How to make a Boring Sequence very Interesting and create Variety in your Composition!

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[@claudiomonteverdi7126]

Great advice! I've noticed often in the galant style that sequences are divided like this: max two repetitions and a variation that leads to the cadence. Grande Riccardo, sei un mito.

[@YourFavouriteColor]

I think your advice about phrasing and variation are useful, but I wanted to ask about some of your counterpoint here. As I understand it, tensions/non chord tones should typically be avoided as arrival points/on strong beats.so that F# over the E would be a passing note, but falls on beat 3, which leads to a systemic issue with the next passage, where the E falling on beat 3 creates a minor 9th against the D# in the bass, which as I understand it, is typically not something you see in common practice(I'm not a baroque scholar though. I'm more of an all around composer so I may be wrong)
Wouldn't it make more sense for the right hand to go G# B A G# E with the bass going E D# E, then the next passage, the melody goes F# A G# F# D# E with the bass going D#, B, B#, C#, then third passage, melody goes D# F# E D# B C# and the bass goes B G# B A? then it continues logically from there you get the picture
this way chord tones fall on strong beats and passing tones/dissonances fall on weak beats? or is this level of dissonance/unstable intervals more common in baroque than I am aware?

[@pepmassana7743]

Fantàstic Ricardus!!