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PostPosted: Mon Dec 11, 2006 10:07 am 
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"All I could hear was the infliction of normality on my imagination."

For the Mother of All Interviews from here:

http://home.online.no/~corneliu/interviews.htm

I had a similar reaction when my theory prof PROHIBITED parallel fifths.

vcf

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PostPosted: Mon Dec 11, 2006 10:48 am 
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VCF wrote:
"All I could hear was the infliction of normality on my imagination."

For the Mother of All Interviews from here:

http://home.online.no/~corneliu/interviews.htm

I had a similar reaction when my theory prof PROHIBITED parallel fifths.

vcf


Ha! I'll second that!

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PostPosted: Mon Dec 11, 2006 11:01 am 
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VCF wrote:
I had a similar reaction when my theory prof PROHIBITED parallel fifths.


He probably didn't listen to a lot of metal.. :mrgreen:

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PostPosted: Tue Jun 12, 2007 6:23 pm 
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VCF wrote:

I had a similar reaction when my theory prof PROHIBITED parallel fifths.



Why did he do that?


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PostPosted: Wed Jun 13, 2007 1:14 am 
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Nack Blapkin wrote:
VCF wrote:
I had a similar reaction when my theory prof PROHIBITED parallel fifths.
Why did he do that?

This type of harmony is usually called traditional harmony. It's not intended to be a rule for anyone writing modern music. It is a system of writing for four voices that uses a fairly basic set of harmonic tools and is based on a very particular musical ascetic. If you stick to the scheme then parallel fifths and octaves have a noticeable negative effect on the texture. It's a good way to learn a lot of the fundamentals of music.

I found writing traditional harmony as good discipline and a good springboard for when I moved on to more modern compositional techniques. As a student when you are first training your ear, being able to comprehend traditional harmony is easier than jumping straight in to more avant garde material.

In fact, if you pursue traditional harmony to an advanced level, when the harmonic possibilities become more complex, the parallel fifths rule is often waived, especially dealing with sevenths and ninths, when you have two or three fifths in one chord, 1-5, 3-7 and 5-9, when they're much harder to avoid, but have negligible impact because of the richness of the chords.

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PostPosted: Fri Nov 30, 2007 6:10 pm 
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my theory teacher also prohibits parallel fifths, because he wants us to learn traditional 17th century theory before we start breaking the rules/disregarding the rules. that means no parallel fifths thirds or octaves, no doubling the third, and no doubling the fifth in a root chord.


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PostPosted: Fri Nov 30, 2007 9:30 pm 
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Banjo wrote:
my theory teacher also prohibits parallel fifths, because he wants us to learn traditional 17th century theory before we start breaking the rules/disregarding the rules. that means no parallel fifths thirds or octaves, no doubling the third, and no doubling the fifth in a root chord.


NO TRITONES EITHER!

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PostPosted: Sat Dec 01, 2007 6:17 am 
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feetlightup wrote:
Banjo wrote:
my theory teacher also prohibits parallel fifths, because he wants us to learn traditional 17th century theory before we start breaking the rules/disregarding the rules. that means no parallel fifths thirds or octaves, no doubling the third, and no doubling the fifth in a root chord.


NO TRITONES EITHER!

AND NO FUN!

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PostPosted: Wed Dec 05, 2007 12:00 am 
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the better you know the rules the more creatively you can break them

doing what ever sounds good can get you so far, but do it with a good knowledge of some basic theory and you'll find more to play with

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PostPosted: Wed Dec 05, 2007 1:39 am 
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Turn it down!!

Turn it down!!!

Don't you boys known any songs with PERPENDICULAR FIFTHS?!!!


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PostPosted: Wed Dec 05, 2007 3:23 am 
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My friend and I took a harmony class in college, and for one of our assignments, we decided that if we just followed the "rules" for the main body of the musical passage, we were ok, but nothing prevented us from writing in an unrelated cadenza that did whatever we wanted it to do. So here we went with this standard 3rd rate Bach ripoff, then all of a sudden you get musical quotes from "South Side of the Sky", "The Endless Enigma", and I believe a spoken word section. The teacher played each of our passages on the piano in class, and it was pretty funny.

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PostPosted: Sat Jun 14, 2008 11:39 pm 
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cy wrote:
the better you know the rules the more creatively you can break them

doing what ever sounds good can get you so far, but do it with a good knowledge of some basic theory and you'll find more to play with


"Is that guy kidding or what?"

One FZ, from one of the songs, from one of the YCDTOSA CDs.

8)

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