Nice one as always. Puts the finger on why I never really used the basic Fenaroli style RO realisation. My ear was always drawn to more movement in the top voice. I like the way IJerzerman starts with two part counterpoint.
At 3:40 I put hexachordal solffegio to your top voice and it shows beautifully how the first 7 bars can be used to modulate up a 5th. Sol fa mi, mi fa fa mi. You said this will be a series of videos on RO? So I’m hoping for more info on modulations.
Yes! you rarely see it, if at all used in compositions. I always thought chunks of it were much more common, similar to how in jazz we use the Ivaldi circle of 5ths progresson also in chunks and very few standards are based solely on it. This explains it brilliantly and truly frees you to improvise. Thanks!
One should not overload the rule of the octave. The first thing you must do to approach it is to forget everything that's in your head about later theoretical concepts. It's just a guide to harmonize a sequential bass fragment, to know which chord can be selected for a bass note. The main factor of that selection is the respect of chord hierarchy, the tonic and dominant being the pillars and anchor points of a key. It this regard the rule is a true eye opener. It's not a complete contrapuntal or harmonic system, though the reference works do mention or add some some basic aspects such as avoidance of parallel octaves/fifths. The full realization of the upper voices is out of scope here. It acted as a rule of thumb, a cheat sheet for organists who had to accompany a piece of which only a full orchestral score was available.
Bingo - thinking of the small segments is useful. What’s the bass motion/type of clausulae happening and is it applicable. The Mi Rule is an example of just using one part of RO. I love the eighteenth century pedagogical approach, but I’ve noticed the conversation sometimes veers into a Critical Theory of Music in exactly the manner you described and it gives me the heebie jeebies
9:15 Ah..., daß man den Verminderten ohne 6 auf der 7. Stufe direkt bringen kann, war mir neu. später, wo der Akkord als Auflösung einer Septime erscheint, leuchtet mir das kontrapunktisch ein. 10:56
00:00 Disclaimer
00:27 Introduction
01:01 What's the Rule of the Octave (with diversions)
02:34 Not simply "original" settings and wasted methodical potential
03:19 Recie #1 - Melodic Scope / Counterpoint / Chunking
05:57 Recipe #2 - Diminished 7th Chords
07:35 Recipe: #3 - Metrical Framework
09:11 Recipe # 4 - Baroque Trio Style / "Contrapuntal" Rule of the Octave
The reaction on Wim Winters masterclass made me laugh a lot😂
Very interesting insight as always!
(Also LOL at 2:24 😂)
Very nice one Michael, that's how it's done! 🙏
Nice one as always. Puts the finger on why I never really used the basic Fenaroli style RO realisation. My ear was always drawn to more movement in the top voice. I like the way IJerzerman starts with two part counterpoint.
You should do a rule of the octave composition competition!
LOL you are a LEGEND!
6:59 is exactly the prelude of La traviata. Amazing contents as always!
I too was very surprised by the Wim Winters appearance... not to say disappointed
Yes! I've been working on this and I love all of your videos
At 3:40 I put hexachordal solffegio to your top voice and it shows beautifully how the first 7 bars can be used to modulate up a 5th. Sol fa mi, mi fa fa mi. You said this will be a series of videos on RO? So I’m hoping for more info on modulations.
The best part of rule of the Octave is that it applies all the way from Handel to Chopin.
Yes! you rarely see it, if at all used in compositions. I always thought chunks of it were much more common, similar to how in jazz we use the Ivaldi circle of 5ths progresson also in chunks and very few standards are based solely on it. This explains it brilliantly and truly frees you to improvise. Thanks!
One should not overload the rule of the octave. The first thing you must do to approach it is to forget everything that's in your head about later theoretical concepts. It's just a guide to harmonize a sequential bass fragment, to know which chord can be selected for a bass note. The main factor of that selection is the respect of chord hierarchy, the tonic and dominant being the pillars and anchor points of a key. It this regard the rule is a true eye opener. It's not a complete contrapuntal or harmonic system, though the reference works do mention or add some some basic aspects such as avoidance of parallel octaves/fifths. The full realization of the upper voices is out of scope here. It acted as a rule of thumb, a cheat sheet for organists who had to accompany a piece of which only a full orchestral score was available.
Bingo - thinking of the small segments is useful. What’s the bass motion/type of clausulae happening and is it applicable. The Mi Rule is an example of just using one part of RO.
I love the eighteenth century pedagogical approach, but I’ve noticed the conversation sometimes veers into a Critical Theory of Music in exactly the manner you described and it gives me the heebie jeebies
9:15 Ah..., daß man den Verminderten ohne 6 auf der 7. Stufe direkt bringen kann, war mir neu.
später, wo der Akkord als Auflösung einer Septime erscheint, leuchtet mir das kontrapunktisch ein. 10:56
2:23 💀
So viel gute Ideen! RO ergibt endlich mehr Sinn
i see new en blanc et noir video i go click *happycatnoises*
But you keep having unresolved 6-4 chords...