We still connect with this as well as dealing with critics, noisy audiences, having to write out
figured bass in very large scores, and performing on different types and quality of harpsichords and keyboard instruments.
The piano parts include
figured bass indications that reflect the harmonic plethora of written passing-tone accidentals, but which are really not necessary given the simple level of the accompaniments--although perhaps could be of use if accompanying on the guitar (not suggested).
Similarly, Crawford chooses to include the
figured bass from the engraved score throughout, even where chordal continuo would not have been heard at the Opera: in dance pieces, the overture, and many choruses.
The cello part is written as a true continuo part: it consists of a single bass line with
figured bass throughout.
The final section includes summaries of special topics like musical calligraphy, the harmonic series, nonharmonic tones, four-part writing,
figured bass, harmonization, cadence and phrase structure, motives, sequences, textures, counterpoint, form, and instrumental ranges and transpositions.
It was only after my return from Basle, where I studied harpsichord and
figured bass with Jorg-Anderas Botticher and Jesper B.
Each volume contains a Foreword containing information about the composer and his works, some editorial notes on the music itself, the texts, translations (where pertinent), a full score with minimally realized
figured bass, a continuo part, and a full score with
figured bass line only for those keyboard players who are comfortable realizing
figured bass at sight.
In the event, Mr Justice Patten, who had been required to get to grips with such esoteric baroque matters as the '
figured bass' and even what was in front of organist David Ponsford at the recording session and whether he actually played it, dismissed this approach.
2, bar 10), and the
figured bass should have been realized.
Also featured on that occasion were three of the nine sonatas for a single instrument and
figured bass, K81 and 91, performed on the Baroque flute, a somewhat bland medium of realization, and K90, more effectively rendered on the relatively robust violin.
(See, for instance, Morris 1994.) We introduce here a method of using
figured bass so as to produce a generalization of the angle measure.
The
figured bass part has been standardized but no new figures added.