Figured Bass Symbols: Complete Guide to Reading, Understanding, and Realizing Them

Figured bass symbols are a system of numbers, accidentals, and shorthand markings used to show the harmony above a bass note. They are especially important in Baroque music, music theory, keyboard harmony, basso continuo, and chord analysis.

At first, symbols such as 6, 6/4, 7, 6/5, 4/3, and 4/2 can look difficult. Once you understand that the numbers represent intervals above the bass, however, the system becomes much easier.

This guide explains the most common figured bass symbols, chord inversions, accidentals, minor-key examples, 6/4 chords, seventh chords, realization techniques, and the relationship between figured bass and Roman numeral analysis.

What Are Figured Bass Symbols?

Figured bass symbols are numbers and signs placed below or near a bass note to tell a performer which intervals should be played above that note.

The bass note is the starting point. The numbers tell you how far above that bass note the other notes of the harmony should be.

For example, if the bass note is C and the figure is 6, you need to find the note a sixth above C. That note is A.

A figured bass marking does not always give you a complete chord name. Instead, it provides enough information for a trained musician to construct the intended harmony.

Figured bass was particularly important during the Baroque period, when composers frequently wrote a bass line with figures and expected performers to realize the accompaniment.

How Does Figured Bass Work?

The basic rule is:

Count intervals upward from the bass note.

The bass itself is counted as 1.

For a bass note of C:

If the figure is 6/4, the performer looks for the sixth and fourth above the bass.

If the bass is G:

• G to E = sixth
• G to C = fourth

Therefore, the notes above G include E and C.

The quality of the intervals is determined by the key signature, accidentals, and musical context.

Figured Bass Symbols Chart

This is the most important quick-reference chart to memorize.

The exact notation can vary in historical sources, but these are the most common forms encountered in music theory.

Unfigured Bass and 5/3

A bass note with no figures usually implies a root-position triad.

The complete theoretical figure is:

5/3

Because the third and fifth are normally understood, they are usually omitted.

For example:

C

can imply:

C–E–G

This is a C-major triad in root position.

In other words:

5/3 → usually written as nothing

This is one of the first conventions students should learn.

The Figure 6

The figure 6 normally represents a first-inversion triad.

Consider a C-major triad:

C–E–G

Move E into the bass:

E–G–C

From E:

• E to G = third
• E to C = sixth

The complete figure is technically 6/3, but the 3 is normally omitted.

Therefore:

6/3 → 6

The important idea is that the bass is now the third of the chord.

The Figure 6/4

The 6/4 figure represents a second-inversion triad.

Using C major:

C–E–G

Place G in the bass:

G–C–E

From G:

• G to C = fourth
• G to E = sixth

Therefore:

6/4

The bass is the fifth of the original triad.

The Three Basic Triad Figures

You can summarize triad inversions like this:

Root position: 5/3 → usually no figure

First inversion: 6/3 → usually 6

Second inversion: 6/4

This pattern is extremely useful for quickly identifying triad inversions.

Seventh-Chord Figured Bass Symbols

Seventh chords contain four notes, so they use additional figures.

A root-position seventh chord is usually marked:

7

For example, G7 contains:

G–B–D–F

From G:

• G to B = third
• G to D = fifth
• G to F = seventh

The full figure could be written 7/5/3, but this is normally shortened to:

7

The Figure 6/5

The 6/5 figure represents a first-inversion seventh chord.

Using G7:

G–B–D–F

Put B in the bass:

B–D–F–G

From B, the important intervals are:

• third
• fifth
• sixth

The standard figure is:

6/5

The bass is the third of the original seventh chord.

The Figure 4/3

The 4/3 figure represents a second-inversion seventh chord.

Using G7:

G–B–D–F

Put D in the bass:

D–F–G–B

From D, you have:

• third
• fourth
• sixth

Therefore, the figure is:

4/3

The Figure 4/2

The 4/2 figure represents a third-inversion seventh chord.

Using G7, place F in the bass:

F–G–B–D

From F, the intervals include:

• second
• fourth
• sixth

Therefore:

4/2

The 2 is often used as a shortened form.

So the seventh-chord pattern is:

7 → root position

6/5 → first inversion

4/3 → second inversion

4/2 or 2 → third inversion

What Does 5/3 Mean?

The figure 5/3 represents a root-position triad.

It tells you that there is a third and fifth above the bass.

For example:

C–E–G

has C in the bass, E a third above C, and G a fifth above C.

Because 5/3 is so common, it is usually left unfigured.

What Does 6/3 Mean?

The figure 6/3 indicates a first-inversion triad.

For example:

E–G–C

has:

• G a third above E
• C a sixth above E

The 3 is normally omitted, leaving simply:

6

This explains why you usually see 6 instead of 6/3.

What Does 6/4/2 Mean?

The figure 6/4/2 can represent a third-inversion seventh chord.

It is another way of showing the intervals above the bass.

In many modern theory exercises, 4/2 or simply 2 is more common.

Historical notation can vary, so it is useful to recognize all of these forms.

Accidentals in Figured Bass

Accidentals are essential because they alter specific notes above the bass.

Common accidentals include:

• ♯ sharp
• ♭ flat
• ♮ natural

An accidental can appear directly before a number.

For example:

♯6

means that the sixth above the bass is raised.

A flat before a figure means that the indicated interval should be lowered.

What Does a Standalone Accidental Mean?

A standalone sharp, flat, or natural can often refer to the third above the bass.

For example, if the bass is C and you see:

♯

the third above C is E, so the accidental can indicate E♯.

However, figured bass conventions can vary according to period and notation system. Always consider the key signature and surrounding harmony.

Figured Bass in Major and Minor Keys

The key signature affects how figures are interpreted.

For example, in C major, a bass C with no figure normally suggests:

C–E–G

In A minor, an unfigured A can suggest:

A–C–E

But minor-key harmony often contains raised scale degrees, especially when the dominant chord is involved.

In A minor, the dominant chord is commonly:

E–G♯–B

Therefore, the G♯ may require an accidental in the figured bass when the key signature alone does not show it.

This is why accidentals are particularly important when reading figured bass in minor keys.

Figured Bass in Minor-Key Examples

Consider the key of A minor.

The tonic triad is:

A–C–E

With A in the bass:

A–C–E

This is root position and may be left unfigured.

With C in the bass:

C–E–A

This is first inversion and is represented by:

6

With E in the bass:

E–A–C

This is second inversion:

6/4

Now consider the dominant seventh:

E–G♯–B–D

With E in the bass:

7

With G♯ in the bass:

6/5

With B in the bass:

4/3

With D in the bass:

4/2

These examples show why understanding both the figures and the key is important.

Figured Bass and 6/4 Chords

Not every 6/4 chord functions in exactly the same way.

Three common types are:

• Cadential 6/4
• Passing 6/4
• Pedal 6/4

Cadential 6/4

A cadential 6/4 generally appears before the dominant.

In C major, the notes are:

G–C–E

over G in the bass.

It commonly moves toward a dominant harmony and then resolves to the tonic.

The upper notes often resolve by step toward the dominant chord.

Passing 6/4

A passing 6/4 occurs as part of a bass line moving by step.

It helps connect two harmonies smoothly.

Pedal 6/4

A pedal 6/4 occurs over a bass note that remains fixed while the harmony above it changes.

The bass acts like a pedal point.

How to Realize Figured Bass on Piano

Realizing figured bass means turning the bass note and figures into a playable chord or musical accompaniment.

A practical method is:

Step 1: Identify the Key

Look at the key signature first.

Step 2: Find the Bass Note

The written bass note is your starting point.

Step 3: Decode the Figures

Determine which intervals need to appear above the bass.

Step 4: Build the Chord

Write out the required notes.

Step 5: Check the Chord Quality

Make sure the notes create the intended major, minor, diminished, or other harmony.

Step 6: Choose a Comfortable Voicing

On piano, place the notes in a practical register.

Step 7: Check Voice Leading

Move each voice as smoothly as possible into the next chord.

This last step is especially important in traditional figured-bass realization.

Voice Leading in Figured Bass

Realizing figured bass is not simply a matter of pressing all the chord notes together.

Traditional realization often aims for smooth voice leading.

Good practice includes:

• Keep common tones when practical.
• Avoid unnecessary large leaps.
• Resolve tendency tones correctly.
• Avoid parallel perfect fifths and octaves in traditional four-part writing.
• Keep the individual voices singable.
• Treat dissonances carefully.
• Follow the harmonic direction of the progression.

For example, the leading tone in a major or minor key often moves upward toward the tonic.

The seventh of a dominant seventh chord commonly resolves downward by step.

These voice-leading principles help turn figured bass into a musical progression rather than a series of isolated chords.

Figured Bass and Roman Numeral Analysis

Figured bass and Roman numerals complement each other.

Roman numerals tell you which scale-degree chord you have.

Figured bass tells you which inversion the chord uses.

For example, in C major:

I = C major root position

I6 = C major first inversion

I6/4 = C major second inversion

For the dominant seventh:

V7 = G7 root position

V6/5 = G7 first inversion

V4/3 = G7 second inversion

V4/2 = G7 third inversion

This combined system is widely used in harmony analysis.

Figured Bass vs. Modern Chord Symbols

Modern chord symbols and figured bass both describe harmony, but they do so differently.

A modern symbol such as:

C

generally means a C-major chord.

A symbol such as:

C/E

indicates C major with E in the bass.

Figured bass instead focuses on the intervals above the bass.

For example, if E is the bass of a C-major triad, the figured bass is:

6

Modern chord notation emphasizes chord identity, while figured bass emphasizes intervals and bass position.

Figured Bass vs. Nashville Numbers

Figured bass should not be confused with the Nashville Number System.

Nashville numbers generally identify chords according to their scale-degree function, such as:

1 – 4 – 5

Figured bass numbers identify intervals above a specific bass note.

For example:

6

in figured bass normally indicates a first-inversion triad, not the sixth chord degree of a key.

Common Figured Bass Mistakes

Mistake 1: Counting From the Wrong Note

Always count from the bass note.

Mistake 2: Forgetting That the Bass Counts as 1

C to E is a third, not a second.

Mistake 3: Ignoring the Key Signature

The key signature determines many of the notes.

Mistake 4: Ignoring Accidentals

An accidental can change the chord completely.

Mistake 5: Assuming Every 6/4 Has the Same Function

A 6/4 is an interval pattern. Its harmonic function depends on context.

Mistake 6: Treating Figures as Modern Chord Names

A figured bass number does not directly function like a modern chord symbol.

Figured Bass Quick Reference Cheat Sheet

Triads

No figure = root position

6 = first inversion

6/4 = second inversion

Seventh Chords

7 = root position

6/5 = first inversion

4/3 = second inversion

4/2 or 2 = third inversion

Interval Basics

3 = third

4 = fourth

5 = fifth

6 = sixth

7 = seventh

Accidentals

♯ = raise the indicated note

♭ = lower the indicated note

♮ = restore the natural pitch

Frequently Asked Questions About Figured Bass Symbols

What are figured bass symbols used for?

They show the intervals and harmony above a bass note. They are commonly used in Baroque music, basso continuo, music theory, harmony, and chord analysis.

What does 6 mean in figured bass?

A 6 normally means a first-inversion triad. The bass is the third of the chord.

What does 6/4 mean?

A 6/4 normally means a second-inversion triad. The bass is the fifth of the chord.

What does 7 mean?

A 7 normally indicates a root-position seventh chord.

What does 6/5 mean?

A 6/5 represents a first-inversion seventh chord.

What does 4/3 mean?

A 4/3 represents a second-inversion seventh chord.

What does 4/2 mean?

A 4/2 represents a third-inversion seventh chord. The shorter figure 2 may also be used.

Why is a root-position triad sometimes unfigured?

Because the third and fifth above the bass are normally assumed. The theoretical figure is 5/3, but it is usually omitted.

Are figured bass symbols still used?

Yes. They remain important in music theory, harmony, Baroque performance, historical keyboard practice, composition, and academic music analysis.

Is figured bass difficult to learn?

It can seem difficult at first, but the system becomes much easier once you memorize the common patterns and practice counting intervals from the bass.

Final Thoughts

Figured bass symbols provide a compact way to communicate harmony. The key is to remember that the numbers describe intervals above the bass, not simply chord names.

For triads, start with the basic pattern:

No figure = root position

6 = first inversion

6/4 = second inversion

For seventh chords:

7 = root position

6/5 = first inversion

4/3 = second inversion

4/2 or 2 = third inversion

Once these symbols become familiar, add accidentals, minor-key harmony, 6/4 functions, and voice-leading rules. With regular practice, figured bass becomes a useful tool for reading music, analyzing harmony, realizing Baroque accompaniments, and understanding how chords move from one harmony to another.

Ryan Mitchell

I’m Ryan Mitchell, and I write about modern English, trending slang, and online expressions. I enjoy explaining the meanings, origins, and real-life usage of popular words in a simple way. I believe learning slang is an important step toward understanding today’s English-speaking culture. Through my work, I aim to help readers speak more naturally and stay updated with the latest language trends.