| When resolving an altered chord, we assume that the diminished third resolves to a prime, and the augmented sixth to an octave.
The nuance that is in place here has to do with the fact that a leading tone can be re-altered, and therefore chromatically descend(in many cases to the seventh of the following chord. THis means that sometimes after a diminished third a major second follows: |
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| And another nuance: Sometimes composers produce 'really different' solutions See for example the end of the transition in the slow movement of the
Mozart's Jupiter
Symphony.
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