David Raleigh Arnold wrote:
>
> =====Christian Mondrup:
> > -------------------|------------------------------------
> > -------------------|------------------------------------
> > ----------B-L-A-H--|------------------------------------
> > -------------------|------------------------------------
> > -------------------|------------------------------------
> >
> > 6 9 8 5 6 (6) 7 ...
> > 2 #
> -------yhs
initially let me point out that the above sample is not mine but
produced by Dvid Chan at the start of the current thread.
> ^
> |
> This is a dominant seventh
> chord in a key that would
> normally make the chord
> minor, e.g., D7 not Dm7
> in key of C major.
baroque thorough bass doesn't contain any functional harmony
information. It's solely a way of representing the building of chords
upon a bass note.
> ^
> |
> This was just not done. No 8's in
> figured bass, ever.
you're wrong. In this example (which is quite common) the digit 8 is
there to signify the resolution of the preceding 9th dissonance
represented by the digit 9. Similarily you'll often see the digit 3
(normally silently implied) following the digit 4 to signify the
resolution of the suspended fourth.
>
> So how did you do the slash through the 5 to indicate an
> augmented 5th? Or through the 7th to indicate a maj7?
in my own typesettings I didn't but in stead used the convention of
representing the augmentation by a trailing #.
> I got through integral calculus, but never associated the
> delta with an integer increment. It's just not a similar
> idea at all.
> :-)
>
> .daveA
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
