Example 6 four-PART HARMONY WITH INVERSIONS AND SUSPENSIONS

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.