Found something interesting, I copied this figure
To here and got this (from the key of B to the key of G)
Not a big deal, I’ll just enter figures manually but curious why it did this.
Figured bass is stored, internally, as a list of the actual pitches it contains (this allows the same figured bass event to show up simultaneously on different staves that have different bass notes). In this case you start with a 6,4 on E in B major, which is E, A#, C#. When those pitches are over a C bass note then they give you the figures you see. If you want to transpose the passage as a whole you will need to include the figured bass in the selection when you do the transposition.
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Thanks, I figured there had to be a technical reason for it, makes sense but I’m not quite following why the same event would be on different staves but no biggie.
With a piece for large ensemble - a concerto grosso, say - you can sometimes have more than one bass instrument with different figures. Here’s a snippet from Corelli’s Concerto Grosso Op 6 no 1 mvt 1:
The two cello parts aren’t quite the same.
Ah ha! Fascinating … I’d naively think you’d want (ideally) to store the figure in it’s most abstract form, but what makes it interesting is intricacies like this. Makes perfect sense, I use figures only for historic piano improvisation so didn’t consider ensemble work.