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A comparison of the application of fauxbourdon and falsobordone techniques through a hypothetical example setting a descending scale in each form. In both techniques, the soprano and tenor maintain parallel sixths. However, in fauxbourdon, the countertenor moves in strict parallel fourths below the soprano, while in falsobordone the countertenor alternates between fourths and thirds below the soprano, and an additional bass voice alternates between thirds and fifths below the tenor, so that the soprano voice alternately carries the root or third of the root position triad. The falsobordone setting of this descending scale also produces the traditional voice leading of the descending thirds sequence common in later tonal harmony.
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Mrjnace
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