In one of the coros of Sin Explicación a parallel fifths movement can be observed. Isn’t this forbidden?
Parallel fifths should especially be avoided when the individuality of the voices is important. In Sin Explicación this is hardly the case: the two lower voices are mainly thickening the top voice, and no intonation problems were experienced. It is very difficult to tell in general which parallel fifths sound bad and which sound good. They are beautiful when Debussy writes them and they are rarely a problem when covered up with a lot of dissonance from the upper structure of the chords, but in simple harmonic textures they can sound really horrible. If you hear something disturbing in the voice leading, then start checking for parallel fifths.
