Antiparallel
In counterpoint theory, antiparallel refers to the advancement of two voices in countermovement , in which the distance between them is reduced or increased by an octave . In a narrower sense, the term refers to prime , octave, fifth and their octave extensions. Depending on the target interval, one speaks of antiprime , antioctave and antiquin .
- Note example a): Antiparallel from the octave to the prime (antiprime)
- Sheet music example b): Antiparallel from the duodecime to the fifth (antiqued ink)
- Note example c): Antiparallel from the octave to the double octave (antioctave)
Analogous to the prohibition of parallel progressions of perfect consonances (see parallel fifths ), counterpoint teachings also regulate the use of antiparallel. In a two-part sentence they are considered forbidden. In the five- and more-part setting, however, they are sometimes expressly allowed.
In compositions, however, they can also be found in three- and four-part movements (see the following example of music: Johann Sebastian Bach : Choral Meinen Jesum lass ′ ich nicht BWV 154, mm. 1–2).
literature
- Thomas Daniel: The chorale setting in Bach and his contemporaries. A historical theory of syntax . 4th edition, Dohr, Cologne 2019, ISBN 978-3-86846-156-5 .
- Thomas Daniel: counterpoint. A set theory for vowel polyphony of the 16th century . 3rd edition, Dohr, Cologne 2016, ISBN 978-3-86846-132-9 .
- Robert Gauldin: A Practical Approach to 16th Century Counterpoint: Revised Edition . Waveland Press, Long Grove 2013, ISBN 978-1-47860-471-6 .
- Rudolf Louis / Ludwig Thuille : Harmony . Klett & Hartmann, Stuttgart 1907. 7th edition (1920) on archive.org .
- Heinrich Schenker : Counterpoint. First half volume: Cantus firmus and two-part movement . J. G. Cotta, Stuttgart / Berlin 1910 ( archive.org ).
- Orazio Tigrini: Il compendio della musica . Venice 1588.