This has been extremely helpful - I've transcribed all this into Finale in a document for Major and Minor and learned an absolute ton in the process!

I've heard many professors talk about the rule of the octave without going into the details like you have. Merci beaucoup.

Excellent video. From comments of other guitar players, I gather that on guitar, the highest voice should follow the rules as given. Then the inner voices should be filled in (or not) according to the ability of the guitarist, the technical limitations of the guitar, and what is idiomatic to the instrument.

@isaacbeen2087

Жыл бұрын

Have you discovered Peter Croton’s book on figured bass for the classical guitar?

@RozarSmacco

11 ай бұрын

No, actually the figured bass (chords) notes should be harmonized according to the rules of common practice voice leading: 1. don’t double the 3rd, 2. no parallel fifths or octaves, 3. no voice crossings, and 4. using the closest note possible (smoothest voice leading). That’s what Richardus has shown us here in the completed harmonization

Excellent, really clear explanation of Rule of the Octave, thank you!

Much better than other presentations on this important topic.

@RichardusCochlearius

Жыл бұрын

Thank you so much! I'm really happy to read your comment! I'm honored to make a great work for all musicians! The support my subscriber is very important for me, it really helps me in creating new contents! If you can help me with a support on Patreon, you will also get that access to other extra contents! Here is my Patreon page! patreon.com/richardus_cochlearius If you can, also a little monthly donation, can really help me in helping you! 😊😊 Thank you so much!

This is SUCH a good video! I will practice this every day

The video we all need, Thanks Richardus! 🎶🎹

Thank you. Invaluable

Best video on KZread about the rule of the octave!

I really like your teaching style, keep it practically and explain where stuff comes from.

music instruction gold! thank you for this video and channel

This video is wonderful!

This is really an excellent video. I do feel that I could brush up on my interpretation as to which chords should be considered stable and unstable, as this appears to underpin much of the harmonic decision making as shown here.

Grazie mille!

Very clear explanation. Thanks so much! ❤

@Richardus Can you explain the difference between this and functional harmony? Why is functional harmony incorrect in your opinion?

Thank you.

Beautiful videos ! I love them! concise and to the point! Bravo maestro! I don't understand why pronounce the german notes (ABCDEFG) together with the latin notes (ut, re, mi, fa, sol, la, si derived from the "Hymnus in Ioannem"). I also don't understand why you use for the higher tetrachord german letters (G, A, B, C) but repeat the latin letters (ut, re, la, mi). Is this a solfeggio technique? Grazie molto maestro!!!

@RichardusCochlearius

3 күн бұрын

Hi! Yes! The Hexachordal Solmisation System uses both Letters and Syllables. Gsolreut for example means that G is Sol in the natural hexachord Re in the soft hexachord and ut in the hard hexachord. You can learn more here www.bit.ly/solm-hex

Where does cut, dre, emi, cfa, etc. come from?

Thanks for the content, Richardus. There is something I don't understand. Why is the 5th degree (G-sol) represented with [3 5] when the actual intervals from the bass are [5 8 10]? See 3:28 for example.

@lukehentschel5477

8 ай бұрын

3/5 and 5/8/10 are harmonically equivalent. When you have an interval like a 10th which is an 8ve + 3rd, it is usually simplified to the more basic interval of a 3rd. Another point to consider is that the voicing of the harmonies are not rigid or fixed. A 5/3 chord could be voiced 8/5/3, 3/5/8, 10/8/5, 12/8/3, etc

4:00 Question about the 2nd degree: You recommend using 6/4/3 You don't recommend the 6/4 because it is "unstable" Why is the 6/4 on the 2nd degree so bad? Note to self: 5:47 upper tetrachord ascending. Can use parallel fifth between alto and tenor. G A6/3 B6/5 Note: 6 4 is unstable. 6/4/3 is not

@RichardusCochlearius

Жыл бұрын

Great question John! Because the 3rd and the 6th are consonances, while the 4th is a dissonance with the bass. You can find an 6/4 in several Bach's 4 part chorales, but usually they are on a speed weakbeat and they work as a passing tone

Nice video! Can you tell me the name of any treaty that mention this permitted parallel-fifths situation? Thanks a lot!! 🙂

@RichardusCochlearius

Жыл бұрын

Hi Felipe! I'm happy to read your comment! One of them is Principes de l'Acompagnement du Clavecin by Dandrieu imslp.org/wiki/Principes_de_l'Acompagnement_du_Clavecin_(Dandrieu%2C_Jean-Fran%C3%A7ois); You can find other things in L'armonico prattico al cimbalo by Gasparini imslp.org/wiki/L'Armonico_Pratico_al_Cimbalo_(Gasparini%2C_Francesco) How about you? Do you play the harpsichord? Are you a musician, composer or something else? Have a nice day!

@felipelamolle9310

Жыл бұрын

​@@RichardusCochlearius Thanks a lot for your answer and investing time for finding the links of the books!! I'm a guitar player from Uruguay and I'm studying composition, now I'm taking my last three exams and I am doing some work in the piano with the rule of the octave. You've helped me a lot!!! Where are you from? Are you giving any concert soon? Do you compose music?

@RichardusCochlearius

Жыл бұрын

@@felipelamolle9310 Hello Felipe! I'm from Italy. You can find one my composition on my KZread channel: kzread.info/dash/bejne/mWF3vNBxY7ablNY.html I'm sure you can get a lot of benefits in composition with the videos I publish on Improvisation Elements: richarduscochlearius.com/improvisation-elements

I am confused as to why the alto and tenor voice merged into a unison when going from sol to re.

Good Thank you ! At 4:24 you say FA-Mi against Mi-Fa, although you show a fa-mi against Si-Do... a basic error, or is it so esoteric that I will never attempt to understand ;-))))

@RichardusCochlearius

7 ай бұрын

It's Hexachordal Solmisation. Based on the Hexachord Ut Re Mi Fa Sol La. The "Si" doesn't exist in this system. Check this video: kzread.info/dash/bejne/lK6C2K5rpL3TZto.htmlsi=BuK3LPlOxCHwe636

@jean-yvesPrax

7 ай бұрын

@@RichardusCochlearius Oh là là 😯!!! the more you progress in knowledge, the more you discover the infinite extent of our ignorance - (and the more you feel loneliness in social parties... 😴😷) Thank you Maestro, I will check the hexachord solmisation

Teach us the rule of the MHANZ!

@RichardusCochlearius

10 ай бұрын

Eh no che poi arriva l'uomo ago!

Qual è il titolo del brano d'introduzione? Video bellissimi comunque

Why is there no rule of the octave for other modes such as phrygian or even harmonic minor

@RichardusCochlearius

2 жыл бұрын

Because it works for TONAL music

Jak dla mnie to ,,Mega "

@RichardusCochlearius

7 ай бұрын

Ok

>claims to use the numbered bass paradigm and avoid labelling degrees with Roman numeral system >says that la-sol step in the bass is a modulation into G-major Meh

09:54 THE COMPLETE MAJOR RO 1st POSITION 10:19 OTHER POSITIONS 12:38 MINOR MODE RO