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

2. Parallel Motion Introduction

3. 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

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

5. 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 8ves are UNACCEPTABLE – (no 12ths or unisons either... they’re just 5ths and 8ves give or take an octave.)

6. Parallel Motion ▪Parallel 5 th and Parallel 8ves 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)

7. Parallel Motion ▪Parallel 5 th and Parallel 8ves are UNACCEPTABLE ▪The P8 and the P5 are the most stable of intervals ▪Linking two voices together through parallel motion at these intervals interferes with their independence

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

9. Parallel Motion ▪Objectionable Parallels: result when two parts are separated by a P5 or P8, or by their octave equivalents, move to new pitch classes that are separated by the same interval – THE SAME PARTS start and move to P5s or P8s

10. Parallel Motion ▪The following examples are OK and do NOT have parallel 8ves or 5ths 1.2. 3. Octaves “hold” There are parallel 4ths – those are ok 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 motion.

11. Parallel Motion ▪Consecutive perfect 5ths and 8ves 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!!!

12. Parallel Motion ▪Unequal 5ths: result when a P5 is followed by a diminished 5 th, or the reverse, in the same two voices ▪Unequal 5ths ARE ACCEPTABLE unless they involve a diminished 5 th followed by a P5 between the bass and another voice

13. Parallel Motion ▪Unequal 5ths ARE ACCEPTABLE unless they involve a diminished 5 th followed by a P5 between the bass and another voice P5 – d5 – P5 P5 - d5 d5 – P5 Good Good BAD!

14. Parallel Motion ▪Direct (or hidden) 5 th or 8ve: results when the outer parts move in the same direction in a P5 or P8, with a leap in the soprano part ▪The aural result is similar to parallel 5ths and 8ves – you lose one of the part’s independence

15. Parallel Motion ▪Direct (or hidden) 5 th or 8ve: results when the outer parts move in the same direction in a P5 or P8, with a leap in the soprano part Direct 5 th Direct 8ve GOOD GOOD

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

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

18. 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