Chordal Incompleteness as an Idiomatic Feature of Voice-Leading in Early Nineteenth-Century Classical Guitar Music

This article examines incomplete chordal structures in the early nineteenth-century classical guitar repertoire as an idiomatic feature of guitar voice-leading rather than as a simple sign of harmonic deficiency. The study follows a comparative, voice-leading-oriented method based on Schenkerian analytical tools and investigates the interaction between the physical structure of the instrument, performance mechanics, and compositional choices. While traditional harmonic theory often treats omitted chord members as a weakening of sonority, the classical guitar presents a distinct compositional environment in which incompleteness may function differently. Focusing on selected works by Fernando Sor, Mauro Giuliani, Dionisio Aguado, Matteo Carcassi, and Luigi Legnani, the study analyzes how incomplete sonorities can function coherently within tonal and contrapuntal contexts. The findings suggest that harmonic clarity is often preserved through contextual voice-leading, registral placement, tendency-tone resolution, and prolongational design. The article therefore proposes that chordal incompleteness in classical guitar music should be understood as a regular component of idiomatic writing. In this respect, the study also suggests the need for more instrument-oriented and holistic approaches to analyzing guitar repertoire. It further emphasizes that examining guitar works, which have received relatively limited attention in traditional harmonic theory, may contribute to a broader understanding of polyphonic music.