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Exercise
Corpus id bass-323 · cite this id — it is permanent
Diminution by passing tones: the block realization is full of thirds, and the worked model fills each one with the step between — motion added without one harmony changing.
| 4/4 | bar 1 | bar 2 | bar 3 | bar 4 | bar 5 |
|---|---|---|---|---|---|
| Bass | C3 | E3 | F3 | G3 | C3 |
| Figures | 6 | ||||
| 4/4 | bar 1 | bar 2 | bar 3 | bar 4 | bar 5 |
|---|---|---|---|---|---|
| Soprano | G4 | G4 | F4 | D4 | E4 |
| Alto | E4 | C4 | C4 | B3 | C4 |
| Tenor | C4 | C4 | A3 | G3 | G3 |
| Bass | C3 | E3 | F3 | G3 | C3 |
| Figures | 6 | ||||
The passing tone is the mildest dissonance because it is pure motion, and diminution begins with it for that reason: fill a third with the step between, keep the new note on the weak part of the bar, and the line acquires life while the harmony stands exactly where it stood. The model gives each voice exactly one fill — alto, tenor, then soprano, each walking a different join — because economy is the discipline: real textures are never busy everywhere at once.
| 4/4 | bar 1 | bar 2 | bar 3 | bar 4 | bar 5 | |||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Soprano | G4 | G4 | F4 | E4 | D4 | E4 | ||||||||||||||
| Alto | E4 | D4 | C4 | C4 | B3 | C4 | ||||||||||||||
| Tenor | C4 | C4 | B3 | A3 | G3 | G3 | ||||||||||||||
| Bass | C3 | E3 | F3 | G3 | C3 | |||||||||||||||
| Figures | 6 | |||||||||||||||||||
The three upper voices of the model realization fit under one hand. Play the block first, then the model. Nothing harmonic changed: every added note is a step passed through on a weak beat, connecting two tones the block already owned. Carry it into G major, F major.
Gradus Figured-Bass Corpus, bass-323 — Diminution: passing tones. v1.0. https://gradusmusic.com/figured-bass-corpus/exercise/bass-323
Corpus v1.0 · licensed CC-BY-4.0 · machine-readable at /api/v1/figured-bass/exercises/bass-323