Before We Begin Any questions on the homework

Before We Begin. . . Any questions on the homework?

Parallel Motion Introduction

Parallel Motion ▪ In tonal music, it is important to consider the relationships between any voice in the texture with every other voice ▪ The relationships we are looking at have to do with how each pair of voices moves from chord to chord. ▪ There are 5 possibilities – static, oblique, similar, contrary, and parallel

Parallel Motion ▪ There are 5 possibilities – static, oblique, similar, contrary, and parallel Static Oblique Similar Contrary Parallel

Parallel Motion ▪ One of the basic goals of voice leading in tonal music is to maintain INDEPENDENCE of the individual parts ▪ Because of this, voices moving in parallel motion must be given special attention ▪ Parallel 5 th and Parallel 8 ves are UNACCEPTABLE – (no 12 ths or unisons either. . . they’re just 5 ths and 8 ves give or take an octave. )

Parallel Motion ▪ Parallel 5 th and Parallel 8 ves are UNACCEPTABLE ▪ This does NOT rule out the complete DUPLICATION of a line at the octave – Common in orchestral writing – You can double parts completely (but we won’t get to this until MUCH later once we started talking about instruments)

Parallel Motion ▪ Parallel 5 th and Parallel 8 ves are UNACCEPTABLE ▪ The P 8 and the P 5 are the most stable of intervals ▪ Linking two voices together through parallel motion at these intervals interferes with their independence

Parallel Motion ▪ Listen to these 3 examples. The THIRD does NOT include any parallel 5 ths of 8 ves and each voice is able to be heard. ▪ 1. 2. 3. Parallel 5 ths between Parallel 8 ves between Bass and tenor soprano and bass

Parallel Motion ▪ Objectionable Parallels: result when two parts are separated by a P 5 or P 8, or by their octave equivalents, move to new pitch classes that are separated by the same interval – THE SAME PARTS start and move to P 5 s or P 8 s

Parallel Motion ▪ The following examples are OK and do NOT have parallel 8 ves or 5 ths 1. Octaves “hold” 2. 5 th between C (bass) and G (soprano), and between G (bass) and D (alto) in second chord. Since the 5 th switched from the soprano to the alto, this is NOT parallel 3. There are parallel 4 ths – those are ok

Parallel Motion ▪ Consecutive perfect 5 ths and 8 ves by contrary motion are also generally avoided. This means that a composer CANNOT “correct” parallels by moving one part up or down an octave. . . Both of these are BAD!!!

Parallel Motion ▪ Unequal 5 ths: result when a P 5 is followed by a diminished 5 th, or the reverse, in the same two voices ▪ Unequal 5 ths ARE ACCEPTABLE unless they involve a diminished 5 th followed by a P 5 between the bass and another voice

Parallel Motion ▪ Unequal 5 ths ARE ACCEPTABLE unless they involve a diminished 5 th followed by a P 5 between the bass and another voice P 5 – d 5 – P 5 Good d 5 – P 5 BAD!

Parallel Motion ▪ Direct (or hidden) 5 th or 8 ve: results when the outer parts move in the same direction in a P 5 or P 8, with a leap in the soprano part ▪ The aural result is similar to parallel 5 ths and 8 ves – you lose one of the part’s independence

Parallel Motion ▪ Direct (or hidden) 5 th or 8 ve: results when the outer parts move in the same direction in a P 5 or P 8, with a leap in the soprano part Direct 5 th GOOD Direct 8 ve GOOD

Parallel Motion ▪ When you compose music in the tonal style, you should avoid parallel 5 ths and 8 ves!!!!!!!!!

Parallel Motion - Practice ▪ As a class, we will do Self Test 5 -3 (document camera)

Assignment – Exercise 5 -3 ▪ DUE TOMORROW ▪ Tomorrow we’ll do some more dictation and review some sight-singing ▪ QUIZ ON WEDNESDAY!!!! – Principles of Voice Leading, Melodic Lines, Notating Chords, Parallel Motion