During annotation of the first movement of Corelli op. 4 no. 12, there were a few passages where I preferred to read the figures as showing long passing tones and apparent chord changes, rather than true changes of harmony. This issue arises frequently, where one analyst asserts a change of chord but another analyst prefers to call that movement within a chord.
For instance, in bars 32-33 of the Corelli movement, an implied soprano 7-6 suspension resolves on beat two over a iio6 , followed by a step down through tonic on beat 3 to the leading tone over the dominant on the downbeat of bar 33. I prefer in this case not to mark a chord change to iv, but a reviewer suggests to mark the iv.
It would be nice to have a symbol that indicates continuation of chord -- perhaps an asterisk (*) -- and could be followed by the hyphen and an alternative interpretation. My preferred annotation for that bar would be iio6(2) iio6 *-iv.
During annotation of the first movement of Corelli op. 4 no. 12, there were a few passages where I preferred to read the figures as showing long passing tones and apparent chord changes, rather than true changes of harmony. This issue arises frequently, where one analyst asserts a change of chord but another analyst prefers to call that movement within a chord.
For instance, in bars 32-33 of the Corelli movement, an implied soprano 7-6 suspension resolves on beat two over a iio6 , followed by a step down through tonic on beat 3 to the leading tone over the dominant on the downbeat of bar 33. I prefer in this case not to mark a chord change to iv, but a reviewer suggests to mark the iv.
It would be nice to have a symbol that indicates continuation of chord -- perhaps an asterisk (*) -- and could be followed by the hyphen and an alternative interpretation. My preferred annotation for that bar would be iio6(2) iio6 *-iv.