Episode 16 leads you through a quick guided visualization of life in the 18th century
Episode 16 leads you through a quick guided visualization of life in the 18th century (0:55). Discover the arabic numerals needed to realize figured bass triads and seventh chords (1:50). Learn how accidentals are portrayed (2:54). Practice with examples 1(4:57) 2(5:23) 3(5:41) 4(6:06) 5(6:25) 6(6:43) 7(7:08) 8(7:26).
Question of the day (8:24): What will you need to do in figured bass for this symbol? A 6 with a slash through it.
Thank you for listening to The APsolute RecAP: Music Theory Edition!
(AP is a registered trademark of the College Board and is not affiliated with The APsolute RecAP. Copyright 2020 - The APsolute RecAP, LLC. All rights reserved.)
Website:
EMAIL:
Follow Us:
Hi and welcome to the APsolute Recap: Music Theory Edition. Today’s episode will recap Introduction to Figured Bass
Lets Zoom out:
We’re in Unit 3 Music Fundamentals
Topic 3.3
Our Big idea is pitch.
Imagine you’re at a rock concert jumping in unison of the packed crowd, and you’re drooling over your favorite musician on stage. They are effortlessly shredding on the guitar with really cool hair bouncing to the beat. Even more amazing to you is that they might be looking at the macro analysis chords and riffing off of it astonishingly.
Back in the 18th century, basically the same exact thing was happening believe it or not. So you’re at a church hall, opening a book in unison with a congregation. You’re drooling over the talents of C.P.E. Bach. He is effortlessly shredding on the organ with really cool hair bouncing to the beat. Even more amazing to you is that he is looking at the figured bass and riffing off of it astonishingly. Pretty hot right? To a music nerd like yourself, you bet it is. Nothing will impress your crush more than realizing figured bass, trust me.
Lets Zoom in:
Figured bass, aka basso continuo, is essentially the directions for
harmonies that accompany the lowest sounding note. The term
“realizing” figured bass essentially means that you read the directions
written in by the composer, and fill in the missing notes according to the
harmonies described by the interval numbers.
The arabic numeral labeling system discussed in episode 15 will be very helpful for figured bass. The arabic numeral will reference the intervals that should appear from the bass line. If there is no number, it is assumed that the harmonies will be displayed in root position as a triad chord. If there is a 7, that is short hand for 7/5/3 which is a root position seventh chord. 6/3 is a first inversion triad chord, and can also be seen as just a 6. First inversion for a seventh chord is 6/5/3, and can be seen as just 6/5. Whereas, 6/4 is a second inversion triad, and will always be seen that way. A seventh chord in second inversion will be seen as 6/4/3 or just 4/3. Finally, a seventh chord in 3rd inversion will be 6/4/2, or just 2. When in doubt just plug in the intervals according to the numbers, and if there are no numbers, assume root position. Oftentimes a triad chord will have the bass note doubled an octave higher so that there are four pitches total.
If an accidental alteration is made to the intervals, it will be shown with a sharp, slash, flat, or natural sign. In this instance, a slash equivalates to a sharp. If there is no number, and just a sign, then it refers to the third.
For the exam you will be expected to complete a four part harmony progression through realizing figured bass. This means you are looking at the arabic numerals representing the intervals, and any added accidental signs. After filling in the notes, you will need to analyze the harmonies using roman numeral analysis, which may still include arabic numerals.
As part of your practice, you should try listening to a bass line, singing
the indicated interval and notate it. To prepare for this exercise, review
the song helpers for interval sizes, The ones seen in figured bass are m2,
M2, m3, M3, P4, P5, m6, M6, m7, M7. Round up the sheep, here are
eight practice examples without a key signature, each with the bass note
of C4.
The 1st example has a 6 and 5, Predict what intervals you will need to sing.
Here is the bass note...now sing a major third...Here is the bass note again...and now sing a perfect fifth…Here is the bass note one last time...and now sing a major sixth…
The 2nd example has no numbers or symbols. Predict what intervals you will need to sing.
Here is the bass note...now sing a major third...Here is the bass note again...and now sing a perfect fifth…
The 3rd example has a 7, Predict what intervals you will need to sing.
Here is the bass note...now sing a major third...Here is the bass note again...and now sing a perfect fifth…Here is the bass note one last time...and now sing a major seventh…
The 4th example has a 6 and 4, Predict what intervals you will need to sing.
Here is the bass note...now sing a perfect fourth...Here is the bass note again...and now sing a major sixth…
The 5th example has a 6, Predict what intervals you will need to sing.
Here is the bass note...now sing a major third...Here is the bass note again...and now sing a major sixth…
The 6th example has a 2, Predict what intervals you will need to sing.
Here is the bass note...now sing a major second...Here is the bass note again...and now sing a perfect fourth…Here is the bass note one last time...and now sing a major sixth…
The 7th example has a flat sign, Predict what intervals you will need to sing. Here is the bass note...now sing a minor third...Here is the bass note again...and now sing perfect fifth…
The 8th example has a 4 and 3, Predict what intervals you will need to sing.
Here is the bass note...now sing a major third...Here is the bass note again...and now sing a perfect fourth…Here is the bass note one last time...and now sing a major sixth…
To recap……
Realizing figured bass involves writing out the harmonies as indicated by the interval numbers, sharps, slashes, flats and naturals. Triad chords can be seen as 5/3, 6/3, or 6/4. Seventh chords can be seen as 7/5/3, 6/5/3, 6/4/3, or 6/4/2. There are short-hand versions of some of these symbols such as 6, 7, 6/5, and 2.
Coming up next on the Apsolute RecAP Music Theory Edition: Harmonic Dictation
Today’s Question of the day is about figured bass symbols.
Question: What will you need to do in figured bass for this symbol?
