WOW WHAT A MORON.

@@theplayerformerlyknownasmo3711 lol chill

Correct. It makes the voices difficult to hear because the 5th interval contains the note that is strongest in the overtone series which masks other voices.

Rick Beato I honestly never really truly grasped that overtone argument when dealing with parallel fifths. I'm honest, correct me if I'm wrong, but I never saw how the fifth, being the third harmonic, moving in parallel motion somehow "masks" the other voices. Is there some evidence I missed out on, or is it all just hypothetical? Basically where's the merit in such a statement? Is it only understandable once the ability of 'good ears' is advanced enough? I'm not here to argue since I don't have any arguments against it other than simply me not getting it. I get it meaning I'll pass the exam, but at the same time I don't get it in the sense of not hearing this "hollowness" as you mentioned. Where does this statement derive from? Is there some mathematical explanation that I missed? How come I just don't hear this 'thing' about parallel fifths? Help.

Hi, I think we have to see these rules in the context of a certain aesthetic or musical language. The language we talk about historically differed from earlier styles in (i) stressing melodically independent voices and (ii) accepting thirds as consonances. Parallel fifth do not sound horrible per se but are not exactly sophisticated solutions in the context of the above. Not my argument but that of Diether de la Motte in his harmony theory book (in German).

How would parallel octaves compare with unison singing where the soprano/alto lines are together on the same note with the tenor/bass line an octave below? My SATB choir started Christmas rehearsals yesterday and there was a lot of unison singing in the scores especially on the last verse.

Alex Velasquez-Ebersole If the soprano and the alto are singing in unison and the tenor and the bass are singing an octave lower, then there is actually just a single part that all of the voices are singing. It has little to do with four part writing. And yes, parallel octaves and parallel unisons are basically the same thing. Doubling a voice is common, but then we are talking about a single part that two (or more) different instruments are playing. It's not the same thing as using occasional parallel octaves/unisons.

mark 👌😊🎶👏

Yeah!

You learn this on the first day though

Yeah, literally

Svit nope

Yes, it's a lot of work!!

Recalling the same era and Keith Emerson with "Nice".

Schoenberg did go to great philosophical lengths on the subject of parallel 5ths, but only as a means to ponder these questions, not as a means of teaching the basics of music. After pages of pages on it, he finally reaches the conclusion that no matter the historical origin/context of parallel intervals, students of music should still be taught according to the tradition (Fux). I would suggest picking up a more concise book on the subject of Harmony, such as Tchaikovsky's Practical Guide to Harmony. I think reading that will help clear your doubts as to what is musically practical/impractical according to the tradition, although the rules of voice leading have loosened over time and are going to be presented differently in Tchaikovsky's book compared to Fux's. That sort of brings me to my next point- the first example is not really bad. Tchaik argues that the bad effects of parallel 5ths are negated should there be contrary/oblique motion in another voice, which happens in the bad version first exercise. I'm not saying that the good version Rick presents is not objectively better, as it does satisfy more guidelines of basic voice leading, especially for real human voices. I'm just trying to illustrate that there is a difference between "strict part writing" and what is used in common practice in music from the romantic era until today. Brendan, Bach used parallel 5ths all the time like Rick did here (tenor/bass move into a parallel 5th while soprano/alto move in contrary or oblique motion). Part of the confusion lies in that what may be suitable for one composition may not be for another. Every example shown here is good music, but certain distinctions have to be drawn when you're talking about music from different eras and how the composers were interpreting part writing rules at that time.

your Completely right but, not in classical arrangement i guess :)

If it sounds good, Its because you followed the rules without realising it.

@@arsen578 Yes we can. :) Following some great composers like Mozart, Beethoven, etc. They wrote parallel fifths and octaves on their compositions. Mahler also broke some rules. My compo teacher told me to learn the rules and try to break it. :) Thats the secret of a colorful piece 😉

It's good to have hope but music has already been analyzed back and forth by far too many great musicians. It might be rules on breaking rules you're following but it's still rules, the only difference is the approach you've applied. :D

tompw3141 yea maaaaaaan thats just the maaaan tryna’ put you down with all those rools and buks

You're the man Derryl. Everyone, check out my good friend Derryl's channel!

There it is.

Then again, this is a very good video and explains well why these things aren't used.

If you're trying to sculpt textures of sound, that's totally find, but it seems parallel octaves/fifths are avoid for the sake of contrapuntal clarity between the voices not for their 'bad' textures.

One prime reason that parallel fifths and octaves were banned in academic music is because they were too easy to adopt. This led to the rules defining the genre and training to hear what you are instructed to reject. Stick with the rules if you want to stick with the idiom. Disobey if you want to create a particular effect. There is a saying about the "guidance of wise men and the obedience of fools".

Its not that they sound bad its just that they blend too much masking the individuality of the voices

yea, that!

+Ray Pianoman I have one. It's called the Beato Academy of Music. Just go to my website and you can find it

Voy pa' esa! Gracias.

Basic concepts a "Counterpoint should begin and end on a perfect consonance Perfect 4th, 5th or 8th" b "Perfect consonances must be approched by contrary motion / oblique motion" c Use contrary motion whenever possible d Two part should not be > 19th Apart e Avoid crossing voices whenever possible f Avoid parallel 5th & 8th between parts g Avoid parallel 3th, 4th & 6th for too long e "Avoid leaping with Two Voices, In the same direction Simultaneously "

SATB Rules i No parallel 5ths ii No parallel 8ths iii No hidden, direct 5th or octaves iv "No Dissonant Leaps likes Major 7th, Aug or Dim intervals" v 1 "Double the Root or 5th in Root position Chords" v 2 "Double Any note in 1st inversion chords" v 3 "Double the 5th in 2nd inversion chords" v 4 Double the 3rd in diminished chords v 5 "Double the 3rd only when Necessary to Maintain proper voice leading" vi No voice Crossing vii "Stay in the Accepted vocal ranges, No More than an Octave between Soprano and Alto"

In case you didn't know - he now has.

It goes along with also usually using diminished triads in first inversion. You don't want unequal 5ths in the bass, and you also shouldn't double the leading tone because you'll either have parallel octaves or one voice resolving weird.

Shiiittt you're going to help us analyze Bach :O

Yeah that's awesome, I'll enjoy watching this series very very much.

LinkBulletBill Well spotted. A mistake? Or did Rick edit out a dubious rule?