[log in to unmask] writes:

>Walter Gieseking plays the Adagio in b minor on a splendid collection of
>Mozart piano music that he did for EMI.  The parallel fifths in this piece
>(sub-titled something like "Funeral March for Dr. Gradus ad Parnassum")
>constitute every disgruntled theory student's revenge.
>
>Aaron J. Rabushka, former disgruntled theory student who always liked
>parallel fifths!

A lot of people have the wrong idea about parallel fifths and just why
they are discouraged.  I agree with you.......I think that parallel fifths
can have a very neat sound in the right context.  One of the main reasons
behind the movement against parallel fifths was to ensure individuality
amongst voices.  It is quite often considered that parallef fifths sound so
closely related as to be the same part thereby defeating the idea of part
writing.  SO all of our favorite part-writing practices were gradually
developed, over centuries mind you, to not only ensure smooth vocal lines
for each part but to also maintain each part's integrity.  Personally I
think they sound quite good in the right places.......especially in
compositions for large brass ensemble.

Wes