absolutely. I am sorry for that - I tend top write for two treble;e and two bass voices, using the Bass and Treble clefs. Then I will transpose parts into whatever instrument they will be for. In this case once I am done, I will transpose the tenor voice into the C clef for the viola.
What you term "misspeaking" and "similar motion into a fifth" was actually quite the correct term as it was indeed a parallel fifth. Those are called hidden parallel fifths and are as forbidden as explicit ones--kind of like the one that you have from the second to the third measure in the outer voices (Bass: G to A; Soprano: D to E). I don't mean to be rude but for someone who has studied counterpoint you seem quite eager to disregard its most fundamental principles. You could solve most of your problems in the last two measures by incorporating greater motion into your bass line and thus rendering the lower inner voice more stable.
I often work by filling in a skeleton bass line for a melody. Good to have this approach reinforced. Thanks for the post
Helpful analysis. Thanks.
The Viola should be written in the alto clef.
you are absolutely correct! When I initially write this stuff I use treble and bass clefs, as I am not as conversant in Alto clef. My apologies!
when I finish things up, for publication or performance, I convert the viola to Alto clef. Thank you!
absolutely. I am sorry for that - I tend top write for two treble;e and two bass voices, using the Bass and Treble clefs. Then I will transpose parts into whatever instrument they will be for. In this case once I am done, I will transpose the tenor voice into the C clef for the viola.
What you term "misspeaking" and "similar motion into a fifth" was actually quite the correct term as it was indeed a parallel fifth. Those are called hidden parallel fifths and are as forbidden as explicit ones--kind of like the one that you have from the second to the third measure in the outer voices (Bass: G to A; Soprano: D to E).
I don't mean to be rude but for someone who has studied counterpoint you seem quite eager to disregard its most fundamental principles.
You could solve most of your problems in the last two measures by incorporating greater motion into your bass line and thus rendering the lower inner voice more stable.
How did you determine what the cords were going to be?