Same movement
The musical theory of counterpoint describes the relationship between two voices moving in the same direction, i.e. equal movement (Latin: motus rectus) . H. move either up or down. The hidden parallel , an equal movement in perfect consonance , is subject to certain restrictions.
In parallel movement , a special case of the same movement, both voices move forward by an interval of the same genre, so the first chord interval is followed by another of the same genre (e.g. minor third to major third, i.e. not actually the same) or even the same size (e.g. two minor thirds).
The parallel movement of two voices in chromatically identical intervals (also: total parallels) is subject to clear restrictions in classical counterpoint theory: parallel major thirds are partially prohibited , fifths and octaves as completely prohibited. In so-called anti - parallels , countermovement actually takes place.
Total parallels are aesthetically frowned upon (insofar as 'forbidden'), as soon as a polyphonic movement creates the acoustic impression of a mere shift of a fundamental including its spectral structure (chord tones represent overtones of a residual ), hence the designation as totally parallel. This type of voice leading is seen as primitive in classical music theory, contradicts the aesthetic preference (insofar as: 'command') of the counter-movement .
See also prohibition of parallels , movement (counterpoint) .
To be sure of parallels is a perception in general, the perception of two voting figures ahead. However, where for aesthetic reasons vocal perception is deliberately counteracted by compositional means (e.g. often in typical piano movements), notes on paper can suggest total parallels where none are perceived acoustically.
Total parallels can also be put into perspective (so to speak, 'soften') depending on the metric beat on which their coincidences can be found: the heavier the beat (e.g. the middle of the beat, the middle of the phrase , the phrase head or the phrase ending), the more 'meant' the voice movement , and therefore the more 'meant' the total parallel, and the more conspicuous and therefore more offensive its use there. Therefore, under certain circumstances, total parallels may be nominally given on the easiest beats, but are irrelevant in terms of music psychology, since the perceptual focus on the movements lies between the heavier beats , which are more important in musical perception (see masking ).
Such 'paper parallels' between two musical phrases may also only be nominally given (in contrast to real movement intervals in the phrases). Because such successive tone intervals - at least with a corresponding reception behavior (listening) - are not experienced as 'movement' (neither as a step, nor as a jumping movement), but not at all : The perceived movement interval connection begins after the phrase ending and again at the next Head of the phrase, which is why such total parallels read have no psychological correlate. Numerous examples of this, as well as of all sorts of other 'forbidden' successive intervals between two phrases ( tritone , 'querstand', etc.) can be found in master literature .
