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In the Baroque era a composer would often write only a bass line with a few figures under it, leaving the upper harmony to the performer. The notation is figured bass; the practice is basso continuo.
In one line: it was the first time harmonic thinking was written as readable code.
What the figures say
A figure states which intervals to place above that bass note:
| Bass note | Figure | Notes above | Equivalent to |
|---|---|---|---|
| root | none (or 7) | third, fifth | root position |
| third | 6 | a third and a sixth | first inversion |
| fifth | 6-4 | a sixth and a fourth | second inversion |
| seventh | 4-2 | a fourth and a second (plus a sixth) | third inversion of a seventh chord |
The remaining two inversions of a seventh chord are 6-5 (first) and 4-3 (second) — see chord inversion and figured bass.
Why it deserves attention
One: it explains the bass-driven character of Baroque music. If harmony is built upward from the bass, the bass line inevitably becomes the most carefully shaped voice — which shaped the writing habits of the age: bass lines move by step and behave like real lines, rather than leaping from root to root.
Two: it was the first standardisation of improvised accompaniment. Performers did not memorise every note; they read the rules and realised the chord on the spot. The same figured bass yields different textures from different players — the same kind of practice as playing from chord symbols today, but far more precise: figures state which intervals, symbols state only the chord name.
Three: it explains the historical break in "the performer as creator". After the Baroque, composers increasingly wrote every voice out in full (see the comparison in improvisation), and continuo faded. So "how much freedom does a performer have" is a historical question, not a natural constant.
How it was played
| Role | Instruments | Task |
|---|---|---|
| bass instrument | cello, bassoon, double bass | plays the bass line (pitches fixed by the composer) |
| harmony instrument | harpsichord, organ, lute | supplies the upper harmony from the figures (texture chosen by the player) |
Together they form the continuo group. Note the scope of freedom in the second row: the notes are given, the arrangement is not — the same question as chord voicing.
Diagram: how to read a figured bass
Listen: bass-driven harmony
Use the progression player on a progression with a clear bass line. Keep your attention on the lowest note — Baroque harmony is built upward from it, and once the bass is fixed, the harmony is fixed. Everything above can vary.
Common misconceptions
- "Figured bass is a chord chart." It is more precise: figures state which intervals above the bass, while
- "The numbers say how many notes to play." They name intervals (the distance above the bass), not a
- "Continuo means improvising freely." Realisation follows strict rules (which intervals, how to connect, how
- "It is obsolete and irrelevant." Playing from chord symbols, or a jazz musician reading a lead sheet, is the
a chord symbol names the chord only.
count. A "6" may be filled in with two notes or four.
to treat non-chord tones); the freedom lies in texture and voicing, not in the harmony itself.
same logic continued — and understanding it changes how you think about a performer's freedom. :::
Listen in the library
All tracks from midicn-lib — inline badge is the license tier (C1 commercial / C2 non-commercial / C3 study only).
Sources
- 数字低音用数字标记低音上方的音程（6 / 6-4 / 7 / 6-5 / 4-3 / 4-2），属巴洛克通奏低音实践通则
- 通奏低音由低音乐器（大提琴 / 巴松）与和声乐器（羽管键琴 / 管风琴 / 琉特琴）组合实现，为音乐史通行记载
Used for fact-checking only; all prose is original.