[Pt. III Proj.1] – Handel’s Dixit Dominus and Figured Bass ~Exercise 3.2: Working out for the numbers for the figured bass of bb. 12-16 of Dixit.

[Pt. III Proj.1] – Handel’s Dixit Dominus and Figured Bass ~Exercise 3.2: Working out for the numbers for the figured bass of bb. 12-16 of Dixit. Now try working out for yourself the numbers for the figured bass for the following passage, a chordal representation of bb. 12-16 of Dixit. You will need to refer to a figured bass manual to correctly identify some of the chords. These can be found online or in the relevant books included on the reading list. If we relate these chords to the full score of bb. 12-16 of Dixit we notice how the written out parts in the strings interact with the harmony produced by the figured bass which you have just realised. You will see how they sometimes duplicate the continuo’s chord, and at other times include chromaticism or additional harmonic details. This is a good example of how composers of the time combined the freedom of figured bass interpretation with the precision of notated parts to create a rich overall sound world. The answer is given at the end of the chapter.Notice how the chord rates change at different points in this passage. What musical effect does this have would you say?

Exercise;

I struggled at one point- see where the question mark is;

Answer :

Notice how the chord rates change at different points in this passage. What musical effect does this have would you say?

I t has the effect of propelling music forward and lending a finality to the cadential point. Like a little bit of an exclamation mark.