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The use of parallel fifths (or fourths) to refer to the sound of traditional Chinese or other kinds of Eastern music was once commonplace in film scores and songs. Since these passages are an obvious oversimplification and parody of the styles that they seek to evoke, this use of parallel fifths declined during the last half of the 20th century.
Avoid parallel fifths or octaves between any two parts; and avoid "hidden" parallel fifths or octaves: that is, movement by similar motion to a perfect fifth or octave, unless one part (sometimes restricted to the higher of the parts) moves by step. Avoid moving in parallel fourths.
Avoid parallel fifths and octaves. To promote voice independence, melodic lines should avoid parallel unisons, parallel fifths, and parallel octaves between any two voices. [ 19 ] They should also avoid hidden consecutives , perfect intervals reached by any two voices moving in the same direction, even if not by the same interval, particularly ...
The strict alternation of 1-5-8-10 and 1-3-5-8 voicings has a particularly valuable property for improvised polyphony: it cannot produce parallel octaves or parallel fifths. In four-part settings of unornamented successions of simple triads, parallel octaves can only occur when the doubled chord tone appears in the same two voices two chords in ...
In conclusion, consecutive fifths should not be “also known as parallel fifths.” Felicity4711 ( talk ) 21:52, 22 March 2008 (UTC) [ reply ] The concept is traditionally taught under the name "parallel fifths" referring to the function of the apparent sonority, not necessarily the relative motion between voices.
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The use of perfect fourths and fifths to sound in parallel with and to "thicken" the melodic line was prevalent in music prior to the European polyphonic music of the Middle Ages. In the 13th century, the fourth and fifth together were the concordantiae mediae (middle consonances) after the unison and octave, and before the thirds and sixths.
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