Definition
Figures are numbers that indicate the intervals above the bass. Born with the Baroque basso continuo (see “Figured bass”), in modern analysis they are written next to the Roman numeral to indicate the inversion: V6/5 means “dominant seventh chord, with the third in the bass”. This card explains how they are read and written in analysis, and how to translate them into pop symbols.
Triads
| Inversion | Intervals above the bass | Full figure | Abbreviation | Symbol (C) |
|---|---|---|---|---|
| Root position | 3rd, 5th | 5/3 | none | C |
| First inversion | 3rd, 6th | 6/3 | 6 | C/E |
| Second inversion | 4th, 6th | 6/4 | 6/4 | C/G |
Seventh chords
| Inversion | Intervals above the bass | Full figure | Abbreviation | Symbol (G7) |
|---|---|---|---|---|
| Root position | 3rd, 5th, 7th | 7/5/3 | 7 | G7 |
| First inversion | 3rd, 5th, 6th | 6/5/3 | 6/5 | G7/B |
| Second inversion | 3rd, 4th, 6th | 6/4/3 | 4/3 | G7/D |
| Third inversion | 2nd, 4th, 6th | 6/4/2 | 4/2 (or 2) | G7/F |
Logic of the abbreviations: only the intervals that identify the inversion are written, namely those that include the second formed by the 7th and the root (6/5: the 5th and 6th above the bass are the 7th and the root; 4/3; 4/2).
Accidentals in figures
- A lone #, b or ♮ refers to the 3rd above the bass (e.g. V with # in minor = raised leading tone).
- An accidental next to a number alters that interval: #6, b7.
- The slashed 6 (6 with a stroke through it) indicates the raised 6th.
- In Roman-numeral analysis, altered notes that depend on the key are not indicated (V in A minor already implies G#).
Suspensions and held notes
Figures also show the movement of the voices above a stationary bass: 4–3 (suspension of the third), 9–8, 7–6, 6–5, and 2–3 (bass suspension). The sequence V 6/4–5/3 is the cadential 6/4: two appoggiaturas (6→5 and 4→3) over the dominant bass.
There are two schools: Kostka-Payne label it I6/4–V (or Cad6/4), Aldwell-Schachter prefer V6/4–5/3, because functionally it is a dominant with appoggiaturas. Both are accepted; choose one convention and always use it.
The rules of use that figures reveal
- V4/2 → I6: the 7th in the bass descends by step (F → E in C).
- V6/5 → I: the leading tone in the bass rises to the tonic (B → C).
- V4/3 → I or I6: often as a passing chord between I and I6 (C – G/D – C/E).
- vii°6 → I: the first inversion of the diminished chord is the normal form (the diminished chord in root position is rare).
- Passing 6/4: I – V6/4 – I6 with the bass C – D – E.
- Neighbor (pedal) 6/4: I – IV6/4 – I over the stationary bass (C – F/C – C), typical of gospel and rock.
Translating into pop symbols
| Analysis (C) | Symbol |
|---|---|
| I6 | C/E |
| ii6 | Dm/F |
| IV6/4 | F/C |
| V6/5 | G7/B |
| V4/3 | G7/D |
| V4/2 | G7/F |
| vii°6 | B°/D |
| V6/5/V | D7/F# |
This table is useful when you transcribe a Bach chorale for a pad or when a classical arranger asks you for a “ii6 – V – I”.
Examples in real songs
- Bach, four-part chorales (e.g. the 371 chorales collected by C.P.E. Bach): almost every phrase ends with ii6 (or IV) – V6/4–5/3 – I.
- “Let It Be” (The Beatles): F – C/E – Dm7 – C in the bass descents, that is IV – I6 – ii7 – I.
- Gospel and soul constantly use IV6/4 over the tonic (C – F/C – C) as an inner “amen”.
Exercise
- Analyze with Roman numerals and figures the cadence I – IV – I6/4 – V7 – I and play it on the piano; then translate it into pop symbols.
- In FL Studio write a progression in C with the bass rising C – D – E under I – V4/3 – I6.
- Take a Bach chorale (IMSLP or MuseScore) and write the figures for the first four bars.
Related topics
Figured bass (basso continuo); Chord inversions and six-four chords; Roman numerals in analysis; Non-chord tones; Four-part SATB writing.