In-Depth Music Theory Notes on Embellished Resolution and Related Concepts

Lesson Objectives

• Understand and recognize:
  • Embellished resolution
  • Suspension chain
  • Pedal point
  • Chord changes at resolution points or non-harmonic notes with consonant support

Consonantly Supporting a Non-Harmonic Note

• In a passage from a Bach chorale:
  • The note A (in the anacrusis) does not belong to the prevailing harmony (I6 chord: B-G-D).
  • The bass line moves to C while the A is sustained, creating a consonant sixth with the bass, despite both being non-harmonic.
• Commonly, non-harmonic notes are supported by a consonant tone in another voice, reducing perceived dissonance.

Changing Bass or Chord at Point of Resolution

• Changes can occur at the moment a non-harmonic note resolves:
  • Example:
  • A bass voice may leap an octave when a suspension resolves, such that:
  • The new note is consonant with the chord (e.g., A in F Major triad).
• This is a frequent practice in harmony when resolving harmony or passing notes.

Embellishing the Resolution

• Sometimes resolutions are embellished by adding tones between the non-harmonic note and its consonance.
• Example: A 4-3 suspension can have additional notes hinting at the resolution, maintaining interest before arriving at a strong consonance.

Suspension Chain

• Defined as a sequence where:
  • As a suspended note resolves, a new suspension occurs immediately.
  • Example from Haydn’s Symphony No. 104 shows this cascading effect.

Pedal Point

• A pedal point is a sustained bass tone beneath changing harmonies:
  • Can occur on any scale degree, but most commonly on the dominant or tonic.
  • Example:
  • A long dominant pedal on B, followed by a shorter tonic pedal point on E.
  • During pedal points, upper voice dissonances are assessed ignoring their relation to the bass.

Detailed Analysis Process

• Analyze a Bach chorale (“Danket dem Herren”):
  • Identify roles of non-harmonic notes within the harmonic context.
  • Example breakdown:
  • First suspension: A in bass, B in the top voice, resolving to G.
  • Change in bass with a new suspension occurs right after.
  • Dissonances: Observed when bass progressions lead into new resolutions, e.g., D in the bass as a passing note leading to consonance.

Special Note on Alternating Interpretations

• The analysis may allow alternative interpretations:
  • E.g., D Major as a possible IV chord in A minor changes perception yet may still align with A minor triads during embellishments.
• Notable melodic runs (5-#6-#7-8) emphasize movement through scales, enhancing harmonic richness.

Example Summative Points

• Suspensions commonly lead to strong resolutions, accentuated by consonant changes in harmonies.
• Accelerated occurrences of non-harmonic notes feature prominently, often leading up to cadences.
• Use of melodic minor passage helps transition alignments into parallel major, resulting in choices like a Picardy third.