The other day, I was watching a scrolling score of Pachelbel's (in)famous Canon in D on Youtube, when I noticed something interesting. In the excerpt below, shouldn't the the circled notes in the 1st violin part be considered an example of parallel fifths (against the bass line)?
If not, why not? I wouldn't expect the intervening rests to break up the effect of parallel motion (at least not until it's repeated 2 bars later in the 2nd violin, at which point the 1st is playing an "offbeat" pattern that effectively breaks up the effect). But is there a special exception in some counterpoint treatise that permits parallel motion to be broken up like that?
Or is Canon in D just a bad example of counterpoint? :-P
FWIW, I notice that this occurs in an inner voice (effectively the tenor at that point). I believe that makes it less severe than it would be if it were in the top-most voice. But isn't it still wrong?