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25(2) Drone polyphony,(3) Canonic polyphony,(4) Contrapuntal polyphony,(5) Ostinato polyphony,(6) Heterophonic polyphony,(7) Overlapping polyphony,(8) Chordal polyphony(9) Array of Synthesis polyphonic subtypes;(1) Parallel polyphony is based on parallel movement of parts and can be dividedfurther into at least two sub-types (these two sub-types were distinguished anddescribed in Marius Schneider’s 1934-35 book):a. Tonally linked parallelism, or when parallel movement of differentparts is united into one tonal system. As a result, intervals do changeoccasionally, for example, parallel fourths sometimes change intoisolated thirds, or fifths (as this happens in some sub-Saharan Africantraditions), or, in other case, minor and major thirds follow each otherin a tonally specified succession (this kind of parallelism is verypopular in most of European and some African traditions);b. Tonally unconnected parallelism, or when two or more parts aresinging the same melody in parallel movement, keeping all the timethe same interval. In most cases this means that parts are singingwithout the unifying tonal system. Vocal parts singing without theshared tonality may indicate that this is a case of “thick unison”, orwhen singers intend to sing in unison, and sometimes they believe theyare singing in unison, but in reality they start from different pitchesand proceed as they started – maintaining the initial intervalthroughout. This kind of singing is usually present in monophoniccultures. As a matter of fact, maintaining the same interval throughoutthe whole melody is an arduously difficult task for the representativesof polyphonic cultures, as they tend to unite different co-soundingparts into a shared tonal system. If the reader of this book tries to sing,together with any of musically gifted friend, the melody of the Beatles“Yesterday”, or any other well known melody, say, in parallel fourths,or even in major thirds, you will soon see how difficult this is. At thesame time, at least for some representatives of monophonic singingcultures this task does not seem to be difficult at all, as they seem tofollow the logic or horizontal melodic line, ignoring the verticalcoordination of parts and therefore, they are singing without theinterference of the desire to sing all parts into one shared tonal system.Russian musicologist Viktor Sergeevich Vinogradov told me howsurprised he was when his friend, choir master, working with the choirin one of the Central Asian republics (where singing traditions arestrictly monophonic), showed him how easily his students could singquite a complex classical melody in parallel fourths, fifths, sevenths,or even seconds and augmented fourths (personal communication from