Why can't we resolve GBDF to AbCEb?

Question

On page 92 of The Craft of Musical Composition, Hindemith shows three ways of resolving GBDF. The most common way is to use the B as the leading tone, resolve it to C major, and call it a dominant seventh. Another way is to change the F t o an E#, resolve it to F# major, and call it a German sixth. Another way is to change the D to a C## and resolve it to d# minor. At the University of Tennessee, that's called a Hawthorne sixth.

But why can't we use the G for a leading tone and resolve it to Ab major?

Raymond · Answer

Because there is/are no common tone/s - notated OR *virtual* (that is, belonging to the scale of destination key/tonic though only *implied*) - between the dissonant chord and the resolution.

GBDF resolving to GCE (whatever the voice leading, assuming it is ''correct'') - Common tone is G, belonging to both the G7 chord and the C major chord.

GBDE# (German sixth in context of B minor, used with a predominant function and resolving to the cadential V6/4 and then V, OR German sixth in context of F# major, used with an altered dominant function and resolving to tonic key/chord F#, flat 2 [G] resolving downwards to tonic/root) - so, resolving to either B minor chord second inversion OR F# major chord, with early resolution D down to C sharp to avoid parallel fifths - Common tone is B in the first instance, (''virtual'', ''implied'') C# in the second one (chord is C#-E#-**G natural** [flat fifth, hence the *altered* denomination]-B-D, a Vb9 chord in context of F# minor).

Since GBDF to AbCEb doesn't involve any common tone/s between the two chords (much like an F chord to G chord progression in context of C major doesn't involve one - not even a *virtual* one, eg BDF, diminished B chord resolving to either a C chord [G implied] or an A minor chord [E implied]), there can be no talk of ''resolution'' here.

Actually, as *all* notes move upwards by a semitone, a chord progression such as GBD to AbCEb will be understood by our ''tonal ears'' as a mere case of... parallelism! Adding that 'F' would only reinforce a feeling of a simple V7-VI progression in context of C minor to any listener equipped with such ''tonal ears'' - one example among hundreds:
- Beethoven: Piano Sonata No. 8 in C minor, Op. 13 ''Pathétique'', 3rd movement, bars 13-14
https://www.youtube.com/watch?v=Ifj8dwuAzAQ

Best,

Raymond

? · Answer

I haven't a clue, but it seems that you are using the G7 chord as and resolving the whole thing up a half step.

... If you consider the G7, as a I7 chord that happens as a direct modulation in contemporary music, often right before a "coda chorus", and is commonly referred to as  "the truck driver's gear change" or the "Barry Manilow Modulation".

suhwahaksaeng · Answer

Thanks.  I didn't see those parallel fifths.
Thanks to Raymond too.  I see now that such a progression would be possible for a deceptive cadence.

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Why can't we resolve GBDF to AbCEb?

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