Application of theory to pop songs?

Hi all,
just a quick question regarding the application of 'proper' music theory to pop/rock pieces: Do you think it is appropriate or necessary to watch out for the fallacies encountered in four-part writing when composing a pop song as well? E.g., I'm doing one right now, and write parallel fifths and octaves all the time between the voice part and the bass guitar. Do you think this should be avoided at all costs, or is it simply a different context, where such things are acceptable? Do you know which is the prevailing view on this, or am I the only one who thinks about this stuff?

Thanks in advance for your input!

You could, but it's obviously not essential.

The only reason we have those rules is for the sake of making sounds that are pleasurable. As long as that's accomplished (with or without western theory), I think things will work out. If constant parallel octaves and fifths sound good to you, then use them by all means.

Of course, a well-trained ear will pick those things up rather easily, but whatever. Do as you please.

Heavens no!
I mean, you could, but I've never heard of anyone doing that, and it seems like it would be a waste of effort- the people who came up with those 4-part writing rules had never even heard of a bass guitar.

I mean, look at Smoke on the Water (dun, dun, dun....dun, dun, badun....)

~Kal

Avoided at all cost? No, but if you want to be different and interesting; the more theory your music has the more I'll like it!

I think, as many have said here, what it comes down to is trying a few different things and choosing the one that sounds the best to you. Music is meant to be listened to and not read. People reading your music might see parallel fifths and say, "Tsk, tsk, tsk," but if the music sounds good, who cares?

Well, thanks for all your replies!
It seems all of you mostly agree with what I've been doing anyway (which is trying to apply what I've learned in theory class without it getting in the way of the sound I want to have), so now I'll feel less guilty about it.
Thanks again, and I guess I'll be back to post the result of my work, when I get around to finishing it!

If parallel fifths aren't kosher, then Led Zeppelin, the Beatles, the Rolling Stones, AC/DC, Guns n' Roses, and just about every band ever sucks. And they don't. Plus, the texture of most songs done by bands is homophonic, and the part-writing rules are more for polyphony. If you write vocal harmonies for a rock song, it might be cool to avoid parallel fifths to make the sound more lush, but it really doesn't matter. What the fuck kind of music fan doesn't pick up an album because the guitarist uses power chords?

But once again, using your knowledge of music theory to your advantage but not letting it restrict you is the best method. I'm in a hair metal band with a music major from my school, and when we write riffs, we say the nerdiest, most theory-laden shit about it, but in the end, we just do everything possible to ensure that it rocks.

Pop/rock music written by people who know what they're doing tends to be quite awesome. Though I'm fairly sure the Beatles had little idea what they were doing, and if anyone disagrees that they were fantastic musicians I am going to have to murder them.