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Figure 7.5.7

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.



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