<html><head><base href="x-msg://38/"></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><br><div><blockquote type="cite"><span class="Apple-style-span" style="border-collapse: separate; font-family: Helvetica; font-size: medium; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; "><div lang="EN-US" link="blue" vlink="purple" style="word-wrap: break-word; "><div class="WordSection1"><div style="margin-right: 0in; margin-left: 0in; font-size: 12pt; font-family: 'Times New Roman', serif; margin-top: 0in; margin-bottom: 0.0001pt; "><span style="font-size: 11pt; font-family: Calibri, sans-serif; color: rgb(31, 73, 125); ">It would be interesting to know where this prohibition came from.</span></div></div></div></span></blockquote><div><br></div>Having no expertise in the history of theory, but having taught undergrad harmony for 15 years, I think I can field this one. I assume that the prohibition comes from workaday theory teachers who were sick of students correcting parallel fifths with this cheap fix which, while it may be present in the repertoire, is pretty rare because of the resulting prevalent skippiness of the parts, presumably.</div><div><br></div><div>David Feurzeig</div><div>University of Vermont</div></body></html>