How can I harmonize this V-I cadence? It causes parallel octaves between bass and soprano?



Asked by: Amber Johnson

Can you have parallel octaves?





A parallel octave refers only to two consecutive notes! 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 parallel octaves allowed between outer voices?

188-189) As in two-part counterpoint it is illegal to approach a fifth or an octave in similar motion. You will be happy to know that this rule is considerably weakened in a 4-voice texture. It only applies between the outer voices, soprano and bass.

Are parallel fifths allowed in jazz?

Short answer: no, no effort at all. Avoiding these are rules of classical music and counterpoint, and they do not apply in Jazz. Quite the contrary in fact : it is very common to harmonize for a 5 sax section with the melody doubled 1 octave below the lead voice, and using e.g. a drop 2 or a drop 2 4 voicing.

Are parallel octaves bad?

In this style, known as the Common Practice Period, parallel fifths and octaves tend to leave a blank space, or a gap, in the musical texture (the overall sound) as if a voice has disappeared. This is why, in this context, parallel fifths are bad.

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.

How do you avoid parallel 5ths?

So how do we avoid consecutive fifths. The answer is we avoid writing two cards that are next to each other in the same inversion.

How do you avoid parallel fifths and octaves?

Moving in the same. Direction by the same interval. Then be careful because that's when you're most likely to have trouble.

What are the rules of harmony?

Grade Six Music Theory – The Rules of Harmony

  • 1a. NO consecutive 5ths. 1b. …
  • 2a. NO dissonant leaps (seventh, augmented or diminished intervals), choose small intervals. Leading note resolves to the tonic. …
  • 3a. Double the root or fifth in root position chords. …
  • 4a. Never overlap parts.




What does parallel motion mean in music?

Parallel motion is a specific type of similar motion and occurs when both voices move in the same direction by the same interval—both up by step, or both down by a third.

Why should you avoid parallel fifths?

Parallel octaves and fourths



Consecutive fifths are avoided in part because they cause a loss of individuality between parts. This lack of individuality is even more pronounced when parts move in parallel octaves or in unison. These are therefore also generally forbidden among independently moving parts.

Are consecutive octaves allowed?

This is allowed, because the parts don’t change notes. Consecutive octaves are just as bad as consecutive 5ths. Consecutive octaves can sneak in just about anywhere, so always be on the look out for them! Check for consecutive octaves between all six voice pairings, as above.



Can you double the leading tone?

Never double the leading tone, so don’t double the root if the root is the leading tone. Don’t double the third, except if the chord is diminished, in which case it’s good to double the third.

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 do I double on an i64 chord?

ALWAYS double the fifth of a 6/4 chord (this is the one very specific rule to remember.) 4. In major triads, the root is most often the best choice to double, followed by the fifth.

What is cross voicing?

8. Crossed voices — unacceptable (1-point error) Definition: Voicing in which the normal relative position of voices is violated, e.g., if the soprano is below the alto or the bass is above the tenor.



How do you harmonize a soprano line?

You can probably find other ways to do this but this is at least one way to do it. There's my tonic chord. My dominant in first inversion doubling the soprano and both the tenor. And the soprano.

How do you overlap your voice?

So that a is not considered infringing upon the territory of the soprano. It's only if you cross over that boundary. That it's considered voice overlap. This can be a little bit tricky.