Need help with Consecutive 5ths and octaves

[dominic94]

This is my main pain in the head in the past days. I am trying to understand what consecutive 5th and octaves is. When I read the theory everything looks pretty simple. As I understand consecutives, perfect fifth or octave interval in one part cannot follow another perfect fifth or octave interval in the same part of another chord. Right ?
But the thing is that the music what I am listening there are tons of those P5 and octaves following each other. For example in this piece of music Between Sopranto and Alto. And between tenor and bass the whole music piece is made of those consecutives as I understand. I hope you understand what I am asking, because my english is not the best. Please explain me this because I cannot find the right answer anywhere

 

[scrapheaper]

I think you may have misunderstood quite a lot of things.

Consecutive fifths and octaves only applies to counterpoint i.e. trying to make multiple melodies ​which sound independent from one another

This avicii tune is not multiple melodies, it's one melody played in chords.

 

[bandcoach]

consecutive 5ths and octaves do not only apply to counterpoint
- it's derivation is from the rules of counterpoint as educed by JJFux from the works of Palestrina,
- however, the rules so extracted were then applied to all forms of vocal writing whether in the older styles of the mass or in the newer chorales of Bach and his contemporaries

In modern orchestral writing (from the time of Haydn/Mozart/Beethoven onwards) we hear and see parallel 5ths and octaves used often as a means of thickening the line and providing colour to the line (when used as an orchestrational tool as well - different instruments playing the same line in different octaves/5ths)

the Avicii tune you quote is simply an application of this orchestrational principle
- 5ths in the bass part to thicken the line and outline the underlying harmony
- 8ves in the melodic line to thicken the line and emphasise the dissonance and consonance of the line with the underlying harmony
- it is not a simple harmonisation in chords as there are
--dissonances in the melodic line
-- a true harmonised version of the melodic line would have all of the chords moving in parallel motion (same direction same interval)
--- careful study of the left and right hands of this extract show that such parallel movement does not exist at all
--- we only see
----- oblique motion: one line stays on the same notes the other line moves away or towards that line; or
----- contrary motion: both lines move away from each other or towards each other or
----- similar motion: both lines move in the same direction but by different intervals