21. Figured Bass

Completing Figured Bass Chords

Realize each of the following figured-bass chords by adding noteheads for the upper voices and writing the pitch names for the full chord on the line above the staff.

Figured Bass Line Analysis

Analyze the following bass lines by first penciling in the noteheads of the pitches indicated by the figured bass and then writing the appropriate Roman numeral on the lines below the staff. Don’t worry about voiceleading for now, just write the noteheads as close together as possible above the given bass notes.

Johann Sebastian Bach, “Wer nur den lieben Gott lässt walten” (BWV 434), mm. 1-3

Johann Sebastian Bach, Höchsterwünschtes Freudenfest (BWV 194), 12. “Sprich Ja zu meinen Taten,” mm. 1-4

Johann Sebastian Bach, Johannespassion (BWV 245), 5. “Vater unser im Himmelreich,” mm. 1-2

Johann Sebastian Bach, “Vor deinen Thron tret ich hiermit” (BWV 327), mm. 1-4

Johann Sebastian Bach, Wer mich liebet, der wird mein Wort halten (BWV 74), 8. “Kein Menschenkind hier auf der Erd,” mm. 1-2

Johann Sebastian Bach, “Nun lob, mein Seel, den Herren” (BWV 390), mm. 1-4

Johann Sebastian Bach, “Wer nur den lieben Gott lässt walten” (BWV 434), mm. 1-3

Johann Sebastian Bach, Wer Dank opfert, der preiset mich (BWV 17), 7. “Wie sich ein Vater erbarmet,” mm. 1-4

Figured Bass Realization (root position only)

Each of the following exercises shows a figured bass line for a three-chord progression. Each progression consists of a tonic triad followed by a dominant (or dominant seventh) chord and then another tonic triad. Realize each progression by filling in the remaining notes in the upper voices according to the figured bass. Then, identify the key and add a Roman numeral analysis on the lines below the staves. (Note: The upper voices for the starting chord of each progression have been provided in the first three sets of exercises; for the remaining three sets you should pick your own.)

Figured Bass Realization (with inverted chords)

Each of the following exercises shows a figured bass line for a three- or four-chord progression. Realize each progression by filling in the remaining notes in the upper voices according to the figured bass. Then, identify the key and add a Roman numeral analysis on the lines below the staves. (Note: The upper voices for the starting chord of each progression have been provided.)

SATB Part-Writing

Complete each of the exercises below, following standard voice-leading conventions as closely as possible. For more detailed instructions, strategies, and proofreading tips, consult the part-writing guide found at the beginning of this book.

Figured Bass Realization

Write the Roman numerals that correspond with each figured bass note on the lines provided. Then, complete the progression by filling in the upper voices.

Composing Figured Bass Lines

For each of the exercises below, compose a figured bass line. Note that the beginning and end of each exercise has been provided. Start by either writing a bass line and then adding figures and Roman numerals or by choosing a chord progression and then writing in the bass line with figures. When you are satisfied with your bass melody, add in the upper voices.

Analysis

Add a Roman numeral analysis to each of the following excerpts on the lines below the staves. Make sure to identify and label (P, N, Sus., Ant.) every note that does not belong to the chord indicated by the Roman numeral.

Elisabeth Jacquet de La Guerre, Cantates Françoises, Livre 3, “Écoutez les sons touchants, de la tendre Philomèle,” mm. 18-22

Elizabeth Turner, A Collection of Songs, No. VII, mm. 1-3

José Maurício Nunes Garcia, Vésperas de Nossa Senhora, 3. “Lætátus sum,” mm. 32-39

Anna Maria Pellegrini Celoni, Grammatica, o siano regole di ben cantare, “L’Appoggiatura,” 4. Allegro giusto

Elizabeth Turner, A Collection of Songs, No. XVII, mm. 1-7

José Maurício Nunes Garcia, Vésperas de Nossa Senhora, 5. “Lauda Jerúsalem,” mm. 123-128