Essay on the True Art of Playing Keyboard Instruments

Interesting to see how J.S. Bach's perhaps most important composer son, who had a large influence on Mozart, viewed the art of figured bass and counterpoint. Apparently the Bachs were aware of Rameau's theory of harmony and root progressions, but preferred the contrapuntal approach to harmonization. This book bears serious study by those interested in music theory and composition.

The previous reviewer is referring to "part two" of this text, the portion which deals with counterpoint, etc. However, players of J. S. Bach will especially appreciate the first part of the text, which has a large chapter explaining the various embellishments which one finds in J. S. Bach's works; it is a fine reference for anyone playing music with Baroque markings for trills, turns, mordents, etc.

This an historically significant work worthwhile for a number of reasons--of course--, but I am particularly interested in its treatment of figured bass. Why? Although it was composed after Rameau published his revolutionary theory of root progression, C.P.E. Bach repudiated Rameau's theory, and this work remains untouched by it. Consequently, reading this is the easist way to get a feel for how things stood before Rameau and (ironically for C.P.E. Bach) to appreciate truly Rameau's achievement.Also recommended: PENTATONIC SCALES FOR THE JAZZ-ROCK KEYBOARDIST by Jeff Burns.