I wasn't going to add to this, but ... couldn't resist:

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 -- many voice leadings
from one chord to another would be made easier if parallel fifths were
allowed.  Sometimes, as I write, I admit I change voicing to avoid direct
fifths approached by skips even though I can't hear anything wrong in the
context of my music.  Other times, particularly in motion of a tonal
complex up a major second, the direct or parallel fifths seem essential
to the sound.  That is a sound influenced by popular music, I think, but
still part of my personal instinctive collection of usable progressions.

But, Jan Templiner, as an example of foolish application of rules where
they should not be applied, one experienced conductor said to me, in
criticism of music written in the last decade, "you used unprepared
dissonance".  It caused my jaw to drop --- if you can't use unprepared
dissonance, that means you MUST use "consonances", ie, triads, before
every dissonance.  If that were really a valid rule over a long period of
time, there would be a lot of very good music that did not follow the rule.

William Copper
composer  www.hartenshield.com