Understanding Figured Bass: A Complete Guide

Basso continuo is the continuous bass line that provides harmonic foundation in Baroque music. It consists of a bass instrument (such as cello or viola da gamba) playing the written bass notes, accompanied by a chordal instrument (such as harpsichord or organ) that realizes the figured bass notation. In this recording, the basso continuo is performed by Hugo de Rodas and Nadine Remmert. The continuo players interpret the numerical figures above the bass line to determine appropriate chord voicings and progressions, creating the harmonic framework upon which the entire ensemble builds its musical expression.

Composers did not write out the continuo parts because they needed flexibility to accompany soloists. This flexibility allows accompanists to adjust dynamics and atmospheric direction to suit whatever the soloist wants to do during improvisation.

Basso continuo (通奏低音) is a foundational musical technique in Baroque music where a bass line is continuously played while a keyboard instrument (such as harpsichord, organ, or lute) improvises harmonies based on numerical figures above the bass notes, typically playing the third and fifth above the bass unless specified otherwise; this system, which evolved from the 'basso continuo' notation used by composers like Vivaldi and Bach to the separate cello and bass notation in Classical music, represents a key distinction between Baroque and Classical eras and enabled the transition from contrapuntal music to chord-based accompaniment.

Basso continuo (or 'continuo') is the instrument or set of instruments that reads and plays the basso continuo notation, providing harmonic foundation and rhythmic support. The typical instrumentation consists of at least one chord-playing instrument (harpsichord, organ, or piano) and a bass instrument (cello, bassoon, or double bass). The keyboard instrument provides harmonic accompaniment while the bass instrument provides fundamental bass notes. The realization process involves interpreting and fully writing out basso continuo notation. The basso continuo functions similarly to a jazz trio (piano, bass, drums), where each instrument serves a specific functional role. This concept is universal and applies across genres, from Baroque opera to modern rock bands (guitar, bass, drums, vocals). The same musical piece can be accompanied by different basso continuo instruments, each producing a unique sound, demonstrating the flexibility and improvisational nature of the system.

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.

Bach elaborates simple chord progressions in his chorales through sophisticated techniques including chromatic chords (IV7, VIIb), secondary dominants, borrowed chords from parallel minors, and suspensions, demonstrating how to transform basic harmonic structures into rich, expressive music by carefully selecting chord voicings, using contrary motion passing notes, and employing strategic dissonances that resolve musically meaningful intervals.

This comprehensive segment covers the complete process of analyzing Bach chorales. The analysis begins with identifying the tonal center through the first chord, which may differ from the key signature. The instructor demonstrates how to identify chord functions (tonic, subdominant, dominant) and their inversions by examining the bass note and voice-leading patterns. The segment covers anticipations, where notes appear before their expected resolution, and the Picardy third technique. The analysis explores voice-leading techniques, including how the seventh of a dominant seventh chord resolves downward by step. The segment covers cadence analysis, including cadence rota (broken cadence), where the expected resolution is altered to create surprise and tension. The instructor explains how to identify chord inversions and how chord position affects harmonic function. The segment concludes with an explanation of the tonal plan, showing how Bach modulates from the home key to the relative minor, then to the dominant of the relative minor, before returning to the original tonal center.

Bach's cadence choices profoundly affect emotional tenor. In the first setting, the phrase 'Was ist die Schuld, in was für Missethaten' ends on a dissonant dominant seventh chord in first inversion, with a descending bassline on 'Missethaten' and a tritone interval illustrating the concept of misdeeds. In the fourth verse, Bach uses a plagal cadence in B major at 'der Herre, der Gerechte' for the more uplifting text about the master paying debts. He also employs chromatic descending basslines on 'wunderbarlich' (strange). Bach uses wide chord spacing (tenth between soprano and alto, octave between tenor and bass) to create intensity, breaking conventional voice-leading rules. The resulting wedge shape with soprano and bass in contrary motion creates emotional intensity that would otherwise be unattainable.

This extensive segment provides a complete harmonic analysis of a Baroque coral, demonstrating systematic approaches to understanding musical structure. The analysis covers key determination through key signature and chord examination, modulation techniques including half cadences and authentic cadences, and the use of chromatic alterations as escapades. The instructor explains harmonic functions including dominant seventh chords, subdominant functions, and the role of non-chord tones like appoggiaturas and retardations. The segment demonstrates how to identify when a piece modulates to the relative minor (E minor) and how to use pivot chords for smooth harmonic transitions. The analysis shows how the same chord can serve different functions depending on its context, and how to maintain harmonic coherence during complex modulations.

This comprehensive video teaches the complete process of harmonizing baroque chorales. It begins with baroque solmization, where the syllable 'si' does not exist, requiring musicians to use 'sol' when descending below the tonic. The system uses two hexachords: the natural hexachord (do-re-mi-fa-sol-la) and the hard hexachord (sol-la-do-re-mi-fa). The key signature alone does not indicate the true tonal center; in this coral, despite no sharps or flats suggesting C major, 'sol' (G) functions as the tonic throughout. The four essential cadences are introduced: soprano, tenor, bass, and alto cadences, which can be used in any voice. The cadence of the bass (clausula bassisance) involves a descent of a fifth from dominant to tonic. The section demonstrates harmonizing with two voices before progressing to four voices. Advanced techniques include harmonizing the fourth degree with a 6/5 chord, managing dissonances where the fifth must be prepared and resolve by step, and the third of dissonant chords must be doubled. Parallel fifths are permitted when the second fifth is diminished. The instructor compares their harmonization with Bach's original version, noting similarities in cadence structure and harmonic choices. The video concludes with the addition of passing notes to enhance the harmonic texture while maintaining harmonic integrity.

Augmented sixth chords can be understood as different voicings of tritone-substituted secondary dominant chords. The Italian augmented sixth chord is a tritone sub secondary dominant with no fifth. The German augmented sixth chord is a plain vanilla tritone sub secondary dominant. The French augmented sixth chord is a tritone sub secondary dominant with a flat five. The Japanese augmented sixth chord (Black Adder chord) is a tritone sub secondary dominant with a nine, no third, and a flat five. These names help identify specific voicings of this device.

This comprehensive section introduces advanced harmonic techniques for creating variety within a single key. Secondary dominants are explained as chords built on the dominant degree of non-tonic chords, temporarily borrowing from related keys to create harmonic interest. The Neapolitan sixth chord is introduced as a major triad built on the lowered second degree, functioning as a chromatic passing chord resolving to the dominant. Chromatic passing tones are demonstrated, showing how notes outside the key signature create tension and forward motion when approached and left by stepwise motion. Augmented sixth chords (Italian, French, German) are presented, resolving to dominant chords with dramatic harmonic motion. The instructor emphasizes that chromatic notes require careful resolution and appropriate placement to avoid awkward voice leading.

This video introduces advanced musical analysis techniques beyond basic Roman numerals, including the use of harmonic minor scale for Roman numeral analysis, extended chords (seventh, ninth, 11th chords), secondary dominants, Neapolitan chords, augmented sixth chords, and French 6/4 chords, as well as alternative notation systems like jazz chord symbols and figured bass symbols, encouraging students to explore creative extensions in their musical analysis work.

Secondary dominants can be added to the primary dominant itself, creating chains of dominant functions. For example, adding a secondary dominant to Sol7 (V) creates a dominant that resolves to Sol7. The notation uses '5/slash' format: V/1 for dominant of tonic, V/2 for dominant of second degree, and so on. In C major, this includes V/1 (D7), V/2 (A7), V/3 (E7), and V/4 (B7). This notation clearly shows which chord each secondary dominant resolves to. The technique is extensively used in jazz for enriching chord progressions and creating sophisticated harmonic textures.