Nikolai Rimsky-Korsakov · seção 72 de 96

Retardos Descendentes

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Tradução automática da leitura em inglês. Rascunho; ainda sem revisão por um falante nativo.

§ 70.— 1) A nota em que o retardo descendente resolve não deve estar presente em outra voz no momento do retardo:

BAD: in the first fragment the soprano C is held over the G chord while the tenor already sounds B, its note of resolution; in the second, the tenor E is held o — Fig. 289 · Ver no leitor

Para obter retardos inteiramente corretos, pode-se fazer descer ou subir a voz que constituiria um obstáculo:

Instead of (left): the tenor sounds C, the note of resolution, at the moment the soprano's D is suspended over it; one must write (right): the tenor descends B– — Fig. 290 · Ver no leitor

2) Como exceção à regra anterior, a nota de resolução de um retardo em uma das três vozes superiores pode estar presente no baixo à distância de nona, quando essas notas são as fundamentais de tríades ou de acordes de sétima:

Good: the suspended D (and, in the second fragment, A) sounds a ninth (compound) above its note of resolution, C (and G), which is the root in the bass. — Fig. 291 · Ver no leitor

Nas tríades incompletas, essa exceção também pode ser aplicada em relação ao tenor:

Example: the soprano's suspended D sounds a ninth above the tenor's C, the note of resolution, in an incomplete C major triad (C–C–E). — Fig. 292 · Ver no leitor

3) A sétima e às vezes a nona são as únicas notas de passagem que podem ser retardadas.

4) No momento em que o retardo descendente resolve, as demais vozes podem mudar de posição e até formar um novo acorde, desde que o retardo resolva corretamente em uma consonância:

Example: the soprano's suspension D–C resolves while the other parts move (to C major in first inversion in the first pair of bars, to A minor in the second); f — Fig. 293 · Ver no leitor

5) No momento da preparação do retardo, podem-se inserir notas de passagem nas demais vozes, assim como entre o retardo e sua resolução:

Example: passing notes in the tenor and bass during the preparation, and in the alto and bass between the suspension (D) and its resolution (C). — Fig. 294 · Ver no leitor

6) No momento em que o retardo descendente resolve, uma das vozes pode formar uma sétima de passagem; são toleradas as quintas e quartas que surgem desse modo, das quais apenas a primeira é justa:

Example: in bar 2 the soprano's passing seventh A over B forms fifths with the alto (B–E perfect, then A–D♯ diminished); in bar 3 the bass's passing seventh D u — Fig. 295 · Ver no leitor

EXAMPLES OF DESCENDING SUSPENSIONS — Fig. 296 · Ver no leitor

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