141 Delphin Strungk, b. 1601, d. 1694; Organist of St. Martin’s, Brunswick; composed for the Organ. 142 Purcell should be added to those whom Forkel mentions as Bach’s models. See infra, p. 261. 143 * See Kirnberger’s “Kunst des reinen Satzes,” p. 157. [The work was published in two volumes at Berlin in 1771, 1776.] 144 Transitus regularis= a passing note on the unaccented portions of the bar; transitut irregularis=a passing note on the accented part of the bar. 145 Spitta (iii. 315 ff. ) prints a treatise by Bach, _Rules and Instructions for playing Thorough-bass or Accompaniment in Four Parts,_ dated 1738. Rule 3 of chap. vi. states: “Two fifths or two octaves must not occur next one another, for this is not only a fault, but it sounds wrong. To avoid this there is an old rule, that the hands must always go against one another, so that when the left goes up the right must go down, and when the right goes up the left must go down.” 146 Actually the third beat of the fourth bar from the end. P. bk. 1 p. 37 Fugue no. 9. 147 Forkel edited the _Wohltemperirte Clavier_ for Hoffmeister in 1801. 148 The rule is not in the _Rules and Instructions_ already referred to. 149 Suite No. 6, in D minor (P. bk. 204 p. 84). 150 * Many people hold the opinion that the best melody is one which the largest number of persons can understand and sing. But this cannot be admitted, for if it were true, popular airs which are sung up and down the country by all classes, even the lowest, must be accounted the finest and best. I should be inclined to state the proposition conversely: a melody which attracts everybody is invariably of the most ordinary kind. In that form the statement might, perhaps, pass as a principle. 151 Forkel alludes to the _Goldberg Variations_ (P. bk. 209). 152 P. bks. 205, 206. 153 P. bks. 203, 204. 154 P. bk. 207. 155 Bach wrote three Suites (Partita) and three Sonatas for Solo Violin. They date from about 1720 and are in the keys of G minor, B minor, A minor, D minor, C major, and E major (P. bk. 228). The six Violoncello Suites date from the same period and are in G major, D minor, C major, E flat major, C minor, and D major (P. bks. 238a, 238b). 156 Reinhard Keiser, b. 1673, d. 1739; scholar of the Leipzig Thomas-schule; settled at Hamburg, 1694; composed a number of Operas, and for a time had a great vogue. 157 It was precisely his agreeable operatic Arias that expressed Handel’s genius in the eyes of his generation. With rare exceptions that branch of his work is obsolete and his cult survives mainly in the _Messiah,_ which supports his quite posthumous reputation as “musician in ordinary to the Protestant religion.” See Mr. R. A. Streatfield’s _Handel,_ Introduction.