9 Overview

Figured-Bass Symbols
Figured Bass
Music 20B

Much Baroque music is characterized by a “polarized” texture, with one or more upper voices over a bass line.
This line was played by a keyboard instrument (harpsichord or organ), with one or more bass instruments
(viola da gamba, cello, bass, bassoon, and so on) doubling the bass line. This practice is known as basso con-
tinuo, or just continuo, and is an essential feature of Baroque music. The middle of the texture (that is, the
chords) was filled in by the keyboardist, improvising based on a system of symbols placed under the notes of
the bass line. These figured-bass symbols indicated intervals and accidentals above the bass and are roughly
analogous to pop or jazz chord symbols.

I. General comments on figured-bass symbols.

A. Arabic numbers below bass notes ( figured-bass symbols) indicate intervals formed between the bass and
the upper voices.

B. The figured-bass symbols do not indicate doubling, spacing, or compound intervals.

C. The numbers 8, 5, and 3 do not usually appear except to cancel a previous symbol under the same bass
note.

D. The numbers 9, 7, 6, 4, and 2 must appear when needed.

II. Specific details.

A. A bass note with no numbers indicates a root position triad, of which the given note is the root.

B. A bass note with the numbers 6 or 63 indicates a first-inversion triad, of which the given note is the third.

C. A bass note with the numbers 64 indicates a second-inversion triad, of which the given note is the fifth. The
figures 35 sometimes appear next to cancel the 46, as in the progression I46–V.

242
D. The figures for seventh chords are as follows.

2. The figure 56 indicates a first-inversion seventh chord.

1. The figure 7 indicates a root-position seventh chord.

6
3. The figures 43 or 4 indicate a second-inversion seventh chord.
4 3
4. The figures 2 or 2 indicate a third-inversion seventh chord.

E. An accidental by itself (not immediately next to a number) in the figured bass refers to the third (or tenth
or seventeenth) above the bass.

F. Any accidental above the bass must appear in the figured-bass symbols. Alterations to the bass itself can-
not appear in the symbols. Any interval above the bass can be raised or lowered by the appropriate acci-
dental symbol.

bII6

G. Two intervals connected by a dash (or placed closely next to one another) indicate a melodic succession in a
single upper voice.

3—4

FIGURED-BASS SYMBOLS 243

PRACTICUM