Manuductio ad organum. Das ist: Gründlich- und sichere Handleitung, Durch die höchst-nothwendige Solmisation zu der Edlen Schlag-Kunst. - Samber, Johann Baptist 1654-1717 (Salzburg Mayr, 1704)
The personality and work of the Austrian cathedral organist from the archdiocese of Salzburg, music theorist and court musician Johann Baptist Samber, have so far been little researched. His writings offer information on performance practice, organ music or organ building, basso continuo, counterpoint, musical rhetoric and solmisation.
Samber, who describes himself as a pupil of Andreas Hofer and Georg Muffat, wrote three important works on composition: the "Manuductio ad organum" (1704), a "Hand-Leitung zum Orgl-Schlagen", its sequel, the "Continuatio ad manuductionem organicam" (1707)and the "Elucidatio musicae choralis" (1710).It is characteristic of the first two works that Samber's instrumental and compositional instruction is based almost exclusively on the basso continuo and the traditional voice leading rules. Significant are his careful and detailed descriptions and remarks on German fugue compositions of the late 17th century.Samber's third work, the "Elucidatio musicae choralis", teaches the basics for the performance of Gregorian chant. This choral teaching is aimed primarily at the next generation of clerics and aspiring organists and "regentes chori".
"Continuatio ad Maniductionem organicam" see 04C06a
facsimile reprint Olms, Hildesheim, 2009. ISBN 978-3-487-14267-8
Ex Libris Alfred Cortot (Plate) and Sambure (information provided by TK)
Denen Anfangenden zu sondern Nutz und Ergoetzung, einigen Lehrmeistern aber zu Anleitung und Behueff, die Jugent mit geringer Muehe in guter Ordnung nach Anweisung dess zu End-gesetzten Registers zu instruiren. Sambt einer kurtz-verfassten Information von denen Kirchen- oder Choral-Tonen, wie solche geschwind zu erkennen, und auff denen in Cornet-Ton gestimmen Orgl-Wercken abzuschlagen seynd. Alles mit vilen in Kupffer gestochenen Figuren und Exemplen gezieret, und mit sonderbahren Fleiss zusammen getragen, auch das erste Mahl in den Druck gegeben
Keywords: 18th Century (1701-1800); Method; Music theory; Organ; Solmization; Basso continuo; Salzburg (Austria); ?-stemmig bc; a =; Biber, H.F. v; basso continuo; emoties; fermate; solmisatie; sub/semitoetsen; Gaffurius, F; temperatuur; tempo; transponeren; triller_vingerzetting; tritonus; handhouding; Viadana, L; vingerzetting; kerktoonsoorten; klavieromvang; kwint/oktaafparallellen; majeurterts in mineurstuk; mensuurtekens; mordent; basso continuo als partituur; bovensecundetriller; Buliowski de Dulicz, M; Herbst, J.A.; hexachordmutatie; Ornitoparchus, A; Piechtelei, M.S.; plus en andere tekens in bc; Scheyrer, B; teken ? =; Thnott, J; Thürschner, R.A.; vivace