Figured bass

Figured bass, also known as thoroughbass, was a fundamental practice in Baroque music. It served as a harmonic framework, allowing performers to realise chords indicated by numbers beneath the bass line. This allowed performers some level of improvisation in chord voicings, voice leading, and ornamentation. The resulting chords and bassline were called the basso continuo. At least one chord-playing instrument was required to perform a basso continuo – this was commonly harpsichord, organ, or lute. Bass instruments, such as cello, double bass, and bassoon, often played the bass line along with the chord instrument.

Key points

Harmonic guide

Figured bass was a shorthand method of notating harmony. It consisted of numbers and symbols placed beneath a bass line, indicating the intervals and chords to be played above it.

Improvisation

Performers were expected to interpret figured bass in real time, voicing and embellishing the harmony to suit the mood and style of the melody being performed.

Basso continuo

The resulting harmony was called the basso continuo. This was played by the continuo group, consisting of at least one chord-playing instrument (e.g. harpsichord) and any number of bass instruments

What do the numbers mean?

Triad

A triad in root position typically has no number below the bass note. Players automatically realise a diatonic third and fifth above the note.
A triad in first inversion has a 6 (or 6/3) below the bass note. This indicates to still realise a diatonic third above, but that the fifth is replaced with a sixth.
A triad in second inversion has 6/4 underneath the bass note. This indicates that the default third and fifth are replaced with a diatonic fourth and sixth above.

Seventh chord

Following similar logic to above:

A seventh chord in root position has a 7 below the bass note.
A seventh chord in first inversion has a 6/5 below the bass note.
A seventh chord in second inversion has a 4/3 below the bass note.
A seventh chord in third inversion has a 4/2 below the bass note.

Chromatically-altered triad

This follows the same numbering as normal triads (see above), however sharps or flats are used to indicate chromatic alterations.

Note that these symbols simply indicate to raise or lower a note a semitone higher or lower than the diatonic key. For example, a sharp symbol below a G bass note in the key of C minor would indicate to play the notes G, B♮ (one semitone higher than the diatonic note of B♭), and D.

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