-stroke-width: 0px; font-size: medium; "><span
class="Apple-style-span" style="border-collapse:
separate; color: rgb(0, 0, 0); font-family: 'Myriad
Apple'; font-style: normal; font-variant: normal;
font-weight: normal; letter-spacing: normal;
line-height: normal; orphans: 2; text-align:
-webkit-auto; text-indent: 0px; text-transform: none;
white-space: normal; widows: 2; word-spacing: 0px;
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<div style="word-wrap: break-word; -webkit-nbsp-mode:
space; -webkit-line-break: after-white-space; "><span
class="Apple-style-span" style="border-collapse:
separate; color: rgb(0, 0, 0); font-family:
'Myriad Apple'; font-style: normal; font-variant:
normal; font-weight: normal; letter-spacing:
normal; line-height: normal; orphans: 2;
text-align: -webkit-auto; text-indent: 0px;
text-transform: none; white-space: normal; widows:
2; word-spacing: 0px;
-webkit-border-horizontal-spacing: 0px;
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">
<div style="word-wrap: break-word;
-webkit-nbsp-mode: space; -webkit-line-break:
after-white-space; "><span
class="Apple-style-span"
style="border-collapse: separate; color:
rgb(0, 0, 0); font-family: 'Myriad Apple';
font-style: normal; font-variant: normal;
font-weight: normal; letter-spacing: normal;
line-height: normal; orphans: 2; text-align:
-webkit-auto; text-indent: 0px;
text-transform: none; white-space: normal;
widows: 2; word-spacing: 0px;
-webkit-border-horizontal-spacing: 0px;
-webkit-border-vertical-spacing: 0px;
-webkit-text-decorations-in-effect: none;
-webkit-text-size-adjust: auto;
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medium; ">
<div style="word-wrap: break-word;
-webkit-nbsp-mode: space;
-webkit-line-break: after-white-space; ">
<div>••••••••••••••••••</div>
<div><br>
</div>
Vasili Byros<br>
Assistant Professor, Music Theory and
Cognition<br>
Northwestern University<br>
Bienen School of Music<br>
711 Elgin Road<br>
Evanston, IL 60208<br>
<a moz-do-not-send="true"
href="mailto:v-byros@northwestern.edu">v-byros@northwestern.edu</a><br>
</div>
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</div>
</span></div>
</blockquote>
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