Contrary to what one might expect, a thoroughbass player does not always have to respect the figurings as they are indicated. In fact, as Telemann presents in his Singe-, Spiel- und General-Bass-Übungen, alternative chords and/or settings are in certain cases not only possible but even preferable. Telemann explains how and when certain expected/figured chords can

This essay is the fifth and last in a series examining Telemann’s views on chordal rhythm in a thoroughbass realization. Here, I discuss chordal rhythm in a 6/8, 9/8 and 12/8 time signature, as presented in his Singe-, Spiel- und General-Bass-Übungen, whose principles are the same. In arias in 6/8, 9/8 and 12/8, Telemann usually

This essay is the fourth in a series examining Telemann’s views on chordal rhythm in a thoroughbass realization. Here, I discuss chordal rhythm in a 3/8 time signature, as presented in his Singe-, Spiel- und General-Bass-Übungen. Telemann often writes a single chord above each bass note in arias in 3/8 when the note lasts a

For Telemann’s definition and use of the Querstrich, see The Querstrich in Thoroughbass Figuring: What Can It Mean?.

In this essay, I discuss various ways in which accented passing notes were indicated in eighteenth-century German thoroughbass figuring. An accented passing note may be figured either literally or indirectly. In the latter case, the composer may omit figures over it or place an oblique line above it; only the following consonant note is figured,

A Querstrich is a horizontal line in thoroughbass figuring indicating that a chord should be held or repeated. For more information and nuance, see The Querstrich in Thoroughbass Figuring: What Can It Mean?.

In this essay, I discuss what a continuist should or can do when a Querstrich (literally “cross-stroke”, a horizontal or slightly oblique stroke used in thoroughbass notation) appears in thoroughbass figuring. A Querstrich in thoroughbass figuring can imply that a chord is to be held for all of its span or for part of it

All’unisono (It. “in unison”) instructs the continuist to refrain from harmonic realization and to double the bass at the octave. In thoroughbass practice, this term is used as a synonym of all’ottava (It. “at the octave”). For more information and nuance, see What Do Tasto Solo, All’Ottava and All’Unisono Mean?.

All’ottava (It. “at the octave”) instructs the continuist to refrain from harmonic realization and to double the bass at the octave. In thoroughbass practice, this term is used as a synonym of all’unisono (It. “in unison”). For more information and nuance, see What Do Tasto Solo, All’Ottava and All’Unisono Mean?.