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Hello and welcome to today's 
episode. 

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I'll be proposing eight ways 
that you can use. 

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Parallel chord Motion in your 
music. 

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Each has a different feel or 
Vibe, so you will have to choose

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the ones you want to use, 
depending on the harmonic 

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effect. 
You are going for this 

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particular harmonic technique 
consists in, moving a court or a

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harmonic. 
Evil and maintain the relative 

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distance between pitches or put 
another way. 

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It's when all the voices of a 
cord move in the same direction,

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it can be used to connect with a
more important corn or to 

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thicken and melodic line. 
Parallel Harmony can be tonal or

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Rio. 
If it is real parallel Harmony 

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than an exact transposition of 
the cord occurs, meaning that 

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the court or intervals will be 
moved around in a fixed. 

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Formation. 
On the other hand, in total, 

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parallel Harmony the cord or its
intervals are moved. 

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While maintaining their relative
interval distance using only the

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notes from the scale, you are a 
working on. 

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Like, in the following example, 
where you will hear chords in 

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the first inversion forming a 
melodic line over an a pedal 

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note. 
In the next example, you will 

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notice that the harmonic Melody.
Our top note of the cards is 

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tonal. 
However, the rest of the chord 

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voices move in a fixed Court 
formation and thus, using 

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chromatic tones in relation to 
the c, major tonality it uses 

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the same. 
Harmonic Melody has the previous

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example, but with real parallel 
chords in perfect fourths. 

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Now that we have covered, what 
parallel Harmony is, let me show

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you some of the ways in which 
you can use this technique in 

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your music. 
Number one, resolving to a 

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Target card, as a chromatic 
approach chord in the context of

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C, major tonality the target 
chord is a minor 7 and I am 

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using minor 7th chords in real 
parallel motion to make a 

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chromatic approach to it. 
Number two to create harmonic 

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tension over a paddle. 
Note in this example, the first 

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Spar is a real parallel chord 
motion example while the second 

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bar is tonal number three, 
escort Cycles. 

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This is an example of a major 
third quarter. 

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Cycle using major 7th chords or 
using back cycling to a Target 

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chord using a minor third cycle.
Here, I use the minor third 

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cycle approach to a Target chord
using Ultra dominance number for

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mixing, total parallel Court 
motion and real parallel Court 

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Cycles in the upper staff, we 
have A total parallel cord 

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motion while on the bottom 
staff. 

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I am moving the chords in minor 
third Cycles. 

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Number five to create harmonic. 
Contrasts in this case, the D, 

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Minor 9th is my reference cord 
that I use to create contrasts. 

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But instead, you can create a 
succession of Courts, just make 

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sure that there is enough time 
you need to court so that the 

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listener can settle in here is 
the example. 

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Number 6 as a modulation device.
In this case I am modulating 

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from d flat major to E flat 
major tonality to be more 

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specific to the card of a flat. 
Number 7, over bass lines that 

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have a melodic role in these two
joint examples. 

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We have the top chord tones that
are being used as reference to 

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make tunnel and real parallel, 
Court motion over a chromatic 

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Baseline. 
And finally number eight, 

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experimenting with different 
core types because each chord 

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formation will give you a 
different feel while using this 

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technique here is a comparison 
while using the same melodic 

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line. 
This last example is a reminder 

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that depending on the type of 
chords you are using, you can 

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get different results. 
So make sure you experiment with

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not only different core types 
but also different chord 

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voicings. 
When you are using parallel 

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harmonic movement, you don't 
need to be concerned with voice 

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leading instead. 
The focus is on the harmonic 

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Melody and its role in a 
particular Musical. 

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On text has seen. 
There are lots of ways in which 

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you can use this technique, and 
the only limit is your 

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creativity, it's all for now, 
and I'll see you on the next 

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episodes. 
Happy composing