Nikolai Rimsky-Korsakov · sección 73 de 96

Retardos ascendentes y simultáneos

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§ 71.— 1) Los retardos ascendentes de segunda menor son más satisfactorios que los de segunda mayor; los retardos ascendentes más empleados son las sensibles que retrasan la tónica.

La nota de resolución no debe encontrarse en una voz más aguda que la del retardo:

BAD — GOOD — Fig. 297 · Verlo en el lector

Tampoco debe encontrarse en la contralto, ni en el acorde de sexta:

[Example] — Fig. 298 · Verlo en el lector

2) En los retardos dobles y triples, las voces deben moverse por terceras y sextas paralelas o por movimiento contrario:

3) A veces dos retardos, cada uno incorrecto por sí solo, se vuelven correctos al combinarse:

Bad: the soprano suspension D sounds against C, its note of resolution, in the tenor. Bad: the tenor suspension B sounds against C, its note of resolution, in t — Fig. 300 · Verlo en el lector

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