My example:

The harmony in bar 28 is C sharp half dim 7. On the off beat of beat 2, I have root C sharp (repeated harmony note- tenor part [alto clef]), sounding at the same time as the 7th B (aux harmony, soprano, highlighted). The 7th has been added later in the bar as an aux harmony note, and has been prepared by leap. I am aware that two decorative notes sounding at the same time should really sound in 3rds/6ths, but to me this actually sounds fine.

  1. The 7th interval here is followed by another dissonance (dim 5th- C sharp- G), before resolving in the next bar. Is this a no no? Or can we sometimes follow a dissonance with another dissonance in four part writing? It seems to work here for some reason.

  2. the 7th does eventually resolve by step in the next bar. It does however leap down to G before doing so. Is it okay for the 7th to move elsewhere whilst the harmony stays the same, as long as it resolves by step when the harmony changes???

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  • Are you writing in a particular style? For instance, is this for a counterpoint class, or just a general theory class? – Richard May 9 at 16:27
  • Hi Richard. This is actually a piece I am writing. But I am working towards grade 8 theory by myself, and would particularly like to know about the treatment of the 7th in the baroque, classical and romantic eras of the common practice period. The same question can be applied of course to the alto part, as again the 7th moves elsewhere before resolving by step in the next bar. Any help gratefully received ! – EdB123 May 9 at 17:48

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