Composers avoided writing consecutive fifths between two independent parts, such as tenor and bass lines. Consecutive fifths were usually considered forbidden, even if disguised (e.
g.in a" horn fifth" ) or broken up by an intervening note (e. g.the thirdmediant in a triad). 1. Avoid parallel fifths, fourths, and octaves. Parallel fifths are one of the biggest killers of a good harmony line. A parallel fifth is a situation where the melody and harmony create and interval of a fifth, and both move in parallel so that they again are a fifth apart. How to create a harmony: Heres a stepbystep process you can use to create a harmony for any melody you wish to use. Write your melody out on manuscript paper, andor record it; On another stave, write out the melody again but a third higher.
Question: I'm practicing polyphony with counterpointer and it says that parallel thirds will create a tritone. Could you explain? Ngo. Answer: It's always a pleasure to hear from someone who is studying counterpoint an esoteric art. These fall into four categories: 1) the basic voice ranges, 2) the ways of voicing three notes into four voices, 3) the connection between the rules of 2part counterpoint and the procedures of fourpart writing, and 4) the concept of fourpart writing as a integration of four simulataneous melodies.
Jul 02, 2011 Moving in parallel thirds could be their defining sound (never analyzed it myself, so, i'm just going with that for the sake of argument). That would mean that it would be a common device in their harmonies.