-the ninth appoggiatura between bass and soprano at measure 4 on Bb is unprepared
this chord is a C7 in 3rd inversion, so there is no ninth but only a seventh correctly taken.
Oracolo wrote:
- between measures 4 and 5, bass and soprano, blatant octaves
I thought about this and I didn't want to spoil the progression of sixths for S. and T., and I had even thought about adding the F in the alto to create a total parallelism that would have occurred.
Oracolo wrote:
- at measure 9 I would change the bass by doing la2 la1 so as to arrive at the D of the next measure by contrary motion relative to the soprano (given the extreme parts). Too bad the bass is fixed, I would devise something else... because they aren't pretty
the bass is fixed so there was nothing else to do, although the soprano arrives on the octave by stepwise motion.
Oracolo wrote:
- D A, yes, fifths between Bass and tenor at measure 3
I put the high D in the T. precisely to avoid the effect of fifths, even if perhaps it could have been resolved by putting a long D instead of the A.
Oracolo wrote:
- At measure 5 of the altos, before letting the E arrive (the fifth of the chord), I would pass through the A to avoid leaping fifths in the upper voice (between altos and basses)
this relates to the first point.
Oracolo wrote:
A at measure 9 the soprano leaps to a D while the tenor holds a C#... a bit strong (better if it were passing or not passing through it at all)
on the A major chord, the D is a passing note. The C# is necessary as the III degree.
Oracolo wrote:
I won't point out the leaping seventh at measure 9 of the altos, even though you discussed it with others, you use it too
I reviewed my messages and to tell the truth I didn't find where I discussed the leaping VII...
Oracolo wrote:
In general, it is a very arpeggiated counterpoint (which leads to situations like the leaping D onto C#) and there are points like the last 3 measures of the altos that are melodically redundant and repetitive
the bass didn't offer much especially in the last three measures and having to stay within certain limits imposed by the exercise, there wasn't much room to maneuver.
Besides, these exercises are not made to be melodic, or rather we interpreted them in this sense because it seemed that Gassy wanted something academic.
Of course, without the constraints of tonality and certain rules, much more could be done.
O
Oracolo
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Reply 62 by Oracolo
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317
rstrauss wrote:
this chord is a C7 in 3rd inversion, so there is no ninth but only a seventh taken correctly.
You are right, but that inversion taking the seventh by leap, I don't know how stylistic it is
rstrauss wrote:
i reviewed my messages and to tell the truth I didn't find where I discussed the VII^ by leap ...
You were discussing with AleGozzo
rstrauss wrote:
Meas. 7-8
7th of dominant taken by leap in the contraltos Bb-G
And Gozzo replied
> I don't agree here, the dominant 7th does not need to be prepared.
He who wounds with a seventh, perishes by a seventh
O
Oracolo
Member
Reply 63 by Oracolo
Posts
317
I just saw that there is also a version of Ratatouille...
> I don't agree here, the dominant 7th does not need to be prepared.
He who strikes with a seventh, perishes by a seventh
right ... but there is a substantial difference: mine was taken with an ascending leap while Ale took it with a descending leap and that is why I noticed it.
i forgot to add "descending leap", but that was the reason.
The idea of successive entries is interesting, but at bar 2 the Vln2 starts with a unison that doesn't work for two reasons: the tonic A is missing and it does not respect the descending pattern of the Vla's proposal.
A dissonance is also created between Vla and Vln2, albeit in the form of a suspension, which clashes quite a bit.
Bar 2 fifths between Vla and Vln2
bar 2-3 the C# does not resolve to D ... if it had done so there would have been fifths between Vla and Vln2 ... even an E in the Vla would not have solved the problem: hidden octaves between Vln1 and Vla
bar 2 if you wanted a chord on the VII° degree it would have been fine, but the G of the Vln2 had to go to A in the last eighth note and then return to G.
Bars 4-5
the resolution of the Vla with an octave jump is a bit risky.
In general, apart from certain dissonances that I might accept and apart from the errors above, the first line only has D min - E min and A, and the second line has the last 3 bars with the same chord on the pedal despite the appoggiatura at bar 9.
