Figured Bass Symbology
Robert T. Kelley
2002, rev. 2005
• Figured bass is a shorthand system for indicating the harmonies that occur above a given bass note or
string of bass notes.
• The numbers represent intervals that should be played, sung, or written above the given bass note.
– Compound intervals are usually reduced to simple intervals in the figured bass notation.
– Interval quality is usually ignored (with the exception of the 5 with a forward slash through it)
and is simply implied by the key signature and whatever alterations are added to the figures.
• Figured bass is an abstract harmonic notation and does not typically include information about voice
leading.
– It is therefore the performer’s duty to ensure that the figured-bass realization adheres to the
Baroque style, including avoidance of parallel perfect fifths and octaves and largely stepwise voice
leading.
– For more information on how to play from a figured bass, see my translation of Nivers, The Art
of Accompanying on the Basso Continuo, <http://www.robertkelleyphd.com/Nivers.pdf>.
• The following symbols indicate that the note referred to by that number should be raised by a half
step (A1) (relative to the key signature):
1. A backward slash through a number
2. A plus symbol before a number (or sometimes after)
3. A sharp symbol ( ) before a number (or sometimes after)
• The following symbols indicate that the note referred to by that number should be lowered by a half
step (A1) (relative to the key signature):
1. A flat symbol ( ) before a number (or sometimes after)
2. A forward slash through a number (very rare)
• A natural symbol ( ) simply means that the note should be made a natural regardless of the key
signature or any other accidentals in the measure.
• If a sharp, flat, or natural appears alone in the figures, it means that the note a third above the bass
should be altered as indicated. ( = 3)
• If no figure appears below a bass note, the figure
8
5
3
should usually be assumed.
– Most Baroque music uses partially figured basses, where other figures are omitted as well.
– In such cases, a performer must refer to the other instrumental parts to determine the figure.
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Table 1: Figured-Bass Symbols and Their Typical Realizations
Figures Realization
No figures
8
5
3
Tasto Solo 0 (bass alone, upper voices silent)
— Upper voices stay stationary as bass moves
8
5
3
Raise 3 by a 1
2 -step (not necessarily a sharp)
8
5
3
Lower 3 by a 1
2 -step (not necessarily a flat)
8
5
3
Make 3 natural regardless of key signature
2
6
4
2
2
6
4
2
Raise 2 by a 1
2 -step (not necessarily a sharp)
2
6
4
2
Lower 2 by a 1
2 -step (not necessarily a flat)
2
6
4
2
Make 2 natural regardless of key signature
2+
6
4
2
(Usu. dim. 7th chord) Raise 2 by 1
2 -step
2 3
7 8
4 5
2 3
(bass moves, upper voices hold)
3
8
5
3
4
8
5
4
(Usu. 4 3)
4 3
8 8
5 5
4 3
4
2
6
4
2
4+
2
6
4
2
Raise 4 1
2 -step
4
3
6
4
3
5
8
5
3
Figures Realization
5+
8
5
3
Raise 5 1
2 -step
5/
6
5
3
indicates dim. 5th
5
3
8
5
3
5
4
8
5
4
(Usu. 4 3)
6
(8)
6
3
6\ or `6
(8)
6
3
(Raise 6 1
2 -step)
6
3
(8)
6
3
6
4
8
6
4
6
4
2
6
4
2
6
4
3
6
4
3
6
5
6
3
5
6
5
3
6
5
3
6 6 6 6
3 (parallel 3rds and 6ths)
7
7
3
5
7 6
(8) (8)
7 6
3 3
(no 5)
7
4
2
7
4
2
8
3
(1)
8 8 8 Play the bass line alone in octaves
9
9
5
3
(Usu. 9 8)
9 8
9 8
5 5
3 3
10 10 10 parallel 10ths
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Figure 1: Joseph Joachim Quantz, “Affettuoso di molto” from Versuch einer Anweisung die Fl¨ote traversiere
zu spielen.
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