'Gradus ad Parnassum' (1725): Concluding Chapters

Author(s): Johann Joseph Fux and Susan Wollenberg

Source: Music Analysis , Jul. - Oct., 1992, Vol. 11, No. 2/3, Alexander Goehr 60th-
Birthday Issue (Jul. - Oct., 1992), pp. 209-213+215-243
Published by: Wiley

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JOHANN JOSEPH FUX

GRADUS AD PARNASSUM (1725):

CONCLUDING CHAPTERS

Translated and Introduced by Susan Wollenberg

INTRODUCTION

Johann Joseph Fux's Gradus ad Parnassum has continued

sustain, profound attention and interest among musicians
publication in 1725.' It has served directly as textbook for several
generations of composers, and more indirectly as inspiration for modern
counterpoint treatises.2 The history of its influence - especially in relation
to species counterpoint - is a subject in itself.3
In terms of English translation, the important final chapters of Fux's
Gradus have been traditionally neglected4 in comparison with the two
central portions of the text dealing with species counterpoint and fugue.5
The closing chapters (from De Gustu onwards) are presented here, newly
translated into English and in complete form. It is tempting to embark at
this point on a detailed commentary - there are so many general issues,
and technical details, raised in these chapters that are worthy of comment
- but it will be best to leave the text to speak largely for itself, and simply to
select some of the most important aspects for mention here by way of
introduction.
In this final part of the Gradus, cast, like the chapters on counterpoint
and fugue, in the form of a dialogue between master and pupil, Fux pays
prolonged attention to aesthetic issues, especially in the section on taste
(De Gustu) and in the final paragraphs before his valedictory statement.
Another vital issue that is clarified in these chapters is the place of the strict
style in Fux's thinking. Under the heading of the 'ecclesiastical style'
(Gradus, pp.242-3) he discusses the 'stylus a capella' (as just one of the
possibilities for church use), making - and later exemplifying - the
important distinction within this between unaccompanied and accom-
panied styles. There follows considerable discussion of various technical
points of the 'stylus a capella' in relation to a more practical context than
the earlier chapters on strict species counterpoint and fugue could provide
It is in these last chapters that Fux brings the strict style fully into the

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 JOHANN JOSEPH FUX

practical perspective of its liturgical use, noting that it is

certain churches (Gradus, p.243) but making clear that it is only one
among several styles that can properly be used in church. He goes on to
give consideration to the use of instruments in sacred music, including the
fully-fledged 'stylus mixtus'. With the discussion of recitative that follows,
he introduces and demonstrates many new points of interest,' especially in
relation to word-setting and expression of the text. Indeed, sensitivity to
the text appears as an important consideration generally throughout the
last chapters.
Apart from its content, much of which could not easily have found an
appropriate place in the earlier part of the treatise, the presentation of
material in this last section of the Gradus adds considerably to our
appreciation of Fux's pedagogical skills and wisdom. The extensive music
examples he gives from his own works are valuably supported in the text by
detailed commentary on technical points. A reading of the last chapters is
necessary in order to understand what the stile antico meant to Fux. They
provide, among numerous other benefits, a rare opportunity to follow the
composer's explanation of what he has done in practice with regard to the
principles he has set out in theory. Perhaps the neatest summing-up is
Egon Wellesz's: 'How far, we may ask, does the creative work of Fux re-
flect the teaching laid down in the Gradus? At first there would seem to be
a gap between theory and practice ... But we must look at the last pages.'
In the last chapters of the Gradus Fux shows his knack of expressing
ideas that have a timeless relevance: an example is the pupil's articulation
of the difference between understanding and creative ability ('If I could
do this as easily as I understand it...') with characteristically mollifying
statement from the teacher later ('. . . he who is strong in the under-
standing of things comes close to the ability to do them')." Another
example is the summing-up, towards the end, that '. .. all these things
are learnt more by judgement, usage and the observation of works by
experienced composers, than by rules'.9
Fux's Latin style in the Gradus shows his well-founded knowledge of the
Latin language and a familiarity with Classical authors. (He had received a
Classical education at the Jesuit University of Graz.) At that time, Latin
was of course still a 'lingua franca', in the sense that it could be understood
throughout Europe by suitably learned readers; and writers of treatises, as
well as educators in schools and universities, generally made much use of it
(cf. Newton's Principia of 1687). The didactic Latin dialogue would have
been a form familiar to Fux from Classical models. Fux's aims in using this
form for the greater part of the Gradus are directed above all towards
clarity. Through the dialogue of master (Aloysius) and pupil (Josephus) he
reveals himself as a kindly, patient and flexible teacher (while the pupil is
revealed as potentially the stricter and more pedantic of the two). Although
Fux expressly identifies Aloysius as Palestrina, and Josephus (Johann
Joseph) as his disciple (see paragraph 3 of the author's foreword to the

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 GRADUS AD PARNASSUM (1725)

Gradus), there is some overlapping of characters. When F

Aloysius, refers for example in the portion translated her
is of course to his own, and not to Palestrina's, work tha
The pupil, too, may have some composite identity, repre
Fux himself - seeing himself as a disciple of Palestrina -
characteristics of Fux's own pupils. This element of blending between
teacher and pupil, model and imitator, is surely not accidental, but is
intended to promote the idea that 'teaching means to impart learning, and
that, in order to assume his r1le as interpreter of the past, the teacher
himself must assume the r81e of disciple'.'o
These devices of character and dialogue also allow scope for Fux's
gently ironic humour. When he writes, as Aloysius, that his compositions
will be familiar to Josephus (Gradus, p.243) there is a joke to be enjoyed; in
the next sentence Aloysius recommends Palestrina as the highest ideal, but
if Aloysius as Palestrina is choosing Fux's compositions as models for
discussion here, there is another joke and some flattery involved too.
(Incidentally, Fux discusses these pieces with considerable objectivity.)
The choice of illustrative anecdotes in the final chapters seems also
designed to enhance the humane qualities of Fux's text with that most
humane attribute: a sense of humour.

About This Translation

Although Fux's Latin usage appears relatively simple for its time (and is
helpfully inflected in ways which clarify grammatical points), it is certainly
not without considerable complications for the translator. I have
endeavoured to preserve something of the 'tone' of the original, rather th
render it in a bland English version. Fux's sentences are often long and
involved; I have had to apply some flexibility in rearranging the sentenc
order where this seemed desirable in English. As some of the footnotes
the text show, I have occasionally encountered problems either with
individual terms (for example, where no consistent English equivalent
seems to be achievable) or with the general sense of some of the more
complex passages (in some cases where it proved difficult to present a
translation that would be entirely clear without perhaps requiring several
careful readings). Above all I have tried to make the translation flow fairly
easily, while preserving the 'quaint language'" of Fux's dialogue.'2

Editorial Matters
Page references to the original text are given in the translation in curly
brackets, generally placed at the equivalent point to the first full sentence
or main phrase on that page.
Square brackets are used in the translation for amplification or
elucidation of the original text, and for the provision of words or phrases in
the original Latin (italicized) where it was thought helpful to give these.
Music examples have been reduced from open to closed score, for

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 JOHANN JOSEPH FUX

reasons of space; original clefs (SATB) and any other necessary points
relating to the original are indicated in the commentary at the end of each
example. (The commentary is presented in the form: bar no./voice
letter/note number or reference to beat/commentary.) Points from the
original Errata (Gradus, p.280) have been taken into the text of the music
examples. The original (diamond-shaped) note-heads, rests and ties across
barlines have been modernized. In the verbal texts to the music examples,
contractions such as no for non have been expanded and hyphenation of
syllables regularized. Where a passage of text is set identically in two
adjacent voices (e.g. Ex. 1, bs 9-11, AT) it is given only once.

NOTES TO THE INTRODUCTION

1. Gradus ad Parnassum sive Manuductio ad compositionem m

(Vienna, 1725). Facsimile editions: i) Monuments of Music and Music
Literature, II: xxiv (New York, 1966); ii) J. J. Fux: Sdimtliche Werke, VII: i
(Graz, 1967).
2. Some account of its r61le in counterpoint teaching is provided in the writings
of Alfred Mann: see particularly 'Haydn as Student and Critic of Fux', in
Studies in Eighteenth-Century Music: A Tribute to Karl Geiringer on His
Seventieth Birthday, ed. H. C. Robbins Landon and R. E. Chapman
(London, 1970), pp.323-32; Theory and Practice: The Great Composers as
Teachers and Students (New York, 1987); and 'Johann Joseph Fux's Theo-
retical Writings: A Classical Legacy', in Johann Joseph Fux and the Music of the
Austro-Italian Baroque, ed. Harry White (Aldershot, 1992), pp.57-71. Among
sources directly related to the Gradus are Heinrich Bellermann, Der
Contrapunkt (Berlin, 1862); and Alan Bush, Strict Counterpoint in the Palestrina
Style (London, 1948).
3. See, for example, in addition to the above titles (note 2), the following: Denis
Arnold, 'Haydn's Counterpoint and Fux's Gradus', Monthly Musical Record,
Vol. 87 (1957), pp.52-8; and Susan Wollenberg, 'Haydn's Baryton Trios and
the "Gradus"', Music and Letters, Vol. 54 (1973), pp.170-8. Fux's influence
on later writers such as Heinrich Schenker is a topic that would take me far
beyond the space available.
4. Partial English translations of the Gradus are contained in the heavily
condensed eighteenth-century version entitled Practical Rules for Learning
Composition, on which see Susan Wollenberg, 'The Unknown "Gradus"',
Music and Letters, Vol. 51 (1970), pp.423-34; and in the two twentieth-
century versions by Alfred Mann, Steps to Parnassus (The Study of
Counterpoint), rev. edn (London, 1965); and The Study of Fugue (New
Brunswick, 1958), pp.75-138. None of these covers the last chapters. On the
incompleteness of the Gradus itself see Rudolf Flotzinger, 'Zur Unvoll-
standigkeit und denkbaren Anlage der Gradus von Fux', in Johann Joseph Fux
and the Music of the Austro-Italian Baroque (see note 2), pp.72-7.

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 GRADUS AD PARNASSUM (1725)

5. For a discussion of these chapters see Susan Wollenberg, 'The Unknown

"Gradus"' (referenced in note 4).
6. The importance of this section is highlighted in S. Hansell, 'The Cadence in
18th-Century Recitative', Musical Quarterly, Vol. 54 (1968), pp.228-48.
7. E. J. Wellesz, Fux (London, 1965), p.10.
8. Gradus, p.246.
9. Ibid., p.278.
10. Mann, The Study of Fugue, p.77.
11. Mann, ibid.
12. I am grateful to Michael Wollenberg, who took on the task of transferring my
translation from manuscript to disc, and to Robin Darwall-Smith, for his
learned and enthusiastic collaboration on the revised version of the translation
that appears here. Kate Pattullo of the Oxford University Computing Service
kindly provided invaluable and much-needed help during the final stages of
preparing the work for publication. My thanks go to all those friends and
colleagues who have expressed an interest in this work and have urged me to
publish it.

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JOHANN JOSEPH FUX

GRAD US AD PARNASS UM (17 2 5):

CONCLUDING CHAPTERS

{239}ON TASTE'

There is almost nothing more frequently talked of than taste. So we hear

the Italians say: Egli e di buon gusto. The French: II a le gout parfaitement
bon. Latin: Est homo exquisiti gustfis. If only it were as easy to define taste as
it is to declare that it exists! Although taste is, strictly speaking, an attribute
of the palate, it can in a broader sense be applied to a person who has
correct and discriminating judgement. For us, leaving aside other matters,
taste is to be restricted for our purposes to music, and is constituted in two
types: the Active and the Passive. The Active is that which a musician has
in singing or playing; this has been discussed at length before.2 {240}The
Passive [taste] is that which the hearer perceives from the music. But what
judge of good and bad taste can we set up? - since the proverb 'I know
what I like' [or 'chacun a son gouit'] borders on the trite, likewise 'Taste is
not a matter for argument [de Gustibus non est disputandum], let no one be
the judge in a subjective matter'. The rustic is more delighted by his pipe
than by any artificial concord of music. By the same token M. Bellegarde
says: 'There was a man, by no means uncivilized, who, displeased by the
nightingales' song but on the contrary miraculously attracted to the
croaking of the frogs, had a house built for himself in a swamp, isolated
and surrounded by no trees; so day and night he might have the
opportunity of enjoying music which was to him so exquisite. On the other
hand, because there were no trees, there could be no place for the night-
ingales to alight, and wear him out with their singing'.3 What do you think
Joseph, about the sublimity of this taste?
Joseph. I think it not undeservedly calls for some criticism.
Aloys. Listen further to one or two examples of rashness and senseless
judgement. The proud fluteplayer Marsyas, having too great an opinion of
himself, dared to challenge Apollo in a contest, and paid the penalty for hi
rashness by being flayed.4 Because Midas, King of Phrygia, judged the god
Pan superior to Apollo in a singing contest, his ears became protracted to

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 JOHANN JOSEPH FUX

the length and shape of an ass's ears.5 These fabulous things

were invented. But if the penalty for the crime were so certain in
ours as is the fact that bold and corrupt judges of taste do exi
people should we see flayed, or likewise parading with asses'
deny that, as in 'I know what I like', anyone is free to judge w
him pleasure; provided he does not assume the r1le of a ju
fitting only for a man of understanding, who knows how to d
commonplace and trite from the higher and more sublime, pr
natural order. Listen to what Cicero6 says of this matter: 'Oth
says, 'when they read good speeches or poems, approve the o
poets, yet do not see what it is that causes them to approve,
cannot know what it is that gives them most pleasure, or wh
how it came about'. So several modem composers are to be found who,
thinking they show taste and novelty, turn away from the normal use of
consonance and dissonance, and invert the laws and institutions of
accentuation, and they believe they are creating admirers for themselves
(which is in God's power alone); {241} while really novelty, for our
restricted intellect, is nothing more than a different arrangement of these
consonances and dissonances, done with correctness. And so I say: that
composition can rightly claim the title of good taste, which relies on
precepts, abstaining from commonplaces and excessive affectation, tending
towards the more sublime, but proceeding in a natural way, and having
also the power to please even those [who are] skilled in the art.
Joseph. What varied and difficult requirements this definition of yours
has!
Aloys. I do not deny at all, Joseph, that it is not possible for novices, for
whom it is not easy to recognize the commonplace at first, to achieve this
in all respects; nor can they reach this stage unless they are first able to
become familiar with the common things. For you, Joseph, who have given
such splendid specimens of your progress up to now, it may perhaps be
possible to arrive at this stage; I shall therefore come to the explanation of
my definition point by point, before the due time.
First, I say, the composition must rely on precepts; for an excessively free
piece, though it may be in an unusual style, and may be able to titillate the
ears of the unskilled, does not however quite satisfy the delicate taste of
those skilled in the art, who look for regularity, beyond exquisite style.
Furthermore it is said and advised that the composer should avoid the well-
worn and ordinary paths, which by their tediousness bring disgust instead
of delight; but that he should look to higher things and work at novelty. On
the other hand let him not - being seduced by the love of novelty -
conceive of ideas exceeding the nature and order of things, too difficult to
sing and play and unsatisfactory for both musicians and listeners. For
musicians: because of the difficulty of performance; for listeners, because
compositions of this kind, going beyond the accepted norm, stick in the
ears and do not ever penetrate to the mind.

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 GRADUS AD PARNASSUM (1725)

Joseph. This theory you present is not at all insignif

prohibiting tedious commonplaces and demanding subli
ideas within the natural order.
Aloys. Very true. For it is not easy to present to hearers a piece that i
easy7 and natural yet not commonplace; there is a proverb 'To be simple is
difficult' [Facile difficile est]. But yet the excellence and 'spice' of good tast
will depend on this 'difficult ease'. He in whom the concern for novelty
inverts the nature and order of things {242} will not encounter in his wor
the same problem of finding new and unusual ideas. But how can he
achieve good taste in this way? One would not deny that a very large part
of good taste depends on the genius and talent of a particular composer.
But these same influences, not without attraction in their own right, should
be confined within the limits of nature, order and laws, so that they may
deserve to be considered in good taste.
Joseph. What if the corruption of the times, and of distorted taste, grows
to such an extent that the composer cannot go against the tide except to
the detriment of his reputation and success?
Aloys. He whom fortune has blessed with a master who takes pleasure in
the seed [of corn] more than the ears, does not have to worry, nor is there
any reason for him to deviate from the right path. If he has not such a
master, then, contented with his ability, let him be reassured by the
example of Seneca, one of the wisest of men, who discusses Providence
according to his own interpretation, not in the Christian sense,8 thus: 'Just
as no amount of streams, showers from above, or great force of healing
springs, does anything to change the salt character of the sea, so the force
of adverse events does not change the mind of a brave man. He keeps his
position and whatever happens, he takes in to his own condition.' I am well
aware that these things are important for a moral life; verily one's virtue
lies in keeping one's skills and arts away from disgrace.
Since, further, a different type of composition, and style, requires
different taste also, so our first task is to discuss the diversity of styles, as all
our work is directed especially thereto.

ON THE ECCLESIASTICAL STYLE9

I judge that no one could doubt that, just as sacred thi

worldly ones in dignity, so music offered up for divine wor
last eternally, is much nobler than other music, and speci
given to it. And because God is the highest perfection, it
harmony offered in His praise should conform to all the rig
attaining perfection insofar as human imperfection allow
supplied with all suitable means of exciting devotion. And
of the text demands a certain cheerfulness, care should be
the music from being divested of sacred seriousness,

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 JOHANN JOSEPH FUX

decorousness; {243} so that the listener will not be divert

feelings other than devotion. Above all one should take pains that the
music suits the text - is varied, expressive and not at all inconvenient to
sing, but easy to articulate: which will happen if the composer avoids
small-note figures set to the words. But it is a different case when a note is
held without the articulation of words, in which event diminutions are
allowable for the singer's convenience. In order to achieve all these things,
the composer will imitate the tailor skilled in his craft, who measures
exactly all parts of the body, length and breadth, so that he may make a
garment fitting the person as appropriately as possible: just so, the text
must be clothed by the musician, and its significance and feeling should be
taken into account, so that the music, fitting the sense of the words, seems
not only to sing but to express them.
Moreover,'" with the variety of texts there are varied procedures for the
Stylus Ecclesiasticus; for one method is used in composing masses, another
for motets, another for psalms, another for hymns, etc. All these methods
can be reduced to two types of style: to the 'Stylus a Capella', or full choir
[pleni Chor], and the 'Stylus mixtus'. We shall begin by considering the
first, 'a Capella', as being more worthy, by its antiquity.

ON THE 'STYLUS A CAPELLA' "

It is well known that in early times the Divine Offices were

only. Then, later on, after organs were introduced, instrum
all kinds were used, as modern custom still clearly shows. Ac
technique of this 'Stylus a Capella' is now twofold: without organ and
other instruments, and with voices only; and with organ and other
instruments.'2 The first is still kept up in as many cathedral churches as can
do it; and in the Emperor's court, for forty years, through the singular piety
of our most venerable monarch, and through reverence for divine worship.
And so in this type of composition, first and foremost, the 'mixed style' is
to be avoided, and also the transposed modes, which have too many sharps
and flats: by using the pure diatonic type only - for otherwise the
composition, as I have said elsewhere, will never have the right effect.13
{244} Joseph. Why are the mixed style and transposed modes not
allowed to be used?
Aloys. If I am not mistaken, I think the reason was explained in th
same place in Book I, namely that the intonation of notes is very hard
voices without the aid of other instruments.'4 So in 'a Capella' style v
great care must be taken over the ease and naturalness of the singing
this reason, subjects that are easy and natural, but not dull and trivial,
to be used. And if the brevity of the text, and a composition that mus
treated at length, require frequent repetition of the words, as in Kyr
Amens, etc., ad nauseam, one must ensure that this is balanced by an

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 GRADUS AD PARNASSUM (1725)

inventive variety of modulations,'5 or the introduction of

regard to which you should study the example of others. A
Joseph, began composition under my guidance and in my
therefore that my compositions are quite well known to y
you as an example the Kyrie from my mass known as Miss
so that from there you may be able to progress little by li
study of the higher achievements of famous men. The Prin
undoubtedly Aloysius Praenestinus,"' that light of music,
you again and again to imitate, if you desire to achieve mo
progress. {244-6} [See Ex.[1]: Kyrie ex Missa Vicissitudinis.]
{246} Observe, Joseph, the texture of this music, and if you find
anything doubtful, or beyond your understanding, ask for an explanation.
Joseph. I see, and wonder at, the intertwining of the parts, drawing the
subject together so closely; when in almost every bar the subject is readily
recognizable, sometimes in one and sometimes in two parts, with an easy
and natural method of singing and full harmony: so that it is as though the
subject itself may achieve modulatory change. If I could do this as easily as
I understand it, then if it were not for vanity I think I could boast of my
progress so far. At first a doubt troubled me, in the last note marked N.B.
[in Ex.[2]], arising in the seventh bar of the soprano part,'" where it
proceeds by leap from a seventh. But now it comes to my mind that in
the lessons'" we had a similar leap; indeed because of the subject's
completeness, the diminution had been omitted there in the following wa
[See Ex. [2]]
Aloys. I admire your attention and judgement, whereby you have
expounded all that you saw in this piece worthy of observation. I bid you
be of good heart. For he who is strong in the understanding of things
comes close to the ability to do them. {247} Time, which matures and
devours everything, will supply all that is needed besides, with constant
practice. You admired the intertwining of parts, entering in almost every
bar with the subject. But you should realise that not every subject can be
introduced indistinctly in this way; but if you want the parts to enter so
closely bound together, then before you make your choice, you should set
up investigations to test the subject, or alter it, or choose a different one
altogether. You will not forget to think besides, in this combination of
parts which hold themselves within the limits of the lines [intra limites
linearum],20 in terms of a unity that adds the highest force of harmony to
the composition.21 As a standard example, or similar, where the short text
requires it as in Kyries and Amens, a composition in 'a Capella' style is to
be cited; for a longer text such as the 'Gloria' or 'Credo' requires another
technique of composition in which each new section is given a new musical
subject also. Further, it is fitting that the subject should be of significance,
not only appropriate for the music but indeed also, as I have already said,
expressing the meaning and emotion of the text.
Joseph. What if a subject that is otherwise appropriate to the music and

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 JOHANN JOSEPH FUX

Ex. 1 Kyrie ex Missa Vicissitudinis

[5]
Ky ri - e e -lei - son Ky - ri-

Ky - ri - e e - lei son Ky - ri e e-
Ky - ri - e e- lei son e -lei son Ky ri -e Ky ri

Ky ri - e e - le - i - son Ky ri -e e - le

[10]
e e - lei - son Ky ri- e e - lei - - son Ky - ri-

lei - son Ky - ri e Ky ri - e e - lei - son Ky-

e e - le i - son Ky - ri - e e-

son e-le i - son Ky - ri - e e - lei - sonKy - ri

[151
e e - lei lei so - lei son Ky ri - e e lei - son Ky - ri -

A., IeI IsIII--

ri- e e lei son Ky ri- e e lei son
lei - son Ky ri - e e lei son Ky ri - e e - lei -son

e e -lei son e- lei son Ky ri - e e -lei son Ky - ri - e e-

[201
e e - lei son Ky ri - e e-lei son Ky ri- e e- lei

Ky- ri e e lei son Ky - ri e e - lei son

Ky ri- e e - lei son e -lei - son Ky ri- e e - lei

lei - son Ky - ri - e e - lei- son Ky - ri - e e -lei - son e-lei -

[25]
son

Commentary
SATB

24/T 1-2/# #values/

SOn

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 GRADUS AD PARNASSUM (1725)

Ex. 2

[9] NB.

Diminutio.

text cannot conveniently be introduced?

Aloys. It will be possible, if it is done properly. First, the part tha
bring in the new subject should have a pause of considerable length
meanwhile the other parts direct the harmony in such a way that th
subject you have thought up can enter within that same harmony,
cadence, or after a cadence. And as it would be far too lengthy to sh
a whole mass, I put before you an offertory22 which, apart from 'Ky
'Amen', has almost the same [length of] text as the rest of the mass;
this music you can also learn the skill of making the subjects suit the
words, and introducing them at appropriate moments. {247-254} [Ex.[3]:
Ad te Domine levavi]
{254} See, Joseph, how the music is tied together by subjects that have
been bound into a continuous whole. First consider and understand the
meaning of the text ad te Domine levavi animam meam. And you
perceive that the subject, with the voice growing and always rising ju
the confidence of someone praying, is as appropriate as can be f
significance of the words. Observe next the second part coming in
the first part has ended the subject, and how with a brief passage23 t
a false cadence [per Clausulam fictam] there is a chance for the third
that is to say the Tenor, to enter. When this has been done, the Ca
and Altus, in place of a free continuation,24 when another subject of
[quasi subjectum] on the words animam meam is added, continue in
meantime by playing with it not inelegantly. {255} Next, so th
passage [modulatio] is not dragged on with useless repetition of the
to excessive length, after a pause placed in the middle, the Altus im
the subject on the word levavi, an imitation which after a [nother] pa
Cantus also takes up a little later. Then the parts, continuing [modula
for a while with a subject of sorts [quasi subjectum] on the words an
meam, produce a cadence on D [b.16].25 At this point the Cantus, be
ning with a pause, introduces to a new phrase of the text a new
also; the expressive force of this subject on the words Deus meus seem
unworthy of consideration. Moreover, examine by what means the
take up this subject in every bar so closely that it seems to hav
drawn, so to speak, from one mouth to another, right up to the
where with the words in te confido another subject, not unrelated
sense of the words, is offered by the Bass. This is taken up by the

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 JOHANN JOSEPH FUX

Ex. 3 Ad te Domine levavi

[51
Ad te Do - mi-ni le - va - - - vi a-

Ad te Do - mi-ne le -va - - vi a - ni-mam

Ad

[10]
- ni-mam me - am le - va [10]

me am le - va - - vi a - ni-mam me - am
S te Do - mi- ne le - va - - - - - vi a - ni-mam
i V - mJ I T

Ad te Do - mi - ne le - va - - vi a-

[15]
vi a ni-mam me - am De - us me -

a - ni - mam me - am a - ni-mam me - am
me - am a - mimam me am a - ni - mam me - - am De -

- ni-mam me - am a ni - mam me - am De us

parts, and then combined with t

up to the cadence [b.30] on B% [ad
Joseph. I see here a progression
lessons has never come to my no
contrary motion. [See Ex. [4]]
Aloys. You have observed this r
prohibit this progression, nevert
same kind create too little varie
unless there is a great need, espec
of introducing a subject, which
this progression. In this way yo
together in close entries are allo
in the following subject, wher
fourth is used, and in place of a

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 GRADUS AD PARNASSUM (1725)

Ex. 3 cont.
us De us me us [20] in te con -

De us me us in te con - fi do con - fi do
us me - us in te con - fi do con-

me us in te con - fi - do con - fi do

[25]
fi do cn - fi - do De us me us in te con- fi do in te cnn-

De - us me - us in te con - fi - do in

fi do De us me - us in t co-fi - do in te con- fi

De us me us in te con - fi do in te con- fi do

[30]
fi do con - fi do non e - ru- be - scam non e - ru -be - scam

te con - fi - do con - fi - do non e - ru - be - scam non e - ru - be

do con-fi - do nor e - ru - be - scam non

m n e - ru - be - scam non e - ru - be - scam n e - ru -

[35]
non e - ru - be scam non e - ru- be - scam

scam non e - ru- be - scam non e- ru - be - scam

e - ru - be - scam non e - ru- be - scam non e-ru-be scam ne-que ir-

be - scam non e - ru - be - scam ne - que ir - ri- de-ant me i -

[40] ne- que ir - ri -de-ant me ne -quei -

ne que ir - ri-de-ant me i ni - mi - ci
ri -de-ant me i - - ni - mi - ci me i ne - que ir - ri-de-ant me

ni -mi - ci me [il - ni mi - ci me i

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 JOHANN JOSEPH FUX

Ex. 3 cont.

[451]ri- de-ant me i - ni - mi ci me i ne que ir - ri- de-ant

me

ne - que ir- ri - de-ant me i - ni -mi - ci me

o ne - que ir - ri-de-ant me ne

[501
me 1 - i - i - ci me ne - que ri - de-ant me

me i ni - mi - ci i - n- ni mi - ci me i ne
mi - ci me -i

que ir -ri-de-ant me i ni - mi - ci me

[55] "ni - mi - ci i - ni mi ci me - -

que ir- ri-de-ant me i ni - mi - ci me iet

c i m e i- .
- ni mi - ci me

[601 et e-nim u - ni- ver si qui te ex - pe

e-nim u - - ni - ver - - si

et - e-nim u -ni - ver - si qui te ex-

[65]
ctant non con- fun - den - tur

ctant non con-fun -den

non con - fun -den

pe - ctant non con - fun -

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 GRADUS AD PARNASSUM (1725)

Ex. 3 cont.
[70] non con - fun - den - - tur non con - fun -

frW

tur non con - fun - den - tur

tur tur non con - fun den

den - tur non con - fun - den - tur

[75]
den tur non cnn-fun - den tur et - e-nim

non con - fun - den tur non con - fun- den - - - tur et -
tur non con fun - den- tur non con- fun- dn - tur

non con -fun - den tur et e

[801

u - i - ver - si qui te - pe - ctant

nim u- ni- ver - - si qui te ex - pe - ctant

qui te ex- pe ctant

nim u - ni - ver - - si qui te ex - pe ctant

[85]
non con - fun - den- tur nfn cn - fun - den-tur non con - fun-

A I I rI I I I I
non con- fun - den - tur non con- fun-den - tur non con - fun- den
non con fun- den - - tur

non con - fun -den - tur non con - fun - den

[90]
den Cm n tur.

Psalm xxiv (xxv) (LU:3

Advent)

- line-end
non - con - fun - den tur. 37/S3/tied over tur. SATB
but tie discontinued on next line (38)
42/divided at half-bar with barline at line-end
72/S 2-3/ Ovalue broken into "dat page-turn 73/A 1-2/ values
82/TI/originally, ungrammatically, b flat; correction to d emanates from J. Haydn
92/A/word completed on last#. pace tie
tur.

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 JOHANN JOSEPH FUX

Ex. 4
[271

rule frequently expressed before, of introducing everything in a more

compact way for the sake of the subject. Then note the subject, with the
following phrase non erubescam, entering in the Bass under the cadence
mentioned above, which is repeated by the other parts in strict alternation,
and drawn out to the cadence on F [b.38],27 where again the Bass, with the
phrase neque irrideant me inimici mei, produces a new subject, fitting very
closely the sense of the words, which is then continued in a long section,
the parts being closely linked together.
Joseph. In the working out of the previous subject, I noticed a
'Hypothesis' {256} where two fifths seem to be found one immediately
following the other in this way [bs 32-3, Ex.[5]], and where the Tenor
seems to take the place of the Bass.
Ex. 5
[321

Commentary

l"!,I 1
" 5 3SATB
( 5 33/B1/ minim rest in version in full (Ex. 3)

Aloys. So sever
easily to our ea
from the preced
consequence, o
suffer, or be d
From what I h
the rest of the
never be repeated meaninglessly. It remains for me to show you a
composition in this style with a given Cantus firmus and the application of
a text, from which you will observe how to introduce subjects. {256-61}
[Ex. [6]: Ave Maria]29
{262} So, Joseph, you have a method of composition elaborated on a
Gregorian tune or Cantus firmus. If the subjects are less cantabile and less
memorable than in the previous examples, this can be attributed to the
restrictions of Cantus firmus. In this type of composition there is not the

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 GRADUS AD PARNASSUM (1725)

Ex. 6 Ave Maria

[51 A -

A - ve

A - ve a - - ve a - - ve Ma-ri - a

A ve Ma ri - a a-

[101
ve Ma ri

a - ve Ma ri
a-
- a
ve
a - ve
Ma f-
Ma
-
-
ri
ri -
-
- a
a
a
a
- veMa-
vea-

ve Ma- ri - - a a - ve Ma- ri a - ve Ma -

[15]
a gra ti a

ri a gra - ti - a pie
ve Ma - ri - a gra ti - a ple na pe

ri a gra ti - a pie - na gra - ti - a pie

pie - - na [20]

na pie - na Do mi
na Do - mi - nus te

na Do mi - nus te - cum

[25]
Do - - mi - nus te [25cum

nus te cum Do - mi -nus te Icm Do mi - nus e cum

cum Do - - mi-nus te - cum Do i-us te

Do - mi - nus te - cum Do m ri - nus te

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 JOHANN JOSEPH FUX

Ex. 6 cont.

[301 be - ne

be - ne - di- cta tu be - ne - di - cta tu be -

cum be - ne - - di- cta tu be - e di- cta tu be - ne -

- m m m
cum be- ne - di - cta

[351
di - cta tu

09 4p --7 - l

ne - di - cta tu be- ne - di-cta be - ne - di - cta tu

di - cta tu be - ne - di- cta tu be - ne-di - cta

tu in

[40]
in mu - li e

tu
in mu
in
mu- i e - - -r inmu e
- li - e ri - bus in mu- li-

-0----

mu - li - e - ri bus in

[45] [50]
ri- bus

ri- bus in mu-li- e - ri-

e - ri - bus in mu- li- e - ri - bus in mu - li - e

mu- li - e - - ri - bus in mu- i- e

[551
in mu - li - e - - ri

bus in mu-li - e - ri -bus in mu -li e ri-

ri- bus in mu -i ri bus in mu-

ri - bus in mu- li - e - ri -bus in mu- i- e

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 GRADUS AD PARNASSUM (1725)

Ex. 6 cont.

bus [601 et be

bus et be- ne - di - ctus fru-ctus ven-tris tu - i

S ri - bus et be- ne- di - ctus fr-ctus ven-tris tu i -

ri -bus et be-ne - di ctus fru-ctus ven-tris tu i tu

[65]
ne - di - ctus fru - ctus ven - tris tu

et be - ne - di - ctus et be - ne - di - ctus fru - - ctus ven - tris

be - ne - di ctus fru ctus ve -

et be - ne - di-ctus fru - ctus ven- tris fru - ctus

i [70]
Comment
(LU:355.

tu i.

tris tu 1-2/T;/4-6/A;/ i. SA
S;/52-55./S;/57,

"al 'ri'
40/S -- for
underlaid/

ven tris tu i.

free choice to pick

with the Cantus fir
Gregorian chant, o
are repeated notice
length of the Cantu
through the whole
this type, the given
composition, I do no
attractive and bre
especially holds the
Joseph. I remembe
should be introduce
and in this music I
Aloys. And I say t
firmus; as the sub
cannot be complete

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 JOHANN JOSEPH FUX

Ex. 7 Kyrie
Tutti, un poco allegro
Ky - ri- e -le- i son e-lei - son e - lei- son

Ky ri- e e - le- i son e -!lei - son

Ky - ri- e e-le -i- son e - lei - son Ky ri-

Ky - ri- e e - le - i-son e-lei son Ky

[Organ] 6 5 5 6 5 6 6

SI F' IZ I
6 5 6[1] 5 6

[5 Ky - ri - e - le-i-son e-le - i - son

Ky - ri - e e - le - i -son e-le - -son

e e-le - i-son e - lei - son e- lei - son Ky ri -e e

- ri- e e-le i - son Ky ri-e e-lei

566 43 7

[101
Ky - ri -e e - lei son e-lei - son Ky ri- e e-

Ky - ri - e e - le i -son e-lei - - son e- lei

lei - - son K ri- e e - lei - son e - lei - son e- le

son Ky ri- e e -lei son Ky - ri- e e - le

65 6 5 66 5 6 6
4 4 4 5

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 GRADUS AD PARNASSUM (1725)

Ex. 7 cont.

[15]
lei - son e- le - i - son e-e - - - son.

on Ky - ri - e e - le i - son.

son i - e - le - son e - lei - son. Commentary

Voices SATB

~I 1-2/1/Organ/Soprano clef/
6/2-7/Organ/Tenor clef/
9/Organ 3/a/
10-11/Organ/tie beneath stave/

- - son Ky-ri - e e - lei soil.

4 6 6 5
5 54 4 3

that the perp

interrupted a
the 'a Capella'
these have be
distinguished
consideration.
Joseph. But what is to be observed in composing Psalms and Hymn
this style?
Aloys. Nothing in particular, but that for these, especially Hymns, you
apply music with some cantilena to the words; and it is not worth passing
on anything specially about them besides. Let us therefore go straight
on to the stylus a Capella, with organ and other instruments: which enjoys
more freedom of modulation and singing, and of structure [& modulandi,
& canendi, vagandique].' Let the Kyrie from my Mass In fletu solatium" be
named as an example. {263-5} [See Ex.[7]: Kyrie a 4 with accom-
paniment]
{ 265} Look carefully first, Joseph, at the natural and shapely way the
parts sing, one being hardly any impediment to the other, though they are
united by such a close bond. Observe further the modulation - not crass,
but moving naturally into related 'keys' [in Modos affines]; and the parts
coming to rest at suitable moments, so that the composition is not filled
with superfluous and useless intertwining of the parts; and how, when all
these things have been observed, nothing however detracts from the
fullness of the harmony.
Since this style32 can also be used in three-part writing (which I have
employed neither rarely nor unsuccessfully) I add here as an example the
'Christe' from this Mass, for three voices: { 266-7 } [Ex. [8]: Christe a 3 with
accompaniment]
{267} This three-part writing in this freer 'a Capella' style has been
evolved more for the sake of modulation and imitation than to introduce

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 JOHANN JOSEPH FUX

Ex. 8 Christe

a 3. Tutti [5]
Chri - ste e - lei son e- lei - son e-lei son Chri-ste e- le

Chri - Ste e -le - - i-son Chri-ste e -

Chri - ste e-lei son e-lei- i-son e - le - i-son Chri- ste e -

Organo _ .D
6 6
43 6 5 76 5 2 5

[10]

i - son Chri-ste e - le i - son Chi - ste e - le - i - son Chri-ste e-

lei - son e- lei - son e le - i-son

lei - son Chri-ste e - lei - son e - lei - son Chri -

6 5 2 [61 7 ' 6 6 7 6 9 8 7 [15]' 4

le - - - i - son Chri- ste Chri - ste e - lei

A
Chri-ste e - lei - - son
I I I I
ste c - lei son e - lei - son Chri-ste Chri - ste e - lei

7 6 5 6 7 6 5
# 4 4 6 5 44446

new subjects af
when a new ide
other parts, it
made all the m
motion followi
composition in
not sung at a m
And since this style34 comes close to the preceding style 'a Capella'

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 GRADUS AD PARNASSUM (1725)

Ex. 8 cont.

[20]
son e - lei son e- lei - son e

6 7 6 5 3 4
S4 4 2

lei - - son.

Commentary
lei - - - son. Voices: SAT
1/-22/ Organ/tenor clef/
7/S 4-6/ underlay '-e-le'/

lei - - so son e- lei son en.

7 6 534
4 4

without organ, with its e

into use in modem times,
consideration one further
unum Deum.35 {268-71} [E
{271} Consider, Joseph, t
the correct system of c
dissonances; and the mod
hardly commonplace. Fu
which resides the greatest
led right on to the end.
Joseph. I see and wond
position, dissonances seem
your prohibition.
Aloys. What you observe
respect to this 'Amen', by
that the note in question,
the dissonance, is a variat
better line. Look at its es
Joseph. I am disgusted at
so in future, before ma
distinguishing variation fig

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 JOHANN JOSEPH FUX

Ex. 9 'Amen'

Tutti, presto moderato [5]

A men a- men A

A men a - men a

-- --men a
men- men
a men

amena----

a - men a -

7 6 4 7 4 5 6 6 6
2 5 5 5 5

{272} One m
Master.
Aloys. Go on.
Joseph. I remember that you did not allow sharpened notes, wh
created by accidentals, to be doubled. And in this 'Amen' at the ninth b
see a sharp in the alto, doubled in the tenor. [See Ex. [11]]
Aloys. Certainly I said that. Because this sharp has great force in its
and some harshness, when doubled it exceeds the other parts in streng
and overbalances the harmony. The ban is valid where the doubling of
sharp involves much delaying. That note in the tenor marked with a sh
is of such little time value that the inconvenience which would otherwise
result from a longer duration, which would break up the appropriate layout
of the texture required by both the modulation and the subject, is here not
of such great importance.
Joseph. When instruments also participate in this style, what must be
done with them? I am not at all ignorant of the fact that trombones are
usually sounded in unison with the altus and tenor: but what part is given

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 GRADUS AD PARNASSUM (1725)

Ex. 9 cont.
[15]

- - - men a - - men

a - - men a - - - men a

men a men a -

-4:, 1
men a - men a men a

b6
5 5
5
7
6
6 2
4 4
6 35565
9 2

a - men a - men a - [20]

men a

in. - men a -men

men a

4 4 4 4 6 4 3
2 2 2 2 tasto solo

men a - - men.

--Voices: SATB
1/3-4/1/Organ/tenor
1men. 3/Organ 1/a/
a ammen.

d.

men - men a - men.

4 3 6 6 9
5 5

Ex. 10

A L,
. I. ri-. b.. _

XLS:?- . "

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 JOHANN JOSEPH FUX

Ex. 11
[9]

Commentary
SATB

to the stringed instruments?

Aloys. I declare that in this 'a Capella' style the first and second viol
should both proceed in unison with the cantus.
Joseph. However, I sometimes hear and notice the strings playing
otherwise in [some] compositions.
Aloys. Yes, but what do they do? - awkward leaps, unbalanced and
lacking any 'singing' line; so, wandering up and down unsuitably, they
confuse rather than enhance the harmony to which they are added. For if
four-part writing is done according to the principles of the art, there can be
no room left for a fifth part to introduce a subject. The same applies also to
three-part writing. Furthermore, it causes the worst possible singing.
Joseph. What if, as is quite often the custom, the first violins sound in
octaves with the altus?
Aloys. If the doubling of the voices with the trombone is sufficiently
forceful to cover up the consecutive octaves, then it can be allowed; but i
the octaves are conspicuous on account of a thin sound, {273} then
certainly they descend to rustic usage: so I propose that you take the safer
advice of uniting both string parts with the cantus. As for the other parts of
the Mass, and Offertories, Psalms, Hymns etc., as I said before, the music
must be directed in accordance with the variety of texts, however with
greater freedom to wander further than in the style without organ.
Joseph. What should be noted by a composer about to write a
composition with more subjects?
Aloys. As to the music, it should be worked with the aid of double
counterpoint, as shown earlier. But be careful also lest, save when subjects
with different figurations are appropriate to the text and its expression,
sections of contradictory meaning are joined together: as for example
'Crucificus' and 'Resurrexit': this causes confusion, and is to be most
carefully avoided. Now let us go on to discuss:

THE STYLUS MIXTUS 36

By 'Stylus mixtus' I understand a composition with sometime

three or even more voices, mixed with a group of instruments
with full choir, as is the custom today especially, in churches

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 GRADUS AD PARNASSUM (1725)

it is heard commonly and very frequently I do not think

about it or show it by examples of compositions. Let me
Joseph, not to forget the scope and aims of ecclesiastical music: to
encourage devotion and divine worship; and do not confuse this style with
the manner of theatrical and dance music in the way that many do. But on
the other hand do not in your opinion of sacred music, taking up ideas that
are dry and have no 'juice' to them, assume a position of fastidious
pedantry, which will produce boredom rather than devotion, but have care
to make the music pleasing to hear and filling the listeners' minds with
delight. Thus finally, if you remember all that is said in this long discourse
as advice, you will create a work worthy of God and not without praise
among men.

{274} THE STYLUS RECITATIVUS 37

'Stylus recitativus' is no other than speech expressed in musical terms, or

'oratorical speech'. For just as an orator adapts his voice variously, to suit
different types of speech, sometimes stirring, sometimes calming, some-
times extolling and sometimes denouncing, and tries to put on the
'clothing' of the emotion that he plans to represent in his mind, so the
same is to be done by the composer of music, in accordance with the
changes in the text.
In recitative38 close to everyday speech, the music can be provided with
any voice. In argument, a sharp voice is to be applied, sometimes like
shouting, with repeated changes in the bass. To a text of dignity, music full
of gravity, with little change in the bass, is applied, coming nearest to
church style, which not infrequently is used with instruments: {274-6}
[Ex. [ 12]: Domine, ne in furore tuo arguas me]
{276 } foseph. What do I see? It seems that the instrumental writing
departs far from the rules of counterpoint, especially in the principles of
dissonance.
Aloys. I declare that this departure must be granted to the natur
recitative, in which the treatment cannot be as usual, since the bas
not move in the way that dissonances are usually resolved. It is
much the 'right' method of harmony in this style, as the right expre
the words, that is considered, and for which the recitative exists. M
less in this manner, or a little differently according to changes in th
recitative can be introduced where in a speech of supplication we ex
our feeling to God.
As for secular music39 - or chamber and theatre music; because th
is different, common sense tells us that it should also be different
method].
Secular music is composed for the sake of refreshing the minds of the
listeners, and diverting them to various emotions: the following are the

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 JOHANN JOSEPH FUX

Ex. 12 Domine, ne in furore tuo arguas me

[strings]

Ivoicel

Do mi-ne ne in fu- ro-re tu - o ar- gu-as me, ne- que in i - ra tu - a cor-

[organ]

b6 67
4 4 3

[5]

ri - pi-as me mi - se - re -re me - i Do - mi- ne quo -ni-am in - fir- mus sum

[10]

sa- na me Do - mi-ne quo - ni -am con- tur - ba - ta sunt os-same a.

.. . . . .. . . . .. .. k , I 6. I , ,
./rd

Commentary
Psalm xxxvii (xxxviii) freely paraphrased from 'miserere'
onwards (cf. LU:698)

Istringsl Treble, Treble, A clefs/

[voicel S clef/ (no designation of parts originally)

feelings to be expressed in recitative: anger, pity, fear, force, anxiety, volup-

tuousness and love.
Anger is expressed in a kind of stirring voice, tending to sharpnes
acutum tendentis], and if it is more vehement it is expressed with a ce
volume, and with a broken voice [voce praeruptd]; this will be effecte
smaller-note figures, almost always ascending to the height [of the ran
and with frequent changes in the bass. {277 } In this matter, much dep
on the rank of the angry person. For if he is a king, he will not deviate at
into a female shouting; but, preserving the dignity of royalty, will sho

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 GRADUS AD PARNASSUM (1725)

anger with kingly gravity. The same system should be fo

other affections.
Pity demands a weeping vocal line, at times interrupted; it seems to be
expressed with broader figures, and more frequent dissonances, the bass
remaining in the same place for long periods of time.
Fear requires a low and hesitant voice.
Force is shown by a strong and tense line strengthened by a certain
gravity.
Voluptuousness uses an effusive kind of voice, but mild and languid.
The mood of love is expressed by a smooth voice, tender and
emotional. Since, however, the other emotions often accompany love,
account of them must also very definitely be made.
The following punctuation of speech is further to be observed precisely:
comma, colon, semicolon, full stop, question mark and exclamation mark,
and parentheses; each one of which must have its own particular definition.
If the comma is to be shown, it should be as follows: [See Ex. [13]]
Ex. 13

& c.

& c.

The semicolon is notated in almost the same way. The comma is very
often continued without a break, if the sense of the text demands that it
should be effected with some speed.
The colon is usually defined like this: [See Ex. [14]]
Ex. 14

iA; 1'' I- - I/ 1 1 II :J i

{278} The full stop is written in the same way, if

sense are complete, but nevertheless the subject contin
subject is introduced directly, it is done with a forma
truncated, however. [See Ex. [15]]
If it is to be finished, it should be done as follows. [S
A question mark is expressed variously according
meaning of the speech. [See Ex. [17]]

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 JOHANN JOSEPH FUX

Ex. 15

I tF Ir j
Ex. 16

J1I

Ex. 17

L L , L L

H.. .)"--Air . . . ..N I. .I

L t: :..11 1 1 If Io.. , ..i 1
Ara ' ~ FilF L

The mark of w
Ex.[18]]
Ex. 18

t ... .. . . Mo,

A section separated in parentheses [an aside], where the speech is

generally imagined to be directed towards the audience, is to be sung in a
lower voice, lest it be noticed by the rest of the actors.
But all these things40 are learnt more by judgement, usage and the
observation of works by experienced composers, than by rules.
Joseph. Thus recitative. What advice do you give about composing arias
(as they are commonly called)?

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 GRADUS AD PARNASSUM (1725)

Aloys. What fixed advice would I give about an arbitrar

which is subject to constantly changing taste? I by no me
this cult of novelty, but give it the greatest praise. For if a m
were to enter today in dress {279} worn fifty or sixty ye
certainly expose himself to the risk of being laughed at. T
to be adapted to the age. But I have never seen or heard
tailor so enthusiastic about novelty that he put the sleeve
thigh or knees: nor is there any architect so stupid t
foundations of a building in the roof.41 This we do see a
from time to time, not without causing sadness to the in
the shame of the art: where, when the rules of nature and art have
been upturned, the foundation has been taken from its proper place and
forced above, to the detriment of the remaining parts, left without proper
foundation.
Therefore 2 you will have enthusiasm, Joseph, for novelty and originality
in its time, as much as you can; but not at all debasing the rules of art,
which imitates and perfects nature, by no means destroying it.
Thus, Joseph, if you apply these rules to your own nature and talent,
with continuous hard work, nothing, I hope, will prevent you from
attaining the reputation of a famous composer.
Joseph. Am I right in thinking, my revered Master, that you are about to
put an end to this work?
Aloys. Most certainly. Do you not see the numbness and languor of an
illness creeping up on me, the usual omens of gout? Moreover you know
that I have now become so broken by age and almost ceaseless ill-health,
that if the illness were to attack me with its usual fierceness, and hold me
as is its custom, for a space of six months, a fear, by no means unjustified,
enters me that this time I may not recover. Therefore, so that this little
work, in addition to its other imperfections, should not lack an end as well,
I shall conclude here.
Joseph. And so will you pass down nothing about composing for mo
[than four] voices?
Aloys. I certainly had the intention of including also in this very wor
discussion on composing for more voices, but having been interrupted
ill-health, as you see, and now confined to bed, I will provide it later b
preparing a separate discussion, if it will seem good to God the Thrice B
and Greatest to prolong my life and grant me the strength. With
benefit of such a work you will be able to learn the rest which remains
be known, even without the living voice of your master. Meanwhil
should like you to be persuaded (since you have the ability to prod
excellent four-part writing) that the path to composition with more vo
has now been laid; for as the number of voices increases, there is a certa
relaxation from the rigour of the rules. Farewell, and pray to God for m

FINIS.

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 JOHANN JOSEPH FUX

NOTES

1. De Gustu.
2. In the earlier part of the Gradus the sections on species counterpoint and
fugue are classed by Fux as pars activa (consisting of practical aids to com
position), in contrast to the mathematical information on intervals and sca
which he classes as pars speculativa. Here he is using a different distinction
relation to an altogether freer discussion of styles.
3. Probably from the writings of the Abbe Jean de Bellegarde (Histoire univers
des voyages, Paris, 1707; English edn, London, 1711).
4. Marsyas was the satyr in Greek mythology who picked up Athena's discard
flute and became so proficient on it that he challenged Apollo to a contes
The victor was to choose the loser's penalty; Apollo won, and Marsyas's
penalty was to be flayed.
5. This refers to the occasion when Midas, legendary King of Phrygia, was so
unwise as to give judgement against Apollo in his contest with Pan; Apollo
seems to have enjoyed the privilege of deciding the judge's penalty in this
case, which was to give Midas ass's ears as an indication of his stupidity.
6. This has been traced by Alfred Mann to the Rhetorica ad Herennium (formerly
attrib. Cicero), IV.3; see J. J. Fux: Sdmtliche Werke, VII:i (Graz, 1967), p. 13*.
7. In the original, 'facile' is used both times in this sentence.
8. The passage that follows in the text is taken from Seneca's Dialogi, Book I, De
providentia: see ... Senecae Dialogorum Libri Duodecim, ed. L. D. Reynolds
(Oxford, 1977), Liber 1, 2: p.3, lines 5-9.
9. De Stylo Ecclesiastico.
10. No paragraph break in original.
11. De Stylo d Capella.
12. My italics. For details on the usage of these different styles in relation to the
church calendar see F. W. Riedel, Kirchenmusik am Hofe Karls VI. (1711-40):
Untersuchungen zum Verhdltnis von Zeremoniell und musikalischem Stil im
Barockzeitalter (Munich and Salzburg, 1977).
13. Throughout the earlier part of the Gradus the importance of the student's
keeping within the limits of the diatonic system in order to master the basic
principles is constantly stressed, in both Book I and Book II (Dialogus). See
for example the section on fugues in general (De Fugis in genere), Liber
secundus, Exercitii V, Lectio Prima, pp. 145-6.
14. Referring most probably to the final chapter in Book I (Caput Postremum),
pp.35-6, which deals with the chromatic intervals and warns against the use of
'mixed' writing in compositions a capella without organ.
15. 'Modulation' (modulatio) seems to have flexible meaning and certainly should
not in the context of this discussion be interpreted with modernized impli-
cations. Here it could for example refer to introducing subjects at differing
pitch levels.
16. Missa vicissitudinis, K.44 (Kyrie: A Cappella).
17. I.e. Palestrina.

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 GRADUS AD PARNASSUM (1725)

18. Actually b.9.

19. Referring apparently to the Liber secundus, Exercitii I, Lectio II
20. Probably referring to the range of the parts: it is remarkab
note needing a leger line - all parts are essentially within t
stave; or possibly implying individuality of parts.
21. 'Harmony' in a general sense, presumably: harmonious p
design.
22. Ad te Domine levavi, K. 153, for SATB unaccompanied.
23. Original: modulatio, which seems to be used with flexible meaning (see
note 15).
24. Original: modulatio (see note 15).
25. Original: in D. but here translated as 'on D' in order to avoid suggesting the
modem implication.
26. Actually another interrupted cadence with G in the bass. 'B,fa' italicized
originally.
27. Original: ad clausulam F., actually formed in the bass on D.
28. No paragraph break in original.
29. K. 151, Offertorium proprium pro Dominica 4a Adventus (Ave Maria, gratia
plena), for SATB unaccompanied.
30. Vagandi: literally 'wandering'.
31. K. 18, Missa in fletu solatium, for SATB and instruments.
32. No paragraph break in original.
33. While this sentence may seem somewhat obscurely expressed, the piece given
in Ex. 8 shows clearly what is being described here (the most pertinent
passage being at bs 13ff.; see also bs 7ff.).
34. No paragraph break in original.
35. K. 11, Missa a 4. Credo in unum Deum, for SATB, trombones, strings and
organ.
36. De Stylo mixto.
37. De Stylo recitativo.
38. No paragraph break in original.
39. No paragraph break in original.
40. No paragraph break in original.
41. The ideas of appropriateness and ridiculousness expressed here seem to
adapted from Horace's Ars Poetica (see lines 1-5 and the discussion in Susa
Wollenberg, 'The Unknown "Gradus"', p.433).
42. No paragraph break in original.

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