Alberti bass - Hubert Parry
Reading musical literature and working through theory treatises has become a source of calm amid a stressful time. I recently learned that Elgar found Hubert Parry’s contributions to the Grove Dictionary of Music and Musicians extremely helpful. I would also like to make Parry’s articles a part of my musical journey as they were for Elgar. I will go through his articles in alphabetical order.
Through these posts, I would like to define words or concepts I have not encountered before and summarize the article’s main point(s).
In this short article, Parry defines and briefly discusses the concept of Alberti bass. Alberti bass is a “formula of accompaniment” this formula consists of a pattern of four-note broken or arpeggiated chords. The pattern of notes is lowest-highest-middle-highest.
Parry mainly focuses on the music history behind Alberti bass rather than the theory of the concept. The name is derived from the 18th-century Venetian singer, keyboardist, and composer Dominico Alberti, who likely didn’t invent the formula, though certainly brought it into “undue” prominence (Parry doesn’t seem to like Alberti bass too much).
Parry wraps up the short article by discrediting Alberti concerning a couple of other musical concepts. I found Parry’s tone throughout kinda funny and definitely engaging.
New Words:
Enviable: an adjective that means desirable or admirable.
Injudiciously: showing very poor judgment; unwise. It means in a way that is not wise or sensible or in a way that is not appropriate in a particular situation.
Meretricious: apparently attractive but having, in reality, no value or integrity.
