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Hi Máté, I'm really pleased with what you've done here! I will have to double check later, but as far as I can see you haven't done anything wrong at all.
However, there's one minor thing I'd like to mention quickly.
In your plagal cadence in E major, the tenor voice is actually above the alto. This is called part-crossing, and sometimes when you're writing complex counterpoint it can't be avoided, but it's never a 'desirable' thing to do, if you see what I mean. All you need to do here is swap the two voices around, putting the two Es in the alto.
To answer your questions:
1. It's entirely up to you where you double your notes, and it all depends on the context - the most important thing to remember is that the voices need lead smoothly.
2. No, it's not always necessary to keep the tenor and bass as far apart as possible. Sorry I should have elaborated more on this, and I will talk more about it later to make it all clear.
If you look at the first chord (iv) of your plagal cadence in f minor, you can see that the notes are arranged as close together as is possible within an octave. This actually has a name - close position - and with this chord, in this position, it sounds good. The main reason for this is that the bass note is quite high up. If you moved the chord down an octave it would sound quite muddy though, especially if sung!
The first chord of your A major imperfect cadence is what might be called open position, and sounds much more resonant because of the 10th between the tenor and bass. But basically the only 'rule' you should observe is that the tenor and bass should not be too close together when very low down, and that the upper voices should never be to far apart from one another. There's also an element of taste in all this, and you'll get a good sense for it as we get on to more complicated things!
3. It would be ok to double the third in this situation, although in that particularly situation there's no real reason for it, and I think it sounds stronger to keep the semi-tonal step down from E to D-sharp, but obviously this would depend very much on what came before.
4. It is possible to create an imperfect cadence starting on iv in root position, but its tricky, and, I think it sounds a bit incomplete (I'd be expecting a i chord after the V, which would make it into a perfect cadence instead). As you'll see in the next lesson, it's quite difficult to move between chords that are 1 step apart (like iv and V), and you have to be very careful to avoid consecutives.
I'm impressed with what you've done in the last cadence with ii6/3. As it turns out, a lot of composer use diminished chords at imperfect cadences (particularly Mozart actually), and it sounds very strong. We'll discuss these in more detail very soon!
Keep up the good work.
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