解決

出典: フリー百科事典『ウィキペディア（Wikipedia）』

(Rev. 01:25, 6 November 2006)[1]から転記

解決は西洋音楽の調性音楽の理論において、単音と和音のいずれか片方または両方において、不協和音あるいは不安定な音から、より終止的なあるいは安定した音、すなわち協和音に移ることをいう。

[編集] Basis

Resolution has a strong basis in tonal music, since atonal music generally contains a more constant level of dissonance and lacks a tonal center to which to resolve. The concept of "resolution", and the degree to which resolution is "expected", is contextual as to culture and historical period. In a classical piece of the Baroque period, for example, an added sixth chord (made up of the notes C, E, G and A, for example) has a very strong need to resolve, while in a more modern work, that need is less strong - in the context of a pop or jazz piece, such a chord could comfortably end a piece and have no particular need to resolve, see: fadeout.

[編集] Example

An example of a single dissonant note which requires resolution would be, for instance, an F during a C major chord, CEG, which creates a dissonance with both E and G and may resolve to either, though more usually to E (the closer pitch). In reference to chords and progressions for example, a phrase ending with the following cadence IV-V, an imperfect cadence, does not have a high degree of resolution. However, if this cadence were changed to (IV-)V-I, a perfect cadence, it would resolve much more strongly by ending on the tonic I chord.

[編集] Use in music

Dissonance, resolution, and suspense, can be used to create musical interest. Where a melody or chordal pattern is expected to resolve to a certain note or chord, a different but similarly suitable note can be resolved to instead, creating an interesting and unexpected sound. For example, the deceptive cadence.