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Hi Máté,
Thanks for doing the homework so quickly. You've done a really good job, I'm impressed! The only problem, as you mention is the second bar of the a minor exercise. I think to be honest, in this sort of exercise, the best thing would have been to move to C major briefly, but having a G natural in the bass under the B and D, and then move down to C, creating a circle of fifths progression. Or otherwise, you could have had G-sharp followed by A, and then just tied this A into the next one. This would have been ok (but not great), because the dissonant D comes on a weak beat. Don't worry, it was a tricky exercise!
As you say, the D you have is unprepared, which in two part counterpoint like this, isn't really appropriate - although in other situations it might be. Having the B is more of a problem actually, because the C on the fourth beat of the melody isn't harmonised properly, I really wanted the bass note to be an A or a C here.
In the last exercise I didn't notice that 6/4 - thanks for pointing it out! I still wouldn't have it; I would change the E flat in the top voice a D, and if you wanted you could have moved to E flat on the second beat.
Ok good work, lesson soon.
The implied harmonies were all fine. It's funny you know though, everyone on here (in these lesson forums) seems to focus on implied harmonies when they write counterpoint - but it's really not that important actually. Counterpoint is much more about intervals than harmonies when you're writing in two parts like this. Of course when you have to write a Bach invention harmonies become much more important (because he does do things like jumping to the seventh), and obviously once you get up to three parts it's really all about harmony. Although there are some things Bach does that aren't really harmonic in his contrapuntal works, they are only justified by the horizontal movement of individual lines.
Ok lesson soon I promise...
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