Concealed parallel
The theory of counterpoint speaks of a concealed parallel when two voices advance in the same direction and thereby achieve perfect consonance ( unison , octave or fifth ). The so-called horn passage thus contains hidden parallels of fifths .
The term is explained by the fact that “open” parallels would arise as soon as the existing jumps were gradually filled in ( diminished ). Counterpoint theory excludes such direct prime, fifth and octave parallels:
"Vides ergo, quomodo diminuendo Quintae saltum, duae Quintae, quarum una antè per diminutionem abscondita erat, patefiant."
"So you see how the diminution of the fifth leap reveals two fifths, one of which was previously covered."
Historical theories of composition criticize hidden parallels, particularly in two-part movements. Style research shows that in compositional practice they are also considered unproblematic, especially when the upper part of the voices involved takes a second step. Hugo Riemann completely repealed a ban on hidden parallels .
Literature (chronological)
- Johann Joseph Fux: Gradus ad Parnassum . Vienna 1725 ( online) .
- Diether de la Motte : Harmony . 1st edition 1976, 10th edition dtv, Munich 1997, ISBN 3-423-04183-8 .
- Thomas Daniel: counterpoint. A set theory for vowel polyphony of the 16th century . Dohr, Cologne 1997, ISBN 3-925366-43-1 .