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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 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.
The standard tempered fifth has a frequency ratio of 2 7/12:1 (or about 1.498307077:1), approximately two cents narrower than a justly tuned fifth. Ascending by twelve justly tuned fifths fails to close the circle by an excess of approximately 23.46 cents , roughly a quarter of a semitone , an interval known as the Pythagorean comma .
In parallel motion, rhythmic harmony or in harmonic patterns varying interval combinations can be found. However, all these intervals are limited to those permitted by the scale. The intervals of the second, third, fourth, fifth, sixth, seventh, octave, ninth and tenth can all be found.
Not all consecutive fifths are parallel! A fifth followed by a twelfth is still consecutive fifths, even though contrary motion is used, and the same is true in reverse. Likewise, an octave followed by a unison is still consecutive octaves, and vice-versa. The ear will hear the consecutive fifth or octave regardless of whether it is parallel or ...
This objective structure is augmented by psychoacoustic phenomena. For example, a perfect fifth, say 200 and 300 Hz (cycles per second), causes a listener to perceive a combination tone of 100 Hz (the difference between 300 Hz and 200 Hz); that is, an octave below the lower (actual sounding) note. This 100 Hz first-order combination tone then ...
Renaissance melodies are generally characterized by conjunct motion, with only occasional leaps of more than a fifth and then rarely anything but a sixth or octave. [1] In contrast, melody in the 20th century varied greatly including the diatonic idiom of the 18th century ( Classical ), the variety of idioms from the 19th century ( Romantic ...