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How do you figure an accented passing note in the bass, specifically when the harmony changes?

If you have non-chord tones in the bass following a figuring, it's easy to show the same harmony continues, just by using a dash. In this simple example, the implicit 5/3 chord continues as the bass moves to the unaccented passing-note E:

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But what about the following example? Here the harmony moves to a first inversion F major chord, but has an accented passing-note in the bass at the point where the harmony changes:

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You can't put a dash, because it isn't a continuation of the 5/3 C major chord on beat 1. The continuo player needs to know that the harmony changes on beat 2, as they are realising the harmony from the figured-bass alone. But I don't see how you figure this B, because it isn't the harmony note.

Bob Broadley
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Well, I posted the question above, because I thought it would be mad to simply describe the intervals between the non-chord note in the bass and the triad above. In this case: 7/5/2. But lo and behold, at the bottom of the Wikipedia page about Figured Bass, there is an example showing exactly the same "accented passing-note on a first inversion chord" as in my example:

enter image description here

So this seems to suggest that non-chord tones can be figured using figures such as 7/5/2. This seems very fussy to me though, and I've not seen an example like this before. So I'd be interested to read other answers about this kind of figuring...

Bob Broadley
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    it’s certainly common in the late Baroque, also 742 for similar reasons, and it’s a good example of how figured bass quickly became unwieldy. –  Sep 27 '20 at 13:11
  • Thanks, Damian. This little bit of research was a real eye-opener for me. – Bob Broadley Sep 27 '20 at 15:34
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    "This seems very fussy to me": but it makes perfect sense given the origins of figured bass as a purely mechanistic way to indicate intervals to play above a bass note. The idea that the number "6" (over a usually implicit "3") meant "first-inversion triad" was not firmly established at first; even the theory of triadic inversions itself was not established at the time. Of course, when you add figures to a basso continuo part, you quickly start seeing patterns emerging, but the figures come first and the identification with patterns and theoretical concepts follows. – phoog Sep 27 '20 at 16:43
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    I'm sure it's correct. Yes - complicated for such simple harmony. – Old Brixtonian Sep 27 '20 at 16:54
  • Really good points, @phoog. We always need to remember that baroque harmony is largely the consequence of the relationships between linear material. We shouldn’t always consider it with “Roman numeral” eyes... – Bob Broadley Sep 27 '20 at 17:14
  • BTW, you guys have provided better information than I did. Please add answers; I’ll happily upvote and accept one of yours... – Bob Broadley Sep 27 '20 at 17:15
  • If you're so inclined, probably safe at this point to accept your own answer. You can always accept another if it eventually gets posted. – Aaron Dec 09 '21 at 02:29