I was wondering if anybody would be able to tell me if I am on the right track for working out figured bass. If not I would love any tips on how to improve this worked example.
You're definitely on the right track! But there are a few comments:
In general, there are certain chord tones that have a tendency to resolve a particular way; we call these "tendency tones," and chordal sevenths are one such tendency tone. Note that you double the chordal seventh in the very first chord, which results in parallel octaves leading into the next chord since you (correctly!) resolved the chordal seventh down by step. Better would be a C# in the tenor voice on the first chord to fill out that 42 chord. (Remember that the 42 figured bass has an implied 6 included, as well!)
Beat 3 of the first full measure isn't incorrect, but it's a little "leapy" from the chord before and into the chord after it. If you just voice beat 3 as you voice beat 4, you'll be totally fine!
As I mentioned in Point 1 above, chordal sevenths must always resolve down by step. Note that you have a chordal seventh (D) on the downbeat of the second full measure; make sure that resolves down to C#, and make sure it does it in the same voice! In other words, if the D is in the soprano, the resolution to C# must be in the soprano, as well.
The second half of measure 2 has a seventh above the bass, but no
7in the figures.
Similarly, the last beat of the third full measure is unclear to me. I don't know what is meant by the dash in the figured bass, but you'll want to doublecheck it. As it is, it's not really a triad, so I think something is up there.
For the 65 chord at the end, remember that that is shorthand for 653; so instead of doubling the E in the tenor, replace it with a G (the third above the bass). This will take care of the parallel octaves from E to C between the tenor and bass.
Lastly, depending on your solution to Point 5, you may need to adjust some of the penultimate measure.
As I said, you're definitely on the right track; these are all very common errors at this stage, so you're doing exactly what you need to do!
Edit: I've decided to include a possible solution here, but notice that I took some liberties with some of my questions. For instance, I kind of suspect the downbeat of the third full measure might have a
7 in the figures just to create a sequence, I expect the
- at the end of that measure means the F# in the bass is just a passing non-chord tone, and I'm thinking the C# in the next measure might have a
7 in the figures.
I take it you were given the bass line and figures, your job was to fill in the upper parts?
You're on the right track. The chords are mostly right, but you need to improve your part-writing.
In the first chord, a last-inversion F#7, you've doubled the 7th and resolved both of them downward to the D of the following Bm chord. That's the worst kind of consecutive octaves! The G to Em/F# in bar 3 is very odd. I don't know what the dash means either. You've ignored the # in the last chord.