At least one instrument capable of playing chords must be included, such as a harpsichord, organ, lute, theorbo, guitar, regal, or harp. For example, if a continuo part in the key of C begins with a C bass note in the first measure, which descends to a B♮ in the second measure, even if there were no figures, the chord-playing instrumentalist would deduce that this was most likely a first inversion dominant chord (spelled B–D–G, from bottom note of the chord to the top). As part of the new galant style in the mid-18th century, with its emphasis on lighter and more varied textures, and singable melodies, orchestral music gradually phased out the basso continuo, and solo-with-accompaniment textures increasingly featured fully written-out accompaniments. At least one instrument capable of playing chords must be included, such as a harpsichord, organ, lute, theorbo, guitar, regal, or harp. [citation needed]. Sometimes instruments are specified by the composer: in L'Orfeo (1607) Monteverdi calls for an exceptionally varied instrumentation, with multiple harpsichords and lutes with a bass violin in the pastoral scenes followed by lamenting to the accompaniment of organo di legno and chitarrone, while Charon stands watch to the sound of a regal. The numbers indicate the number of scale steps above the given bass-line that a note should be played. Basso continuo parts, almost universal in the Baroque era (1600–1750), provided the harmonic structure of the music by supplying a bassline and a chord progression. Ano ang pinakamaliit na kontinente sa mundo? In these cases the figures for the new chord are written wherever in the bar they are meant to occur. What is the rising action of faith love and dr lazaro? Experienced players sometimes incorporate motives found in the other instrumental parts into their improvised chordal accompaniment. bassoon without oboes). The numbers indicate the number of scale steps above the given bass-line that a note should be played. [citation needed] In the 2000s, outside of professional Baroque ensembles that specialize in the performance practice of the Baroque era, the most common use of figured bass notation is to indicate the inversion in a harmonic analysis or composer's sketch context, however, often without the staff notation, using letter note names followed with the figure. The reason tasto solo had to be specified was because it was an accepted convention that if no figures were present in a section of otherwise figured bass line, the chord-playing performer would either assume that it was a root-position triad, or deduce from the harmonic motion that another figure was implied. In these cases the figures for the new chord are written wherever in the bar they are meant to occur. 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