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I consider it an unecessary difficulty. If I would have a descending scale ending with the notes MI FA RE DO SI DO (ending with soprano cadence) I would switch the natural hexacord to the hard one and I sing it like LA SOL FA LA SOL FA MI FA. I know this rule: ONLY MAKE MUTATIONS WHEN IT IS STRICTLY NECESSARY.

The general rule, as I understand it, is this: don't mutate if you don't have to. It makes sense to me to stay in the same hexachord for as long as it is possible. Personally, I even sing the octave leaps with the same syllable (pretending I'm in the same hexachord), because I think that is simplest.

@RichardusCochlearius

7 ай бұрын

What you say about the octave leap is true especially when the octave leap works as a diminution. But in renaissance music without diminutions it's better to change the hexachord because they are structural notes.

7 ай бұрын

@@RichardusCochlearius Even if it is a structural note, it depends on what comes next. Sometimes, if you change the hexachord for the octave jump, you have to mutate again after one or two notes, so you mutate twice to end up in the same place, and you can get there without any mutation. Sometimes, it is the other way, so you need to be in the other hexachord, so it makes sense to mutate in the jump.