![]() ![]() The two whole steps are the E above and the C below. In Dorian, Aeolian, and Mixolydian modes the tones above and below the final are both whole steps. The B a half step below the C is the leading tone. When B and D move to C to end this is the clausula vera. The whole step above is D and the half step below is B. In Ionian and Lydian modes the tones above and below the final are a whole step and a half step. The exact handling depends on the mode so let's just run through each mode. When the final is approached from below by a half step that penultimate tone is the leading tone. The idea is the final tone - the tonic - should be approached by two voices in contrary motion one voice moving by a whole step and the other moving by a half step. The quote ".penultimate note should go to the final in a stepwise manner." is describing the clausula vera, the final cadence in 16th century style. Just remember: two different styles, two different approaches. In the 18th century homophonic style the leading tone and harmony have a different treatment with parts rooted in the older style. You mentioned cantus firmus which suggests 16th century counterpoint, modal scales, and the species counterpoint teaching of Fux. Things can get confusing if we discuss the leading tone and resolution_and_ jump between different musical styles. In solfege these are the tone pairs TI to DO and FA to MI. ![]() Basically these are synonymous terms: "leads to" and "resolves."Ī very important concept in tonal harmony is the strong sense of movement in the half steps of the diatonic scales. ![]()
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