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 | | In particular, I shall claim that the triad and seventh chord of free composition, as harmonic entities, are qualitatively distinct from the "triad" and "seventh chord" of strict counterpoint; the gap between the harmonic and contrapuntal meanings of the terms "triad" and "seventh chord," in other words, simply cannot be bridged. |
 | | Rothgeb, "Strict Counterpoint and Tonal Theory," 282: "In the 6/5 chord of strict counterpoint, unlike that of free composition, both intervals, the fifth and the sixth, must be regarded as absolute rather than as a verticalization of a passing motion. |
 | | The treatment of the seventh in fourth-species counterpoint is suggestive of free composition on two important counts: (1) the seventh resolves downwards; (2) the seventh appears on the downbeat, and thus seems to have a more independent status than, say, a passing seventh on the weak beat. |
| www.societymusictheory.org /mto/issues/mto.97.3.1/mto.97.3.1.agmon.art (5202 words) |
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