t

J. S. BACH
GENERAL BASS RULES
Adapted from Niedt's Music Handbook
Leipzig
1738

Edited by N. Schmidt
Lausanne
2003

1
 Table of Contents

Introduction 3
Basic Rules 3
Harmonic Triads 4
What to play when nothing is written over the Bass 4
Rules for Common Figures 5
Examples in Words and Music 9
Common Final Cadences 17
Exercises from the Chorale Hymn Collection 18

2
 Introduction
The word Bass is derived from or may be traced back to the Greek word basiV, meaning
basis or foundation. Others trace it back to the old Latin word Bassus, which is the equivalent
of profundus, deep. When the word bass is considered alone, it signifies the bottom voice or
bass line of the music, that is, any note which takes the lowest pitch, regardless of whether the
note is sung or played on a bass instrument.

When one refers to general or figured bass, then bass such as is played with both hands on a
keyboard instrument is meant. Thus, all or most of the voices of the music are played and
sounded together. Figured bass is also called bassus continuus, or with the Italian ending,
basso continuo, because it plays continuously, while the other voices pause here and there.
Today however, the bass also pauses here and there, especially in skilfully composed music.

Figured bass is the most perfect foundation of music. It is played on the keyboard in such a
way that the left hand plays the written notes, while the right hand strikes consonances and
dissonances, so that this results in full-sounding harmony to the Glory of God and the delight
of the soul. The ultimate goal of all music should be nothing but the Honour of God and the
renewal of the soul. When this is not taken into consideration there is no true music.

Basic Rules
Rule 1
The written bass line is played with the left hand alone, but the other voices,
whether indicated by figures or not, are played with the right hand.
Rule 2
The third is played with most figures, except when prohibited by the second
and fourth being expressly indicated.
Rule 3
Two fifths and two octaves must not follow one another, for this is not only a
definite error but also sounds bad. To avoid this, there is an old rule that the
hands must move contrary to each other at all times, so that when the left hand
goes up, the right goes down; and when the right goes up, the left goes down.

Rule 4
In order to avoid two consecutive fifths and octaves, the best choice is to use
the sixth and thus obtain a rearrangement of tones.
Rule 5
Figures written above one another are played together, but when they follow
one another, separated by a space, they are played one after the other.

3
 Harmonic Triads
Harmonic triads are used in composition and will be discussed here because figured bass is a
starting point for composing and can be called an improvised composition with full sounding
consonances and dissonances. Triads are created when performing figured bass. Furthermore,
if the eager learner understands them well, and commits the following to memory, he may be
sure that he has grasped a large part of the whole art. Harmonic triads are formed by joining
the third and fifth to the fundamental note. This may be done for all tones, major and minor,
in all twelve keys.

Ω Ω Ω Ω
q Ω
Ω Ω
sΩ
Ω
Ω
Ω
Ω
fΩ
Ω
sΩ
Ω
sΩ
Ω
Ω
Ω
Ω
fΩ
Ω sΩ
Ω Ω
Ω sΩ
Ω Ω
Ω
Ω Ω

What to play when nothing is written over the Bass

If nothing is written above the bass play only consonances, namely the 3rd, 5th, and octave.
For example, the bass line could be written
≈
t ≈ ≈
≈ ≈
≈

... and played this way by adding triads with the right hand:

q ≈
≈ ≈
≈
≈
≈
≈
≈ ≈
≈
≈
≈
≈ ≈ ≈ ≈ ≈ ≈

≈
t ≈ ≈
≈ ≈
≈

However, one is not obliged nor required to play the same way all the time. Instead, the
lowest voice (or alternatively the middle voice) may be made into the highest or main voice.
For example, the preceding bass may also be played in the two following manners:
≈ ≈ ≈ ≈ ≈ ≈
q ≈ ≈ ≈ ≈
≈ ≈ ≈ ≈ ≈ ≈ ≈
≈ ≈ ≈
≈
≈ ≈ ≈
≈ ≈ ≈ ≈
≈ ≈ ≈ ≈ ≈ ≈
≈ ≈

≈ ≈
t ≈ ≈
≈ ≈
≈ ≈ ≈
≈ ≈
≈

The following example shows how fifths and octaves, where two or more follow one another,
do not fit well together. Instead, they sound bad even though they are perfect consonances.

≈ ≈ ≈ ≈
q ≈
≈
≈
≈
f≈
≈
≈
≈
≈
≈
f≈
≈
≈
≈
≈
f≈ Ω
Ω
≈
≈ ≈
f≈
≈
≈
≈
≈
f≈
≈
≈
≈ f≈
≈
Ω
Ω
Ω ≈ ≈ Ω

t ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
≈ ≈ Ω ≈ ≈ Ω
This is not so good This is better

4
 Rules for Common Figures
Rule 1
When the f sign appears above a note, it signifies the major third. The same applies to
sharp signs which occur in the key signature next to the bass clef. For example, if a f
is written above the A, then the major third, namely, Cf must be played. If nothing is
written, then C should be played. The same applies to the s sign. Where a s is written
above a note, the minor third must be played. This should be carefully observed.

Rule 2

Figures marked with f, +, \ or / are raised one chromatique simitone, such as f2, 4+, or 6.
Figures marked with s or occasionally / are lowered by one semitone, such as s5, 7.

Rule 3
Where the figure 6 appears above a note, it signifies the interval of a sixth; i.e. counting from
the bass note, the note above which the 6 appears, and playing the sixth note. With this, either
a doubled third or a doubled sixth would be added. Sometimes the octave is played, especially
when the next note is marked with the figures 65 as in this example:

ç ç ç ç ç ç ç ≈ Ω
q– ç
ç çç ç
ç
ç
ç
ç
ç ç ç
ç
ç
ç
ç
ç
ç
ç
ç
ç
ç
ç
ç
ç
ç
Ω
Ω
ç

6 6 6
ç ç
5 6
ç
6 6 6 6 6 6
ç ç ç
5
ç ç ç ç
t– ç ç Ω

Rule 4
When a 5 and 6 follow one another, the fifth should always be prepared, the third and octave
are then added to the fifth, and the sixth is played afterwards. But if it is the reverse, with the
6 appearing before the 5, then nothing is prepared, but rather it is played as written; that is,
one plays the octave, the third and the sixth; then the fifth is played afterwards. The sixth may
also be doubled, and with this arrangement only the third is added to the chord. For example:

ç ç ç ≈ ç ç ç
q– ≈
ç≈ ç ç≈ ç ç≈ ç ç≈ ç ç
ç ç ç ç ≈ ç ç
ç
ç
ç
ç
ç ç ç ç ç ç
ç ç ≈
≈
≈
≈
ç ç ç ç ç ç ç ç ç ç ç ç ç ç ç ç ≈ ≈

≈ ç ç ç ç
6 5 6 5 6 5
≈
5 6 5 6 5 6 5 6 5 6 5 6 5 6
≈ ≈ ç ç ≈
t– ≈ ≈ ≈ ≈

5
 Rule 5
When 65 appears above a note, the fifth must be prepared; the third and sixth are then added. e.g.:

≈ ≈ ≈ ≈ ≈ ≈ ≈ f≈ ≈ ≈ ≈ ≈
q– ≈
≈ ≈
≈ ≈≈ ≈
≈
≈
≈ ≈
≈ s≈
≈
≈
≈
≈
≈ ≈
≈ ≈
≈
≈
≈
6
6 5
s f
≈
6 5
≈
6
≈ ≈ ≈
t– ≈ ≈ s≈ ≈
≈
≈ ≈

Rule 6

When a 4 and 3 are written next to each other, the fourth must be prepared. The third is
played afterwards with the fifth and the octave, whether written out or not. By "prepared"
is meant that the note has been played previously and is sustained over the next bass note.

≈ ç fç ≈ ≈
≈ ≈ ≈ ç Ω
q– ≈ ≈ ≈ ≈ ≈ç s ç f≈
≈ ≈ ≈ fç Ω
≈ ≈ ≈ ≈ ≈ ≈ fΩ

f s 4 f f f f
≈ ≈ ≈
4 4

t– ≈ ≈ ≈ ≈ Ω
≈

Rule 7
When 42 appears over a note, the sixth is generally added even if not already written.
6
4 are played together when the bass note has been prepared and resolve to 6 5 if the
2
bass moves down a half-step as shown in the following example.

q– ≈ ç ç ≈ ≈
≈ ≈≈ ≈ Ω
≈ ç
ç çç ≈ ≈ ≈ f≈
≈ Ω
≈ ≈ Ω
4 6 6
2 f
≈ ç ≈
5 6
fç
5
t– ≈ ≈ ≈
Ω

6
 Rule 8
The s5 must always be prepared when notated. The third and sixth must be played
with it whether notated or not as shown in the following example.

≈ ç ç
qs– ≈
≈
ç
ç
ç
ç
ç ≈
≈ ≈
f≈ ç
ç
ç
ç
d≈
≈
≈
≈≈
s≈
ç≈ f ç
≈
Ω
Ω
≈ ç ≈ Ω
6
6 6 5
6 5 f 6 s5 s 4 f
≈ ç ≈ ç fç ≈
ts– ç ≈ ≈ ≈
Ω

Rule 9

Where cadences are written, such as 7 6 5

3 4 4 3 , the figures are interrelated. Sometimes
they are simply written 3 4 4 3 but should be played out fully as follows:

q– ≈ ≈
≈ çç ç ç ç Ω
≈
≈ ≈ ç ç
ç ≈ Ω
Ω
≈
7 6 5
3 4 4 3
≈ ≈
t– ≈
≈
Ω

Rule 10
Walking-bass, which occurs frequently, does not require a new chord on all the notes.
Only on the half or quarter beats.

qf– ≈
≈
≈
≈
≈
≈
≈
≈
≈
≈
≈≈
ç
ç
ç
ç
ç
ç
ç
ç
ç
ç çç
≈
≈ç ç
≈
≈
≈
6 6
5 6 5
6 5
ç ç ç
4 3
f ç ç
t – ç ç ç ç ç
ç ç ç
ç ç ç ç ç
ç ç ç ç ç ≈
ç

qf– ç
ç
ç ç
ç
ç
ç
ç
ç
ç
ç
ç
ç
ç
ç
ç
ç ç
ç
ç ç
ç
ç ç
ç
ç
ç
ç
ç
ç
ç
ç
ç
ç
ç ç≈ ç
≈
≈
≈
ç ≈
6 6
6 5 6 5 5
ç ç ç
3
ç ç
4
t f ç ç ç ç ç ç ç ç ç
– ç ç ç ç ç ç ç ç ç
≈
ç

7
 Rule 11

Where a 7 is notated alone, it must be prepared beforehand, and the third and fifth, or the third
and octave are to be added to it. Sometimes the third is doubled.

qf– ≈
≈
≈
≈
≈
≈
ç
ç
ç
ç
ç
ç
ç
ç
ç
ç
ç
ç
ç
ç
ç
çç
ç
ç
ç
ç
çç
ç
ç
ç çç ≈
≈
ç ç ≈

≈ ç ç
6 7 7 7 7 7 7 7 7 7 7
f ≈ ç ç ç
t – ç ç ç ç
ç
≈

Rule 12

Where a 7 and 6 appear next to one another, the seventh must be prepared. Either the third
or the octave is added. Somtimes the third is doubled. Finally, the sixth, which may be major
or minor, is played afterwards.

≈ ç ç ç ç ≈ Ω
q– ≈ ç ç ç ç Ω
≈ ç≈ ç
ç
ç oo ç ≈ Ω
˙
7 6 7 6 7 6
≈ ≈
t– ≈ ≈ Ω

Rule 13
When a 9 and 8 appear next to each other, the ninth must be prepared and the octave played
afterwards. The third and the fifth may be struck along with the ninth and the octave.

Rule 14
9 8
Where 7 6 appear, the seventh and the ninth must be prepared. The third must be played
throughout. The sixth and octave are then played afterwards.

Rule 15

Sometimes the figures 9 8

4 3 also appear. A fifth is added to the fourth and ninth, both of
which must be prepared. The third and octave are played afterwards.

The remaining, which can not be clearly described with words alone, may be deduced from
example. Several examples in words and music are shown in the next section so that all the
aforementioned may be better impressed upon the memory.

8
 Examples in Words and Music
Example 1

When no figure appears over a note, a simple chord with the third, fifth, and octave is played.
Generally speaking, when the right hand goes down, so must the left hand go up; and when the
left hand goes down, the right hand must go up. This is called modus contrarius. In this way,
one can avoid having many consecutive fifths and octaves.

q– ≈ ≈ ≈ ≈
≈ ≈
≈ ç ç ç ç ≈
≈
≈ ≈ ≈
≈ ≈ ≈ ç ç
ç ç ç ≈
≈
≈ ç ç ç

≈ ≈ ç ç
6

t– ≈ ≈ ≈ ç ≈
ç

≈ ≈ ç ç
ç ç ç ≈ ≈
q ≈
≈ ≈
≈
≈
≈
≈
≈
≈
ç
ç
ç ç
fç
ç
ç ≈
f≈
≈
≈
≈

f f
ç ç
6
ç ç ç ≈
t ≈
ç
ç
ç
≈
≈

≈ ≈ ≈ ≈ ç ç
q ≈
≈
≈
≈
≈
≈
≈
≈ ≈
≈ ≈
≈
ç
ç
ç
ç
ç
ç
ç ç
ç
≈ ≈ ç

ç
6 6
≈ ≈ ç
t ≈ ≈ ≈
≈ ç ç

≈ ≈ ≈ ≈ ≈ ≈ ≈ Ω
q ç
ç
ç
ç
ç
ç
≈
≈
≈
≈ ≈
≈
≈
≈ ≈ ≈
≈ ≈
≈
≈
≈
≈
≈
≈
Ω
Ω
Ω
Ω
Ω
≈ ≈

6 6
ç
6

t ç
≈ ≈ ≈
≈ ≈ ≈ ≈
≈
Ω
Ω
≈

9
 Example 2

When a fourth appears above a note, it must be prepared in the previous chord.
The fifth and the octave are played with it. Then, the fourth resolves to the third.

≈ ç fç ≈ ≈ f≈ ç ç
q– ≈
≈ ≈
≈
≈
≈ ≈
≈
≈Ω
Ω f≈ ≈
≈
ç
ç çç
5 6
f f f
≈
4 4 5

t– ≈ ≈ ≈ ç
≈ ≈ sç
≈

ç ç ≈ ç ç ç ç ç ç ç ç
q ç
ç
ç
ç ≈ç ç ≈
≈
sç çç
ç
ç
ç
ç
ç
ç ≈
≈
ō
≈ ç ç
ç
ç
ç ç
ç
ç
ç
5 5
4 3 4 s 4 3 4 3 4 3 6 6
ç ≈
t ç ≈
≈
≈
≈ fç ç
sç dç

ç ≈ ≈
q ç sç ç ç ç ç ≈
≈ s≈ ç≈ ç ≈ ç sç
ç ç ç ç ≈ ≈ ≈ç ≈
ç ç çç f ç
ç ç ç ≈
6
5
6 s f 6 4 3 4 3 4 s
t ç sç ç ç
≈
≈ s≈ ≈
≈
≈

q ç≈
≈ ç ≈
≈ç ç
ç
sç
ç
ç
ç
ç
ç
ç
ç
≈
ō
≈
≈
≈
fç sç fç fç
5
f f 5 f
4 3 4 6 s 4
t ≈
≈ sç ç ç
ç
≈
≈

10
 Example 3

When a seventh and a sixth appear above a note, the seventh must be prepared in
the previous chord. The third and the fifth, or the third and the octave are played.
Sometimes the third is doubled. The prepared seventh resolves to the sixth.

qf– ≈
≈
≈
≈
ç≈ ç
ç
ç
≈
ç
ç
ç
ç
≈
ç
ç
ç
ç ç
ç
≈
≈
≈
≈

5 6 7 6 7 6 7 6
t f ≈ ≈ ≈
– ≈ ≈ ≈

qf ≈
≈
≈
ç≈
≈ ç ≈
ō
ç
ç
ç
ç
ç
ç
ç
≈
≈
fç ç fç
ç dç
ç
ç
ç
≈ fç ≈
≈
≈
fç f ç f ≈
5 5
f f
f ≈
4 3 7 6 7 6 5 4
≈ ≈ ç ≈
t ≈ ≈ ç ≈

qf ≈
≈
≈
≈
≈
≈
≈
≈
≈
≈
≈
≈
ç
ç
ç
ç
ç
ç
çç ç
ç
dç
fç
7
f

t f ≈ ≈ ç ç
≈ ≈ ç ç

qf ç
ç ç
ç
ç
ç ç
ç
ç ç
ç ç≈ Ω
≈ ≈ fç
ç ç ≈ fç Ω
6 Ω
f
4
7 6 7 6 3 4

tf ≈ ≈ ç
ç
≈
Ω

11
 Example 4

When a ninth and an octave appear above a note, the ninth must be prepared in
the previous chord. The third and fifth are played with it and the ninth resolves
to the octave.

≈ ≈ ç ç
qs– ≈
≈ ≈ç ≈
≈ç ≈ ≈
≈ ç
ç ç ç ç dç
ç ç ≈ç ç ≈ ç ç
ç ç ≈
ç ç ≈

≈
9 8 7 6 4 3 5 6 7 6 7 6
≈ ≈ ≈
ts– ço çå ≈
≈
≈

ç ç
ç ç ç ç ç ç dç ç ç ç
qs ç
ç ç ≈
≈ ≈
≈ ≈
≈
ç
ç
ç
ç ≈
≈
ç ç
ç ç
ç ç≈
≈
ç
ç ç

9 8 7 6 4 f 6 9 8 4 3 9 8
ço ç ç
ts ≈ ≈
˙ ç
ç ç ≈
≈ ≈

≈
qs ≈ç ≈ ≈ ≈ç dç ç ç ç ≈ ≈
≈
ç ≈ ≈ ç çç çç ç ≈ ≈
≈
≈ ≈ ≈ ≈ ç ≈
7
4 3 6 9 8 f f
ç ç
4 6
≈ ≈
ts ≈
≈
ç
ç
≈ ≈

qs ç≈ ç ç≈ ç≈ ≈ ç
≈ ≈ ç ç ç≈ ç ≈ ç ç
ç ≈ç ç ≈
≈ ≈ ≈ ç ç ço ç ≈
≈
˙
9 8 4 3 9 8 4 3 6 4 3

ts ≈
≈ ≈
≈
≈ ç
ç
≈
≈

12
 Example 5

When 94 83 appear above a note, 94 must be prepared and resolves to 83 . The fifth
should be added. Note that the ninth is the same as the second, the tenth the same as
the third, the eleventh the same as the fourth and the twelfth the same as the fifth.

≈ ≈ ≈ ç
qs– ≈
≈ ≈ç ç
≈ç ç
ç sç
≈
≈ç ç
ç
≈ ç ≈
≈
≈
≈
≈ ç
≈
ç
ç ç
ç ç
ç ç≈ ç
≈ ≈ ≈
9 8 5
≈
4 3 4 3 4 3 4 3 9 6 9 6 4 3
ts– ≈ s≈ ≈ ≈ ≈ çå ≈
≈ ≈ ço

≈ ç ç ç
qs ≈
≈
≈
≈ ≈
s≈
≈ ≈
≈ ≈
≈
ç
≈
ç
ç ç
≈
s≈
ç
≈ ≈ ≈ ≈ ≈
9 8 7 6
s
≈
6 6 6 5 4 3
s≈ d≈ ≈ f≈
ts ≈
≈ ≈

≈ ç ç fç
q s f ççç ç
ç
ç
ç≈
≈ ç ≈
≈
ç
ç
ç
ç
ç
≈
≈
s≈
≈
dç
ç
ç ç
ç ≈
≈
≈ ç ç ç

f f 4 f
ç
4 6 6
s≈ dç ç
ts ç
ç
≈
≈
ç ç ç
≈

≈ ≈ ç ç ç
qs ≈
≈
≈
ç ç ç≈ ç ≈
≈
ç ç
s≈
ç
fç
ç
ç
ç
ç
≈ fç ≈
≈
≈ ç ç ≈ ≈
9 8 7
6 5 4 3 4 3 s 6 f 4 f

ts ≈ ≈ ≈
≈
≈ ç
ç
≈
≈

13
 Example 6

When 64 , 42 or 2 appear over a note, the bass should be prepared by the

previous note. 42 is played in the right hand and resolves most of the time to
6 when the bass moves down a half-step or a whole step.
5

ç ç ç
ç ç ≈ ≈ ≈ ç ç ç ç
fç ç ç ç
q– ≈
≈
ç
ç
ç
ç
çç
ç
ç
ç ç
ç fç ç ç
ç
ç≈ f ç ≈
≈
≈
≈
ç
ç
ç
ç
ç
ç
ç
ç ç ≈
≈
≈ ç
4 6 6 4 6 6
4+ 4+
≈ ç fç ≈
2 5
ç
6 7 6
ç
2 5 6 7 6
ç ç
2 2
ç ≈
t– ç ç ç ≈ ≈

≈ ç ç ç ≈ ç ç ≈
q ≈
≈ ç ç ≈ ç ≈ ç ç ç ç
ç ç ç
ç
ç ç
ç fç ç ç
ç ≈
ç ç ≈ ≈ ç≈ ç ç
ç ç
ç ç ≈ ≈
ç
ff ç ç ç fç
6+
4+
7 6 4 3 7 6 7 6 7 6 7 6 6 7 6
≈ ç f≈
2
ço ç
t ≈
˙ ≈ ≈ ≈ ≈ ≈ ç

≈ ç ç ç ç ç ç ç ç
q f ≈≈≈ ≈
≈ ç
≈
ç
ç ç
≈
ç
fç
ç
ç ç ç
ç ç f
ç ç ç
ç ç≈ ç
ç fç
ç
ç
ç≈ f ç
≈
≈
≈
≈ ç ≈
6
9 8 4+ 7
f 6 7 6 7 6 f 6 7 6 f 4 f
≈
2
t ≈ ≈ ≈ ç ç ç ≈
≈ ≈ ç ≈

14
 Example 7
When a sixth and a fifth appear next to one another above a note, they are to be
struck one after the other. Then either the octave is added, or the third or the sixth is
doubled. If, however, they appear one above the other, then the third is played and
sounded together with them.

ç ç≈ ç
q ss ≈
≈
≈
ç
≈
≈
ç ≈
≈
ç ç
≈
≈
≈
ç
ç ç
ç ç
ç ç
ç ç
ç fç
ç
ç
ç
ç
ç
ç
ç≈
ç ç
ç ç
ç ç ç ç ç ç ç
6 6 6
5 6 6 5 5 5 5 f 5 6 5 6
≈ ç ç ç
t ss ≈ ≈ ≈ ç ç ç
≈ ≈ ≈

q ss ≈
≈
ç ç
≈
ō
ç ç
≈
≈
ç ç
ç
ç ç
ç ç≈ d ç ≈
≈
ç
≈ sç ≈
≈
ç
≈ ç ≈
≈
ç ç ≈ ≈ ≈ ≈ ≈ ≈
6
5 6 5 6 5 6 5 6 4 f 6 s5 6 5
ç ç ≈ d≈ ≈
t ss ≈ ≈ ≈ ≈
≈
≈

ç ç ç
q ss ç
≈
≈
ç ≈
≈
≈
ç
ç
ç
ç
≈
≈
ç ≈
≈
≈
ç
ç
ç
ç
ç
ç ç
ç ç
ç
ç
ç
ç
ç
ç
ç
ç
ç
ç
ç
≈ ç ≈
≈
≈
ç ç ç ≈
6 6
≈
6 5 6 5 4 3 6 4 6 6 4 3
ts s f≈ ≈
≈ ç ç ç ç ç ≈
ç ç ç ≈

15
 Example 8
When the bass note happens to be the third of the tonal chord of a piece, the sixth
must always be played, whether notated or not, unless the cadence is modulating
to another key. For example, in the key of C, a six must always appear above an E.
In the key of A, a six must appear above a C.

ç ç ç ç ç ≈ ≈ ≈ ≈ ≈
q– ç
ç ç
ç ≈
≈
ç ç
ç ç
ç
ç
≈ fç
≈
≈
≈
≈
≈
≈
≈ ≈
≈
≈
≈ ≈
≈
≈

6 4 6 7 6 6 6 6
ç ç ≈ ≈ f≈
t– ç
ç
ç ç ≈ ≈ ≈ ≈

ç ç ç ≈ ≈ ≈ ≈ ≈
q ç
ç
ç
ç
ç ç
ç
ç
ç
ç
fç
ç
ç
ç
ç
ç≈
≈ ç
≈
≈
≈
≈
≈
≈
≈ ≈
≈
Šō
ç
≈

6 f 4 f 6 6 5 6
ç ç ≈ ≈
t ç ç ç
ç ç
≈ ≈ ≈ ≈
ç

ç ≈ ≈ ç ç ç ç ç ç
q f ççç ç
ç
ç≈
≈ ç ≈
≈
≈
≈ fç
ç
ç
ç
ç
≈
≈
≈
≈ ç
ç
ç
ç
ç
ç ç
ç ç
ç
ç
ç
≈ ≈ ç
f 4 f 6 f 6 6 6

t ç ç ≈ ≈ ≈ ç ç ç
ç ≈ ≈ ç ç
ç ç

ç ç ç ç ç ç ç ç ç ç Ω
q ç
ç ç
ç ç
ç
ç
ç ç
ç
ç
ç ç
ç
ç
ç ç
ç
ç
ç
ç
ç ç
ç
ç
ç
ç
ç
ç
≈
≈
≈
Ω
Ω
ç ç ç

6 6 6
ç ç ç ç ç ç
t ç
ç ç ç ç
ç
ç ç
≈
Ω

16
 Common Final Cadences

6 5
3 3 4 3
3 4 3
3
ç ç ç ç
t– ≈
ç
Ω ≈
ç
Ω ≈
ç
Ω ≈
ç
Ω

7
6 5 6 5 4 5
s5
3 3 3
5 3 4 3 2 3
ç ç fç ç ç
t ≈ Ω ≈ Ω ≈
ç
Ω Ω

7 7
6 5 4 8 5 6 5 5 6 5 4 5 5 6 6 5
s5
3 3 3
4 3 2 3 3 4 4 3 3 4 3 2 3 3 4 4 3
ç ≈ ≈ ç ≈
t ≈ Ω Ω ≈ ≈ ≈ ≈ ç f ≈
ç ≈

5 6 5 6 5
7 3 7 6 3 7 7 3 3 4 3 4 4 3 3
ç ç ≈
t ≈ ç Ω ≈ ≈ Ω ≈ ç Ω ≈
Ω
Ω

5 6 7 6 5 6 5 5 6 5 6 5 5 6 7 6 5
3 4 5 4 4 3
3 4 3 3 4 4 3
3 4 3 3 4 5 4 4 3 3
≈ ≈ ≈
t ≈
Ω
Ω ≈
Ω
Ω ≈
Ω ≈
≈

“For me, almost only the bass is of any significance.

It is sacred to me and is the solid foundation upon
which I tell my stories. What I do with the melody
is only a game, a spirtual game. For over a given
bass line I truly discover something original, I give
to it new melodies, I create”.

Johannes Brahms
Vienna, February 17th 1869

17