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Exercise
Corpus id bass-276 · cite this id — it is permanent
The supertonic seventh’s outer inversions: the 4/3 passing between tonic chords, and the 4/2 assembled over a held bass that then inherits the fall.
| 4/4 | bar 1 | bar 2 | bar 3 | bar 4 | bar 5 | bar 6 | ||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Bass | G2 | E3 | D3 | G3 | G3 | F♯3 | G3 | C3 | D3 | G2 | ||
| Figures | 4/3 | 4/2 | 6 | |||||||||
| 4/4 | bar 1 | bar 2 | bar 3 | bar 4 | bar 5 | bar 6 | ||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Soprano | G4 | G4 | F♯4 | G4 | E4 | D4 | D4 | E4 | D4 | D4 | ||
| Alto | D4 | C4 | D4 | D4 | C4 | A3 | B3 | C4 | A3 | B3 | ||
| Tenor | B3 | A3 | A3 | B3 | A3 | A3 | G3 | G3 | F♯3 | G3 | ||
| Bass | G2 | E3 | D3 | G3 | G3 | F♯3 | G3 | C3 | D3 | G2 | ||
| Figures | 4/3 | 4/2 | 6 | |||||||||
Two ways for a seventh to reach the bass: the 4/3 stands on the chord’s fifth and passes between the tonic’s positions, while the 4/2 is made by holding the bass still as the supertonic assembles above it — the tonic’s own note becoming a dissonance without moving. What was stable is now obligated, and the bass pays the seventh’s debt: down a step, onto the dominant’s third.
The three upper voices of the model realization fit under one hand. At the 4/2 the bass does not move — the chord changes above it until the held tone finds itself a seventh, and then it must fall. The oldest trick in the partimento book. Carry it into C major, D major.
Gradus Figured-Bass Corpus, bass-276 — Supertonic seventh inversions. v1.0. https://gradusmusic.com/figured-bass-corpus/exercise/bass-276
Corpus v1.0 · licensed CC-BY-4.0 · machine-readable at /api/v1/figured-bass/exercises/bass-276