Interesting. What circumstance would that be?
Well, there’s the “Mozart fifth” which is a German augmented sixth resolving to a V chord; apparently the parallel fifth is OK there. That’s not what I did though. If I remember correctly (keeping in mind that this was about 12 years ago), it involved one voice moving directly to a functional tone (part of the next chord), while the other voice moved through a passing tone. Since the passing tone isn’t part of the functional harmony and immediately resolves to another tone, the parallelism doesn’t really sound parallel, instead it sounds like a fifth moving to a fourth with a passing tone in between.
For example (a pretty poor example, but we’ll go with it):
In F, start with a d-min chord (vi) voiced thus: D[sup]3[/sup]-A[sup]3[/sup]-F[sup]4[/sup]-D[sup]5[/sup]. Then move to a I[sup]6[/sup][sub]4[/sub], voiced thus: C[sup]3[/sup]-F[sup]3[/sup]-A[sup]4[/sup]-F[sup]5[/sup]. But, have the tenor pass through G on the way, so there is a suspension into the second chord. Technically, the D-A followed by C-G is a parallel fifth, but because the G is passing and quickly resolves, it works. At least, that’s how I remember it.
(The voicing of the subsequent resolution of this cadence is pretty horrendous.)
Wow, that’s cool. Thanks!
Oops! In brushing up on my memory, I realize I was thinking of incomplete voicings, either 3 and 5, or 1 and 3. My bad.
To get away from the what-to-double conversation and mention a few other uses for the chord/bass notation, two oft-used types of chords are:
chord/2nd–e.g. F/G (used in Bohemian Rhapsody, which I’m currently learning)
chord/4th–e.g. C/F (a Laura Nero and Steely Dan fav)
I was perusing the Ultimate Guitar Web site, and one of the tabs I was looking at used the notation “H” for a chord. What’s H? I’ve been reading music since I was 6 years old, and I’ve never seen reference to an H.
If it was in German, H equals our B (and B equals our B-flat). Otherwise, could it have been indicating some kind of hammer-on?