Peter_W.

The whole point of the voice leading "rules" is to prevent sounds that are weird to post-Gregorian, Western ears. If you were writing this for a beginning composition class, it'd be technically correct. But you do have a lot of note trading between voices. That's usually undesirable because to the ear it seems like a line disappears. When you are concerned about the rules, you want every voice to be heard all the time. Don't cross, don't make voices disappear, don't have parallel or direct 5ths or octaves. Just about everything within those parameters are okay (with a couple other exceptions concerning the soprano and alto behavior at cadences which I'm sure you're aware of). My .02 : )

I love how no one answered this remarkably easy question, in the five years of the thread's existance. And I'm not about to ruin a good thing.

-.o

Your face, Serge

As a general rule, unmarked notes means play with articulation and length at the discretion of the performer as implied by the style of the piece (or explicitly stated by an expression marking). "Non-legato" is a meanlingless term. It's been that way since notation began. Schostovich!!

I use IE. I believe Serge uses Chrome. And I think Tokke uses something else? Still getting the problem, just checked. It LOOKS different, but it still doesn't work.

The media player STILL does not work on IE. It's extremely annoying, I can't listen to anything. Come on, now.

No, I mean the use of unpitched percussion. x_x Hahaha! I actually enjoy rhythmic development quite a bit, rhythm stuff comes pretty naturally to me. Math mind. Warning noted. I may or may not be done with this assignment before then. Either way, that sounds rather exciting. What are you doing up there?

ah, crud. You serious? Alright...probably gonna do this one by hand.

IN TRADITIONA PART-WRITING, second inversion chords in triads (7th chords are different) are almost always used for one of very few reasons: as a pedal point, as a passing motion, or as a cadential figure. The reason it is dissonant as a triad is because your bass voice will always have the richest overtones, rising up in an extended major chord. When the distance between the bass and two upper voices is a fourth and a sixth (a 6/4 chord, or a 2nd inversion chord aka), the overtones of the bass note conflict with the sounding voices above. That's where your dissonance comes from. If you don't write traditional music, I'd say don't worry about it too much. It's good to learn traditional part-writing, don't get me wrong. But practically speaking, write what you want.

And the media player is still not working. IE and Chrome too. Dude, beta test or something. Please. >_<

No, I got it. There are other pieces like that. But the music has to be sound. The piece has a gimmick, obviously, but if it DIDN'T have the gimmick and was still a solid piece of music, then I'd definitely like to try it.

It's funny. I'd look at it. If it was a smart composition, I'd read it. If not, I'd make a mental note about this composer and move on.