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Realizing Figured Bass, Revised - Exercises

This document provides instructions for realizing figured bass exercises at the piano. The instructions are to: (1) play the given bass line, (2) figure out the notes for each chord based on the figured bass, (3) identify the root of any inverted chords, (4) notate the chord quality and inversion above the treble clef, (5) notate the roman numeral for each chord below the bass clef, and (6) add the figured notes to the bass line at the piano and notate the choices on the staff. Examples 1-4 provide bass lines to practice applying these steps.

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482 views

Realizing Figured Bass, Revised - Exercises

This document provides instructions for realizing figured bass exercises at the piano. The instructions are to: (1) play the given bass line, (2) figure out the notes for each chord based on the figured bass, (3) identify the root of any inverted chords, (4) notate the chord quality and inversion above the treble clef, (5) notate the roman numeral for each chord below the bass clef, and (6) add the figured notes to the bass line at the piano and notate the choices on the staff. Examples 1-4 provide bass lines to practice applying these steps.

Uploaded by

thmca
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Realizing Figured Bass: exercises

For each of the following:

a. At the piano, play the given bass, in time.

b. Figured bass shows us the intervals required above a given bass note. Use the
given figured bass numbers to figure out the notes required for each chord (ie,
two more notes required if for a triad, three more if for a seventh chord).

c. Where a chord is in inversion, re-stack its notes in thirds, to identify its root.

d. Figure out the quality of each chord, and write that down as a chord symbol,
above the treble clef staff where that chord occurs. Use the “slash” technique to
indicate chord inversion.
 Then, beneath the bass clef staff, write the roman numeral that indicates
the scale degree that corresponds to the root of each chord.

e. At the piano: For each chord, take the notes you’ve figured out in step “b”,
above, and add them above the given bass note.
 Experiment: use close or open spacing, to find a sonority that you like,
and that flows well from the preceding chord. (No need for perfection!)
 Once you’ve found what you like, write your choices down on the staff
(use either clef/hand – whatever works easiest).

Note: feel free to add a fourth note to a triad (by “doubling” one of the notes of that triad –
usually at a different octave), if that serves a musical purpose.
Ex. 1

Ex. 2
Ex. 3

Ex. 4

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