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Here is an interesting idea that I came up with that I have not seen elsewhere. It involves knowing something about the harmonic series, and also a little bit of signals/electronics theory. It doesn't quite answer the question, but might throw some light on it. First the harmonic series. If we take the note C1 as root (that's pretty low but it's just to ...


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There is a divergence of opinions on the matter, power chords are indeed parallel fifths but they should not be considered as such. The power chord is just a simple chord on the guitar, that when played in the lower registers, give a sound that sounds mean, they should not be considered chords in the traditional sense of the word, they are just a fifth ...


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If voice dependence is the reason for not using parallel fifths, then why composers never use parallel fifth even if the music is NOT contrapuntal? Try playing this example. This is not contrapuntal writing at all. It's homophonic two-part harmony that you could hear in pop music, e.g., a vocal duet. In the first bar, I hear it as though there were two ...


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Here are the arguments and the original text by Diether de la Motte and a link to his book: https://www.scribd.com/document/400639867/The-Study-of-Harmony-Diether-de-la-Motte-pdf .... parallelisms that actually occur in the music of the great composers. There are two usual explanations for the prohibition of parallel perfect octaves and fifths between any ...


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I have asked this question in the same intention right a year ago (my very first question on SE) and I thought to have given the answer I had read in De la Mottes “ “ Harmony”. Well it seems I have posted it elsewhere. But I can’t find it here nor the source. I know that he says (in other words) concerning forbidden parallel fifths in respect to the ...


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If voice dependence is the reason for not using parallel fifths, then why composers never use parallel fifth even if the music is NOT contrapuntal? I think you need to describe music more specifically than: "is NOT contrapuntal." The matter isn't really about whether something is or is not contrapuntal per se, like is the music a fugue, but whether the ...


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As brought up in comments, there are plenty of examples of music styles where parallel fifths are appropriate. Parallel chords and even naked parallel fifths are used to great effect in a number of popular styles (and some music around the world) to create precisely the effect of a single "voice" moving in a mass, rather than independent voices. I gather ...


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Voice leading and voice independence are not specific to contrapuntal music. Homophonic music of the Classical genre continued to use the voice leading rules of the contrapuntal music that preceded it to preserve voice independence because it provided fuller sounding harmonies. The voices in homophonic music are not thought of as independent melodies, like ...


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If you are doubling at the octave then they are not independent voices. It's just the same voice, at a different octave. It's not true to say that composers never use parallel 5ths. There are plenty in music - some intentional (Puccini), some not. I even found one in Beethoven once, but can't remember where sorry. At a certain point, most composers gave ...


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One option might be structured (or even, for emphasis, heavily-structured). That highlights the way that the thematic material is built up and organised into an overall piece.  It contrasts with more ‘free’ (and hence less-structured) music, without implying too much of a value judgement either way. I note that that term could also be applied to Classical ...


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...mathematical, perfect, clever... An alternate word that you can use is procedural. In fact fugue is often described as a compositional procedure rather than a form. ...Uses the minimal amount of thematic material. A word that came to my mind was attacco. It doesn't mean exactly minimally short fugue subject, but rather it means a short phrase treated ...


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For over a century people have described music by Brahms in this way; the word they often use is academic. Typically this word means exactly what you intend: the use of advanced, clever counterpoint and with a heavy emphasis on developed motives (and thus "minimal amount of thematic material" due to the motivic economy on display). In other contexts, ...


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the further you modulate away from the tonic key, the more tension you create? If you mean "tonic key" as in Sonata form https://en.wikipedia.org/wiki/Sonata_form then I don't know, I tried to listen to some of those examples, and I'd say, if such a phenomenon exists, then it fades away within seconds and isn't particularly strong. I hadn't even heard ...


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