DO PARALLEL FIFTHS (and octaves) SOUND BAD?

Let’s cut to the chase.

No they don’t.

Parallel fifths are a reflection of a very specific set of musical values. Specifically the value of melody over all. If we have this musical value, then even are harmonic and rhythmic forces become subservient to this idea. Which means, even our harmonies need to portray a sense of melodic flow. Therefore we avoid parallel fifths and octaves not to disrupt our melodic value system.

So that leads us to question one: what if you don’t share that set of musical values, and you value rhythmic or harmonic ideas more than melodic?

Question two: Can you decided to not adopt all of classical musics value set, or is it like a political party?

Question three: Is any one listening to your music going to hear your music and notice parallel fifths and think your music is bad because of it?

Answer to question one: Then you don’t need to worry about it parallel fifths

Answer to question two: You can adopt what values you want and leave the ones you don’t care about

Answer to question three: No one, other than a collage composition teacher who probably won’t listen to your music any way.

The best example I know of of ignoring the parallel rule is Debussy. If you listen to his music it doesn’t take long to realize melody is not the driving force behind what is happening. His music is atmospheric, textured and richly harmonic. There are times the melody almost feels like an after thought. And that is why he didn’t worry about. Just listen to la cathedral engloutie (the sunken cathedral) to hear parallel (every thing) used to make immensely beautiful and moving music.

Seggested listening

La cathédrale engloutie - Debussy

AN AUTOBIOGRAPHY (A POEM)

Stravinsky, T. S. Elliot, and Bach were Christians

John Coltrane lost a parent when he was young

Annie Dillards first name begins with A

Charlie Parker was from Kansas City

Steve Reich is American

Ornette Colemans parents were from Texas

John Coltrane was a late starter

Dubbusy found school suffocating

Stravinsky, Copland, and Bach did not go to collage

Wayne Shorter and Herbie Hancock loved the music of Stravinsky

Stravinsky loved Bach

John Muir was of Scottish decent

C.S. Lewis was a teacher

Ornette Coleman was self taught