Exercise

Bass 241 — V7 in 4/3

Dominant seventh and inversionsF major

Corpus id bass-241 · cite this id — it is permanent

What it teaches

The 4/3 as a passing chord: the bass walks from the tonic to its first inversion, and the dominant seventh on the second degree is the step between.

The given bass

4/4	bar 1		bar 2		bar 3		bar 4
Bass	F3	G3	A3	F3	B♭2	C3	F3
Figures		4/3	6

The given bass and its figures (F major, 4/4; ⌒ = tied from the previous note)

The model realization

4/4	bar 1		bar 2		bar 3		bar 4
Soprano	A4	B♭4	A4	A4	B♭4	G4	A4
Alto	F4	E4	F4	F4	F4	E4	F4
Tenor	C4	C4	C4	C4	D4	C4	C4
Bass	F3	G3	A3	F3	B♭2	C3	F3
Figures		4/3	6

The model realization (F major, 4/4; ⌒ = tied from the previous note)

This is the Rule of the Octave’s own harmony for the rising second degree, met as a passing event: the soprano takes the seventh and falls, the alto takes the leading tone and rises, and the tenor holds the common tone throughout. The bass passes; the obligations resolve around it.

At the keyboard

The three upper voices of the model realization fit under one hand. Compare this with the passing 6/4 from the six-four stage: same bass walk, same weak beat — but now the passing chord carries a seventh, and two voices are obligated instead of none. Carry it into C major, G major.

Voice-leading patterns this exercise drills

Cite this exercise

Gradus Figured-Bass Corpus, bass-241 — V7 in 4/3. v1.0. https://gradusmusic.com/figured-bass-corpus/exercise/bass-241

Corpus v1.0 · licensed CC-BY-4.0 · machine-readable at /api/v1/figured-bass/exercises/bass-241

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