Figured Bass and fingerings

I’ve been working on a Rule of the Octave worksheet in the background for historical improv practice. The FB is spelled out, and includes fingering and such as an aid. Anyhow I swear I was getting the fingerings, when below the note on Grand Staff, to be put on a seperate ‘line’ above the FB. But in this instance I see them side by side. The 3 in red is a fingering (it’s not a normal FB notation in any case)

I have to go through and manually set all the bass clef fingerings to be above the note, I can’t see why you’d ever want those down with the FB as it’s visually confusing. But in the case above with them being on the same horizontal space it’s doubly confusing. I only discovered this one because I forgot to hit the button to place it above. This is how it looks properly formatted

… and the plot thickens, continuing this key I added another fingering and it overlaid it with the FB when one is there, yoinks! Maybe Dorico is running out of vertical space?

Well attached is the project. Daniel, I expect you to memorize ROTO and practice it diligently as penance :grin: (638.3 KB)

By default, Dorico will put left-hand fingerings below the left-hand staff, which is conventional. I think it’s pretty unconventional to have fingering and figured bass in the same score, so they don’t necessarily interact completely as you might expect.

What I suggest you do is preface each fingering you add with R, which will treat it as a right-hand fingering and put it above the left-hand staff instead of below.

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Out of interest, why is this exercise in A-flat minor? (Not a good key in 1/4 comma Meantone!)
Secondly, in bar 3 the alto is in octaves with the bass. Does this not matter?

Historical improv - if your good - is where you can be given any key to improv upon. John Mortenson is a leader in this and has a book out on the subject if you’re interested. He also has a Patreon group I’m a part of. He relates that in live performances where an audience member picks the key, invariably it’s something with lots of sharps or flats . He was floored when somebody called for C major once.

This elaboration is from Furno via John, I don’t think he did any changes except possibly higlighting the decending [natural] 6 4 3 in bar 6 beat 1, the bracket being my addition to indicate the option of taking the passacaglia which is my favorite. At any rate I don’t see any historical issue with the Alto paralleling the bass at all, it’s an interior voice thus relatively ‘hidden’. Strict rule following only exists in the minds of theoreticians :grin: At any rate you hardly hear any issues which is why AFAIK that was a common practice.

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