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The use of parallel fifths (or fourths) to refer to the sound of traditional Chinese or other kinds of Eastern music was once commonplace in film scores and songs. Since these passages are an obvious oversimplification and parody of the styles that they seek to evoke, this use of parallel fifths declined during the last half of the 20th century.
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 ...
In the Middle Ages, simultaneous notes a fourth apart were heard as a consonance.During the common practice period (between about 1600 and 1900), this interval came to be heard either as a dissonance (when appearing as a suspension requiring resolution in the voice leading) or as a consonance (when the root of the chord appears in parts higher than the fifth of the chord).
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.
Parallel harmony is frequently used in house music and other electronic music genres. Historically, this resulted from producers sampling chords from soul or jazz and then playing them at different pitches, or using "chord memory" feature from classic polyphonic synthesizers.
The use of perfect fourths and fifths to sound in parallel with and to "thicken" the melodic line was prevalent in music prior to the European polyphonic music of the Middle Ages. In the 13th century, the fourth and fifth together were the concordantiae mediae (middle consonances) after the unison and octave, and before the thirds and sixths.
Elsewhere, in parallel organum at the fourth, the upper line would be accompanied a fourth below. Also important was the practice of Fauxbourdon , which is a three voice technique (not infrequently improvisatory ) in which the two lower voices proceed parallel to the upper voice at a fourth and sixth below.
Bonnie Bergin trained dogs to go to specific text on the wall to ask clearly for "water, treat or pet me." Dogs were able to learn English or Japanese text. She says service dogs can learn to find EXIT signs, bathroom gender signs, and report what disease they smell in a urine sample by going to a sign on the wall naming that disease. [59]