Write More Parallel Fifths 

Yay!!!!😎

I was recommended the video, so I’d say the algorithm likes it!

All depends on the period. Unless inbedded in the musical context you hear NO parallels in Bach's music. None......

"I have nothing to say, and I am saying it, and that is poetry." -Cage

Yup, it's good to teach a very strict framework to students at first, so that they can properly understand the framework. Everything is allowed, so long as you know what you're doing.

Now I do too

@@ClassicalNerd Maybe it's time for new Merch!

except bach had no problem breaking the rules. he valued nice, easy to sing lines more than conforming his music to fit in with the rules of counterpoint. a better person to put on the shirt would be johann fux because he litterally wrote the book on counterpoint.

Wasnt Johannes De Garlandia the first one to forbid perfect fifths?

In our music A-level class (highest exam you do in last 2 years of school before university), we set the instructions to Taylor Swift: "You can't put an octave twice in four part harmony, and We are never, ever, ever, ever... putting fifths together" We also did the exercise of doing the "Pie Jesu domine, Donna eis requiem" from Monty Python and the Holy Grail in parallel fifths and wandered the corridors hitting each other in the face with our notebooks

I teach theory and harmony, and I always tell my students that parallel 5ths (and octaves) should be intentional, not by accident.

@Brent well I have mixed feelings about this because unless you're writing in a style of music where parallel fiths should be avoided, you can't really tell whether they were placed intentionally or not. There are similar "rules" in the visual art like: you should avoid placing objects in the middle of your composition or you should not use (pure) red, yellow, and blue in one painting. But this has aesthetically very little to do with the world around us, and unless these rules are taught alongside their historical context from which they stem, they are completely meaningless. Who cares if somebody writes unintentional parallel fiths ore of something accidentally slips onto the middle of your painting? Most average people won't notice it, and nobody is going to die because of it. In some cases, writing too many parallel thirds or using dominant 7- or even worse dim7-chords too often can make your music sound (unintentionally) old-fashioned, even for the average listeners.

Stacking Parallel 4ths is even better

Noone ever told anyone not to tell them at all. This is clickbaity bs

@@yango8778 Quite agree with this. As a composer I trust my ear more than I trust anything else, to the extent that when I'm in a creative moment I pay very little heed to what the theory behind what I'm doing is. Sometimes people don't believe me when I tell them this, as they can't imagine how it can work that way or they assume I must be a very sloppy kind of composer if I think this way. But it's very easy for me to think this way because all of my initial self-taught composing was based on having a good ear for melody and using tools that pushed me towards independently developing voice leading skills. It was really only later that I learned the names for things and the theory of it, and so it's very easy for me to separate my processes of creation and analysis. Of course, they SOMETIMES cross over, and that can be good. If I've drifted from my home key, say, and now I'm trying to get back, I might help myself out by thinking 'okay, well what's the V of that?' But just as many times as I've done something like that, I've used my ear to find my way, and often found a pleasing and less-obvious solution to whatever musical problem I'm having - which later I'm free to learn the theory of later if I'm interested in better understanding the reasons why the choice I made works. But in the moment all I care about is my ear, which I have developed trust for.

It is 100% a learned sensitivity. "Oh, I'm supposed to not like that, yes, yes, it's very bad!" Meanwhile, the rest of society grows and evolves.

a la Piston in Harmony

Very true. True for everything, really.

𝙢𝙤𝙧𝙚

You absolute scoundrel.

@@maxgregorycompositions6216 Nice name.

this is a rule for exercises, not for composing music

Power chords! ;)

It's just intuitive, I've never had musical training but I can recognize the octave and the fifth because they each sound like special and nice in different ways. The other notes just sound like other notes though

Despite the differences, I've noticed quite an overlap in fans of metal and avant-garde classical music!

@@ClassicalNerd Absolutely, I try to encourage Metal listeners to check out Ornstein's Wild Men's Dance to encounter high levels of furious aggression in music composed 110 years ago. I think dissonance is almost classical's equivalent to what metal does with 'distortion'. There is a shared pleasure in sounds that would be to jarring and unpleasant to most people.

@@ClassicalNerd Taking a history of rock and roll class right now. My professor is literally part of a band that's like a 50/50 blend of metal and avant-garde classical lol

those aren't parallel 5ths in the context of this video. parallel 5ths occur when two individual parts join together to make 5ths. in metal, the 5ths you are talking about are power chords. these are not two individiual parts, it is a single part which has its texture thickened with the 5th. no different than writing an entire melody with octaves on the piano. these aren't parallel octaves because they're not individual parts

Duly noted: www.lentovivace.com/classicalnerd.html

But they’re treated as one voice. If we’re getting super technical, any two notes played back to back on an instrument are parallel fifths because of overtones.

If there is a "how" to break a rule, then that's merely another rule.

Duly noted: www.lentovivace.com/classicalnerd.html

Exactly

Which is a shame because there are a lot of great pop and rock songs with interesting musical aspects whether that's strange rhythms, polytonality, atonality, or some really cool timbres, etc.

I'm more inclined to do shorter analytical videos focusing on one element/aspect/piece/trend (as with my New Complexity video) as opposed to full-scale biographies-given that it's impossible to do an all-encompassing retrospective of those with ongoing careers.

It was good enough for Scriabin! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-kcTvche76aA.html

It's a cousin of the parallel fifth called the direct fifth-usually considered a poor choice in the same grammar, for similar reasons, but not _quite_ as bad an infraction, as there are acceptable use cases and they're a little harder to hear.

that's exactly what they are. this video obscures that crucial distinction i think. if debussy has parallel 5ths everywhere, then even bach has parallel 5ths everywhere, if played on an organ at least