![]() On alternative would be to use harmonic-descending there X:1īut again, that sounds a bit Spanish. Using a g-natural there would cause a pretty bad clash between the voices: X:1 At the same time, the alto needs to cross the ⅵ / ⅶ territory to get down to the Ⅴ (e). Here, the bass is already going up in melodic minor to the A root, and especially if the bass does this you really want the leading note effect, so it is F♯-G♯-A. For example, the fugue that RRR brought up has this passage: X:1 In particular if one voice already has one of these raised tones, it would be problematic to un-raise them in another voice. Of course that doesn't mean you can't use raised ⅵ and ⅶ degrees when going downwards. But when going down, it's more sensible to just leave both of them natural. When going up, you still want the leading tone, hence you raise the ⅶ and also the ⅵ. Melodic minor avoids these 1½ tone steps to create smoother melody lines. In harmonic minor, this unresolvedness is not as apparent because the attention will be more drawn to the exotic (if not somewhat jarring) 1½ tone step: X:1 If you go down instead, this can rather leave a feeling of unresolved tension. The main “purpose” of the raised degrees in ascending melodic and harmonic minor is to create a strong leading note: X:1Ĭlearly, this leading tone only makes sense if you actually do resolve it upwards.
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