Ex­am­ple 7 ADAP­TA­TION OF THE OPEN­ING OF BACH’S AIR ON a G-STRING in four-PART HAR­MONY

Guitar Techniques - - Play: Theory -

This 'real-word' ex­am­ple takes an adap­ta­tion of the open­ing of Bach's Air On A G String (GT188). Again, mo­tion is smooth and the Bass and So­prano have more melodic free­dom than the in­ner two voices. Also no­tice that the roots are al­ways dou­bled in the root po­si­tion and first in­ver­sion tri­ads (C, Am, G and D/F#), and the 5th is dou­bled in the sec­ond in­ver­sion triad (C/G). Ev­ery chord de­gree is rep­re­sented in the four-note chords (C/B, Am/G and D7/F#). Note how the non-di­a­tonic F# in the bass voice of bar 2 re­solves up a semi­tone to G. This is not the case in ev­ery har­monic con­text, but is a ten­dency of non-di­a­tonic notes.

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