Скачать или смотреть Comprehensive Study Guide: Advanced Figured Bass

A blank space indicates a 5-3 chord, which is a root position triad consisting of the root, third, and fifth. The continuo player is expected to supply the missing notes of the triad above the given bass note.
The figure "6" is an abbreviation for a 6-3 chord, signifying that the chord is in its first inversion. In this arrangement, the bass note is the third of the triad rather than the root.
Contrary motion involves the bassline moving in the opposite direction of the melody, which helps prevent technical errors. Specifically, it is a primary method for avoiding prohibited consecutive fifths and consecutive octaves.
A dash indicates that the player should sustain or carry over the current chord even if the bass note or melody moves. It signals harmonic stability across multiple notes, though the player may choose to rearrange the notes of the chord for variety.
An approach chord is the chord that immediately precedes a cadence. Choosing a strong approach chord, such as chord IV or chord II, helps lead the ear effectively into the final cadence points of a musical phrase.
The "Hot cross bun" bass refers to a Ic – V – I progression, utilizing the figures 6-4, 5-3, and 5-3 respectively. It creates a strong sense of resolution by moving from a second inversion tonic chord to the dominant and finally to the root position tonic.
Any given note can serve as the root of one triad, the third of another, or the fifth of a third. For example, in B-flat major, the note B-flat can be the root of chord I, the third of chord VI, or the fifth of chord IV.
Inessential notes do not belong to the underlying chord and should not be figured. Musicians should identify the primary harmony notes on the beat and ignore decorative elements like passing notes or anticipatory notes that fall between beats.
Chord VII is generally described as a risky chord that should be used with caution in root position. However, it is noted to work particularly well when used in its first inversion (a 6-3 chord).
Cadences define the structure of the four-bar phrases and provide the "ends" of the musical thoughts. By securing the cadences first, a student ensures the phrase finishes correctly before working backward to connect the remaining harmony.
5-3 Chord
A root position triad; the standard chord structure when no figures are present.
6-3 (or 6) Chord
A first inversion triad where the bass note is the third of the chord.
6-4 Chord
A second inversion triad where the bass note is the fifth of the chord.
Anticipatory Note
An inessential note that sounds just before the chord to which it belongs, often at the end of a bar.
Cadence
A sequence of chords (usually two) that concludes a phrase, such as a Perfect (V-I) or Imperfect (I/II/IV-V) cadence.
Consecutive Octaves/Fifths
A harmonic error where two voices move in parallel at the interval of an octave or a fifth; avoided through contrary motion.
Continuo
The keyboard player (harpsichord or organ) who "realizes" the figured bass by filling in the intended harmonies.
Contrary Motion
A compositional technique where the bassline moves in the opposite direction of the melody line.
Figured Bass
A system of numbers placed under a bassline to indicate the intervals and chords to be played above the notes.
Harmonic Rhythm
The rate or frequency at which the underlying chords change within a piece of music.
Inessential Note
A note in the melody that does not belong to the harmony of the chord, such as a passing note or an appoggiatura.
Passing Note
A melodic note that moves by step between two harmony notes.
Root Position
A chord arrangement where the root (the note the chord is named after) is in the bass.
Sequence
A musical pattern where a melodic or harmonic figure is repeated at a higher or lower pitch.
Tonic
The first degree of the scale and the home key (e.g., B-flat in B-flat major).