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So, what I meant to say is that melodic dissonance seems to be justified within the larger context of harmony, similar to what I mentioned earlier. The question was whether you know the exact conditions for this justification.
In the case of that ornamental dominant seventh, in some instances I know, as you said, consecutive three parallel tenth motion allowed the ascent of F. However, according to Aldwell, it seems that such dissonant leaps and parallel motions are also permitted, I don't feel particularly convincing.
I didn't mean to say that appoggiaturas and leading tones have upward functions at that moment. What I meant is viewing harmony in a broader context. For example, when considering the penultimate dominant section of a c# minor fugue, from the perspective of the soprano line in a broader context, B# would be structural, and the rest would be ornamental phenomena. Therefore, I think that, for "musical reasons", the E in measure 109 is structural, and beat 2 of measure 108 is an anticipation.
I intended to watch it like you, so I intentionally brought those examples, as I find musical interest in those parts. It seems like you know how music works.
So, I started to separate the terms "non-chord tone" and "contrapuntal." If we think completely contrapuntally, whenever there's dissonance between two voices, one of them should be contrapuntal. In such discussions, explicit cases like sevenths or six-four chords, or examples such as viio6, where there's a tritone with another voice, suggest that one of them is contrapuntal. However, when I delve deeper into this, it becomes a bit tricky to analyze.
If that's a suspension, then from my perspective, it seems reasonable to view it as "decorated resolve" at measure 105, beat 2. / I've checked some unexplained points in the Bach chorale.
I checked it out. I was listening to the score on YouTube, so I captured it right away, but when I listened to it again, I realized it was G, so I checked it and fixed it now. I apologize.
