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For instance, recently I have seen the use of parallel fifths in Rachmaninoff's Prelude in C♯ minor, The Bells of Moscow:

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I thought they were completely forbidden. Then, under certain conditions, are they allowed in classical music? Which conditions are these?

user45266
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Quaerendo
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    I think this post might be worthy of it's own answer for two reasons: Pachebel and Rachmaninoff are very different styles, this example is trying to suggest the sound of bells. I think their are acoustic reasons why fifths might suggest bells. – Michael Curtis Feb 08 '19 at 15:34
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    I think composer's name and music title in the post title will make clearer you question isn't a duplicate. – Michael Curtis Feb 08 '19 at 15:46
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    IMO, this still looks like a reasonable duplicate of https://music.stackexchange.com/questions/74129/do-4-part-harmony-rules-also-apply-to-piano-arrangements – Dekkadeci Feb 08 '19 at 16:23
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    We have a lot of questions about parallel 5ths and when it makes sense to forbid them and when it doesn't. I don't think we should look at every example of a parallel 5th as a new question, but instead focus on the generic answer to this question so we can help as many as possible. These two dupes while not being perfect explain the general phenomenon of perfect 5ths in compositions outside of voice leading. – Dom Feb 08 '19 at 17:28
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    I think these questions arise so often due to the emphasis of parallel 5ths being taught as rules to be obeyed, but not understood as conventions that arose from the stylistic intentions of the composers. I tried to make this point in a quite detailed answer to a related question, but unfortunately it's been deleted as it was apparently against the community guidelines. But I still think if this point was emphasised more it would naturally resolve this issue for many people. – AlyoshaKaramazov Mar 22 '22 at 16:35
  • @AlyoshaKaramazov perhaps you could republish that answer, I am sure it would be very enlightening for those of us who have doubts in this respect. – Quaerendo Mar 26 '22 at 13:43
  • @Quaerendo I’m afraid I may have my account deleted if I tried. It’s actually an answer to the linked question, you can still see it if you have over 10,000 reputation. My advice is to listen to some (any) Palestrina, then to the Bells of Moscow and compare. Listen to how distinct the lines are in the Palestrina, in texture and range, how sensitive and aware your ear is to every movement and inflection of each voice. How many voices can you “hear” in the Rachmaninoff? One, two maybe? Bass and melody, can you sing them? – AlyoshaKaramazov Mar 29 '22 at 10:57
  • So if the rest of notes aren’t heard as voices, do parallel 5ths between them sound “wrong” in any way? These are actually subjective questions, Rachmaninoff’s answers are in the music. What do you think? – AlyoshaKaramazov Mar 29 '22 at 10:58

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