Cap 4 - Techniques of Writing 2: 1

Question 1

Techniques of Writing 2: 1
Convertir 1:1 a 2:1 (No necesariamente la mejor forma)

Answer 1

One way, though not necessarily the best way, of writing 2: 1 counterpoint is to start with a 1 : 1 version and convert it by the addition of notes between the beats, in one voice.

Formas:
1-Using the insertion of a passing tone between two notes (originally a 3rd a part)

2-Se pueden usar notas de paso adyacentes.

3-Apoyaturas y notas de escape son permitidas pero no se debe abusar de ellas porque suena cansón y le quita sentido de sucesión harmónica a la línea.

Question 2

Techniques of Writing 2: 1
Escribir 2:1 directamente (Generalmente preferido)

Answer 2

A second, and frequently preferable, approach to the writing of 2 : I counterpoint is to invent the 2: 1 version directly, without having it grow out of a 1: 1 version.

Question 3

Techniques of Writing 2: 1
Parallelism

Answer 3

In 1: 1 counterpoint, parallel octaves and 5ths are generally apparent to both the ear and the eye.

But in 2: 1 the presence of intervening notes between the beats makes the situation more complex as far as the recognition of parallelism is concerned.

There are even certain note patterns that are condemned by sorne writers on counterpoint
on the grounds of parallelism but accepted by others. It would seem, then, that the only sensible criterion is what was actually practiced by composers of this period (Bach, in particular)

En resumen: prohíbidas las 5tas y 8vas paralelas de cualquier índole.

Question 4

Techniques of Writing 2: 1
5tas consecutivas

Answer 4

No se considera que sean quintas paralelas si hay figuraje distinto entre las voces. Estas “5tas consecutivas” se pueden usar libremente.