The Unfigured Bass and the Editorial Sharp
A candidate is realizing an 8-bar unfigured bass in A minor for a continuo exercise. The bass line is: A (5/3) | E (no figure) | A (5/3) | D (5/3) | E (no figure) | A (5/3) | G (no figure) | E (no figure). The key signature is empty. The given soprano line, which the candidate must harmonize, is: A4 | G4 | A4 | F4 | G♯4 | A4 | G4 | E4. The candidate's realization treats both E bass notes as E minor chords (E–G–B) because the key signature has no sharps. The examiner has flagged the second E (bar 5) as needing an editorial G♯, but the candidate argues that the first E (bar 2) also has a G in the soprano, so both should be minor. The candidate also points out that bar 7's G bass has no figure and has realized it as G major. The examiner must decide whether the second E should be E major or E minor, and whether the candidate's reasoning about the key signature is sound.
1. Decide the correct quality (major or minor) for the E bass at bar 2 and at bar 5. Justify using the soprano line, the cadential context, and the general principle of ficta in continuo realization.
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Bar 2 should be E minor (v), because the soprano has G natural, which is a chord tone and fits E–G–B. Bar 5 should be E major (V), because the soprano has G♯ and the chord is the final cadential dominant resolving to A in bar 6. The cadential context is decisive: a cadence to A requires the leading tone G♯, even though the key signature has no sharps. Continuo realization routinely adds editorial accidentals (ficta) to create a major dominant at cadences. The first E, by contrast, is an internal chord with a G natural in the soprano; realizing it as E major would clash with the soprano's G natural. The candidate is therefore right about bar 2 but wrong about bar 5. The examiner should require the G♯ in bar 5, not in bar 2.
2. The candidate argues that because the key signature is empty, both E chords must be minor. Explain why this reasoning is flawed and how the candidate should decide in performance.
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The reasoning is flawed because an empty key signature does not forbid editorial accidentals. In Baroque continuo practice, the key signature is only a starting point; the realization must respond to the melodic line and to cadential function. The candidate should ask: does the soprano have a leading tone? Is the bass note part of a cadence to the tonic? In bar 5, the soprano G♯ is the leading tone to A, and the bass E is the dominant. Together they demand E major. In bar 2, the soprano G natural is diatonic and the chord is not cadential, so E minor is correct. The candidate should also check for cross relations: adding G♯ in bar 2 would clash with the soprano G natural. The decision should be made by harmonic function and voice leading, not by the key signature alone.
3. If the candidate adds a G♯ to bar 2, what clash would result with the given soprano, and what does that tell you about the function of the G♯ in bar 5?
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Adding a G♯ to bar 2 would create a cross relation with the soprano's G natural: the alto or tenor would have G♯ while the soprano has G natural in the same harmonic area. That clash would be stylistically awkward and would contradict the soprano line. In bar 5, the G♯ is already in the soprano, so it is not an editorial intrusion but a chord tone. This tells us that the G♯ in bar 5 is structurally required as the leading tone of V, not a decorative accidental. The candidate should therefore leave bar 2 as E minor and change bar 5 to E major (E–G♯–B), ensuring that the G♯ is doubled only if voice leading permits and that the chord resolves to A.