Re: Chord Function?

On Sun, 20 Jul 2008 05:39:30 GMT, "Steve Latham" <llatham@[EMAIL PROTECTED]
>
wrote:

>
>"Chickenhead" <kuNOrtSPAMshapTHANKiro@[EMAIL PROTECTED]
> wrote in 
>message news:H9ydnU_oO6ynMOLVnZ2dnUVZ_vninZ2d@[EMAIL PROTECTED]
>> Steve, trad harmony is a different set of rules than trad counterpoint.

>> Unlike later trad harmony, parallel 4ths are not allowed in trad 
>> counterpoint.  Check out Gradus Ad Parnassum.  In trad counterpoint,
the 
>> first example would not be permissible.
>
>Let's refine this. It depends on the period, and how we're defining 
>counterpoint. Obviously, parallel 6th chords are not very "contrapuntal"
in 
>that the voices all move in parallel. But there is a period of time where

>cadences like:
>
>D E
>A B
>F E
>
>are commonplace.
>
>Likewise, successions of parallel perfect 4ths are to be found in Bach's 
>Chorales. Now, I don't know if you consider Bach's Chorales to be 
>traditional counterpoint, or if they're less contrapuntal so you're
putting 
>them in the "harmony" camp instead.
>
>3 in a row though would be comparatively rare in any contrapuntal setting

>though.
>
>Steve 


The term is "Fauxbordon" and to the best of my knowledge, it was common
during the 1500's with the Netherland composers, fell out of favor in the
16th century ( and so is not part of the Palestrina style) and baroque
period (ditto Bach), but regained favor during the Viennese classical
period ( 1st inversion parallel triads are all over Mozart's music).

Danny