Re: Parallel fifths and 3-limit/5-limit transition

Hello, there, and this is just a quick note that parallel fifths and
fourths are quite characteristic of Gothic music. The consistent
avoidance of parallel fifths starts maybe around the middle of the
15th century, say 1440 or so -- interestingly, just about the same
epoch as the introduction of meantone.

Before 1300 or so, there is no specific restriction in theory or
practice on parallel fifths, although there is a general preference in
12th-13th polyphony for contrary motion; parallel fifths and fourths
routinely occur in a system where the strongest directed progressions
involve contrary motion, rather as parallel thirds and sixths occur in
Renaissance polyphony as a permitted liberty although contrary motion
is again the general preference.

In fact, in 13th-century writing, fifths are often favored as parallels,
since they represent ideal euphony and rich stability.

Between 1300 and around 1440, parallel fifths are often restricted in
theory -- especially for simple two-voice textures -- but more freely
used in practice, and occur in some standard cadences for three and
four voices.

The consistent avoidance of parallel fifths (in "serious" genres of
polyphony, with exceptions here and there) from around 1440 or so
seems more or less to coincide with a shift from 3-limit to 5-limit
verticality, and a corresponding shift from Pythagorean tuning to some
flavor of meantone on keyboards.

Most respectfully,

Margo Schulter
mschulter@value.net

Thanks to Margo Schulter for the quick note on 3-limit/5-limit transition.
It's the kind I like very much.

I'm not musician, and thus less concerned with tuning for immediate use,
but such massive facts feed my thoughts for long.

In present case I'm forced to revise my view and I would like to have often
this opportunity.

Pierre Lamothe