I am just sifting through the chapter Figured bass and was wondering: I am playing Haendels pieces for Flute and B.C. in my next exam and actually have the copy with all 11 Sonatas not the ABRSM version were the piano part is given. There is only a BC accompaniment with only one note (like for an instrument not capable of producing two notes at once). So, my guess is that the accompanist is expected to make its own chords to accompany the flute. But there are no small numbers written under the note over the whole two lines.

Does that mean, the accompanist can chose more then just the 3 and 5? Or even more then 3 notes, if it fits? How is someone playing the BC part making an approach to this kind of accompaniment? I would like to know that not only for background knowledge for theory exams but also for future accompaniments were the poor soul accompanying me has to make that up. In understanding that part, I might be a better help there in future times.

Could be for cello?

Those Sonatas are often played with harpsichord or harp.

Anyone?

Lemontree, which sonata and which movement is it? And which publisher's edition of the music do you have?

Continuo does not have to be figured (although it normally is) The bass is usually provided by cello and harpsichord, but could be provided by tenor viol and arch-lute. (or other combination) With out the HWV number it is hard to trace it back to manuscript source and compare it to the original or to other documents.

Of course you are playing from an Edition. I can not tell from your comments whether this is an Urtext or not.

As Katyjay said, what edition are you playing from, and what are the details of the work. HWV no and movement.

Okay, I play Haendel, 11 Sonatas, the specific Sonata I a have in mind when I asked this question was HWV 375. I have a Breitkopf Haertel Urtext edition.

Thanks for that Lemontree.

I have a Baerenreiter Urtext for that sonata, which does have figuring for the continuo for every movement of that sonata.

I guess that in the unfigured Breitkopf version, the continuo player would use the harmony implied by the flute part as well as their own continuo line to decide which chords to use in the accompaniment. I wouldn't think that it would be 5/3 for all the chords.