hidden fifths

So-called hidden consecutives, also called direct or covered octaves or fifths, occur when two independent parts approach a single perfect fifth or octave by similar motion instead of oblique or contrary motion. A single fifth or octave approached this way is sometimes called an exposed fifth or exposed octave.

Hidden fifths movement is when the voice are moving in the same direction, and the second interval is a fifth, but the first interval was something different. For example, the two voices moved from C & F (a fourth) to D & A (they both moved upwards into a perfect fifth).

A hidden fifth occurs when an implied consonant passing note would create a parallel fifth. A hidden octave occurs when an implied consonant passing note would create a parallel octave.

Hidden fifths and octaves are acceptable when they occur within the same chord, even with a leap in both voices (see bars 5-6 in the last example on page 3).

A hidden fifth occurs when an implied consonant passing note would create a parallel fifth. A hidden octave occurs when an implied consonant passing note would create a parallel octave.

What is the circle of fifths? The circle of fifths is a way to visualize the twelve musical keys and put them in a convenient order. It's used in music to help remember the notes that make up each key and group similar keys based on the notes that they share.

The root and fifth pattern is one of the most common note patterns used by bass players. When a guitarist or keyboardist plays a chord, he or she is playing several notes at the same time - usually 3 or more different notes. Two of the notes which form each chord are called a root and a fifth.

A perfect fifth is at the start of "Twinkle, Twinkle, Little Star"; the pitch of the first "twinkle" is the root note and the pitch of the second "twinkle" is a perfect fifth above it.

Sometimes the outer voices will move in similar motion to the interval of a 5th or octave, forming hidden fifths/octaves. Similar motion increases the emphasis which can be minimised if one of the voices moves stepwise – which is recommended in the textbooks.

In addition to perfect, there are two other kinds, or qualities, of fifths: the diminished fifth, which is one chromatic semitone smaller, and the augmented fifth, which is one chromatic semitone larger. In terms of semitones, these are equivalent to the tritone (or augmented fourth), and the minor sixth, respectively.

A hidden octave occurs when an implied consonant passing note would create a parallel octave. So in your example, the motion from A to D implies a consonant passing tone A-C-D, and of course C-D and C-D creates a parallel octave.

The 'rule of fifths' describes the ideal transverse proportions of the face to comprise equal fifths, each roughly equal to one eye width. The alar base width should be equal to the intercanthal width.