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Parallel fifths and unresolved sevenths

There are some don'ts in composition that I don't understand. "No parallel fifths and no unresolved sevenths."

Debussy uses parallel sevenths and creates a unique colour of impressionistic music. Pop songs often use parallel fifths. So why should such a rule exist for classical composition?

"It just doesn't sound good," said a composer. "The ear wants to hear the resolution of a seventh chord."

We are not living in Bach's era where rules dictate how a piece should end in a cadence.

If we violate "old" rules enough times, what we do becomes acceptable.

Composing new music is about experimenting with sound. There are no rules.

23 March 2004 Tuesday

Related entries:
Composing the Suite Bussum
Composers talk
Original compositions of Anne Ku
More journal entries on composing - just search for "compose" on Bon Journal or
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Anne Ku at Ilp in May 2001
Anne Ku

writes about her travels, conversations, thoughts, events, music, and anything else that is interesting enough to fill a web page.
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