The weight table each profile ranks candidates by.
strict states the sixteenth-century preferences: contrary motion is worth
seeking, similar motion is worth avoiding, imperfect consonances carry the
line, and a run of parallel thirds earns nothing. pop inverts two of those.
Parallel thirds and sixths are the harmony line an arranger writes on purpose,
a pedal or a held unison under a moving lead is a texture rather than a fault,
and similar motion is simply how two parts often move together — while a bass
moving against the lead is still worth preferring where it is available.
The weight table each profile ranks candidates by.
strictstates the sixteenth-century preferences: contrary motion is worth seeking, similar motion is worth avoiding, imperfect consonances carry the line, and a run of parallel thirds earns nothing.popinverts two of those. Parallel thirds and sixths are the harmony line an arranger writes on purpose, a pedal or a held unison under a moving lead is a texture rather than a fault, and similar motion is simply how two parts often move together — while a bass moving against the lead is still worth preferring where it is available.