That's the general point of an accented passing tone. Passing tones are usually non-chord tones occurring after the main beats or subdivisions hence 'in passing' to the next main beat or subdivision. When they present themselves on the main beats regardless where in the measure they occur, they bring attention by default to themselves and thus becoming accented. I hope this helps.
Alan Belkin alright but does the rule apply even in I’m doing exercises with the examples in the pdf? Thanks for this whole course btw words can’t explain the help you give.
Can you have accented passing tones at the downbeat of a measure? I find they can sound jarring or obscure the harmony there.
That's the general point of an accented passing tone. Passing tones are usually non-chord tones occurring after the main beats or subdivisions hence 'in passing' to the next main beat or subdivision. When they present themselves on the main beats regardless where in the measure they occur, they bring attention by default to themselves and thus becoming accented. I hope this helps.
Are the themes provided in the pdf supposed to be a motif/entry? Or a lower part to my own motifs/entries in stratified counterpoint?
In a 6/4 time signature should parallels be 6 beats apart? Or does the 4 beats rule still apply?
Alan Belkin alright but does the rule apply even in I’m doing exercises with the examples in the pdf?
Thanks for this whole course btw words can’t explain the help you give.