Ex­am­ple 6 four-PART HAR­MONY WITH IN­VER­SIONS AND SUS­PEN­SIONS

Guitar Techniques - - Play: Theory -

In this mi­nor se­quence, 10 the Bass has greater free­dom than Alto or Tenor, which have a smooth, bal­anced 9 mo­tion with no par­al­lel 5ths or oc­taves. Ten­dency tones are nicely re­solved: the D on the third string re­solves to C (Sub­dom­i­nant 10 to Me­di­ant) and the lead­ing 8 tone (G#) re­solves to the tonic (A) via the 5th of the E7 in bar 3. Fi­nally, we have a sus­pen­sion. The D (Tenor) is due to re­solve to C (3rd of A mi­nor) Ex 6 but 4-Part de­lays Har­mony res­o­lu­tion with to in­ver­sions sound mo­men­tar­ily and sus­pen­sions sus­pended. The C# in the sec­ond chord in bar 1 and the D# in the sec­ond chord of bar 2 re­solve up by a semi­tone. Notes that are not in the key (as these aren't) and a semi­tone sharper than the di­a­tonic note tend to re­solve up. Non-di­a­tonic notes that are flat­ter than the di­a­tonic note tend to re­solve down by semi­tone (Bb re­solves down to A in the So­prano voice in bar 1). This is be­cause a flat­tened note mov­ing up­wards would have an uni­d­iomatic leap. It does hap­pen, but gen­er­ally, it is avoided.

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