A level pupil. Made the mistake of learning Renaissance cadence voicing way before starting A-level harmony course. There's a conflict of interest between the cadential progressions of the renaissance (Cantizans, Altizans, Tenorizans and Bassizans) and the chordal nature of Bach's Chorales eg. Tenorizans in the Soprano line; unresolved Cantizans dropping to the fifth in the alto line; inability to cross parts. This (in my admittedly less-than-humble opinion) makes the individual voice lines clunky, while to rectify the clunkiness leaves final chords on a thin open 3rd. Are there any ways of settling this issue without just sucking up to the system?

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    The conflict is resolved by recognizing that Bach wasn't writing renaissance music. By the mid baroque it was standard practice to have the melody in the soprano instead of the tenor. This wasn't Bach's innovation; it was the hand he was dealt. Many other composers preferred to resolve the leading tone and omit the fifth from the final chord. But what exactly is your question? What needs settling?
    – phoog
    2 days ago
  • Why would one need to resolve any such conflict? Nobody in their right mind would claim that Bach's compositions are a strict implementation of Renaissance rule sets—they aren't even a strict implementation of Baroque rule sets. The rules do not have the absoluteness of formal logic rules, and Bach puts out a pretty impressive ratio of musical omelettes in relation to the number and size of eggs he breaks.
    – user94663
    2 days ago


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