The second outro is built on a vamping four measure phrase that is harmonically on top of a C Major pedal point. The underlying counterpoint in this section contains very typically Beatlesque parallel fifths:
Vocals: |C |- A |G G | |
Piano: |E |- D |C C | |
Bassline: |C |- |- |- |
it's as simple as that. A fifth is an interval that spans five notes for example, A-E or C-G. a parallel fifth is when two voices that are a fifth apart simultaneously move the same direction and distance in pitch. If two parts are moving parallel to one another, it should not be parallel fifths or octaves, because it sounds dull.
so if you have a parallel fifth in the first chord you shouldn't have a fifth in the second corresponding chord. that's what i meant, because you said that a parallel fifth is a series of perfect fifths.
YOU CAN START READING AGAIN.
So, what's the big deal?
You can find parallel fifths in Bach chorales and this is absolutely forbidden in the harmony with three notes. But Bach was a genius. He's so good that he can break the rules and his music still sounds wonderful. And so are The Beatles.
I'm really sorry that you refuse to accept this proof, it's so narrow-minded.