weird way resolution and preparing of 7th note in 7 chord

Question

i read a part of book of Theory of Harmony (i'm not read entire book because just some guy scanning book for me for answer my question)

and i saw so many weird resolution and preparing of 7 tone in 7 chord

1. first of all, Can the 7th note not move and can be resolved by becoming a consonant in the next chord? (i'll not show image to this, cause in the book, every chord is have this case)

2. can 7th note resolved by Skip?

and that cases show 7th note can resolved by skip. But I don't know why, and if it's possible for certain chords or for all chords.

3. can 7th note appearing by skip?(in the book that case is called 'half preparing')

(second image is major too.)

same question for this case. I don't know why can, and if it's possible for certain chords or for all chords.

4. what case is this in IV7?

it just look like a my first question. but that resolution is called 'IV7's independent usage' (i'm not exactly. cause that word is write different language, not english)

What kind of special progression is this? Is there something else? why called this independent usage or someting like that.

Answer 1

1. first of all, Can the 7th note not move and can be resolved by becoming a consonant in the next chord? (i'll not show image to this, cause in the book, every chord is have this case)

Yes.

Here is a good example of it in a common sequence...

...all the sevenths are held to become (to resolve to) thirds in the next chords.

2. can 7th note resolved by Skip?

Yes.

I think the point is to first understand the strict treatment of dissonance according to the "learned style" contrapuntal rules, then to understand that to follow or not follow those strict rules becomes an artistic choice.

A particular case comes to mind. Ralph Kirkpatrick discusses the unconventional handling of dissonance and seventh chords in the keyboard music of Domenico Scarlatti in his book Domenico Scarlatti. He points out how Scarlatti frequently would leave dissonant sevenths "hanging" where a full dominant seventh chord could resolve to just the tonic in octaves. He also describes Scarlatti transposing voices into different octaves. So a dissonant seventh in one voice might be resolved by the third, but with that third being in a different octave that then seventh. Those are examples of either resolving by "leap" or simply not resolving by strict resolution. You might also consider them resolution by implied harmony.

If you apply that concept from Kirkpatrick to your first example, you would say the resolution of E5 is displaced to the octave below with D4 rather than the convention D5.

When you have a few centuries of musical culture based on the harmony of V7 I, you don't always need to literally resolve the seventh of V7 to understand the tonic played in octaves represents a full tonic triad. In other words, you could say the listener's understanding dominant to tonic harmony is more important that the details of chord voicing and voice leading. You could extend that to other harmonies like the subdominant or the secondary, modal chords of a key.

Answer 2

To know if a particular harmony device can or can not be used depends on a musical context or on a pedagogical context. Nothing is forbidden a priori in music, at least not after we have gone through the 20th century, so the answer to the four questions must be "yes, you can", unless you can provide more context.

If those are examples in the book you are reading, it is probably safe to assume that they are correct, given that pedagogical context. I have not seen examples like (1), (2) or (3) in other harmony textbooks, although I know that in Schoenberg's Theory of Harmony resolving dissonances by skip is eventually allowed under certain constraints. Case (2) is probably called 'half-preparing' because a 'full-preparing' would require that the dissonance was also introduced by stepwise motion, in the same direction as the resolution, resulting in it being considered a 'passing tone'. The 'full-preparing' way of dealing with the dissonance is standard in harmony textbooks. In case (4) the dissonant seventh is treated by a another standard procedure called suspension. It requires that the dissonance first appears as a consonance (the third of a I, in the example) then remain 'held' while the others notes move to make it a dissonance (as in the IV7) and then resolve stepwise (the V2). I don't know what 'IV7 independent usage' means in that context, though.

Answer 3

There is not one single theory of harmony in music. The goal of music theory is to describe what musicians and composers are doing and to explain the music in a system of rules. Rules often have been derived from the practice - sometimes rules have been postulated by composers or other authorities - like the church fathers

There was a time where a dissonance had to be prepared and the resolution of the leadtone had to be into the octave and skips should be avoided. But such rules were not lasting for eternity.

IV7- iii -V2 can be understood as a cadence were iii is a substitution of V13.

If you read a book of harmony you always have to mind the social and historic context.