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tahoebrian5

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Posts: 18
Reply with quote  #1 
Can anyone recall any lessons showing some delayed resolution examples? I know I have come across this but can’t for the life of my find any now that I’m looking. Thx!
RobertS

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Posts: 32
Reply with quote  #2 
hi Tahoebrian5: Mark Levy’s recorded lesson #46 captures Ted starting a discussion about suspended notes and “delayed resolutions” (starting at 5min10 sec mark) and from there goes into a discussion about the Cycle of 6ths. I did a transcription of this here in case this is what you were interested in:

http://www.tedgreene.com/transcriptions/assets/Ted_Greene_and_the_Cycle_of_6ths_Parts1-2byRobertSmith.pdf


regards
Robert

James

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Posts: 307
Reply with quote  #3 
For anyone reading this topic and wondering, "What are these guys talking about?  What's a delayed resolution?"  Here's a quick explanation.

Often music has tendency tones.  That means that a note pulls in a certain direction.  You might be playing a single note solo and the note you're playing says to you, "I really want to move down a step."  Or up.  You feel the pull.  That's a tendency tone.  Now you can give in to the pull.  Or you can resist.  Or you can tease.  That is, you can slyly pretend to not resolve, only to resolve a little later.  That's delayed resolution.

This happens in harmony, too.  A Dsus4 chord may want to go to a D chord.  But instead of immediately allowing the G note in the Dsus4 to pull down to the F# note, you decorate and go up to an A note, down to an E note, and then finally resolve to an F# note.  That's a delayed resolution.  Or a decorated resolution.  The pull happened, but you satisfied it indirectly and delayed.

As the history of music has marched on, we've gotten more used to dissonance.  We don't always need resolution.  We can be fine with some tension and never resolve it in the way that the old classical masters did.  In a sense, that is perpetually delayed resolution.

In any case, tendency tones are extremely important to be aware of in music.  How do notes pull?  Is that pull satisfied, delayed, ignored?
Michel

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Reply with quote  #4 
This is a principle that was applied in the free -jazz no?
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tahoebrian5

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Posts: 18
Reply with quote  #5 
Thanks for the thoughts. I did listen through the Levy lesson and there are some good examples for sure. Looks like I’m going to have to pick through the audio and see what is going on. My impression at this point is to choose any of the common suspensions and have the melody hang while the harmony moves which creates the suspension, then move the melody note down to resolve either directly or via decoration as mentioned above.
PaulV

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Reply with quote  #6 
You might want to also look thru Ted's Baroque lesson pages.  I'm not recalling anything off the top of my head, but this seems to be a decoration that he would illustrate in some Baroque-type exercises.
Happy hunting....and please do share with us what you find. 

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RobertS

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Reply with quote  #7 
There are some very simple and "pure" examples of delayed resolutions in the Baroque Improv Part 1 audio. Attached is an excerpt from page 8 of Will Kriski's transcription of that audio. I've scanned my marked up copy of that page - hopefully this is useful in quickly seeing how Ted is using IV, V, I chord tones with delayed resolutions to the I (or i) chord. Ted's examples here are of such purity, let each note ring for as long as you can hold them with lots of reverb - its a bit of heaven [wink]

 
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tahoebrian5

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Posts: 18
Reply with quote  #8 
Thanks Robert, very interesting stuff.
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