Parallelism (music)

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In music theory, certain sentence models are called parallelism , including ( major-minor parallelism ) the sequence on which the famous canon of Johann Pachelbel is based.

The term comes from Carl Dahlhaus . He uses it on the one hand for the relationship between parallel sounds in the sense of functional theory and on the other hand for the pattern that, according to him (in addition to the complete cadence and the fifth step sequence ) belongs to the “characteristic schemes of tonal harmony”: “Minor: V – I – VII –III = major: III – VI – V – I or minor: III – VII – I – V = major: I – V – VI – III ":

E.g. in C major / A minor:

\ new PianoStaff << \ new Staff << \ set Score.tempoHideNote = ## t \ time 4/1 \ tempo 1 = 88 \ override Staff.TimeSignature.transparent = ## t \ relative c '' {<gb> 1 <ac> <bd> <ce> \ bar "||" <ce> <bd> <ac> <gb> \ bar "||" } >> \ new Staff << \ override Staff.TimeSignature.transparent = ## t \ clef "bass" \ relative c {e1 agccgae} \ addlyrics {C: _III VI VIIV VI III} \ addlyrics {a: _V I VII III III VII IV} >> >>

Other common names for major-minor parallelism are Pachelbel sequence , third-step fourth case sequence and Romanesca .

Hartmut Fladt has reinterpreted the term parallelism and brought the parallelism of two voices, which underlies major-minor parallelism in terms of composition, to the fore. Against this background, he also speaks of thirds , sixths and decimal parallelisms . He also differentiates:

  • Minor major parallelisms: D – t– (D) –tP
  • Parallelisms with chiastically interchanged members, e.g. E.g .: T-D- (D) -Tp
  • Major-major parallelisms, e.g. E.g .: C – G7 – As – Es7 – E – H7–…
  • Minor-minor parallelisms, e.g. E.g .: c – B – es – Des – ges – E – a–…

Historically, the chord progressions of major-minor and minor-major parallelism actually emerged from the parallel execution of two voices with an added bass part. This proves u. a. the treatise De praeceptis artis musicae by Guilielmus Monachus (around 1480), where this procedure is described as improvisational practice. The bass part ( contratenor bassus ) alternates in relation to the upper part of the third parallels (or the lower part of the sixth parallels) between the lower third and the lower fifth.

The characteristic sound sequences of the passamezzo , the folia and the I – V – VI – IV progression frequently used in contemporary popular music can all be derived from this procedure:

\ new PianoStaff << \ new Staff << \ set Score.tempoHideNote = ## t \ time 4/1 \ tempo 1 = 88 \ override Staff.TimeSignature.transparent = ## t \ relative c '' {\ repeat volta 2 {<c \ tweak NoteHead.color #blue e> 1 <b \ tweak NoteHead.color #red d> <a \ tweak NoteHead.color #blue c> <a \ tweak NoteHead.color #red c>}} \ addlyrics {"3" "5" "3" "5"} >> \ new Staff << \ override Staff.TimeSignature.transparent = ## t \ clef "bass" \ relative c {\ tweak NoteHead.color #blue c \ tweak NoteHead.color #red g \ tweak NoteHead.color #blue a \ tweak NoteHead.color #red f} \ addlyrics {"I" "V" "VI" "IV"} >> >>

literature

  • Hans Aerts: 'Model' and 'Topos' in German-language music theory since Riemann . In: Journal of the Society for Music Theory 4 / 1–2 (2007), pp. 143–158 ( online) .
  • Carl Dahlhaus : Investigations into the origin of harmonic tonality (Kiel, Univ., Habil.-Schr., 1966). In: Collected Writings . Edited by Hermann Danuser . Volume 3: Early Music. Music theory up to the 17th century - 18th century Laaber-Verlag, Laaber 2001.
  • Hartmut Fladt : Model and Topos in the Music Theoretical Discourse. Systematics / suggestions . In: Musiktheorie 20 (2000), pp. 343-369.
  • Robert Gjerdingen: Music in the Galant Style . Oxford University Press, Oxford 2007, ISBN 978-0-19-531371-0 .
  • Markus Jans : All against one. Sentence models in note-against-note sentences from the 16th and 17th centuries. In: Basler Jahrbuch für Historische Musikpraxis 10, Amadeus, Winterthur 1986, ISBN 3-905049-41-4 . Pp. 101-120.
  • Ludwig Holtmeier , Johannes Menke , Felix Diergarten: Solfeggi, Bassi e Fughe. Georg Friedrich Handel's exercises in sentence theory. Florian Noetzel Verlag, Wilhelmshaven 2013, ISBN 978-3-7959-0906-2 .
  • Ulrich Kaiser : ear training. Sentence theory, improvisation, hearing analysis. Bärenreiter, Kassel 1998, Volume 1 ( basic course ) ISBN 3-7618-1159-4 , Volume 2 ( advanced course ) ISBN 3-7618-1160-8 .

Web links

Individual evidence

  1. ↑ Aerts 2007, footnote 5.
  2. ↑ Dahlhaus 2001, p. 53: "A major-minor analogy must be distinguished from the major-minor parallelism of the chords A and C or d and F, [...]."
  3. ↑ Dahlhaus 2001, p. 99.
  4. ↑ Hempel 2014, p. 401.
  5. ↑ Hempel 2014, p. 400.
  6. ↑ Gjerdingen 2007, chap. 2; Holtmeier u. a. 2013, p. 147 f.
  7. ↑ Fladt 2000.
  8. ↑ See Jans 1986.