Pivot Chord, Applied Dominant, and a 9–8 Suspension in a G-Minor Continuo Passage
An eight-bar continuo passage in G minor, 4/4, for two violins and basso continuo, has one chord per bar. The figured bass is: b.1 G 5/3; b.2 F-sharp 6/5; b.3 G 5/3; b.4 C 5/3; b.5 F 5/3; b.6 B-flat 5/3; b.7 F 7; b.8 B-flat 5/3. The key signature has two flats (B-flat and E-flat). In b.5 the second violin plays A natural; in b.4 the first violin has E-flat. In b.6 the second violin sustains C over the B-flat chord before resolving to B-flat on beat 3; the continuo holds B-flat throughout b.6. The student must realize the Roman numerals, decide where the modulation to B-flat major occurs, and label the suspension in b.6. A classmate labels b.4 as 'V6/5 of B-flat' and b.5 as 'V of G minor'.
1. Provide Roman numerals with inversions for all eight bars. Identify the pivot chord and the first chord that belongs unequivocally to B-flat major. Explain why b.4 is a pivot rather than an applied dominant.
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Roman numerals: b.1 i; b.2 V6/5; b.3 i; b.4 iv (also ii in B-flat); b.5 V of B-flat; b.6 I; b.7 V7; b.8 I.
The pivot is b.4, C–E-flat–G with C in the bass. It is iv in G minor and ii in B-flat major, so it belongs to both keys. The first chord that is unequivocally B-flat major is b.5, F–A–C with A natural. That A natural is the decisive chromatic signal: it is the leading tone of B-flat and is foreign to G minor.
b.4 is not 'V6/5 of B-flat' because V6/5 of B-flat would be F–A–C–E-flat with F in the bass. b.4 has C in the bass and no A natural. The classmate's label for b.5 is also wrong: b.5 is not V of G minor, since V of G minor is D major with F-sharp, not F major with A natural.
2. Label the suspension in b.6 with figures and explain its preparation and resolution. Does it affect the Roman numeral?
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The suspension in b.6 is a 9–8 suspension over the B-flat tonic. The second violin's C is prepared as a chord tone in b.5 (the fifth of F major), sustained into b.6, and resolves to B-flat on beat 3. The continuo's B-flat is the root throughout, so the harmony remains I.
The suspension is a contrapuntal elaboration, not a change of chord root or function. In figured-bass terms, b.6 could be annotated 9–8 over a 5/3 foundation. The resolution to B-flat confirms the tonic arrival and strengthens the modulation to B-flat major.