Comprehensive Guide to Scale Degrees, Figured Bass, and Embellishing Notes

Hierarchy of Scale Degrees and Solfge Relationships

Musical scales are organized into specific functional roles known as scale degrees, each associated with a unique name and corresponding solfge syllable. The following relationships define the structure of the tonal system:

• Tonic: Represents the first degree of the scale ($Do$), serving as the tonal center and point of ultimate resolution.
• Supertonic: The second degree of the scale ($Re$).
• Mediant: The third degree of the scale. In minor or modal contexts, this is represented by $Me$.
• Subdominant: The fourth degree of the scale ($Fa$).
• Dominant: The fifth degree of the scale ($Sol$).
• Submediant: The sixth degree of the scale. Depending on the scale form, this can be represented as $La$ or $Le$.
• Subtonic: Often used to describe the lowered seventh degree ($Te$).
• Leading Tone: The seventh degree of the scale ($Ti$), which possesses a strong melodic pull toward the Tonic ($Do$).

Specific melodic fragments and solfge progressions captured include:

• $Ti \rightarrow Do$ (Leading Tone to Tonic resolution).
• $La \rightarrow Te$
• $Mi \rightarrow Fa \rightarrow Sol \rightarrow Le$
• $Do \rightarrow Re \rightarrow Me$

Figured Bass Symbols for Triads

Figured bass is a system of shorthand notation used to indicate the intervals to be played above a given bass note. For triads, the following symbols are employed:

• Root Position: Indicated by the number $5$ or by no figure at all. In this configuration, the bass or given note serves as the root of the triad. The implied intervals are a third and a fifth above the bass ($\frac{5}{3}$).
• First Inversion: Indicated by the figure $6$. In this position, the bass or given note is the $3^{rd}$ of the triad. The full implied intervals are a third and a sixth above the bass ($\frac{6}{3}$, though the $3$ is typically omitted).
• Second Inversion: Indicated by the figure $\frac{6}{4}$. In this case, the bass or given note is the $5^{th}$ of the triad. Both the $4^{th}$ and the $6^{th}$ must be written to distinguish this from other inversions.

Figured Bass Symbols for Seventh Chords

Representing chords with four distinct pitches (a triad plus a seventh) requires a more complex set of symbols to identify inversions:

• Root Position Seventh Chord: Indicated by the figure $7$. Here, the bass or given note is the root of the seventh chord.
• First Inversion ($\frac{6}{5}$): In this configuration, the bass or given note is the $3^{rd}$ of the seventh chord.
• Second Inversion ($\frac{4}{3}$): In this configuration, the bass or given note is the $5^{th}$ of the seventh chord.
• Third Inversion ($2$ or $1\frac{1}{2}$): In this configuration, the bass or given note is the $7^{th}$ of the seventh chord. While commonly written as $2$ or $\frac{4}{2}$, it is also noted as $1\frac{1}{2}$.

Chromatic Alterations and Numerical Modifiers

Specific symbols are added to figures to indicate chromatic alterations (sharps, flats, or naturals) to the intervals above the bass:

• Sharp ($\#$): When appearing alone, it instructs the performer to raise the third above the bass or given note. When paired with a number (e.g., $6\#$), it indicates to raise the $6^{th}$ above the bass note.
• Flat ($\flat$): When appearing alone, it instructs the performer to lower the third above the bass or given note. When paired with a number (e.g., $7\flat$), it indicates to lower the $7^{th}$ above the bass.
• Natural ($\natural$): Described as a "New" natural, this symbol restores the pitch to its natural state for the third or whatever specific number/interval it is placed next to.

Embellishing Notes and Linear Motion

Movement between intervals can be categorized into passing tones, which move stepwise through a gap, and suspensions, which delay the arrival of a chord tone.

Passing Tones

Passing tones create a bridge between two chordal notes. The transcript identifies the following as passing tone configurations:

• $3-4$: The $4^{th}$ acts as a passing tone.
• $6-7$: The $7^{th}$ acts as a passing tone.
• $8-9$: The $9^{th}$ acts as a passing tone.
• $8-7$: The $7^{th}$ acts as a passing tone.

Suspensions and Resolutions

A suspension (Sus) occurs when a note is held over from a previous chord into a new chord where it is dissonant, subsequently resolving downward by step:

• $7-6$: A suspension that resolves to a sixth.
• $4-3$: A suspension that resolves to a third.
• $9-8$: A suspension that resolves to an octave.