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Exercise
Corpus id bass-289 · cite this id — it is permanent
The Monte: a two-chord model — an applied dominant resolving up a fourth — stated and restated one step higher, the bass climbing do–fa, re–sol.
| 4/4 | bar 1 | bar 2 | bar 3 | bar 4 | ||||
|---|---|---|---|---|---|---|---|---|
| Bass | C3 | C3 | F3 | D3 | G2 | C3 | ||
| Figures | b7 | 7/# | 7 | |||||
| 4/4 | bar 1 | bar 2 | bar 3 | bar 4 | ||||
|---|---|---|---|---|---|---|---|---|
| Soprano | G4 | G4 | F4 | F♯4 | G4 | G4 | ||
| Alto | E4 | E4 | C4 | C4 | B3 | C4 | ||
| Tenor | C4 | B♭3 | A3 | A3 | F3 | E3 | ||
| Bass | C3 | C3 | F3 | D3 | G2 | C3 | ||
| Figures | b7 | 7/# | 7 | |||||
The tonic gains a flat seventh and stops being home — ♭7 turns I into the dominant of IV, and the bass climbs a fourth to pay it. Then the model restates one step higher: the supertonic takes ♯ and 7 and drives to the dominant the same way. The chromatic tone inflects in the voice that had its natural — the soprano’s F becomes F♯ in its own line — and the twice-told ascent is the figure’s name and its energy.
This realization is choral — the upper voices exceed a single hand’s span. Riepel’s mountain: the same effort, one rung higher. Say the bass aloud — do, fa; re, sol — and hear each rise powered by its own seventh. Carry it into G major, F major.
Gradus Figured-Bass Corpus, bass-289 — Monte. v1.0. https://gradusmusic.com/figured-bass-corpus/exercise/bass-289
Corpus v1.0 · licensed CC-BY-4.0 · machine-readable at /api/v1/figured-bass/exercises/bass-289