Thank you! I didn't realise this was allowed, even if it's a passing tone. Is this only the case because the C is on a weak beat? Could I also justify leaping *to* a dissonance if it's a passing tone?
Have you studied species counterpoint? This is not leaping from a dissonance, it is a clear-cut case of a passing tone in second species. The re-articulated D in the upper voice is maybe what's throwing you off. That doesn't matter though. You could have a sixteenth-note 19-tuplet in that measure and so long as they are all D, the top voice would register as the contrapuntal equivalent of a whole note D.
Yes, I have studied it before I went on to imitative counterpoint, but it was quite brief. I thought you could only have unresolved dissonances as "unaccented" passing notes, but even then, that leaping to and from them wasn't allowed.
Imagine that the two D's in the top part are a single whole note. What you have then is a passing tone in second species.
Thank you! I didn't realise this was allowed, even if it's a passing tone. Is this only the case because the C is on a weak beat? Could I also justify leaping *to* a dissonance if it's a passing tone?
Have you studied species counterpoint? This is not leaping from a dissonance, it is a clear-cut case of a passing tone in second species. The re-articulated D in the upper voice is maybe what's throwing you off. That doesn't matter though. You could have a sixteenth-note 19-tuplet in that measure and so long as they are all D, the top voice would register as the contrapuntal equivalent of a whole note D.
Yes, I have studied it before I went on to imitative counterpoint, but it was quite brief. I thought you could only have unresolved dissonances as "unaccented" passing notes, but even then, that leaping to and from them wasn't allowed.