198) 9 - HARMONIC DIRECTION sound varies under different dramatic conditions. In an orchestral arrival of dissonant material upon a consonant climax, extensive doubling of all members of the consonant chord may be necessary to avoid loss of sound. PARALLEL HARMONY When all voices in a succession of chords move in the same direction, parallel harmony occurs. Parallel harmony is found in eighteenth-century six-three successions and in nineteenth-century diminished seventh chord successions. The term includes both strict parallel motion in which all the chords are identical in con- struction, and similar motion in which the chords change as the voices move freely but in the same direction. The direction and intervallic transpositions may vary and be either real or tonal. )-. tonal Ex. 932 mal >, wml_— - ir be ret ew be Real parallel harmony (exact transposition) has a tendency to sever connections with any one key and may be used as a means of entering and leaving atonality. This kind of harmony functions freely in modulatory transitions and in thematic statements where tonality is meant to be obscure. Tonal parallel harmony (inter- vallic changes determined by the scale in force) tends to preserve a modality. Parallel harmony (or chordal melody) is an expanded textural equivalent of a melodic line; its direction is governed primarily by melodic considerations and its intervallic construction by the kind of texture demanded by the dramatic form. In parallel harmony, fourths and fifths are as liquid as thirds and sixths, and intervals of the second and seventh find horizontal freedom. Momentary parallel harmony is effective when used to ac- centuate a rise or fall in a melodic line or to slip into a fresh key