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