> > if the 7th or 9th is being > > supplied in the upper parts, isn't that the place where I should > > *not* be playing it?
I for one leave them out in that case. My rule is: Play it the easiest possible way. If the upper voice has it, why should I double it? > Surely the mere presence of > a note in the violin part is not necessarily a reason to avoid it in > the continuo. You don't avoid thirds and fifths for that reason. In certain cases, I do avoid major thirds for that very reason. With suspensions in particular. Sounds better IMHO when the soloist resolves. On the other hand, if the accompanied voice does not provide thirds figured in the bass line, continuo will make sure to supply them. > fewer figures don't mean you must omit the sevenths and > ninths Depends on the date of the music, I'd say. I for one can't imagine chords like (or progressions of, for that matter) 7/9-dominants or 5/6-subdominants _freely_ added in a piece of, say, Heinrich Schuetz. -- Best, Mathias -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
