ansthenia Posted May 10, 2015 Share Posted May 10, 2015 Hello I'm a little unsure if the 4th tone of the 3rd species can leap to a different tone if it's consonant with the cantus firmus but dissonant with the 2nd species. For example: http://i794.photobucket.com/albums/yy222/ansthenia/Screen%20Shot%202015-05-10%20at%2008.36.10.png Ignoring the fact that the amount of similar motion isn't very good, Is this leap here ok in terms of handling dissonance? I thought maybe it's acceptable because the 2nd species, the note at this point which is causing the dissonance, is resolved by step? Thanks for your time Quote Link to comment Share on other sites More sharing options...
Jope Posted May 20, 2015 Share Posted May 20, 2015 I think this fragment doesn't show enough to finally judge that thing, but imagining how it sounds I find it odd. The final "chord" is not even a real triad because the "e" is doubled. Did you listen to it yourself? That said, it may be ok in a greater context. And I had to think of Bach's "Brandenburg Concerto" No. 1, 2nd movement, which contains some naughty dissonances. Quote Link to comment Share on other sites More sharing options...
Composer14464 Posted August 14, 2015 Share Posted August 14, 2015 If this is for a theory class, I would say your teacher will be happier if you tied the C into the 2nd measure instead of leaping to the E. You've got A minor for the 1st 2 beats. But in beat 3 and 4, you're sort of starting to pass into C, but you're not going to the dominant, which is what you're teacher will be expecting you to do. I think it would make your theory teacher happier if you dropped your bass voice to the G in beat 3, had your middle voice move to E on beat 4 and then dropped your Bass to C on beat 1 of measure 2 and stayed on the C in your soprano voice for beat 1 of measure 2. I haven't taken a counterpoint class in 10 years, so don't hold me to it though. Quote Link to comment Share on other sites More sharing options...
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