Cap 6 - Two-Voice Exercises (Concluded) Flashcards
The process of writing 3 : 1 counterpoint
The process of writing 3 : 1 counterpoint is essentially the same as that of writing the 2: l variety. The chief difference, if one is working from a l : l basis, is the fact that with an additional note between beats, the relationship between note patterns and interval span changes.
For example, the interval of a 3rd in a basic 1 : l version can be filled in with a passing tone to produce the 2: 1 ratio, but it must be treated some other way in converting to 3 : l, while the 4th becomes the interval most conveniently filled in with passing tones.
The interval most used as passing tone
The 4th becomes the interval most conveniently filled in with passing tones.
Melodic figures and sense of unity
The same melodic figure should be repeated from beginning to end, but rather that a greater sense of unity can be gained ifthere is sorne economy in the use offigures.
AVOID
A) Avoid stepwise motion followed by a leap in the same direction. Repeated notes are still ruled out, even between the last note of one group of three
and the first note of the next group in actual music this last arrangement is seldom used except in a sequential pattern.
B) Also to be avoided is the type of melodic line which turns back over the same notes repeatedly and lacks a sense of direction.
C) Be sure not to leap from nonharmonic tones that should be resolved stepwise.
Paralelismo en 3:1
As for parallelism in 3: 1, the principies discussed in the section on 2: 1 apply.
A good general rule is to avoid parallel octaves or 5ths between any part of a beat and the first note of the next beat
Writing 3:1 from a 1:1 basis
It should perhaps be stressed that the writing of 3: 1 counterpoint (as of 2: 1 and 4: 1) need not be approached from a 1 : 1 basis. Although that method wi!l usuall) provide a secure foundation for the initial exercises, it involves unnecessary limita·
tions and does not always produce the most imaginative and interesting results.
