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Richard
Richard
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In diatonic harmony, tendency tones tend to be one of two things:

  1. The leading tone, which has a tendency to resolve up to tonic (especially when in an outer voice), and
  2. Chordal sevenths, which have a tendency to resolve down by step (no matter what voice they're in).

The logic is as follows: if you double a tendency tone, since these tendency tones have a tendency to resolve in a particular way, doubling a tendency tone will result in parallel octaves, which is of course one of the most strident errors in four-part voice leading.

In diatonic harmony, tendency tones tend to be one of two things:

  1. The leading tone, which has a tendency to resolve up to tonic (especially when in an outer voice), and
  2. Chordal sevenths, which have a tendency to resolve down by step (no matter what voice they're in).

The logic is as follows: if you double a tendency tone, since these tendency tones have a tendency to resolve in a particular way, doubling a tendency tone will result in parallel octaves, which is of course one of the most strident errors in four-part voice leading.

In diatonic harmony, tendency tones tend to be one of two things:

  1. The leading tone, which has a tendency to resolve up to tonic (especially when in an outer voice), and
  2. Chordal sevenths, which have a tendency to resolve down by step (no matter what voice they're in).

The logic is as follows: since these tendency tones have a tendency to resolve in a particular way, doubling a tendency tone will result in parallel octaves, which is of course one of the most strident errors in four-part voice leading.

Source Link
Richard
Richard
  • 85.1k
  • 18
  • 199
  • 373

In diatonic harmony, tendency tones tend to be one of two things:

  1. The leading tone, which has a tendency to resolve up to tonic (especially when in an outer voice), and
  2. Chordal sevenths, which have a tendency to resolve down by step (no matter what voice they're in).

The logic is as follows: if you double a tendency tone, since these tendency tones have a tendency to resolve in a particular way, doubling a tendency tone will result in parallel octaves, which is of course one of the most strident errors in four-part voice leading.