Linked from

The 41 pages that link to Basso continuo, each with the reason it gives.

• Baroque musicRelated: It supplied harmonic support and rhythmic continuity across much Baroque music.

• Johann Sebastian BachRelated: This foundation supported much of the vocal and instrumental music Bach composed.

• Chamber musicRelated: Chamber works of the Baroque often rely on continuo to support melodic parts.

• RecitativeRelated: Continuo supplies the harmonic support for much secco recitative.

• Claudio MonteverdiRelated: This harmonic foundation supports the recitative and expressive textures of his later works.

• HarpsichordRelated: Harpsichords commonly supplied the chordal realization in continuo ensembles.

• Musical improvisationRelated: Performers commonly supplied harmonies from a bass line rather than reading every chord.

• Voice leadingRelated: Its realizations require performers to create coherent moving parts above a bass.

• Jacopo PeriRelated: Continuo accompaniment underpins the speech-like singing in Peri’s early operas.

• Jean-Philippe RameauRelated: Continuo supports the harmonic foundation of Rameau’s operas and chamber music.

• Concerto grossoRelated: Continuo instruments commonly support both solo and ensemble passages.

• MonodyRelated: Its bass and chords support the solo voice without competing with the words.

• PassacagliaRelated: The continuo texture provided a practical harmonic foundation for many Baroque passacaglias.

• Figured bassRelated: Figured bass commonly supplies the harmonic instructions for continuo players.

• LuteRelated: Theorbo and archlute variants supplied continuo support in Baroque ensembles.

• Antonio VivaldiRelated: This harmonic foundation underpins much of Vivaldi’s instrumental music.

• CantataRelated: Continuo instruments provide harmonic support in many Baroque cantatas.

• Giulio CacciniRelated: Its flexible support underlies the accompanied solo songs associated with Caccini.

• Giovanni GabrieliRelated: Continuo parts in Gabrieli’s later sacred works helped normalize harmonic accompaniment.

• ClavichordRelated: Clavichords could support continuo in intimate settings, though their quietness limited ensemble use.

• Johann MatthesonRelated: It supplied the harmonic foundation for the operas and instrumental music Mattheson knew.

• Arcangelo CorelliRelated: It provides the harmonic foundation beneath Corelli’s sonata and concerto textures.

• Common practice periodRelated: Its emergence marks a major change in texture at the period’s beginning.

• L'OrfeoRelated: Its harmonic support underpins the singers and shapes the opera’s instrumental texture.

• Brandenburg ConcertosRelated: Continuo instruments provide the harmonic foundation across the concertos.

• Barbara StrozziRelated: Continuo accompaniment underpins the textures of many of her vocal works.

• Heinrich SchützRelated: Continuo provides the harmonic foundation in many of Schütz’s concerted works.

• Heinrich Ignaz Franz BiberRelated: Continuo parts underpin many of Biber’s sonatas and connect his writing to common Baroque practice.

• Tomaso AlbinoniRelated: It supplies the harmonic foundation beneath much of Albinoni’s instrumental music.

• Alessandro Striggio the YoungerRelated: Continuo practice emerged near the end of Striggio’s period and marks a changing musical texture.

• Concerto for Two ViolinsRelated: The continuo anchors the harmony beneath the solo violins and strings.

• Girolamo FrescobaldiRelated: The expressive bass writing of his music reflects the era’s developing continuo practice.

• Jacques-Martin HotteterreRelated: Many of Hotteterre’s chamber works use the standard Baroque continuo texture.

• Nicolas ChédevilleRelated: Continuo parts support many of the sonatas and chamber works associated with his repertory.

• Pachelbel's CanonRelated: It supplies the bass foundation and harmonic support beneath the violins.