This treatise serves as both a brief amalgamation of historical continuo methodology as well as a working continuo method for the advanced guitar student. The first portion of the treatise informs the reader of figured bass practice with regard to stringed instruments such as the lute and theorbo in a historical context. A discussion of continuo practice on these intended instruments leads to the proposition of an application for continuo realization on the modern classical guitar. The second half of the treatise is a method composed of a series of exercises designed to gradually familiarize the reader with figured bass realizations on the classical guitar. Most of the exercises involving figured bass realization are derived from Santiago de Murcia's Resumen de Acompañar la Parte con la...
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