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Octave displacement is irrelevant to this aspect of musical grammar; for example, a parallel twelfth (i.e., an octave plus a fifth) is equivalent to a parallel fifth. [nb 1] Parallel fifths are used in, and are evocative of, many musical genres, such as various kinds of Western folk and medieval music, as well as popular genres like rock music.
Parallel motion at an interval of a perfect fifth is known as parallel or consecutive fifths, and at an interval of an octave is known as parallel or consecutive octaves. Perfect intervals, i.e. the (perfect) unison, fifth and octave, are generally avoided in traditional counterpoint because they offer the lines so little independence from each ...
Avoid parallel fifths and octaves. To promote voice independence, melodic lines should avoid parallel unisons, parallel fifths, and parallel octaves between any two voices. [ 19 ] They should also avoid hidden consecutives , perfect intervals reached by any two voices moving in the same direction, even if not by the same interval, particularly ...
Avoid parallel fifths or octaves between any two parts; and avoid "hidden" parallel fifths or octaves: that is, movement by similar motion to a perfect fifth or octave, unless one part (sometimes restricted to the higher of the parts) moves by step. Avoid moving in parallel fourths.
This type of parallelism is common to all African peoples, but the degree to which it is employed varies. It is important to note that parallelism in thirds (inversely tenths), fourths, fifths, and octaves (inversely unison) are Pan-African methods of homophonic parallel harmonization. These intervals are interchanged depending on the melody ...
parallel fourths and fifths were acceptable and necessary, open fourths and fifths inside octaves were the characteristic stable sonority in 3 or more voices, minor sevenths and major ninths were fully structural, tritones—as a deponent [clarification needed] sort of fourth or fifth—were sometimes stacked with perfect fourths and fifths,
Melodic doubling in parallel (also called parallel harmony) is the addition of a rhythmically similar or exact melodic line or lines at a fixed interval above or below the melody to create parallel movement. [12] Octave doubling of a voice or pitch is a number of other voices duplicating the same part at the same pitch or at different octaves.
The strict alternation of 1-5-8-10 and 1-3-5-8 voicings has a particularly valuable property for improvised polyphony: it cannot produce parallel octaves or parallel fifths. In four-part settings of unornamented successions of simple triads, parallel octaves can only occur when the doubled chord tone appears in the same two voices two chords in ...