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To be honest, the direct 5th was not too objectionable. The stepwise motion of the lower voice by itself isn't enough to rid the bad effect, but at speed, and with the octave doublings, and because of the harmony before and after it, it's not too bad.
Do you mean make the last G in bar 61 a G#? Because then you get a parallel 5th. Again, it's somewhat disguised, but it still won't sound the best it could. I think D natural in violin, and a G natural in the bass parts works best, but as you say, that means distorting your sequence.
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Originally Posted by Oscar Wilde
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