Are parallel 10ths ok in 3 part counterpoint?

Asked by: Alex Zimmerman

Parallel 10ths — that is, two voices moving together in 10ths — are fine. Parallel 3rds and 6ths, and by extension 10ths, are even encouraged for short segments (too long — more than about three chords in a row — and the independence of voices is lost).

Are parallel 6ths allowed?

Parallel 3rds, 6ths, 4ths, and even tritones are all OK. Unisons (two parts sharing the same note) count as a kind of octave. Thus, these two instances are also bad. Sometimes students start to see parallels when there aren’t any, because they get confused as to which notes belong to which voice.

Are parallel octaves okay?

The only time you shouldn’t have parallel octaves is when you are voice leading and want two parts to be completely independent. The reason why you wouldn’t use it is that it makes two voices that should be independent sound as one.

Are parallel fourths okay?

Parallel fourths (consecutive perfect fourths) are allowed, even though a P4 is the inversion and thus the complement of a P5. The literature deals with them less systematically however, and theorists have often restricted their use.

Can you parallel thirds?


Are parallel tenths allowed?

Parallel 10ths — that is, two voices moving together in 10ths — are fine.

Did Bach ever use parallel fifths?

Bach never intended to write parallel fifths in m. 7. Regarding BWV 248.23 (in G Major, not included in EMB), two different harmonizations of that melody appear in EMB (chorale numbers 323 and 324), but in 4/4 instead of 12/8 measure and in D and C Major respectively.

What are parallel 3rds?

Parallel 3rds is when you have a musical line – say C-D-E and you add a 3rd above each of those notes, so there’s another musical line that moves “in parallel” at a distance of a 3rd apart – so E-F-G, like: E – F – G. C – D – E. You could add the 3rd above or below the main line, and we’d call either parallel 3rds.

What are parallel octaves?

A parallel octave refers only to two consecutive notes! Octave doubling. If you have two or more instruments that are intentionally arranged to play the same voice (in unison or) one or more octaves apart, then you have octave doubling, which gives you a fat sound.

Are direct octaves allowed?

A venerable rule of traditional Western part writing is the so-called Direct Octaves Rule (also known as Hidden or Exposed octaves), whereby similar pitch motion (i.e., two or more voices moving in the same direction) to a perfect octave should be avoided unless step motion is used.

Why are parallel fifths not allowed?

The issue is that the notes of a perfect fifth blend so well together that they almost sound like one note rather than two. This makes parallel fifths out of style IF that style demands independence of voices. Don’t worry if this is not entirely clear yet. In this lesson we’re going to explore the issue in depth.

What is considered a parallel fifth?

But rather because the interval of the fifth is considered. So consonant or perfect in nature that it sounds more like one note or voice instead of two separate. Ones so thus two voices moving in

What cadence is I to IV?

plagal half cadence

The rare plagal half cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half cadence involves an ascending fourth (or, by inversion, a descending fifth). The plagal half cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences.

Is V7 1 a perfect authentic cadence?

In a Perfect Authentic Cadence (PAC) the harmonic progression is V or V7 to I with both chords in root position, and the tonic chord has the root or first scale degree as the melody (highest) note on the chord.

What cadence is III to VI?

The Andalusian cadence is referred to as the vi–V–IV–III progression because it naturally occurs in the vi, V, and IV chords of a major scale. The iii chord is minor and, with a simple adjustment, the iii chord can be made major and then represented with the uppercase Roman numeral III.

Can a V7 be a half cadence?

However, a half cadence could just as well end on scale degree 5 (root of V), or even on 4 (7th of V7)! The important point to remember is that not every instance of a dominant chord defines a half cadence. The chord must stand at the end of a phrase, and must sound like the goal of that phrase.

What is a perfect authentic cadence?

To be considered a perfect authentic cadence (PAC), the cadence must meet three requirements. First, V must be used rather than vii o. Second, both chords must be in root position. Finally, the highest note of the I (or i) chord must be the tonic of the scale.

What kind of cadence is II I?

In general, ii serves the function of a pre-dominant chord, leading to V or possibly vii. There is a named cadence that involves a ii chord (actually, ♭II). The Andalusian cadence, in terms of the Phrygian mode from which it originates, is iv-III-II-I. In terms of major, this would be iv-♭III-♭II-I.