[Smt-talk] Doubling the Tone of Resolution

[Ninov, Dimitar N]

Dear Colleagues,

I wanted to add some details about doubling the tone of resolution. 

Usually, the so-called “false seventh” – a 7-8 suspension in a lower voice that resolves downward into an octave, is avoided. A false seventh may occur not only between the bass and an upper voice but also between any two adjacent voices. Therefore, when a suspension occurs, we must look not only at the interval it forms with the bass note, but also at the relationships it creates with the other members of the chord. 

In other words, as Nicholas pointed out, if the displaced tone is to be present along with the suspension, it must be placed at a 9th below the suspension. Occasionally, the displaced tone is not in the bass at all, but in the tenor or in the alto. This is why it is so important to know what the interval is between the suspension and the displaced tone. 

On the other hand, a 7-8 in an upper voice that resolves into an octave is widely applied, and is not considered a “false seventh”.

The so-called “false second” – a 2-1 suspension in an upper voice that resolves downward  into a unison is also to be avoided. Similarly, the false second may occur between any pair of adjacent voices, regardless of what is in the bass. Therefore, we have to investigate all relationships among the chord members at that moment.  

Having said all of the above, I must acknowledge that one occasionally encounters false sevenths and false seconds in Bach’s chorales as parts of strong lines that Bach did not want to compromise melodically to avoid those “false” resolutions. However, it is good not to encourage the students to use them, unless they have become real masters or everything else.

Thank you,

Dimitar

Dr. Dimitar Ninov, Lecturer
School of Music
Texas State University
601 University Drive
San Marcos, Texas 78666