[Smt-talk] Fwd: First Species Question

[Richard Porterfield]

Hi Dmitri, 

 

Regarding parallel fifths you write: 


As David Feurzeig points out, there are various ways to avoid the motion while still creating an impression of "parallel fifthiness." 

 

Don't forget the opposite, literal consecutive fifths without "fifthiness." Brahms collected many examples in his "Octaves and Fifths, Etc." edited by Schenker and translated by Paul Mast as "Brahms's Study, Octaven u. Quinten u. A. with Schenker's Commentary Translated," in The Music Forum V (1980). 

(For instance, there's a Palestrina motet in which a root position triad {C3, G3, C4, E4} moves up by step to {D3, A3, D4, F4}, creating the unmistakable impression of parallels; but because of an alto/tenor crossing there are no actual parallels.) 

On a keyboard it can indeed give that impression, but to the extent one hears and follows the distinct timbres of tenor and alto lines (especially with solo voices, but also with choirs), not a problem. 

My sense is that earlier composers and theorists tend to focus on the motion in particular, whereas later musicians tend to emphasize the more general state. 

Yes, shifting emphasis from voices in counterpoint to progressions of harmony; see F.T. Arnold, The Art of Accompaniment from a Thorough-Bass as Practiced in the XVIIth & XVIIIth Centuries (2 volumes, 1931/1965 Dover reprint), pages indexed under 'Fifths, consecutive.' The criteria for voice-leading in the continuo became more and more strict as voice-crossing became less common in vocal writing.  

For example, I would be somewhat surprised to find lots of examples of Bach writing (C3, G3, C4, E4)->(D3, D4, A3, 
F4). 

Yes, Bach does occasionally cross voices to improve voice-leading, but not as much as earlier composers.  
For this reason, we might suspect that the prohibition on parallel fifths got broader over time.  

Did it ever! Especially from its earliest formulations around 1300 A.D. See below. 

I'm still interested in the relation between musical practice and the actual literature. 

In that case be sure to read Margaret Bent, "The Grammar of Early Music: Preconditions for Analysis," in Tonal Structures in Early Music, edited by Cristle Collins Judd (Garland, 1998). 

Well there are three things to pack in your picnic basket this summer. Have a good one, 

Richard Porterfield

Ph.D. Candidate in Music Theory, CUNY GC

Associate Teaching Professor, Mannes College

Co-founder, Lionheart

porterfr at hotmail.com

 

 
 		 	   		  
_________________________________________________________________
Hotmail is redefining busy with tools for the New Busy. Get more from your inbox.
http://www.windowslive.com/campaign/thenewbusy?ocid=PID28326::T:WLMTAGL:ON:WL:en-US:WM_HMP:042010_2
-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://lists.societymusictheory.org/pipermail/smt-talk-societymusictheory.org/attachments/20100709/85324f34/attachment-0003.htm>