The Misunderstood Role of Parallel Fifths in Music Composition

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One of the commonly misunderstood norms in Western music theory is the avoidance of parallel fifths. As a Google SEO, it's essential to provide insightful and accurate information to enhance the readability and relevance of this topic for our audience. Throughout this article, we explore the historical context, the reasons behind the avoidance of parallel fifths, and the implications for modern music composition.

Historical Context and the Modern Perspective

Contrary to popular belief, the practice of avoiding parallel fifths has not been a constant rule of composition. In fact, it was not a norm for most of the history of Western music and only became a widely followed practice in the last century and a half. This change reflects a shift in musical norms and the evolving understanding of voice leading.

Historically, avoiding parallel fifths was not just a rule, but a part of the training process for musicians. It was designed to help develop a keen ear for the subtle effects that different voice leading techniques could produce. This practice was so ingrained that it became a dominant principle in composition training even during the times of Bach, Mozart, and Beethoven.

The Cultural and Practical Relevance

The prohibition against parallel fifths in the 14th century was similar to modern advice against the use of the No Stairway Rule. People growing tired of hearing the same patterns and techniques became bored with parallel fifths, leading to their eventual avoidance in music composed by less skilled musicians.

Modern Development and Misinterpretation

The modern development of the idea of avoiding parallel fifths began with the careful observation of a prominent composer like Johann Sebastian Bach. Bach was known for his avoidance of parallel fifths, leading to a perfectly reasonable conclusion that if one wanted to sound like Bach, one should avoid parallel fifths in counterpoint. This led to a teaching imperative for music theory students to memorize the rule: No Parallel Fifths!!

The rule also made its way into the vernacular of audiophiles and music critics. Audiophiles began to view fifths as something supposedly bad, leading to the phrase "No fifths" becoming a catch-all for the supposed decline in musical quality. Critics then labeled modern music, including its use of fifths, as degenerate, further cementing the myth of the parallel fifth.

Why Avoid Parallel Fifths?

The original purpose of avoiding parallel fifths was never to create unnecessary hurdles in the composition process. Instead, it was meant to enhance the awareness and considerate use of musical effects in composition. A skilled composer understands how to use parallel fifths effectively, just as a skilled writer can use cliches without causing issues for the audience.

A better rule of thumb for composers might be to simply avoid boring music. Boredom in music can result from the unskilled application of any musical technique, including the avoidance of parallel fifths. It is the quality and the intent behind the music that truly matters, not the mere adherence to a specific rule.

Conclusion

As with many norms in music, the avoidance of parallel fifths was a part of a larger educational framework designed to train musicians to hear and appreciate the nuances of musical techniques. However, in the modern era, it is essential to understand that the rule is not a universal truth but a tool to enhance musical composition. Skilled musicians and composers must navigate the rules and principles with a critical eye, avoiding the pitfalls of over-reliance on outdated or misinterpreted norms.

In summary, the avoidance of parallel fifths is a tool in the hands of the composer, not a strict rule. Composers should use it to enhance their music, but they should not be constrained by it to the point of creating boredom or music that feels lifeless. The true goal is to create engaging and meaningful music, regardless of the specific techniques employed.

Keywords

parallel fifths, voice leading, music theory