The question of why Bach wrote these objectionable consecutives that he did, particularly the structural ones, many of which are quite fixable, is difficult to answer. Eliminating the nine "cadential" parallels as a particular type of consecutives that Bach notably allowed, the remaining fourteen instances of consecutives equate to about one instance per 350 measures! While it may be a bit surprising to find so many instances of consecutives among the chorales of Bach, it is worth remembering that given the large number of chorales (more than 400), 25 instances of syntactical consecutives is an extremely small number - a ratio of approximately one instance per 224 measures of four–part counterpoint.
M.13 beat 4 to m.14 beat 1: P8s in contrary motionīeats 2–3: parallel P8s in parallel motion M.27 beat 4 to m.28 beat 1: P8s in contrary motion The remaining eleven instances of consecutives are legitimate structural, chordal, syntactical, mid–phrase consecutives that fall directly within in the paradigm of objectionable parallels, though contextual factors in each case certainly attenuate the negative aural effects of such problematic contrapuntal devices. Here are the fourteen "non–structural" consecutives found in the Bach chorales:īeats 1–2: parallel P5s, passing tone in A.īeats 3–4: parallel P5s, neighbor tone in S.īeats 1–2: parallel P5s, passing tone in S. Of these fourteen non–structural parallels, nine represent a very specific type of parallel fifths referred to here as "cadential parallels" in which a Re–Do anticipation figure in the soprano coincides with a Sol–Fa delayed arrival of the seventh in a V7 chord to create parallel fifths. Such "non–structural" consecutives may be considered less objectionable than structural consecutives but are generally still regarding as problematic (all contextual factors being equal). Remove these embellishing notes and the objectionable consecutive P5 or P8 disappears. Of those 25, fourteen of them constitute consecutive involving non–chord tones (NCTs) such as passing tones, neighbor tones, anticipations, etc. Setting aside these 29 non–syntactical consecutives, 25 mid–phrase consecutives remain. P5s in contrary motion (T/B) & P8s in parallel motion (A/B) Here are 29 "fermata consecutives" among the chorales:Ĭonsecutive P5s (T/B) & P8s (A/B) in contrary motionĬonsecutive P5s (T/B) & P8s (S/B) in contrary motion
Any negative contrapuntal effect of these consecutives is significantly attenuated if not eliminated entirely. These "fermata" consecutives can to a significant degree be considered non–syntactical since they occur between two separate phrases. Over half of the 54 consecutives occur between the final chord of one phrase and the first chord of the next.
parallels that disappear with the removal of NCTs)? To help give a clearer picture regarding questions of these types, the 54 instances of consecutives are categorized below. But exactly what kind of consecutives did Bach write and in what specific contexts? Did he write consecutive octaves or fifths only? Did he only write parallels that involve non–chord tones (i.e. In fact, no fewer than 54 instances of consecutives perfect fifths and octaves can be found in the chorales. (In other words, parallel fifths/octaves cannot be corrected through octave transference.) Because of this, the forbidden fifths/octaves under discussion here will be referred to as " consecutive fifths/octaves" or even more simply "consecutives."ĭo consecutives fifths and octaves occur in Bach’s chorales? While this rule refers to parallel fifths/octaves - that is, consecutive harmonic perfect fifths and octaves in parallel contrapuntal motion - consecutive fifths or octaves in contrary motion are categorically the same and are also to be avoided.
While no thorough account of the rationale behind this rule will be rehearsed here, suffice it to say that parallel fifths and octaves violate the principles of counterpoint by interfering with the independence of voices required. Consecutive Fifths & Octaves in the ChoralesĬonsecutive Fifths & Octaves in the Bach ChoralesĪvoiding parallel fifths and octaves is one of the foundational "rules" of counterpoint.
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