Part writing question.

[Derek]

If one were to play a triad in open position, say root, fifth, octave, tenth, and then play another triad in the same position in the same key, (say going from i to iv)   

does this contain a parallel fifth and octave, and is it considered incorrect in the context of traditional part writing rules?

What about for accompaniment?

[al]

does this contain a parallel fifth and octave

yes.

is it considered incorrect in the context of traditional part-writing rules?

yep.  parallel 5ths and 8ves are basically forbidden as far as i know (although i have seen some exceptions, where parallel 5ths occur due to a non-harmony note).

dunno what you mean about accompaniment.  personally, i would avoid block chords wherever possible (unless you want to sound like Debussy).

[Tash]

yeah they were apparently forbidden because they sounded hollow and that let the devil into the music, or something random like that. my harmony lecturer told us when he was in uni he analysed the chords in every single bach cantata trying to find a consecutive 5th, and of course he didn't find one! we were all like omg...(the concept of analysing over 200 cantatas freaked us out!)

[timothy42b]

he analysed the chords in every single bach cantata trying to find a consecutive 5th, and of course he didn't find one! we were all like omg...(the concept of analysing over 200 cantatas freaked us out!)

He might have done so.

But he might not.  The only way to prove him wrong is for you to try it yourself.

I say go for it! 

[prometheus]

The major problem with parallel constant intervals is that in polyphonic music the identity of the individual voices is lost. The two voices in parallel constant intervals fuse into one voice. Therefore this is highly unwanted.

But in in accommpaniment its not that wrong to have them. Historicly this was a big nono but we know better today. Do note that the use of paralell constant intervals still gives a sense of passive harmonic movement. They do sound hollow. Chods all in the same voicing will all sound alike, but with different colour. There isn't harmonic pulse you could have had with better voicings.

The same chord changing colour can be a wanted thing. And in jazz they look more for the interchange of the 7th and 3rd when a new chord is voiced instead of at parallel constant intervals.

[Tash]

He might have done so.

But he might not. The only way to prove him wrong is for you to try it yourself.

I say go for it!

oh man that could be my summer project to prevent me from being bored out of my mind! however i do believe that he did do it, because he is bizarre and knows waaaaaaaaay too much about chordal analysis!