Figuring
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Numbering is called in the musical notation of the basso -Praxis the numbers and signs that a bass line are attached to display the overlying upper voices. A thoroughbass player must play these upper parts as a harmonic - chordal complement to the bass part. The figured bass figuration is a pure interval script, the numbers of which indicate the distances between the upper parts and the bass part. While the thoroughbass looks at every sound from its base tone alone and names it according to the intervals that the upper parts have in relation to the bass, chord theory looks at a sound from its fundamental tone , which by no means always has to be in the bass. However, knowing the keynote is practically meaningless in figured bass.
Examples and special rules:
| symbol | meaning |
|---|---|
| Triads : | |
| (no symbol) | If no symbol is added to the bass note, the third (3) and fifth (5) are always added, so that a triad results in the basic position. |
| ♯ | Alterations character as Cross , Be and resolution characters are either alone and then relate principally to the third to the bass or in connection with digits and then refer to these. Ladder-specific intervals are played without alteration signs. Instead of the ♯ , the digits are crossed out to indicate a semitone increase. |
| ♭ | |
| ♮ | |
| 5 | A 5 explains the (self-evident) fifth to the bass note. It is used when this fifth is altered or held up. |
| 6th | A 6 indicates that the sixth instead of the fifth (5 ) is now added to the bass note for the natural third (3) , resulting in a so-called sixth chord ("third sixth chord "). The chord theory regards this sixth chord as the 1st inversion of a triad in which the third tone is in the bass. |
| A 4 and 6 indicate that the fourth and sixth should now sound above the bass note instead of the third and fifth . This can be in the form of a fourth-sixth lead , fourth-sixth change or an independent fourth-sixth chord . The chord theory regards the sixth fourth chord as the 2nd inversion of a triad in which the fifth is in the bass. | |
| Four notes: | |
| 7th | A 7 indicates that in addition to the natural intervals of thirds and fifths, a seventh should also sound, so that a seventh chord arises in the basic position. |
| 5 and 6 indicate that the fifth AND sixth should also sound in addition to the natural third. The resulting sixth fifth chord is considered by the chord theory as the 1st inversion of a four-note chord, in which the third tone is in the bass. | |
| 3 and 4 indicate that the third, fourth and sixth to the bass note should sound at the same time. The resulting third fourth chord (third fourth chord) is considered by the chord theory to be the 2nd inversion of a four-note chord in which the fifth tone is in the bass. | |
| 2 | A 2 indicates that the second , fourth and sixth are to be played above the bass note . The resulting second chord ("second fourth chord") is considered by the chord theory to be the 3rd inversion of a four-note chord in which the seventh tone is in the bass. |
| Others: | |
| 4th | A 4 indicates that instead of the third, the fourth to the bass note is to be played together with the fifth. Usually the fourth forms a lead that dissolves to the third, which is numbered with "4-3". |
| A 2 and 5 indicate that instead of the third and fifth, the second and fifth should sound above the bass note. In most cases the bass then goes down for seconds and then carries a sixth chord over it with unchanged upper parts , so that the chord theory interprets this sound connection as a fourth lead in the bass. | |
| - | The horizontal line indicates that the upper voices should not change, but should stay on the previous harmony. |
| 0 or t. s. | tasto solo means that no chords, but only the bass voice should sound, possibly in unison in the higher octave. |
literature
- Hermann Grabner : General music theory. 24th edition. Bärenreiter, Kassel 2008, ISBN 978-3-7618-0061-4 , p. 152 ff.
- Hermann Keller : School of figured bass. Bärenreiter, Kassel 1931 (5th edition, ibid 1955).
- Walter Leib: Exercises in basso continuo (= exercises on music theory 3, ZDB -ID 2299418-X ). Hochstein, Heidelberg 1947.
- Hugo Riemann : Instructions for playing figured bass. (Harmony exercises on the piano). = Handbook of figured bass playing (= Max Hesse's illustrated handbooks 10, ZDB -ID 777229-4 ). 3. Edition. Hesse, Leipzig 1909.
- Wieland Ziegenrücker: ABC music. General music theory. 6th edition. Breitkopf & Härtel, Wiesbaden 2009, ISBN 978-3-7651-0309-4 , p. 350 f.