![]() ![]() Similar-motion resolutions of the tritone (A4 to P4 and d5 to P5) may seem counterintuitive. The third of the chord-scale degree \hat2-appears in the bass and the inversion is indicated with the bass figure 6 appearing next to the Roman numeral, as shown here: In order to avoid accentuating the dissonance in this manner, they invert the vii o chord. When one of the tritone forming notes-the root or fifth-appears in the bass, composers generally feel that the dissonant interval sounds too harsh. ![]() We must therefore make an exception to the constraints described earlier when we use this chord in three- and four-part textures. ![]() The diminished fifth of the vii o chord, however, is inherently dissonant. When dissonances appeared, they were shown to be a byproduct of consonant progressions between other pairs of voices happening at the same time. In our discussions of basic interval progressions ( Chapter 12 and Chapter 14), we adhered to the practice of using only consonant intervals. ![]()
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