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How do you figure an accented passing note in the bass, specifically when the harmony changes?

If you have non-chord tones in the bass following a figuring, it's easy to show the same harmony continues, just by using a dash. In this simple example, the implicit 5/3 chord continues as the bass moves to the unaccented passing-note E:

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But what about the following example? Here the harmony moves to a first inversion F major chord, but has an accented passing-note in the bass at the point where the harmony changes:

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You can't put a dash, because it isn't a continuation of the 5/3 C major chord on beat 1. The continuo player needs to know that the harmony changes on beat 2, as they are realising the harmony from the figured-bass alone. But I don't see how you figure this B, because it isn't the harmony note.

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Well, I posted the question above, because I thought it would be mad to simply describe the intervals between the non-chord note in the bass and the triad above. In this case: 7/5/2. But lo and behold, at the bottom of the Wikipedia page about Figured Bass, there is an example showing exactly the same "accented passing-note on a first inversion chord" as in my example:

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So this seems to suggest that non-chord tones can be figured using figures such as 7/5/2. This seems very fussy to me though, and I've not seen an example like this before. So I'd be interested to read other answers about this kind of figuring...

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    it’s certainly common in the late Baroque, also 742 for similar reasons, and it’s a good example of how figured bass quickly became unwieldy. – user71850 Sep 27 '20 at 13:11
  • Thanks, Damian. This little bit of research was a real eye-opener for me. – Bob Broadley Sep 27 '20 at 15:34
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    "This seems very fussy to me": but it makes perfect sense given the origins of figured bass as a purely mechanistic way to indicate intervals to play above a bass note. The idea that the number "6" (over a usually implicit "3") meant "first-inversion triad" was not firmly established at first; even the theory of triadic inversions itself was not established at the time. Of course, when you add figures to a basso continuo part, you quickly start seeing patterns emerging, but the figures come first and the identification with patterns and theoretical concepts follows. – phoog Sep 27 '20 at 16:43
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    I'm sure it's correct. Yes - complicated for such simple harmony. – Old Brixtonian Sep 27 '20 at 16:54
  • Really good points, @phoog. We always need to remember that baroque harmony is largely the consequence of the relationships between linear material. We shouldn’t always consider it with “Roman numeral” eyes... – Bob Broadley Sep 27 '20 at 17:14

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