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Parallel harmony

Parallel harmony, also known as harmonic planing or parallel chord motion, is a musical technique in which chords, intervals, or melodic lines progress in the same direction while preserving their relative pitch relationships, typically mirroring the contour of a primary melody to create a unified, flowing texture.^[1]^[2]^[3] This approach contrasts with traditional functional harmony by prioritizing motion and color over root progression and resolution, often resulting in smooth, evocative shifts that enhance emotional expression.^[1]^[4] Historically rooted in medieval organum, where voices moved in parallel intervals such as fourths and fifths to enrich plainchant, parallel harmony was largely avoided in Renaissance and Baroque counterpoint due to rules prohibiting parallel perfect intervals like fifths and octaves, which could obscure voice independence.^[4] It experienced a revival in the late 19th and early 20th centuries through Impressionist composers, notably Claude Debussy and Maurice Ravel, who employed it to evoke ambiguity, shimmer, and atmospheric depth— for instance, Debussy's use of parallel seventh chords in works like Prélude à l'après-midi d'un faune and Ravel's parallel motions in the overture to L'enfant et les sortilèges.^[4] In tonal contexts, such as classical and Romantic music, parallel harmony is frequently realized through inverted triads to circumvent contrapuntal restrictions, allowing subtle chromatic or diatonic shifts.^[1] Beyond classical traditions, parallel harmony permeates folk, popular, jazz, and contemporary genres, where it facilitates intuitive chord progressions and melodic thickening—examples include its prevalence in ragtime like Scott Joplin's The Entertainer, Hawaiian pop, and modern electronic dance music for creating tension and surprise.^[3]^[5] In post-tonal and jazz settings, the technique gains flexibility, disregarding inversion preferences and dissonance rules to support modal or chromatic explorations.^[1] Its enduring appeal lies in its simplicity for performers on instruments like guitar or keyboard, accessibility to untrained listeners, and capacity to generate novel harmonic paths that break from conventional voice leading.^[3]

Definition and Fundamentals

Definition

Parallel harmony, also known as harmonic planing or parallel voice leading, refers to a compositional technique in which a series of chords—typically of the same quality, such as all major triads or all minor triads—move in parallel motion while preserving the intervallic structure among their voices.^[6] In this approach, each successive chord is essentially a transposition of the previous one by a fixed interval, such as a whole step or half step, resulting in all voices shifting uniformly up or down without independent contrary or oblique motion.^[6] Chord quality denotes the type of triad or chord structure, where major chords feature a major third and perfect fifth above the root, and minor chords feature a minor third and perfect fifth, ensuring the harmonic color remains consistent across the progression.^[7] This method contrasts with parallel intervals, which involve only two voices maintaining a constant interval (such as parallel fifths or octaves) during motion, by instead emphasizing the block-like displacement of entire chordal formations as cohesive units rather than isolated melodic lines.^[6] The term "planing" serves as a common synonym, highlighting the smooth, planar gliding of harmonic blocks across pitches.^[6] Unlike traditional voice leading rules that prohibit parallel perfect intervals like fifths and octaves to promote independence among voices, parallel harmony deliberately employs such motion to create unified, coloristic effects in modern and impressionistic styles.^[8]

Basic Principles

Parallel harmony is constructed by first selecting a root progression, such as stepwise motion or movement by thirds, and then building identical chord types on each successive root, ensuring that all voices shift by the same interval to maintain the overall chordal structure.^[9] This process emphasizes non-functional harmony, where the chords do not resolve traditionally but instead create a sense of linear motion through parallelism.^[10] Common types of parallel harmony include diatonic planing, which employs chords derived from a single diatonic collection for a modal, cohesive sound (with chord qualities varying to fit the scale); chromatic planing, utilizing chords of consistent quality (such as all major triads) via accidentals to evoke an exotic or dissonant quality; and mixed parallelisms that blend elements of both for varied texture.^[9]^[11] In all cases, intervallic consistency is key: the upper voices move in exact parallel to the bass line, preserving the chord's shape and quality, such as root-position triads transposed up by a major second.^[9] A straightforward notation example illustrates this in root-position major triads progressing stepwise: begin with C major (C-E-G), shift to D major (D-F♯-A), then to E major (E-G♯-B). This sequence demonstrates chromatic planing, as the consistent major third and perfect fifth intervals are maintained across each transposition, resulting in a smooth yet non-resolving harmonic flow.^[9]

Historical Context

Origins in Music Theory

The concept of parallel harmony traces its roots to medieval counterpoint, where parallel organum emerged as one of the earliest forms of polyphony between the 9th and 12th centuries.^[12] In this practice, a secondary voice moved in strict parallel motion—typically at intervals of a fourth, fifth, or octave—above or below a plainchant melody, creating a rudimentary harmonic texture derived from monophonic traditions. However, by the 12th and 13th centuries, as polyphony evolved toward greater complexity in the Notre Dame school, parallel motion was increasingly prohibited in theoretical treatises to enforce voice independence and avoid the blending of lines that diminished contrapuntal clarity.^[13] During the Renaissance and Baroque periods, these prohibitions were further codified in theoretical writings that prioritized divergent voice leading, though techniques like fauxbourdon in the early Renaissance allowed controlled parallel motion using imperfect intervals such as thirds and sixths. In his seminal 1722 treatise Traité de l'harmonie réduite à ses principes naturels, Jean-Philippe Rameau emphasized contrary motion between outer voices and functional chord roots as essential for proper harmonic progression and bass-line generation, generally favoring voice independence over extensive parallel motion, while permitting occasional parallels.^[14] This approach reinforced the contrapuntal ideals inherited from earlier modal practices, viewing unchecked parallels as antithetical to the independence required in polyphonic composition. A notable shift occurred in the 19th century, as composers began to challenge these strictures for expressive purposes. Franz Liszt, in his piano works from the 1830s and 1840s—such as the Transcendental Études—advocated for parallel chords through innovative usage that broke from traditional part-writing rules, employing block chord progressions to evoke coloristic and dramatic effects rather than adhering to voice-leading conventions. In early 20th-century theoretical analysis, Heinrich Schenker reframed parallels as permissible but superficial elements within his hierarchical model of tonal structure. In works like Der freie Satz (1935), Schenker treated parallel motions as foreground deviations or embellishments that did not alter the underlying functional harmony of the background levels, subordinating them to the organic unfolding of the Ursatz.

Evolution Across Eras

In the Romantic era, parallel harmony began to gain acceptance as a means of evoking atmospheric color, building on earlier techniques like fauxbourdon that had incorporated regulated parallels despite general contrapuntal restrictions on perfect intervals. Claude Debussy pioneered this adoption in his Prélude à l'après-midi d'un faune (1894), where parallel chords in the strings accompany the oboe theme, creating impressionistic timbres through non-functional harmonic progressions that prioritize sensory effect over tonal resolution.^[15] The early 20th century saw parallel harmony expand into Modernist contexts, often harnessing its stark, block-like qualities to convey primitivist impulses and atonal freedom. Igor Stravinsky employed parallel augmented triads and related chord clusters in The Rite of Spring (1913), using their motion to evoke raw, ritualistic energy aligned with the work's primitivist aesthetic.^[16]^[17] Meanwhile, Arnold Schoenberg integrated chromatic parallel thirds and other motions into his atonal compositions after 1908, such as the Three Piano Pieces, Op. 11, to dismantle traditional voice leading and explore expressive dissonance without tonal anchors.^[18] Post-World War II developments further normalized parallel harmony within avant-garde frameworks, particularly in minimalism and spectralism. Steve Reich incorporated it into phase-shifting structures during the 1960s, as in Piano Phase (1967), where identical melodic lines—functioning in parallel—gradually offset rhythmically to generate hypnotic, interlocking patterns.^[19]^[20] In spectralism, Gérard Grisey advanced parallel chord movements from the early 1970s onward, modeling them on acoustic spectra in works like Périodes (1974), to simulate natural resonance and timbral evolution through coordinated shifts in harmonic aggregates.^[21]^[22] These stylistic innovations were bolstered by cultural exchanges with non-Western traditions, notably the influence of Javanese gamelan on Western composers starting in the 1880s. Debussy encountered gamelan's parallel intervals—often seconds and fourths—at the 1889 Paris Exposition Universelle, which informed his embrace of parallel motion as a textural device evoking exotic resonance without functional progression.^[23]^[24] This cross-cultural infusion persisted, subtly shaping Modernist and postmodern applications by broadening harmony's role beyond European norms.

Theoretical Framework

Harmonic Structure

Parallel harmony, also known as chord planing, fundamentally diverges from traditional tonal harmony by eschewing functional progressions that rely on tension and resolution, such as the dominant-to-tonic cadence. Instead, it employs successive chords moved in parallel motion, which suspends any sense of hierarchical resolution, resulting in a static or additive harmonic texture rather than a directed progression. This non-functional approach avoids leading tones and traditional voice-leading resolutions, prioritizing coloristic and textural effects over structural drive.^[25] The consistency of chord quality in parallel harmony significantly influences its tonal character. When using major triads or seventh chords in parallel motion, the harmony often evokes a bright, luminous tonality due to the prevalence of major thirds and the avoidance of dissonant pulls. In contrast, parallel minor chords introduce a more subdued or melancholy quality, stemming from the minor third's intervallic structure, which alters the overall sonic palette without shifting to a new functional center. These qualities are maintained across transpositions, reinforcing a sense of harmonic uniformity. Parallel harmony can integrate with functional harmony in hybrid contexts, serving as transitional passages that bridge cadential points without disrupting the underlying tonal framework. For instance, a sequence of parallel chords might link a dominant preparation to a tonic resolution, adding color while preserving the progression's directionality. This blending appears in impressionistic works, where non-functional parallels enhance functional structures through modal or polytonal overlays.^[25] From a theoretical perspective, parallel harmony aligns with set theory analysis, where successive chords belong to the same pitch-class set, exhibiting invariance under transposition. For example, a series of major triads forms the set class 3-11 ({0,4,7}), remaining structurally identical regardless of the transposition interval, which underscores the technique's emphasis on equivalence over functional differentiation.

Voice Leading Implications

Parallel harmony fundamentally challenges traditional voice leading principles by promoting uniform motion across all voices, often resulting in consecutive perfect intervals such as fifths and octaves between parts. In species counterpoint, as codified by Johann Joseph Fux in Gradus ad Parnassum (1725), parallel motion into perfect consonances is strictly prohibited to preserve the distinctiveness and independence of individual voices, preventing them from fusing into a single perceived line.^[26] This prohibition extends to hidden (or consecutive) fifths and octaves, which arise in parallel chord progressions when voices approach these intervals via similar motion, further eroding contrapuntal texture by implying a loss of linear autonomy.^[27] To counteract the reductive effects of such parallelism on voice independence, composers employ compensatory strategies, including the introduction of contrary motion at phrase boundaries to reassert divergent paths among voices or the incorporation of pedal points that anchor one voice while others shift uniformly.^[28] These techniques help restore a sense of contrapuntal balance without abandoning the coloristic appeal of parallel motion, allowing for temporary homorhythmic blocks followed by more varied interactions. The textural consequences of parallel harmony manifest in the formation of block chords, where simultaneous vertical sonorities move as cohesive units, thereby diminishing polyphonic complexity and favoring a homophonic orientation.^[29] This shift emphasizes harmonic progression over independent melodic lines, creating a streamlined, unified sound that prioritizes chordal color and rhythmic synchronization across parts. In contemporary contexts like jazz and film scoring, parallel harmony is repurposed as an expressive device, often generating cluster-like effects through stacked intervals such as ninths or elevenths, deliberately bypassing traditional avoidance rules to evoke modal ambiguity or atmospheric depth.^[30] Such adaptations highlight voice leading not as a rigid constraint but as a flexible tool for timbral innovation, where the intentional embrace of parallels enhances stylistic intent over classical propriety.

Perceptual and Expressive Effects

Auditory Characteristics

Parallel harmony exhibits timbral uniformity arising from the parallel motion of chordal voices, which preserves consistent interval relationships and leads to a sliding or blocky sonic profile. This uniformity stems from the psychoacoustic fusion of voices, where simultaneous changes in partials—such as shifts in pitch height or loudness—are perceived as originating from a single auditory source rather than independent lines, resulting in a cohesive but static timbre without the textural variety of contrary motion.^[31]^[32] The reinforcement of perfect intervals, particularly fifths and octaves, in parallel configurations emphasizes consonant overtones aligned with the harmonic series, yielding a hollow or archaic timbre characterized by sparse resonance and minimal perceptual dissonance. These intervals (with frequency ratios of 3:2 for fifths and 2:1 for octaves) promote voice fusion due to overlapping partials, reducing the auditory independence of lines and creating a pure yet undifferentiated sound mass.^[31]^[32] Registral placement significantly influences the perceived qualities of parallel harmony; in upper registers, the configuration often evokes brightness and ethereality through prominent higher partials and expansive voicing, while lower registers enhance depth and resonance via intensified fundamental frequencies and denser overtone interactions.^[33] From an acoustic standpoint, parallel consonant intervals amplify the reinforcement of partials within the harmonic series, as transposed overtones maintain close alignment across the progression, bolstering overall consonance and contributing to the sustained, frictionless timbre typical of such structures.^[31]

Emotional and Structural Impact

Parallel harmony often conveys a sense of stasis and otherworldliness, creating dreamlike atmospheres that suspend traditional tonal momentum and evoke ethereal or timeless qualities in compositions, particularly within impressionist works. This expressive effect arises from the non-goal-directed motion of chords, which prioritizes color and texture over resolution, fostering a meditative immersion for listeners. For instance, in Debussy's music, parallel progressions generate harmonic ambiguity that heightens emotional subtlety rather than dramatic peaks, contributing to an otherworldly detachment from narrative drive.^[34]^[35] Structurally, parallel harmony serves coloristic transitions and ostinati, subtly shifting timbres to delineate sections without abrupt contrasts, while blurring formal boundaries in modernist contexts by emphasizing linear flow over hierarchical progression. This technique reinforces continuity, allowing composers to layer atmospheric depth that integrates melodic lines into a unified sonic plane, often releasing built-up repetition through registral or instrumental variations. In broader compositional frameworks, it facilitates seamless modulatory shifts, enhancing overall cohesion without relying on cadential anchors.^[34] In Western cultural perceptions, parallel harmony frequently evokes medievalism through associations with early organum's parallel intervals, suggesting archaic purity and solemnity, or exoticism via influences like Javanese gamelan, which inspired Debussy's parallel constructions to imply distant, non-European allure.^[23]^[35] Comparatively, while dissonant harmony intensifies unease through instability, parallel forms deliver consonance devoid of teleological pull, yielding serene consonance that invites contemplative rather than resolute engagement.^[25]

Musical Examples

Classical and Romantic Works

Franz Liszt's Nuages gris (1881) employs chromatic parallel harmony to evoke ambiguity and unease, utilizing descending augmented triads that obscure tonal centers and mimic drifting clouds. The opening features parallel augmented chords—except the initial one—spanning an augmented fifth, with chromatic descent in measures 11–20 generating harmonic instability through non-functional progressions.^[36] Additionally, quartal ostinatos (such as D-G-C♯) with unresolved dissonances like added sixths and seconds reflect Liszt's late-style experimentation with symmetrical structures.^[37] This approach, minimal in contrast between augmented dominants and minor tonics, intensifies the piece's morbid atmosphere while anticipating Impressionist techniques.^[38] Richard Wagner's prelude to Tristan und Isolde (1859) incorporates subtle parallel diminished chords to heighten harmonic suspension and emotional tension, integrating them into the chromatic fabric of the orchestral texture. These parallels, often in streams of the same quality, amplify the famous Tristan chord's ambiguity by shifting diminished seventh structures semitonally, delaying resolution and evoking longing without traditional functional progression.^[39] In the prelude's opening measures, such motion in the divided strings and winds creates a planing effect, where parallel diminished formations underpin the leitmotif's undulating lines, stretching tonal boundaries central to Wagner's late-Romantic idiom.^[40] This technique sustains the work's pervasive dissonance, influencing subsequent composers in their exploration of suspended harmony. Although composed in 1910, Claude Debussy's La cathédrale engloutie remains rooted in Romantic Impressionism, prominently featuring parallel white-key major triads to depict the legendary cathedral's rising and falling with the sea. In the central section (measures 40–60), ascending and descending parallel major chords on diatonic white keys—C major, D major, E major—evoke surging waves and submerged majesty, prioritizing modal color over functional resolution.^[41] These progressions, often in root position and treated as autonomous sonic blocks, draw from medieval organum influences while integrating pentatonic and whole-tone elements, creating a static, timeless texture that blurs traditional voice leading.^[42] The technique culminates in the piece's climax, where parallel dominant sevenths condense into heptatonic structures, enhancing the auditory illusion of emergence and submersion without overtone-driven tension.^[41]

20th-Century and Contemporary Applications

In Igor Stravinsky's ballet Petrushka (1911), bitonal parallel harmonies, exemplified by the superimposed C major and F♯ major triads known as the "Petrushka chord," drive the rhythmic energy of the score through their dissonant layering and motion. These structures, drawn from pandiatonic passages using only C major scale tones without traditional resolutions, create a complex texture that propels the narrative's folk-like exuberance and mechanical puppetry.^[43] In the third tableau, such bitonal elements enhance rhythmic vitality, evoking an exhilarating spirit that underscores the work's modernist break from tonal norms.^[43] Krzysztof Penderecki's Threnody to the Victims of Hiroshima (1960) employs parallel string clusters—dense aggregates of adjacent pitches moved in unison across the 52-instrument ensemble—to forge avant-garde textures that evoke visceral horror and collective mourning. These sonoristic masses, notated graphically with lines indicating pitch density rather than traditional notes, prioritize timbral evolution over melodic or harmonic progression, resulting in a raw, spatial soundscape.^[44] The parallel motion of clusters, often executed through glissandi and tremoli, amplifies the piece's emotional impact, transforming harmony into a tool for sonic architecture that mirrors the atomic devastation's chaos.^[44] Steve Reich's Music for 18 Musicians (1976) integrates phased parallel chords within its minimalist framework, where an 11-chord cycle forms the basis for repetitive sections that unfold through gradual processes. Each chord serves as a harmonic anchor, with instruments in parallel registers—such as bass clarinets and cellos on low drones, and keyboards on high pulses—phasing against one another to build intricate contrapuntal layers.^[45] This technique, rooted in Reich's interest in audible processes, sustains repetition while subtly shifting textures, creating a hypnotic pulse that evokes meditative trance-like states.^[45] In John Adams's opera Nixon in China (1987), parallel harmonies contribute to postmodern irony by clashing with the libretto's surface narratives, often through neo-Riemannian transformations that introduce ambiguity and tension. For instance, in scenes depicting diplomatic exchanges, simplified parallel progressions underscore ironic contrasts between historical optimism and underlying unease, such as in the opening's A Aeolian scales that blend hope with anxiety.^[46] Adams's harmonic settings frequently contest the text, heightening the opera's layered critique of power and ideology.^[46] In Scott Joplin's ragtime piece The Entertainer (1902), parallel harmony is evident in the syncopated chord progressions that thicken the melodic lines, creating a lively, intuitive texture typical of the genre. These parallel motions, often diatonic triads moving in thirds or sixths, enhance the piece's playful energy and accessibility, exemplifying the technique's role in early 20th-century popular music.^[3]

Modern Usage and Techniques

In Electronic and Popular Music

In electronic music, pioneers like Wendy Carlos utilized synthesizers to reinterpret classical works, adapting Bach's contrapuntal structures for novel timbres on the Moog in her 1968 album Switched-On Bach. This approach layered synthesized voices to evoke both historical depth and futuristic resonance, marking an early fusion of acoustic harmony principles with electronic instrumentation. In popular and rock contexts, parallel harmony appeared innovatively through vocal layering, as in The Beach Boys' Good Vibrations (1966), where modular recording techniques assembled parallel vocal lines—often in thirds and sixths—to produce dense, psychedelic textures that blurred melodic and harmonic boundaries.^[47] Contemporary production techniques leverage digital tools for parallel harmony's precision and scalability. MIDI sequencing facilitates exact parallel chord shifts by programming uniform interval transpositions across polyphonic synths or samplers, a staple in house and techno since the 1980s, as seen in progressions like Inner City's Good Life (1988) with its sequence of parallel minor chords.^[48] In EDM and pop, Auto-Tune's Harmony Engine generates parallel vocal harmonies—such as thirds or octaves above the lead—by processing a single track into up to four voices aligned to the song's key and scale, enhancing hooks with pitch-corrected depth while preserving natural vibrato.^[49] Parallel harmony evolved across genres from 1980s synth-pop, where Depeche Mode shifted entire chord voicings in parallel motion on synth choirs for enigmatic tension—as in the keyboard parts of later tracks building on their early electronic foundations—to atmospheric pads in electronic genres.^[50]^[51]

Compositional Strategies

Composers integrate parallel harmony into broader structures, blending it with other harmonic practices to introduce color and texture. Varying chord density enhances these integrations; triads offer sparse, melodic clarity in parallel motion, whereas seventh or ninth chords add density and dissonance for more complex timbral layers.^[52] To introduce variation, parallel blocks can alternate with contrary motion passages, creating dynamic shifts in contrapuntal texture and preventing harmonic stasis. Within parallel progressions, modal mixtures—such as interspersing major and minor triads or borrowing from pentatonic or whole-tone collections—allow for subtle color variations while preserving the unified motion of voices. These techniques draw on voice leading principles to ensure connections between parallel and non-parallel sections remain fluid and purposeful.^[53]^[52] Orchestration considerations emphasize timbral selection to optimize parallel harmony's effects; woodwinds, with their bright and incisive tones, suit articulated parallel chords for clarity and punctuating power, as seen in combinations like clarinets and bassoons introducing parallel series. In contrast, strings excel in sustained parallels due to their homogeneous blend and ability to sustain long arcs of motion, often using open voicings or mutes to enhance warmth and seamlessness.^[54] Post-1950 music theory texts incorporate pedagogical exercises on parallel harmony to foster exploration of non-functional practices, such as composing sequences of parallel major-seventh chords at minor-second intervals or varying interval structures (e.g., thirds versus fifths) to build intuition for modern harmonic freedom. These exercises typically progress from simple triad planing to more elaborate mixtures, encouraging students to analyze and apply parallelism in original compositions.^[55]

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[PDF] Mirka, Texture in Penderecki's Sonoristic Style - Music Theory Online
Their variants may display considerable differences as to sound contents inasmuch as these differences do not threaten constitutive terms of a given segment.
[46]
[PDF] Steve Reich's 'Music For 18 Musicians' as a Soundscape Composition
May 1, 2018 · This paper provides an ecomusicological analysis of 'Music for 18 Musicians', ... with Reich's process-driven philosophy of minimalist music ...
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(PDF) Timothy A. Johnson, John Adams's Nixon in China
Aug 9, 2025 · Review of Timothy A. Johnson, John Adams's Nixon in China: Musical Analysis, Historical and Political Perspectives (Farnham: Ashgate Press, 2011) ...
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The Language of Electroacoustic Music
Subotnick's The Wild Bull and, in a more popular vein, Wendy Carlos's ... the melodies are played in 'parallel' chords. Example 3 shows the richness ...
[49]
MLI Examples & Ideas | Imagination Creates Reality
Jan 9, 2014 · More specifically, I am hoping to use the two pieces “Bolero” by Maurice Ravel and “Autobahn” by Kraftwerk. ... parallel harmony does this…' then, ...
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What is Harmony in Music and How It is Used - ipassio
Jun 11, 2025 · One of the most common ways vocalists use harmony is by singing in parallel harmony. ... In "Good Vibrations" by The Beach Boys, different vocal ...
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"I Might Be Wrong": Modal Fluctuation in the Music of Radiohead
... Tristan und Isolde (functioning as a stepping stone between classical ... parallel harmony is particularly problematic for music theory since such ...
[52]
Production Secrets: Parallel Chords - ModeAudio
May 1, 2020 · Parallel chords are a single chord sample played at different pitches, maintaining the same tonality, often used in early electronic dance ...
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How to Harmonize Vocals
### Summary: How Auto-Tune is Used for Vocal Harmonies in EDM or Pop
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The music theory behind a Depeche Mode classic - Yahoo
Sep 11, 2025 · The movement in the synth choir keyboard part is also interesting, as it adopts parallel movement. This means that the entire chord is shifted ...
[55]
The Theory Of Techno Parallel Chord Stabs - Attack Magazine
Feb 20, 2025 · A parallel chord progression is when a chord sequence moves by maintaining the same chord quality while shifting up or down by a consistent interval.
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[PDF] Functional and Non-Functional Harmonic Devices in the Music of ...
Jun 12, 2023 · Minor Chord Planing. The relationship between sequenced minor seventh chords in the music of Wayne Shorter can be categorized by root motion ...
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[PDF] What Makes Music Sound Good? - Dmitri Tymoczko
Sometimes these parallel chords can be given a harmonic interpretation, but this is not always the case. You might, for example, see EG-. FA-EG-DF-CE over a ...
[58]
[PDF] Impressionism in the Piano Music of Claude Debussy
These included new harmonic procedures, new uses of rhythms, deviations from the conventional forms, and new ideas about tone color. These devices along with ...Missing: scholarly | Show results with:scholarly
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[PDF] The Study of - Orchestration
... parallel chords introduced by clarinets and bassoons; the only con trasting gesture that appears in the entire piece is the following little figure, always ...