I have a melody in which I am trying to write a chord progression for. One of the rules of thumb is to finish a chord progression on the tonic if it precedes a chord of a 5th, and especially of a seventh. I find this to be true, as there does seem to be a nice resolve from some sort of tension to from the 5th or 7th to the tonic.
However, in both cases there is a consecutive 5th going downwards to the tonic, between the bass and the lead of both chords. For e.g a VI - I is
So, between C to G and G to D, the 5th jumps downwards (not by a 5th, the 5th, as in the 5th between C/G and G/D).
In your experience, does avoiding such consecutives actually make your music sound ANY better, or do you think this rule should be disregarded?particularly since this rule was created in the classical era. See, I can't find anyway what so ever to make the two chords sound nice AND logically connected without the consecutive, and I even feel that the consecutive itself it part of what logically connects the two chords, as well of course as the two notes being connected via note G.