Hello, Can anyone explain, in simple terms, what exposed octaves and fifths are and the rules associated with them? I think I can see what they are ie. I can see that a C in the bass and a C in the soprano part could be considered to be an exposed 8ve but it can also appear to be acceptable at times and I can't understand what has changed to make it so. I am using several different theory (work) books because I have found difficulty in understanding much of the work and I have to cross reference and pick out the easier explanation from the different texts. Grades 1 to 5 were so straightforward compared to this and I'm feeling really stupid. I don't want to throw in the towel but since March 07, when I took my grade 5, I seem to have progressed at the pace of a snail.
PS I am working on my own with this.

Don't worry about the slow progress, there is a huge difference between grade s 5 and 6 theory.

Octaves and fifths in isolation are fine. What you can't have is those Cs you talked about both moving in similar motion on to another note. So you can't have Cs in Bass and soprano moving on the next note to Ds for example. Smae rule applies to fifths.

Must admit that I hadn't come across the term 'exposed' octaves or 5ths - in my day they were called parallel octaves & 5ths. The basic rule is that you shouldn't have two parts moving in parallel octaves or 5ths, as it makes the harmonic movement sound rather odd ... just when you think that you've got the chords sorted, you find these parallel intervals, and you have to rejiggle. A bit like Sudoku.

Brian

I have been looking at exposed octaves this week. (I'm working on Grade 8 theory on my own and I'm revising from Grade 6). They are a bit different to consecutive octaves. The orange book by A. Butterworth explains it on p35. Perhaps you have already seen this page?

The rule is (as I see it) is that if all the notes (edit: not from a previous octave or fifth like in consecutive movement) move in similar motion towards an octave or fifth in the outer parts with a leap in the soprano top part then it is an exposed interval.

It's okay if the leap is in the bass with a step in the top part. I expect it's also okay if at least one of the parts go in contrary motion to the rest.

What always confuses me is - I think I've got it worked out and then I find a model answer somewhere that breaks the rule - really annoying!! That's when I think I need a teacher to tell me why!

Thank you BusyBee,
That makes it clearer but its the step part I'm still a little confused about; what is a step? Is it just moving up or down one note and does it only apply to the soprano part or can you cancel out the "exposed" bit by using a step in the bass instead of the soprano? I haven't got the Butterworth book, just everything else!! (Your comment re model answers/breaking the rule really strikes a chord with me).

Glad to be of help

In answer to your questions - a step is two consecutive next-door letters - A to B, C to D etc. It can be a whole step made of two semitones - major 2nd. Or it can be a semitone - a minor 2nd (remember leading notes usually rise). The step can go up or down.

Really important (what I read anyway) - you can't cancel out an exposed octave by stepping in the bass if there is still a leap to the top note of the octave in the soprano. If it's the other way round with a step in the soprano it's not an exposed octave in the first place. It's the leap in the top part that is the problem but remember that the bass part has to be heading the same way in similar motion even if it is stepping - to complete the picture of an exposed octave between bass and soprano.

I checked about whether all the parts having to be moving in similar motion - I made an error (oops)! - it's the bass part that has to be moving in the same direction as the soprano

I want to remember all this too

Got it! Brilliant, I understand it now. Thank you.

Why?

To make your piece sound similar to the music written by composers who followed these rules (nearly all of them from c. 1500 to 1900). You use consecutive fifths if you want to make your music sound mediaeval, or if you are in a rock band.

That's interesting. Another piece of information to take on board! For someone coming in at a late stage I find all the different rules fascinating but difficult to absorb in one go.

But what brought the rules about? Is it simply because that tends to sound better?

Very briefly, I think we have the rules in harmony to ensure a strong tonal pull towards the tonic note in any key. This is achieved by the strong semitonal pull created by the leading note rising to the tonic. This is why we have to sharpen the third in chord V in a minor key, so that a V 1 perfect cadence has a leading note in chord V going to the tonic in chord 1. Contrary motion is very important - for example - a 7th added to chord V will fall a semitone to the third of chord 1 at the same time as the leading note rises. Having consecutives would spoil the strong sense of direction in tonal music.

Bach Chorales often have the leading note falling to the fifth of chord 1 at a cadence, but only just beginning to properly understand when this happens.

I've been doing harmony on and off for over twenty years and I'm still having to go over and over the 'rules'. I guess it's regular practice which helps and the opportunity to teach it when I can!