Should I teach forbidden parallel fifths/octaves?

[Daevren]

Ok, I am teaching someone western harmony. My student isn't really interested in jazz or classical music(of course I hope this will change) but is interested in rock and blues. This is the first time I teach someone and I have a hard time balancing between jazz and between classical theory(because I am a perfectionist I guess, the teaching itself goes pretty wel).

Not using them sounds alot better in the harmonic exercises I am teaching him and thus help the student getting a feel for western tonal music. But this person is never going to become a classical composer, rather pop/jazz/rock style music. And in jazz, chords that move chromatic and entirely parallel sound really good and smooth. Obviously these rules have no place at all in jazz.

I am still not sure what to do...

[reinvent]

My suggestion would be not to elaborate on it much - since they are into pop music.  I would teach them about it a little bit, though.
The idea of being a perfectionist gets a little hard when different rules apply to different music.  
Once I learned how to do part writing - and took music lessons afterwards, most all of the music I was given to learn was loaded with parallel 5ths and 8s. (I was not into Bach obviously)   When I asked about it, thinking I was finding a mistake....I was told this was different kind of music.  And not all of it was jazz, a lot of it was good praise music - other kinds.
What does anyone else think?

[joeltr888]

Just explain to your student the reason for avoiding parallels in common practice music, and then tell them that the rules go out the window when it comes to blues/jazz.

[Daevren]

Ok, thanks for the advice.

I think I am going to forbid them in the 4-part writings. That seems the best thing to do. This way the student will get a good understanding of how simple tonal music works. In my opinion using no parallel 5s and 8s gives a better movement to the music and makes the individual chords more clear.