IP 33 Can you Double The Leading Tone? YES YOU CAN!!!!!

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[@semaJ455]

Love the hat, love the bow tie, and the video was very informative as well. Thanks.

[@lorenzomorgoni524]

Dubois (treatise) states that "the doubling of the leading tone is frequently used in counterpoint to give a better melodic contour to the parts; it also happens very often that the rhythmic values dictated by some species don't allow the melody with the leading tone to rise to the tonic" (quick translation by me).

[@RichardusCochlearius]

Great Observation Lorenzo!

[@davidgleba3832]

Why couldn't that G# in the alto part descend stepwise to an F# instead of ascending to the A#? It could also descend by a fifth to a C# or be tied over the bar-line as a suspension.

[@alexandrusimo899]

also if we ignore the diminution of the tenor the g# - a# is moving in parallel octaves to the alto part (a bit old fashioned thinking, i know). having the alto move stepwise downwards would solve it, while also creating a nice cadence with the bass, and creating a better melodic contour (no jump from the leading tone). there are cases where doubling the leading tone might work, but this is not one of them.

[@shamans2]

I guess that in this case it would break the sequence if he did that.

[@davidgleba3832]

@@shamans2: Not in an obvious or intrusive way; there is a reason why the G# is doubled in the previous bar in the alto: the tenor leaves the G# after the first beat. I see no compelling reason to double the A#; I would have written an F# in the alto there.

[@shamans2]

​​@@davidgleba3832still, it would break the sequence, visually wise. Music is visual too. Bach was a perfectionist.

[@davidgleba3832]

@@shamans2: The sequence is over at that point; composers often break sequences at the end; the chord needs another F#, as the bass (pedal) leaves the F# after the first beat; a perfectionist would realize that; moreover, as is stated in the video, the piece was probably composed by Krebs, not Bach.