Consecutive fifths

In parallel fifths is understood in the theory of music between two different voices occurring and parallel upward or downward current fifths. When it comes to rules and prohibitions of music theory, so that only the root parallel fifths are usually meant ( see below).

This can be both pure as well as to diminished fifths, which continues below each in a perfect fifth, formulated as the following, taken from Felix Draeseke The doctrine of Harmonia in funny Reimlein taken Mnemonic: " Pure - reduced: Unhindered! Decreases - pure: let be the "!

In addition to these so-called open parallel fifths, there are also hidden fifths. These arise when both voices parallel run into it (here only in a common upward or downward movement ) in a fifth. An exception, however, lies in front of, for example, when the upper voice in this whole tone or semitone moves up or down. Are also allowed covert parallel fifths when they are needed to finish a piece with a set on a fermata full chord.

Fundamental parallel fifths

In most cases, tonsetzerische commandments of major -minor tonal music do not relate to comprehensively cover all possible parallel fifths, but rather on the root parallel fifths. The well-known "ban" the parallel fifths refers in this case to only those which proceed from one to the next chord and when doing the base note is made ​​in the root and the Quintton in the Quintton. However, there are many situations in which the pure succession of a fifth interval in the same voices are not " forbidden". For example, if a subdominant five chord (S6 / 5 ) with solidified Septvorhalt before the sixth is not resolved ( with just this in the soprano ), but is passed directly down to the dominant. The result is a fifth parallel of subdominant Septimton the dominant Quintton as well as the subdominant third the most dominant root. Both voices thus change their function.

Example of such a parallel fifths allowed in a C- major cadence: