Instead of avoiding parallel fifths entirely, I'd say use parallel fifths wisely. Don't miss out on that powerful device--life's too short to miss the opportunity of having the low brass blast such powerful intervals. Just make sure it doesn't hog the limelight because it can be mistaken as the more important part sometimes. There are situations where parallel fifths work or don't work, and honestly this arrangement passes as one of those pieces that work with fifths at least.
@@incubusrok I'm a brass player and composer. I tend to use alot of parallel fifths in my pieces given I like the extra kick it gives to the texture. I could say guitars can get away with it playing alot of parallel fifths given it doesn't overshadow the lead much and boi that's why they're called power chords in metal because the oomph is just unparalleled (pun intended. Also, I just recently composed a piece featuring electric guitars on overdrive and I used ALOT of power chords in it.) However, situations like brass arrangements and wind instruments and voices, I have to be extra careful sometimes when using fifths as I might accidentally emphasize and overpower the wrong things. 😅
@@incubusrok I play guitar too. Back during the classical era parallel 5ths were mostly avoided because it made the voices sound less distinct and more homogeneous, and during the time, all voices were written to be independent of each other. So parallel 5ths and 8ves were to be avoided as much as possible. Times have change now. No one cares about that anymore nowadays(I mean, you got freaking power chords), unless they're trying to write specifically in that style. I remember when taking music theory that drove me crazy. It wasn't fully explained to me, and I was so confused, because any music written in the past century really doesn't follow those standards anymore.
@@austinhernandez2716 Have you read all my comments? I said I'm all for parallel fifths and even said I do it (too) often in my compositions. All I said is just use it wisely.
I think this sounds great man. I noticed a lot of people are talking about parallel fifths. I've never understood the problem with using them if that's what sounds good to YOUR ear. Remember, this is your arrangement, not anybody else's. Feel free to listen to their feedback since you asked for it, but it doesn't mean you have to listen. But this is just, like, my opinion, man. Keep it up!
I think people only have issues with Parallel fifths because they were taught not to use them often, and if possible at all. Going through AP Music Theory a year a go my teacher was very adamant about not using them. But that's just my perspective of it haha, if used right they can sound fantastic
@@smylan543 parallel fifths are mostly a problem in 4-voice SATB writing and contrapuntal stuff. really a tuning thing. but once you get into more than 4 voices they become nearly impossible to avoid
I really have never understood why people say parallel 5ths are a big no no. Honestly never, and I’ve been taking college music classes for 2 years. It’s never been fully explained to me and I think a parallel 5th can be useful and musically appropriate
One of the core reasons is that when you're singing a piece, it's harder to sing parallel 5ths and 4ths than other intervals because they can blend really easily with the other parts. Why? The 5th is the next interval after the octave in the harmonic series. It's such a strong interval that people without music education sometimes have trouble distinguishing a fifth interval being played as two separate notes. Whether or not it's a valid point today, who's to say. Generally you should avoid them in classical music, even in non choral pieces, to make the music easier to think about in your head. But also there's been entire genres based on nothing but parallel 5ths (like rock, and "power chords" which are just a 5th) so 🤷♂️
In the classical era, people wanted all the voices to sound independent, and they thought that moving with such a stable interval make the voices lose independence. It never made any sense to me and I don't care it. Also in music theory class in college professors are strict about it when the students are practicing part writing. Why? I don't know, I think it's redundant, because no one cared about that amymore.
I'd recommend tapering off some of those trumpet 1 feature melodies that end on whole notes, when they release it sounds a bit emptier. I think a small decrescendo could help :)
@@BrassPlayr When I first made the comment, I was new to the trumpet. Eventually, before anyone replied, I was good enough to do it. Bit now I have braces and haven't touched my trumpet in months.
Hi! Sounds great, but I think that the tuba(or bass trombone, its not marked what the instrument is) needs a bit more note variation, and maybe some melody. This is a great arrangment none the less!
Unless you’re writing in a baroque or classical style (which this is definitely not), there’s no reason to avoid parallel 5ths if you think they sound good in context, which this arranger obviously did and I agree with
Very well arranged.. what I would love to know, is what voicing you're using behind the scenes. I have new score, and my brass definitely does not sound as nice as yours.
Pretty nice, but like some other people have suggested, avoid parallel fifths (two voices moving up/down in fifths at the same time). Tenths, sixths, and thirds can be quite useful. Also, make sure you stay in the key, even with accidentals. For instance, Dbs in the tuba part should be C#'s, because you're in E minor, which is a sharp key. This is also dependent on the direction the voice is moving. Typically, if you're moving up chromatically, you would sharpen pitches rather than using the next flat.
I'm a brass player and flats make more sense to me than sharps. Also, the parallel fifth motion is on the lower voices, and adding a third would be muddy in that register, however, as much as it is powerful (and yes, I do be having parallel fifths in my brass parts often it's just my composition preference), but it does run the risk of overpowering the melody--requiring more doubling on the high brass just to keep up with the low brass. So yeah placing the thirds or seconds in the tenor range is an ok choice to dampen the powerful low parts but honestly? Don't avoid parallel fifths. Life is too short for that. Don't waste yourself the power of brass blasting fifths. I'd say instead use them wisely.
@@theafellacomposer You're definitely right about the parallel fifths, maybe my classical training is getting to me with that one, lol. As far as flats go I also prefer them (tuba player), but from an arranging standpoint it's better to use what's already in the key and be more clear about melodic motion. Plus, exposing yourself to music that appears more "difficult" certainly helps improve your reading, and by that extent, your musicianship.
@@Jekkin parallel fifths are only not recommended when you want independance in the voices. In this context where this is not really needed the use of them is not a bad thing.
@@theafellacomposer Yeah, but musically you cannot just add flats because it's easier. You have to understand the whole context of the entire score, because if you have Db while others have F and G# , it can be confusing. This is something you learn as you play more professionally (in a wind ensemble or symphony). You have to know that "yes, we are playing a C# major chord" and "yes I am the Bass/Tenor/Alto/Soprano" or "I'm the 1st, 3rd, 5th, etc.". As for the parallel, I a HUNDRED percent agree with you xD. Parallel fifths in trombone are so strong and great in certain styles of music .
Avoiding parallel fifths only applies to counterpoint and Bach-style chorales. It is pointless and honestly quite silly to keep trying to apply 18th-century rules to modern music. Perhaps you'd like to have a word with Debussy on avoiding parallel fifths. Sincerely, a composer.
Omg why is everyone talking about parallel fifths? Who cares? This ain't music theory class. This isn't writing in the style of the classical era. This is the 21st century. It's arranging a MODERN theatrical piece. Coming from a musician in college . In like music theory 3 class you get past that shit.
