Figure 7.5.7. The sonorities on the chord lattice provide waystations allowing composers to break large movements into smaller steps. Instead of moving directly from DGB to CEG, as in (b), a composer can use nonharmonic tones to smooth out the journey (c). The path in (a) depicts the music in (c). Historically, the F in the bass voice of (c) originated as a nonharmonic passing tone, but was eventually granted harmonic status as part of a seventh chord on G.