[Smt-talk] Reply to Dmitri Tymoczko's "Doubling the tone of resolution" thread, Nov. 2012

[Alexander Morgan]

Dear Professor Tymoczko,

Thanks for sharing your findings on resolution-tone doublings.  Although
it's a bit of a different question, I am very curious to know what you
would find in the Bach chorales about the contrapuntal practice of doubling
the tone of resolution at the moment of resolution in 4-3 suspensions.
 This is something I was often advised to incorporate whenever possible
when I was first learning counterpoint.  To be more specific here's the
situation I'm referring to:

An [0, 0, 5, 7] sonority passing through an [0, 2, 5, 7] before finally
resolving to an [0, 4, 4, 7]

This could also occur without the intervening passing tone, i.e.: [0, 0, 5,
7] going to [0, 4, 4, 7].

Of course the suspension could have been an augmented fourth to begin with
which would be the same but with "6's" where my "5's" were above.

With minor triads, there would be two possibilities for the intervening
passing tone:

[0, 0, 5, 7] passing through either an [0, 2, 5, 7] or an [0, 1, 5, 7]
before resolving to an [0, 3, 3, 7].

The passing tone could be omitted as in the major.  This would result in:
[0, 0, 5, 7] going to [0, 3, 3, 7]

I'm really the most interested in knowing about the situations with the
intervening passing tones.  I would appreciate any input you have.

Thank you,

Alexander Morgan
alexander.morgan at mail.mcgill.ca
McGill PhD Student
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