Suggested Learning Resources
- Parallel fifths are when two voices, forming the harmonic interval of
fifth, move in the same direction resulting in two new pitches that are also a harmonic
interval of a 5th
- Parallel octaves are when two voices, forming the harmonic interval of
an octave, move in the same direction resulting in two new pitches that are also
a harmonic interval of an octave
- In species counterpoint, and most voice leading settings in “classical”
music, parallel 5ths and parallel octaves are considered an error and should be avoided,
because they create a poor sense of counterpoint (independent melodic lines)
- NOTE: When an interval of a harmonic 5th is followed by an interval of
a harmonic 5th by means of contrary motion, this is called ‘contrary 5ths’ or ‘parallel
5ths by contrary motion’ and is also considered an error. Same goes for parallel
8ve’s by contrary motion
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- NOTE: Why are we learning counterpoint? - Some Theory texts do not cover
counterpoint in the Theory 1 scope and sequence. Advanced counterpoint study is often
offered at University as an entire separate one or two semester following Theory
4. We are learning the topic because
- (1) Several texts now do introduce the concept early on
- (2) Studying the characteristics of counterpoint prepares for Soprano Alto Tenor
Bass voice leading, allowing study of several of the elements first with just two
voices instead of four.
- (3) Counterpoint is an important concept for all musicians to at least be aware,
but is often only a required course for composition and/or performance majors. If
not introduced now, it is possible for Music Ed, Music Therapy, and other Music students
to never be introduced to counterpoint.
- (4) The scope of counterpoint we study at this time should be thought of as an introduction
only. You will be able to define what it is, identify the different species, and
gain a glimpse of what is involved.
(Laitz's The Complete Musician covers 1st and 2nd species counterpoint, Francoli's
Harmony in Context covers 1st through 4th species, and Clendinning's The Musician's
Guide covers 1st through 5th. Kostka's Tonal Harmony does not formally introduce
counterpoint).
https://youtu.be/lMxiVjE2CJE
Objective 10.7: Define the concept of Parallel Fifths and Parallel Octaves, and be
able to identify these errors in counterpoint exercises