Hello and welcome to today's episode.
I'll be proposing eight ways that you can use.
Parallel chord Motion in your music.
Each has a different feel or Vibe, so you will have to choose
the ones you want to use, depending on the harmonic
effect. You are going for this
particular harmonic technique consists in, moving a court or a
harmonic. Evil and maintain the relative
distance between pitches or put another way.
It's when all the voices of a cord move in the same direction,
it can be used to connect with a more important corn or to
thicken and melodic line. Parallel Harmony can be tonal or
Rio. If it is real parallel Harmony
than an exact transposition of the cord occurs, meaning that
the court or intervals will be moved around in a fixed.
Formation. On the other hand, in total,
parallel Harmony the cord or its intervals are moved.
While maintaining their relative interval distance using only the
notes from the scale, you are a working on.
Like, in the following example, where you will hear chords in
the first inversion forming a melodic line over an a pedal
note. In the next example, you will
notice that the harmonic Melody. Our top note of the cards is
tonal. However, the rest of the chord
voices move in a fixed Court formation and thus, using
chromatic tones in relation to the c, major tonality it uses
the same. Harmonic Melody has the previous
example, but with real parallel chords in perfect fourths.
Now that we have covered, what parallel Harmony is, let me show
you some of the ways in which you can use this technique in
your music. Number one, resolving to a
Target card, as a chromatic approach chord in the context of
C, major tonality the target chord is a minor 7 and I am
using minor 7th chords in real parallel motion to make a
chromatic approach to it. Number two to create harmonic
tension over a paddle. Note in this example, the first
Spar is a real parallel chord motion example while the second
bar is tonal number three, escort Cycles.
This is an example of a major third quarter.
Cycle using major 7th chords or using back cycling to a Target
chord using a minor third cycle. Here, I use the minor third
cycle approach to a Target chord using Ultra dominance number for
mixing, total parallel Court motion and real parallel Court
Cycles in the upper staff, we have A total parallel cord
motion while on the bottom staff.
I am moving the chords in minor third Cycles.
Number five to create harmonic. Contrasts in this case, the D,
Minor 9th is my reference cord that I use to create contrasts.
But instead, you can create a succession of Courts, just make
sure that there is enough time you need to court so that the
listener can settle in here is the example.
Number 6 as a modulation device. In this case I am modulating
from d flat major to E flat major tonality to be more
specific to the card of a flat. Number 7, over bass lines that
have a melodic role in these two joint examples.
We have the top chord tones that are being used as reference to
make tunnel and real parallel, Court motion over a chromatic
Baseline. And finally number eight,
experimenting with different core types because each chord
formation will give you a different feel while using this
technique here is a comparison while using the same melodic
line. This last example is a reminder
that depending on the type of chords you are using, you can
get different results. So make sure you experiment with
not only different core types but also different chord
voicings. When you are using parallel
harmonic movement, you don't need to be concerned with voice
leading instead. The focus is on the harmonic
Melody and its role in a particular Musical.
On text has seen. There are lots of ways in which
you can use this technique, and the only limit is your
creativity, it's all for now, and I'll see you on the next
episodes. Happy composing