#1
Quick question: would you execute the figures 6 8 and 5 7 as such, rather than 4 6 8 and 3 5 7? This is in a score where "normal" 4 6 and 7 markings frequently occur, which I'd of course play 4 6 8 and 3 5 7.

Also, this being in the context of a classical (CPE Bach) sonata, how much would you omit 3rds and 7ths from the realisation when they occur in the solo instrument? Either as the resolution of suspensions or accented passing tones (ex 1 and 2) or as normal chord tones (ex 3). The editor who wrote the realisation in the ed. I have does this a lot, often to pretty dubious results. At other times he'll double melodic movement in the solo instruments shamelessly though so I don't get what he's trying to accomplish.

I guess it has some qualities, especially maybe ex. 1 and 2, but given that the solo instrument is flute and the "continuo", as it were, piano, I hardly think it'll be a smooth sonorous blend. If there's any out there who've played figured bass, what'd you do?


examples:




mods: note that none of these are actual examples from the score for copyright reasons and whatnot.
#2
I've never played continuo but I'm sort of familiar with the notation. For the 8/6 to 7/5 thing, you'd probably play 8/6/3 (if it was 8/6/4 it would have to be notated that way, 6 by itself indicates 6/3 not 6/4) and 7/5/3. I think the reason it's notated a little funny, is it's trying to indicate specific resolution from 8-7 and 6-5. Generally speaking you play full chords, and freely doubling anything in the melody. More often than not the continuo instrument fills out all the harmony regardless of leading tones and such found in the melody instrument.

There's tomes written about doing good thoroughbass though, so all of this could be conditional or out and out wrong.
#3
The 4 is a dissonance, and if intended would be shown in the figuring.

how much would you omit 3rds and 7ths from the realisation when they occur in the solo instrument? Either as the resolution of suspensions or accented passing tones (ex 1 and 2) or as normal chord tones (ex 3).


You don't want to include the resolution in the accompaniment before it's resolved in the solo part, that sort of ruins the effect of the dissonance.