Theory 149 007 Lecture September 8th, 2025- Figured Bass and Harmony Quick Reference

Key Concepts

Solfege and transposition: you can read music in a different clef to move everything up or down by steps (alto clef used to read for D-instrument, concert pitch implied).
Clefs and ranges: open score with C clefs (soprano, alto, tenor) and bass clef; each serves range and transposition purposes.
Harmonic rhythm concept: harmonic rhythm is the rate at which chords change; essential for deciding where to place figures and how the harmony moves.
Open vs close score practice: score reading tasks often blend notation tricks with practical playing, not just theoretical rules.

6/8 is compound duple: two big beats per measure, each subdivided into three; notated as \frac{6}{8}.
12/8 is compound quadruple: four big beats per measure, each subdivided into three; notated as \frac{12}{8}.
When communicating meter conceptually, use terms like "compound duple" (6/8), "compound triple" (9/8), "compound quadruple" (12/8) rather than just the simple labels.

Full figuration example: 8-5-3; abbreviations reduce redundancy: drop octaves if doubling is implied, e.g., from 8-5-3 to 5-3, then to nothing if already implied by bass.
Unisons and reductions: unison results are typically not written as separate figures; you simplify where possible.
Handling moving voices: when the bass moves and other voices are stationary, you may omit certain figures and rely on the bass line for motion (figures emphasize structural harmony, not every passing tone).
Accidentals and suspensions: to indicate a raised third, you may use a sharp on the relevant figure (e.g., a sharp on the third) or write a standalone sharp where appropriate; suspensions often appear as 9-8 or other moving figures but are not always shown in the basic figured bass.
Dominant seventh and embellishments: the 7th is an embellishment; not always critical in basic figures, but you can include it if it clarifies voice-leading (e.g., 8-7 indicates a suspension resolving).
Figures as improvisatory tool: you’re not micromanaging every note; the system guides functional harmony, while passing tones and embellishments are up to the performer.

Improvised nature: figure-based notation is not fully algorithmic; use judgment to decide which numbers to include.
Narrow the realization to the bass: in close-position realizations, write above the bass and spell out notes directly, keeping the bass note fixed and avoiding doublings unless required by the texture.
Close position definition: chords are as compact as possible around the given bass, with no doubling of existing voices; keep the bass unchanged.
Example approach: for a given bass note and a simple figured bass, spell the upper voices close to the bass to form the intended harmony without extra doublings.

What it is: a compact notation bridging Roman numerals and leaf-sheet symbols.
Format: root, quality, slash, bass note, caret indicating scale degree of the bass note. Example: write it as
- \text{F major slash A} = ^{7}
Explanation of the example: in the key of Bb, with two flats, the key is Bb major; the root note for the example chord is F; the bass note is A, which is scale degree 7 in Bb. Thus the symbol is "F major slash A equals caret seven".
Notation specifics: use M for major and m (or a lowercase with a line) for minor; capitalization of root is flexible.
Purpose: this system provides a concise, descriptive way to convey root, quality, bass, and its scale-degree position in a single symbol.

Open-score practice shows how clefs align with vocal ranges (bass, tenor, alto, soprano clefs) and how imagery matches the written notes to the sounding ranges.
Use close-position spelling to realize chords quickly beside the given bass line, and keep the base fixed while spelling upper voices around it.

CPA deadlines: CPA 1 and CPA 2 are due on Friday; there is a grace period with a 20% penalty if turned in late; redo submissions should be emailed for instructor review, while future submissions use Canvas.
When revising: if you redo, email the instructor; Canvas submissions will be used going forward.
Worksheet vs. Lesson: lessons are optional, but worksheets are required tasks; check the course calendar for upcoming quizzes and due dates.
Week-by-week plan: expect more sophisticated harmony discussion in week 4; quiz 1 at the end of week 5; catch up promptly to avoid falling behind.

Focus on essential figures that indicate the harmonic profile; don’t overfit with every passing tone.
Practice close-position spellings around the bass to build fluency with minimal doublings.
Use the rrq/b caret system to communicate chords efficiently and bridge to more advanced roman-numeral analysis.
Keep track of harmonic rhythm to anticipate changes and align figures accordingly.
For last-minute review, skim through the main concepts: meter types, basic figured-bass abbreviations, close-position realization, and the rrq/b caret notation.