Continuo Realization and Accompaniment


a) To acquire skills that will enable performance on a keyboard instrument (or, optionally, classic guitar or lute) of harmonies, figured in the score.
b) To perfect the technique of harmonization of bass and melody.
c) To understand the historical context of the basso continuo, the differences between systems of notation and performance in different national traditions or individual styles; to discuss questions relating publishing sources with basso continuo; to be familiar with the various educational trends in teaching basso continuo.

General characterization





Responsible teacher

Svetlana Yurievna Poliakova


Weekly - 4

Total - 168

Teaching language



Satisfactory conclusion of the Composition techniques I and II, or the conservatory course of Analysis and techniques of composition;

basic piano and/or guitar skills.


Lamas E. (2008). Sebenta de harmonia com vista à realização do baixo-cifrado. Lisboa: Juventude Musical Portuguesa.
Strunk O. (1981). Source Readings in Music History, v. 3: The Baroque Era. London: Faber and Faber.
Williams P. (1970). Figured Bass Accompaniment, Edinburg: University Press 
Williams P. (2001). Continuo. Sadie, S. (ed.), The New Grove Dictionary of Music Musicians, v. 4, 685- 699, London: Mamillan.

Teaching method

Classes include a theoretical component, providing an exposition by the lecturer of the elements of the syllabus, and a practical component which includes written and listening exercises, performance on the piano of music examples, and discussion of historical and interpretative questions relating to the repertoire. All classes include both components, in a proportion of 20% theoretical to 80% practical.

Evaluation method

Available soon

Subject matter

a) Interpretation, on the piano, of the basso continuo part, on pieces and music excerpts.
b) Transcribing to a score and playing harmonic ciphered sequences.
c) Written transcription through ciphers, of harmonic sequences, contained in a score.
d) Exercises of improvisation on the piano of harmonic sequences for a given melody.
e) Discussion of matters related to the history of transcription and interpretation of the basso continuo, regarding the role of national traditions and individual styles, the editorial traditions and educational strands of the basso continuo.


Programs where the course is taught: