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The lowest part is a "lament bass" that descends from the tonic to the dominant using chromatic passing tones before returning at the end up to the tonic in a perfect cadence. The upper voice moves in the opposite direction from the dominant note up to the tonic. The chord names are given, followed where necessary by the inversion in figured bass.
Oom-pah played by accordion on C major chord with alternate bass Play ⓘ. In music, alternate bass is a performance technique on many instruments where the bass alternates between two notes, most often the root and the fifth of a triad or chord. The perfect fifth is often, but not always, played below the root, transposed down an octave ...
The bass tessitura (range) and re-entrant stringing mean that in order to keep the figured bass "realisation" (the improvised playing of chords) above the bass instruments when accompanying basso continuo, the bassline must sometimes be played an octave lower . In the French treatises, chords in which a lower note sounds after the bass were ...
D/F ♯ (alternately notated D major/F ♯ bass) notated in regular notation (on top) and tabulature (below) for a six-string guitar. Play ⓘ.. In music, especially modern popular music, a slash chord or slashed chord, also compound chord, is a chord whose bass note or inversion is indicated by the addition of a slash and the letter of the bass note after the root note letter.
For example, if a continuo part in the key of C begins with a C bass note in the first measure, which descends to a B ♮ in the second measure, even in the absence of figures, the chord-playing instrumentalist would know to play a first inversion V chord (spelled B–D–G, from bottom note of the chord to the top).
A part notated with figured bass consists of a bass line notated with notes on a musical staff plus added numbers and accidentals (or in some cases (back)slashes added to a number) beneath the staff to indicate what intervals above the bass notes should be played, and therefore which inversions of which chords are to be played.
The algorithm used minimized the total sum of local cost L(p) and transition cost T(p,q), where p is the realisation of the actual bass note, and q the realisation of the next one. Local cost L(p) is a.o. expressed by the probability of an inversion of the chord for bass note p and the width of the chord (is it playable?).
Hence, it required unusually thick strings for the bottom notes, on the order of 0.6 to 0.7 mm (0.024 to 0.028 in). [7] The Viennese bass octave gradually went out of style. However, Maunder notes instruments with Viennese bass octave built even in 1795, and observe that advertisements for such instruments appear even up to the end of the century.