And to fix it you'd probably do something like the following.
[MUSIC]
You'd avoid this parallel here-
[MUSIC]
and just do this.
This is a familiar voicing, right?
We have the third in a bass, then this octave and
a fifth in, in the upper voices.
And we go.
[MUSIC]
We have a pattern as well, but it's a pattern that a voice
leading pattern that occurs over two beats rather than in every beat.
And this one sounds something like this.
[MUSIC]
The other is actually, the other way to think about this is to say,
well you know, this isn't vocal writing.
And in fact if this was, well if this was keyboard music you'd probably keep it to
three voices, although you may, you may not.
But especially with orchestration, imagine for instance,
two instruments took this octave and then another two instruments took these,
and it was just a kind of orchestration orchestral reinforcement.
Reinforcement of the instrumentation, that's another way to think about it.
You might not do that in, in something that is a homorhythmic homophony, but
you may encounter that in something that's been orchestrated and involves some
non-chord tones and some kind of pattern, which we'll look at a little bit later on.