Are consecutive fifths allowed?

Are consecutive fifths allowed?

Consecutive fifths are avoided in part because they cause a loss of individuality between parts. This lack of individuality is even more pronounced when parts move in parallel octaves or in unison. These are therefore also generally forbidden among independently moving parts.

Are direct octaves allowed?

A venerable rule of traditional Western part writing is the so-called Direct Octaves Rule (also known as Hidden or Exposed octaves), whereby similar pitch motion (i.e., two or more voices moving in the same direction) to a perfect octave should be avoided unless step motion is used.

What does parallel octaves mean?

A parallel octave refers only to two consecutive notes! Octave doubling. If you have two or more instruments that are intentionally arranged to play the same voice (in unison or) one or more octaves apart, then you have octave doubling, which gives you a fat sound.

Why are consecutive fifths bad?

In this style, known as the Common Practice Period, parallel fifths and octaves tend to leave a blank space, or a gap, in the musical texture (the overall sound) as if a voice has disappeared. This is why, in this context, parallel fifths are bad. These 4 bars by Bach clearly consist of four distinct voices.

Are parallel fifths bad?

In this style, known as the Common Practice Period, parallel fifths and octaves tend to leave a blank space, or a gap, in the musical texture (the overall sound) as if a voice has disappeared. This is why, in this context, parallel fifths are bad.

Why should you avoid parallel fifths?

So what’s wrong with parallel fifths? The issue is that the notes of a perfect fifth blend so well together that they almost sound like one note rather than two. This makes parallel fifths out of style IF that style demands independence of voices.

Can you double Fifth?

You may double the Fifth: In any 5-3 chord. In any 6-3 chord EXCEPT diminished chords (ii° and vii°) Always in 6-4 chords.

What is the difference between octaves and consecutive fifths?

While this rule refers to parallel fifths/octaves — that is, consecutive harmonic perfect fifths and octaves in parallel contrapuntal motion — consecutive fifths or octaves in contrary motion are categorically the same and are also to be avoided. (In other words, parallel fifths/octaves cannot be corrected through octave transference.)

Why avoid parallel fifths and octaves in counterpoint?

Avoiding parallel fifths and octaves is one of the foundational “rules” of counterpoint. While no thorough account of the rationale behind this rule will be rehearsed here, suffice it to say that parallel fifths and octaves violate the principles of counterpoint by interfering with the independence of voices required.

What are parallel fifths and consecutive fifths?

The consecutive fifths this time are between the bass and tenor voices. So as the examples show, parallel fifths (or consecutive fifths) occur when any two voices move together in perfect fifths. The same goes for parallel octaves. They occur when any two voices move together in perfect octaves.

Why do the perfect fifth and perfect octave have different consonances?

The intervals of the perfect fifth and the perfect octave produce what’s known as open consonances (or perfect consonances). This means that these notes go so well together they almost melt into one sound. While there are fascinating psychoacoustic reasons for this, we don’t really need to get into the science here.