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Richard
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May I ask you to cite where it says a diminished fifth must resolve properly? I ask because there will be moments later, with more advanced chords, that diminished fifths can't resolve properly. (One will be a viivii°o77/V, where resolving diminished fifths properly will result in a doubled leading tone, one of the worst of all voice-leading discretions!)

In my experience, a leading tone in an inner voice can always resolve down, no matter if it's part of a diminished fifth or not. As such, this tenor G♯ can resolve down to E no problems.

More problematic, however, are the parallel octaves going into the final chord: both the alto and the bass have B moving down to A.

Lastly, is this an exercise you were given, or one you composed? These viivii°o66 chords are very often passing chords that move from I to I6 or vice-versa. They do happen as neighbor chords (as you have here—note that the bass B is a neighbor to the surrounding As), but that seems to be a bit less common than moving up to I6. It's possible you're ears want to hear that passing progression, and that's why you're "not really happy with it."

May I ask you to cite where it says a diminished fifth must resolve properly? I ask because there will be moments later, with more advanced chords, that diminished fifths can't resolve properly. (One will be a viio7/V, where resolving diminished fifths properly will result in a doubled leading tone, one of the worst of all voice-leading discretions!)

In my experience, a leading tone in an inner voice can always resolve down, no matter if it's part of a diminished fifth or not. As such, this tenor G♯ can resolve down to E no problems.

More problematic, however, are the parallel octaves going into the final chord: both the alto and the bass have B moving down to A.

Lastly, is this an exercise you were given, or one you composed? These viio6 chords are very often passing chords that move from I to I6 or vice-versa. They do happen as neighbor chords (as you have here—note that the bass B is a neighbor to the surrounding As), but that seems to be a bit less common than moving up to I6. It's possible you're ears want to hear that passing progression, and that's why you're "not really happy with it."

May I ask you to cite where it says a diminished fifth must resolve properly? I ask because there will be moments later, with more advanced chords, that diminished fifths can't resolve properly. (One will be a vii°7/V, where resolving diminished fifths properly will result in a doubled leading tone, one of the worst of all voice-leading discretions!)

In my experience, a leading tone in an inner voice can always resolve down, no matter if it's part of a diminished fifth or not. As such, this tenor G♯ can resolve down to E no problems.

More problematic, however, are the parallel octaves going into the final chord: both the alto and the bass have B moving down to A.

Lastly, is this an exercise you were given, or one you composed? These vii°6 chords are very often passing chords that move from I to I6 or vice-versa. They do happen as neighbor chords (as you have here—note that the bass B is a neighbor to the surrounding As), but that seems to be a bit less common than moving up to I6. It's possible you're ears want to hear that passing progression, and that's why you're "not really happy with it."

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

May I ask you to cite where it says a diminished fifth must resolve properly? I ask because there will be moments later, with more advanced chords, that diminished fifths can't resolve properly. (One will be a viio7/V, where resolving diminished fifths properly will result in a doubled leading tone, one of the worst of all voice-leading discretions!)

In my experience, a leading tone in an inner voice can always resolve down, no matter if it's part of a diminished fifth or not. As such, this tenor G♯ can resolve down to E no problems.

More problematic, however, are the parallel octaves going into the final chord: both the alto and the bass have B moving down to A.

Lastly, is this an exercise you were given, or one you composed? These viio6 chords are very often passing chords that move from I to I6 or vice-versa. They do happen as neighbor chords (as you have here—note that the bass B is a neighbor to the surrounding As), but that seems to be a bit less common than moving up to I6. It's possible you're ears want to hear that passing progression, and that's why you're "not really happy with it."