<html><head><meta charset="utf-8"></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">Thanks for this, Mark--a beautiful example of 'context rules.' (Is "rules" a noun or a verb?) I think the operative 'rule' here is the 2-3 sus<div>with the subject--we hear the Bb as held over against the C#--not resolving to the A until a moment before the bass moves on, and as </div><div>you point out, the dip to the E after the rest changes the situation, anyway. Also, the further elaboration of this passage in mm 50-1 </div><div>justifies your point. </div><div><br></div><div><span class="Apple-style-span" style="font-size: 12px; ">Donna Doyle</span></div><div><div><div><div apple-content-edited="true"><div> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Helvetica; min-height: 14.0px"><br></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px"><font face="Helvetica" size="3" style="font: 12.0px Helvetica">Aaron Copland School of Music</font></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px"><font face="Helvetica" size="3" style="font: 12.0px Helvetica">Queens College</font></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px"><font face="Helvetica" size="3" style="font: 12.0px Helvetica">65-30 Kissena Blvd.</font></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px"><font face="Helvetica" size="3" style="font: 12.0px Helvetica">Flushing, NY 11367</font></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px"><font face="Helvetica" size="3" style="font: 12.0px Helvetica"><span class="Apple-converted-space"> </span></font></p><p style="margin: 0.0px 0.0px 0.0px 0.0px">______________________</p> </div> </div><br><div><div>On Jul 13, 2010, at 4:14 PM, <a href="mailto:Mark.AnsonCartwright@qc.cuny.edu">Mark.AnsonCartwright@qc.cuny.edu</a> wrote:</div><br class="Apple-interchange-newline"><blockquote type="cite"><font face="Default Sans Serif,Verdana,Arial,Helvetica,sans-serif" size="2"><div>Dear readers of SMT-list:</div><div><br></div><div>Since Dmitri has encouraged many of us to inspect or revisit solutions to the problem of parallel fifths and octaves, I would like to mention an elegant one from Contrapunctus 1 from _The Art of Fugue_. In mm. 24-25, Bach writes a Phrygian cadence (the essential voice leading is, from bass up: Bb-Bb-D-G resolving by contrary motion to A-A-C#-A). The tenor and bass obviously form parallel 8ves (beneath the surface), but Bach embellishes the tenor by inserting E (a diminished fifth below Bb) before A. The lovely little "dip" (Bb-E-A) is not a random solution, but one that had been established as part of the countersubject (see mm. 7, 11, and 15) in two- and three-part contexts. No doubt Bach had the four-part situation in mind when he conceived the "dip", even though its usefulness as a "way out" is not obvious to most listeners until the situation arises in mm. 24-25.</div><div><br></div><div>Mark Anson-Cartwright</div><div>Queens College and The Graduate Center, CUNY</div><div><br></div></font> <br><br>-----------------------------------------------------------------------<br>This communication (including any attachments) is intended solely for the<br>recipient(s) named above and may contain information that is confidential,<br>privileged or legally protected. Any unauthorized use or dissemination of<br>this communication is strictly prohibited. If you have received this<br>communication in error, please immediately notify the sender by return<br>email message and delete all copies of the original communication. Thank<br>you for your cooperation.<br><br>_______________________________________________<br>Smt-talk mailing list<br><a href="mailto:Smt-talk@societymusictheory.org">Smt-talk@societymusictheory.org</a><br>http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org<br></blockquote></div><br></div></div></div></body></html>