EXTEMPORE PLAYING - online tutorial

40 Lessons in how to correctly play improvisations.

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Discords                                      31
Here are a few specimens.
At a the third is suspended by the fourth—a very smooth and easy progression. At b, where the same thing is taken in the bass, it will be noticed that there is some freedom in the motion between soprano and tenor. This, though incorrect in vocal music, need not be avoided by the keyboard composer, for the effect is perfectly satis­factory to the ear, and much smoother than a clumsy voice-leading to avoid the octaves. At c the \ chord results from the suspending of two voices: this is an instance of many cases ambiguous to the analyst but clear to the listener. There is no need to decide whether the chord marked * is a second inversion of the chord of C, or merely a suspension over G; the effect upon the ear is of the latter, just as much as in the case of a and b.
This last (c) is partly for three voices only. The student may now play in this manner when a fourth voice is clearly superfluous. At + is an ascending ninth, which also doubles the third on resolving; let the ear judge. At d are further cases of ascending suspensions; the leading-tone is always correctly taken up, and here it carries its companion with it. At e, f and g are shown various ways
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