How to Realize Figured Bass Triads in Keyboard Style

This lesson covers the three inversions of a dominant seventh chord. A dominant seventh chord is built on the fifth scale degree using notes 5-7-2-4. Inversion involves moving the bass note up an octave or the top note down an octave. The first inversion (6/5 chord) has the seventh in the bass with a second at the top. The second inversion (4/3 chord) has the fourth in the bass with a second in the middle. The third inversion (4/2 chord) has the second in the bass. Despite different bass notes, all are called dominant seventh chords because they derive from the dominant seventh. To remember, use the descending sequence 7-6-5-4-3-2, where 7 represents the seventh chord and subsequent numbers indicate inversions in reverse order.

Dominant seventh chords have three inversions, each identified by the lowest note. The fundamental position (Mi 7) has the root as bass and is figured as 7. The first inversion (Mi 6/5) has the third (Sol sostenido) as bass, with the sixth from Sol sostenido to Mi and fifth from Sol sostenido to Re. The second inversion (Mi 4/3) has the fifth (Re) as bass, with the fourth from Re to Mi and third from Re to Sol sostenido. The third inversion (Mi 2) has the seventh (Si) as bass, with the second major (Re-Mi) within the chord. The inversions follow a descending pattern: 7, 6/5, 4/3, 2. The inversion is always determined by the bass note, regardless of how other voices arrange themselves.

A seventh chord consists of four notes arranged in thirds. The dominant seventh chord is built on the fifth degree of natural major and harmonic minor scales, consisting of a major third plus minor third plus minor third. It has three inversions: first inversion (built on 7th degree, called dominant seventh chord in first inversion, notated as 6/5), second inversion (built on 2nd degree, called dominant seventh chord in second inversion, notated as 4/3), and third inversion (built on 4th degree, called dominant seventh chord in third inversion, notated as 4/2). Each inversion resolves differently: first inversion resolves to tonic triad with doubled tonic, second inversion resolves to expanded tonic triad with two tonics, and third inversion resolves to tonic sixth chord. The chord also has an alternative name 'minor major seventh chord' because the outer notes form a minor seventh interval. The naming convention depends on the interval of the second from the bass: if the second is a third, it's called a tertian chord; if the second is a fifth, it's called a quintsext chord; if the second is a second, it's called a second chord. Voice leading rules: the seventh moves to the root, the third moves to the third, the fifth moves to the root, and the bass note remains stationary. The tonic sixth chord is found by inverting the tonic triad.

Dominant seventh chords have three inversions (5/6/5, 5/4/3, and 5/4/2) that function as embellishing chords rather than primary harmonic solutions, with voice leading requiring the leading tone to resolve up to the fifth in 5/6/5 and the seventh to resolve down by step in 5/4/2.

The dominant 7th chord has three inversions, each with specific conventional notation. First inversion (third in bass) is notated as 6/5, indicating a sixth and fifth above the bass. Second inversion (fifth in bass) is notated as +6, indicating a sixth above the bass. Third inversion (seventh in bass) is notated as +4, indicating a fourth above the bass. The plus sign is omitted when the sensible note is in the bass. These inversions are important for voice leading and harmonic progression.

To interpret figured bass, identify the bass note and apply figures to determine the chord above. For example, a '6' with a sharp indicates a first inversion chord with a raised sixth. Accidentals modify specific intervals: a sharp without a number raises the third above the bass. In minor keys, accidentals typically raise the leading tone for proper harmonic function. Realizing figured bass involves converting shorthand notation into actual music using voice leading principles. Multiple voicings are possible, but the realization must follow the chord structures indicated by the bass position symbols and accidentals.

This final section addresses chromatic alterations and integrated analytical methods. Accidentals in figured bass indicate chromatic notes: accidentals next to numbers specify alterations (e.g., ♯6 means sharpened sixth), while accidentals on their own always refer to the third above the bass. This is crucial in minor keys where raised sixths and sevenths are common. When using Roman numerals with figured bass, accidentals are unnecessary because chord quality already indicates required alterations. Combined analysis provides comprehensive harmonic understanding: Roman numerals indicate chord quality and function, while figured bass shows voicing and inversion. Capital Roman numerals indicate major chords, lowercase indicate minor, and symbols indicate augmented or diminished. This approach is preferred for accurate musical analysis, particularly in minor keys where harmonic minor and melodic minor variations create complex chord possibilities.

Figured bass realization involves interpreting numerical figures beneath bass notes to determine chord structure: root position chords use 5-3 (abbreviated as blank), first inversion uses 6-3 (abbreviated as 6), and second inversion uses 6-4; seventh chords have four inversions (7-5-3, 6-5-3, 6-4-3, 6-4-2) with corresponding abbreviations (7, 6-5, 4-3, 4-2); accidentals modify specific intervals, and continuous lines indicate sustained chords while the bass moves; this logical system enables keyboard players to realize harmonic progressions from bass lines alone.

Figured bass notation (numbers below bass line) indicates harmonic structure. The instructor demonstrates: (1) Analyzing figured bass with Roman numerals; (2) Creating soprano lines that fit the harmony; (3) Adding inner voices (alto, tenor) while checking for parallels; (4) Adding non-chord tones including escape tones, neighbor tones, passing tones, chromatic passing tones, neighbor groups, and appoggiaturas. The instructor explains how to create suspensions from figured bass symbols (e.g., a four chord calls for a four-three suspension with a sharp). The demonstration shows how embellishments transform plain chords into colorful, characterful music.

Basse continue is the Baroque accompaniment system (1600-1750) combining low string instruments (cello, viola da gamba) and keyboard instruments (harpsichord, organ) to accompany melodic lines. The keyboard player receives only the bass line with numerical figures (chiffrages) indicating harmonies; when no figures appear, an implicit triad (root, third, fifth, octave) is assumed. Three fundamental chord progressions govern transitions: enchaînement de quinte/cartes (fifth/fourth progressions with one common note), enchaînement de tierce (third progressions with two common notes), and enchaînement consécutif (stepwise bass movements with no common notes requiring counter-movement to avoid parallel fifths). Dièse symbols indicate chromatic third alterations. Starting positions (tierce en haut, quinte en haut, octave en haut) affect register and fingering. Core principles: retain common notes when possible and execute counter-movement for consecutive bass notes. Effective mastery requires systematic repetition of short sections to build automatic reflexes, developing interval knowledge essential for composition, accompaniment, and improvisation.

Basso continuo is a Baroque-era musical technique involving a written bass line played by one musician (cello, viola da gamba, or bassoon) and improvised chords played by another (harpsichord, organ, lute, or theorbo), requiring players to understand 15 key principles including prioritizing the bass line's phrasing, maintaining smooth chord transitions, avoiding excessive note repetition, limiting keyboard range, varying arpeggiation based on mood, avoiding line doubling, adapting texture to ensemble size, understanding instrument-specific techniques, recognizing musical affect, applying the rule of the octave for unfigured bass, using short accompaniment in recitatives, and mastering standard cadential figures.

This comprehensive section establishes essential Baroque continuo foundations: octave warm-ups for cadential preparation, Baroque bow technique with pinky on top for mobility, and manuscript reading skills. The presenter explains how to read original Baroque manuscripts versus modern editions, noting differences in measure formatting, accidentals, and figured bass notation. Core articulation principles are established: interval-based articulation (large intervals require shorter strokes, stepwise motion invites legato), cadence preparation with shorter articulations, and beat hierarchy awareness in 4/4 time. These principles apply consistently across Corelli, Vivaldi, and Handel repertoire, forming the technical foundation for authentic Baroque bass line performance.

Basso Continuo (Generalbass), meaning 'continuous bass' in German, is a Baroque musical technique where performers improvise harmonies based on a bass line and numerical figures written below it; these numbers indicate chord structures (no number = basic triad, 6 = add 6th, 4-2 = add 4th and 2nd), allowing musicians to create flexible, emotionally responsive accompaniment that adapts to the text and performance context, particularly in opera recitatives where it enables real-time harmonic adjustments to match the drama and emotion of the lyrics.

Basse continue (continuous bass) is a Baroque musical accompaniment technique where a continuo ensemble, typically consisting of a harmonic instrument (like harpsichord, organ, lute, or theorbo) and a melodic bass instrument (like bass viol or cello), provides uninterrupted harmonic support for a soloist by improvising chords from a bass line, creating a foundation that allows the soloist to perform freely while the continuoist fills in the intermediate parts with appropriate harmonies.

In functional harmony analysis, the bass line provides critical clues for identifying chord progressions: scale degree 1 typically indicates a tonic chord (I), scale degree 3 usually suggests a tonic sixth chord (I6), and scale degree 5 typically represents a dominant chord (V, V7, or cadential six-four); the direction of bass motion further refines identification—descending motion from scale degree 4 indicates tonic prolongation (V4-2 to I or vii°6-5 to I), while ascending motion indicates predominant function (IV, ii6, or ii6-V); this systematic approach enables efficient harmonic analysis by scanning the bass line first to establish expectations before determining exact Roman numerals.

When analyzing an unnumbered bass line, identify the tonal context (e.g., Sol Mayor), then determine which chords can be used based on their function: tonic (1st and 6th degrees), dominant (5th and 7th degrees), and subdominant (4th and 2nd degrees), with the 3rd degree typically avoided due to its instability; apply the rule that dominant chords must resolve to tonic chords, and use a reference chart to select the best chord progression by considering which notes appear in each chord's root position or first inversion.

Before harmonizing a bass line, one must perform a preliminary analysis to ensure the harmonization proceeds smoothly without unexpected complications. This analysis involves reading the bass line first and establishing its tonal functions. The bass line 'narrates' the entire future of the harmonization, and ignoring what it communicates leads to failure. The analysis should identify any chords built on the seventh degree, known as the 'sensible' or 'leading tone' chord, which requires special attention.

Following the bass line is the most important tool for harmonic analysis, accounting for 80% or more of accuracy. The bass note determines the chord quality and function. When the bass moves, the chord changes even if the upper voices remain the same. To analyze harmony, musicians should identify where the bass note falls within the scale (tonal position) and then determine what chord that position suggests. This approach works within a tonal context and helps avoid confusion. Recognizing whether a chord sounds major or minor is a fundamental skill developed through natural listening. Major chords produce happy, stable feelings; minor chords produce sad, melancholic feelings; augmented chords sound like car horns (tense). The primary triads (first, fourth, fifth degrees) can appear in root position or first inversion (6).