What to Do With the Rule of the Octave - Music Composition
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- Опубликовано: 9 июл 2024
- This music composition lesson follows on from an earlier video about the rule of the octave and you may well want to watch our other video first. In this lesson we examine the linear implications for part writing using the chord scheme presented by the rule of the octave, with one voice centred around the tonic, another centred around the third, and yet another centred around the fifth. The video covers the logic behind the choice of melodic notes then goes on to show how the parts are combined in the first, second and third positions. Ascending and descending patterns are covered, along with examples in both major and minor keys. This video offers insight into harmonic thinking that will illuminate Baroque style and the writing of harmony more broadly.
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🕘 Timestamps
0:00 - Introduction to what to do with the rule of the octave
0:40 - Centre on the tonic
6:18 - Centre on the third
8:52 - Centre on the fifth
10:30 - Putting parts together
11:40 - Upper parts in first position
11:51 - Upper parts in second position
11:59 - Upper parts in third position
12:06 - Importance of linear direction but with harmonic thinking
13:04 - Descending
13:45 - Centre on the tonic
14:56 - Centre on the third
16:08 - Centre on the fifth
17:33 - Putting parts together
17:51 - Upper parts in first position
18:01 - Upper parts in second position
18:10 - Upper parts in third position
18:19 - Conclusion
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I saw your video on the ROTO in early August, and it has changed my life. I found this with the Rule by parts, and started practicing it daily. And I used it to work on my terrible singing voice. And it helped, though I make sure my neighbours aren't home. So I was very familiar, but your crystal clear explantation was really the cherry on the cake.
Merci beaucoup. I hope you don't get tired of me praising you and Alex for having THE best music channel on You Tube?
It’s really very kind of you. Good to know it’s helpful
That was fascinating and very clear. When you put the three upper parts together, it sounded like many standard hymns. And BTW, I'm having trouble keeping up with you this week; you've been releasing an impressive number of videos!
Glad it’s all helpful
Excellent video (and lesson)! Having slept once (or twice) since the first video was released, I went back and watched it first. All is becoming clear. Thanks so much!
Glad it’s helpful
Fantastic, as always!
Many thanks. Much more at www.mmcourses.co.uk
Where you use B in stead of D for centering around the C, the B is also closer to C then D is. B is semi tone away and D is a full tone away?
True. The important thing is to use neighbouring notes within the scale
Remarkable, the melody created by each position is beautiful
Interesting, I’ve intuitively used this technique in four part writing, without knowing it had a name or tradition.
It’s great to make these connections
I never knew about this, fascinating.
😀
Thankyou sir.... God bless 🙏
😀
Thank you for the lesson! Reducing four parts to two parts makes it a lot easier. Does this method extend to figured bass realization in general?
It can do.
I am happy to see this stuff is slowly becoming more mainstream. Have you read Nicholas Baragwanath's The Solfeggio Tradition? Another lifechanging book along with Gjerdingen's and Sanguinetti stuff.
Yes. All good source material.
Could you specify where I can find information about the "3 different positions" of the Rule of the Octave , whether it's in a book, video, or blog?
You can position the right hand with the root at the bottom or the third or the fifth. This gives you the right hand positions.
Well done Gareth, great stuff.
After watching both videos it occurred to me would it be possible to apply this system to modern popular tunes?
Say you had a tune that went C, G, Am, F, Dm, G7, C Could that be re-harmonized?
Secondly. If baroque composers wrote music starting from the bottom (notes) and working up, how did someone like Vivaldi or Handel write such good melodies.
Thanks. Yes it applies well in more modern contexts. Baroque composers were often well able to spin fabulous melodic lines from the harmony.
This is a better lesson than what is taught at the UCLA Herb Alpert School of Music.
Thanks
But how do you apply this rules when the melody in the bass is not an ascending or descending scale, but has more melodic movements?
It really only works in this formation although you can pick out progressions from within the octave.
@@MusicMattersGB Oh thank you!
@fernandog5855 😀
Thank you! Very useful video! Unfortunate that the minor key isnt clear enough (
😀