APPENDIX A: VOICE LEADING OVERVIEW
Movement in 10ths
The idea of parallel movement in 3rds, 6ths and the compound interval of 10ths was introduced in the sections on Consonance and Dissonance and The Independence of the Voices. Examples of linear progressions moving in 10ths were also included in the section on Auxiliary Notes and Linear Progressions. In the following example from: The Missa Papae Marcelli, at the entry of Criste eleison, Palestrina uses movement in 10ths against a part on a sustained note, as follows:
The movement in 10ths is between the outer voices whilst the middle voice sustains the single note G. The effect is to prolong a C major chord over two bars, by creating the static harmony pattern:
I - V - I
The movement in quavers in the second beat of the second bar is an auxiliary note pattern in 10ths which further decorates the underlying V chord. We can see how the movement to another chord (chord IV ) at the third bar, coincides with the end of the sustained note (G) and the end of the movement in 10ths.
Removal of the voice leading elaboration, reveals the underlying I to IV root progression (a rising 4th progression) as follows:
This underlying pattern is elaborated in layers. Firstly, the C major chord is elaborated by an arpeggio (shown above) and two auxiliary notes which create the G auxiliary chord, as follows:
The arpeggiation is further elaborated by a passing note and the G auxiliary chord is elaborated by two further auxiliary notes as indicated in the first example above.
Further examples of movement in 10ths will be included in the Full Analyses Chapter.
It is important to say that this is not another type of voice leading elaboration. Rather, it arises by combining other voice leading patterns in parallel 10ths. It is worth noting the "hidden" parallel 5ths between the top voice and the bass at the end of this example. This is not approached by step. Please refer to the note on this subject in The Independence of the Voices.
Next Topic: Voice Leading and Melodic Embellishment