Example9 CHORD TONE S ONLY – PARALLEL HARMONY A 3RD AND 6TH ABOVE ...CONTINUED

If you have followed this series on neo- classical rock, you will see that we are merely playing different inversions of the same arpeggios simultaneously:

1 5 1 one inversion higher is the same as a 1 3rd higher, and two 1 inversions higher is the same as a 6th higher. It is for this reason that 3rds and 6ths are also

2 2 3 3 inversions of each other. Playing a 3rd higher will produce the same notes 3 as when playing a 6th lower (only an octave apart). Conversely, playing a 6th higher will generate the same notes as a 3rd lower (although, again, they will be in a different octave). Finally, note that the repetition problem inherent

2 5 2 with parallel motion is increased 3 with each added 3 voice. For example, the first note of Guitar

2 1 (F) is repeated by the second note 2 of Guitar 2, and again 4 4 in 0 the 5 third note of Guitar 3. This triple iteration applies to most of the 5 notes of Guitar 1 throughout this entire example. etc