William Copper:

>There are rules that are valid for a long period of music, and others
>that are very specific to one style.  Steve Schwartz said, that to write
>complex counterpoint that allows parallel fifths is just as easy as to
>write complex counterpoint that does not allow them; sorry, Steve, that
>just is not true when using traditional tonality

Well, first, we're left with the problem of defining "traditional tonality."
If it's "voice leading that avoids parallel fifths," we then have a circular
definition, and it's no good arguing at all.  If we take a more general view
of tonality -- ie, music which employs functional movement among established
key centers -- then parallel fifths are a non-issue, since there's nothing
in their use that precludes establishing a key center or moving from one to
the next.

I'm singing in a performance next week of Beethoven's Missa Solemnis
(chorus, natch) and found a marvelous progression in the Credo, just before
the quick version of the "Et vitam venturi" fugue -- G to A in a Bb context
-- which sounds like parallel fifths but isn't, at least not in the vocal
score.  Cool!

Steve Schwartz