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indicates that only the bass line (without any upper chords) is to be played for a short period, usually until the next figure is encountered. This instructs the chord-playing instrumentalist not to play any improvised chords for a period. The reason
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had to be specified was because it was an accepted convention that if no figures were present in a section of otherwise figured bass line, the chord-playing performer would either assume that it was a
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triad, or deduce from the harmonic motion that another figure was implied. For example, if a continuo part in the key of C begins with a C bass note in the first measure, which descends to a B
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Basso continuo, though an essential structural and identifying element of the
Baroque period, continued to be used in many works, mostly (but not limited to) sacred choral works, of the
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found in the other instrumental parts into their improvised chordal accompaniment. Modern editions of such music usually supply a realized keyboard part, fully written out in
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if only strings are involved; although occasionally individual movements of suites deviate from this at the musical director's discretion (e.g. bassoon without oboes).
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notation, described below, is a guide, but performers are also expected to use their musical judgment and the other instruments or voices (notably the lead
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331:, however, the number of performers who are able to improvise their parts from the figures, as Baroque players would have done, has increased.
258:, lutes, and other handheld instruments are more typical of early 17th-century music. Sometimes instruments are specified by the composer: in
183:), and practice varied enormously within the Baroque period. At least one instrument capable of playing chords must be included, such as a
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The composition of the continuo group is often left to the discretion of the performers (or, for a large performance, the
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in the second measure, even in the absence of figures, the chord-playing instrumentalist would know to play a
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Chord-playing continuo instrument parts are often written in figured bass. A part so annotated consists of a
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A harpsichordist and a bassist play continuo for a small group of singers (the solo ensemble of the
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that might be present in it) as a guide. Experienced players sometimes incorporate
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in the pastoral scenes followed by lamenting to the accompaniment of
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is rare as a continuo instrument, but is often used in J. S. Bach's
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used in the full ensemble: including bassoon when the work includes
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above the bass notes should be played, and therefore which
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In larger orchestral works, typically performers match the
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for a player, in place of improvisation. With the rise in
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The keyboard (or other chord-playing instrument) player
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added to a number) beneath the staff to indicate what
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473:Johann Sebastian Bach: Die Johannes-Passion
416:period (up to around 1800). An example is
120:Learn how and when to remove this message
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475:, Bärenreiter, 1988, 3rd edition, 1999
288:stands watch to the sound of a regal.
143:structure of the music by supplying a
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58:adding citations to reliable sources
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373:of which chords are to be played.
296:which calls for "bassono grosso".
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168:Kreuznacher Diakonie Choir
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503:Categories
459:References
385:tasto solo
379:tasto solo
371:inversions
305:improvised
281:chitarrone
266:Monteverdi
110:March 2020
80:newspapers
414:classical
367:intervals
347:bass line
225:bass viol
181:conductor
440:See also
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335:Notation
315:and any
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145:bassline
141:harmonic
446:Comping
408:History
402:V chord
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264:(1607)
261:L'Orfeo
229:bassoon
197:theorbo
137:Baroque
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