Example10 CHORD AND SCALE TONE S – PARALLEL HARMONY A 3rd and 6th ABOVE
Here, we see how parallel motion can be applied to a melody (Guitar 3) composed from chord tones linked by scale notes. It ’s important to start off by identif ying the chord tones from within the original line (the strongest notes), and making sure that each of these is underpinned by other chord tones in the other two par ts. Then the object is to link the chord tones from each harmony part using scale notes (which act as passing notes between (chord and scale tones - parallel harmony a 3rd and 6th above) the chord tones) in an equivalent manner to the original (so that any motion is mirrored as closely as possible). If you visually scroll up and down through the three guitar par ts, you will see that: 1) Each chord tone is mirrored by two other complementary chord tones (in the other par ts), with no duplications (no two notes are the same pitch). 2) Each scale note is mirrored by two other complementary scale notes (again, in the other par ts with no duplications).