Octave rule

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The octave rule is an instruction that has been handed down since the early 18th century, which was originally intended to facilitate the improvisational implementation of undefined bass lines . Since at least 1607 Notes were ( Italian regole ) narrated that allow a companion should allow indeterminate bass without unwanted tonal friction between the monitoring and the accompanying voices counterpoint z (. As if in accompaniment a fifth is played on a bass note while other instruments play a sixth above this bass note). The octave rule bundles a large number of these rules by specifying how bass notes are usually counterpointed

  • depending on their position in the prevailing major or minor scale (octave) and
  • depending on whether they gradually increase or decrease.

Since playing the piano with given compositions, figured bass, improvisation and composition were only increasingly viewed as separate areas in the course of the 19th century, the octave rule played a role in the didactics of each of these activities until then. In particular since Wolfgang Budday's theory of harmony, Wiener Klassik (2002), it has been given increasing attention in (university) music education in German-speaking countries.

term

The term octave rule goes back to the French term règle des octaves , which was introduced by François Campion (around 1686 - around 1748) in 1716 . Jean-Jacques Rousseau said that Etienne Denis Delair had already found this rule and published it in his treatise Traité d'accompagnement pour le théorbe et le clavessin (Paris 1690). Its translation into German can be traced in Heinrich Christoph Koch's music dictionary (1802). In the 18th century, however, very different names were used (if the sentence model was explicitly named at all). Johann David Heinichen , who deals extensively with the subject in Der General-Bass in the Composition (1728), speaks of the scheme of a key. Italian musicians (e.g. Fedele Fenaroli ) often simply refer to the scala .

variants

With Campion and Fenaroli the octave rule has this form:

Major:

<< \ new Staff {\ override Staff.TimeSignature.transparent = ## t \ relative c {\ clef "bass" c1 | d | e | f | g | a | b | c | b | a | g | f | e | d | c | }} \ new FiguredBass {\ figuremode {<_> 1 <4 3> <6> <6 5> <_> <6> <6 5> <_> <6> <6+ 4 3> <_> < 2> <6> <4 3> <_>}} >>

Minor:

<< \ new Staff {\ override Staff.TimeSignature.transparent = ## t \ relative c {\ clef "bass" d1 | e | f | g | a | b | cis | d | c | bes | a | g | f | e | d | }} \ new FiguredBass {\ figuremode {<_> 1 <6+ 4 3> <6> <6 5 _-> <_ +> <6> <6 5> <_> <6> <6 4 3> <_ +> <4+ 2> <6> <6+ 4 3> <_>}} >>


Accordingly, z. B.

  • the 4th tone of the scale

accompanied.


Other sources offer differences to this variant in up to three points:

  • Sixth chords instead of the third fourth chords
  • Rising 4th level: third quint instead of sixth fifth chord
  • Rising 7th level: sixth instead of fifth sixth chord

Origin and reception

The historical background of the octave rule is the improvised counterpoint ( contrapunto alla mente ) as well as the Roman and Neapolitan figured bass and partimento traditions of the 17th century. Accordingly, neither a specific “inventor” nor a definitive form of the sentence model can be identified. The representations by Francesco Gasparini (1708) and Antonio Philippo Bruschi (1711) are considered to be prominent early formulations . Lorenzo Penna's doctrine of basso continuo (1684) also contains various sentence models that are canceled in the octave rule, e.g. B .:

GEBA Penna.jpg

Almost all leading music theorists of the 18th century imparted the octave rule as a basic musical knowledge. The writing Beginning-Reasons of the thoroughbass by the Bach student Lorenz Christoph Mizler (1739) demonstrates its importance in the context of Johann Sebastian Bach . His son Carl Philipp Emanuel Bach also introduces the octave rule as part of a comprehensive teaching of improvisation in his attempt to find out the true way of playing the piano . This tradition extends well into the 19th century (including Ludwig van Beethoven , Luigi Cherubini , Josef Gabriel Rheinberger ). As Wolfgang Budday has shown, the octave rule and the functional theory can complement each other in a meaningful way. Ludwig Holtmeier in particular worked out the potential of the octave rule with regard to an independent analysis method .

See also

Individual evidence

  1. ↑ Bianciardi 1607. Cf. Groth 1989, p. 376.
  2. ↑ See e.g. B. Andreas Werckmeister's understanding of a professional piano player, presented under: Lutz Felbick : Evidence for the qualities of a piano player after Andreas Werckmeister 1698/1702 .
  3. ↑ See e.g. B. Holtmeier 2011.
  4. ^ Konrad Ragossnig : Handbook of the guitar and lute. Schott, Mainz 1978, ISBN 3-7957-2329-9 , p. 44 (“Professeur-Maître de théorbe et de guitare de l'Académie Royale de Musique”).
  5. ↑ See the article "Etienne Denis Delair".
  6. ↑ Koch 1802, Art. Rule of the Octave , Col. 1240–1241.
  7. ↑ Heinichen 1728, pp. 744-768.
  8. ↑ Fenaroli 1775, pp. 9-14. Likewise Albrechtsberger 1790, pp. 11-12.
  9. ↑ See Sanguinetti 2012, p. 123.
  10. ↑ Holtmeier 2007 (Journal of Music Theory), pp. 10, 13.
  11. ↑ Bruschi 1711, p. 36f .; Budday 2002, p. 174; Groth 1989, p. 378f.
  12. ↑ Penna 1684, p. 196. Cf. for example G. F. Handel: Chaconne in G major (G 228); J. S. Bach: Goldberg Variations ; J. S. Bach: Various canons .
  13. ↑ Felbick 2012, pp. 185–232.
  14. ↑ Holtmeier 2007, p. 7; Holtmeier 2008.
  15. ↑ Holtmeier 2011.

swell

  • Francesco Bianciardi: Breve Regola per imparar'a sonare sopra il Basso con ogni sorte d'Istrumento. sn, Siena 1607.
  • Lorenzo Penna: Li primi albori Musicali Per li Principianti della Musica Figurata. Giacomo Monti, Bologna 1684 ( digitized ).
  • Francisco Gasparini: L'armonico pratico al cimbalo. Bortoli, Venice 1708.
  • Antonio Filippo Bruschi: Regole per il contrapunto, e per l'accompagnatura del basso continuo. Venturini, Lucca 1711.
  • Johann David Heinichen (Ed.): Newly Invented and Thorough Instruction How A Music-loving Man Can Perform Certain Beneficial Art To A Complete Learning Of The General Bass. Schiller, Hamburg 1711 ( digitized version ).
  • François Campion: Traité d'accompagnement et de composition selon la règle des octaves de musique. G. Adam, Paris 1716, (on this: Addition au traité d'accompagnement par la règle d'octave. Ibid 1730).
  • Johann David Heinichen: The general bass in the composition. from the author, Dresden 1728 ( digitized version ).
  • Francesco Durante: Bassi e Fughe. Un manuale inedito per riscoprire la vera prassi esecutiva della Scuola napoletana del Settecento (= Intelligere & concertare. 7, ZDB -ID 2590225-8 ). A cura di Giuseppe Alfredo Pastore. Armelin Musica, Padua 2003, (first print of a manuscript from Naples, no year).
  • Fedele Fenaroli: Regole musicali per i principianti di harpsichord , Vincenzo Mazzola-Vocola, Naples 1775.
  • Giovanni Paisiello: Regole per bene accompagnare il partimento o sia il basso fondamentale sopra il harpsichord (= source catalogs on music history. 43 = practice and theory of partimento playing. 1). Issued from the St. Petersburg 1782 edition and the manuscript Rari 3-4-17 of the Conservatoria di Musica Napoli. (Edited by Ludwig Holtmeier, Johannes Menke and Felix Diergarten). Noetzel, Wilhelmshaven 2008, ISBN 978-3-7959-0905-5 .
  • Johann Georg Albrechtsberger: Thorough instruction on the composition [...]. Breitkopf, Leipzig 1790.
  • Heinrich Christoph Koch: Musical Lexicon […]. Frankfurt 1802.

literature

  • Hans Aerts: 'Thoroughbass in Practice, Theory, and Improvisation'. International Orpheus Academy for Music & Theory 2006, Orpheus Instituut, Gent, April 5-8 , 2006. In: Journal of the Society for Music Theory (ZGMTH). Vol. 3, No. 3, 2006, ISSN  1862-6742 , pp. 359-361 ( online ).
  • Wolfgang Budday: Harmony theory Viennese classic. Theory, composition technique, work analysis (= historical music theory. 1). Berthold Schwerdtner, Stuttgart 2002, ISBN 3-00-008998-5 .
  • Thomas Christensen: The "Règle de l'Octave" in Thorough-Bass Theory and Practice. In: Acta Musicologica . Vol. 64, No. 2, 1992, pp. 91-117, doi : 10.2307 / 932911 .
  • Carl Dahlhaus : Investigations into the origin of harmonic tonality. 1966, (Kiel, University, habilitation paper, 1966).
  • Lutz Felbick : Lorenz Christoph Mizler de Kolof. Student of Bach and Pythagorean "Apostle of Wolffian Philosophy" (= University of Music and Theater "Felix Mendelssohn Bartholdy", Leipzig. Writings. Vol. 5). Georg-Olms-Verlag, Hildesheim et al. 2012, ISBN 978-3-487-14675-1 (Also: Leipzig, University of Music and Theater "Felix Mendelssohn Bartholdy", dissertation, 2011).
  • Renate Groth: Italian music theory in the 17th century. In: Frieder Zaminer , Thomas Ertelt (ed.): History of music theory. Volume 7: Italian Music Theory in the 16th and 17th Centuries. Reception of antiquity and theory of syntax. Wissenschaftliche Buchgesellschaft, Darmstadt 1989, ISBN 3-534-01207-0 , pp. 307-379.
  • Robert O. Gjerdingen: Music in the Galant Style. Oxford University Press, New York et al. 2007, ISBN 978-0-19-531371-0 .
  • Ludwig Holtmeier : Heinichen, Rameau, and the Italian Thoroughbass Tradition: Concepts of Tonality and Chord in the Rule of the Octave. In: Journal of Music Theory. Vol. 51, No. 1, 2007, pp. 5-49, doi : 10.1215 / 00222909-2008-022 .
  • Ludwig Holtmeier, Felix Diergarten: Partimento. In: Ludwig Finscher (Hrsg.): The music in past and present . General encyclopedia of music. Volume 26: Supplement. 2nd, revised edition. JB Metzler, Stuttgart et al. 2008, ISBN 978-3-7618-1139-9 , Sp. 653-659.
  • Ludwig Holtmeier: Octave rule (Regola dell'ottava, règle de l'octave). In: Heinz von Loesch , Claus Raab (ed.): Das Beethoven-Lexikon (= The Beethoven-Handbuch. Vol. 6). Laaber-Verlag, Laaber 2008, ISBN 978-3-89007-476-4 .
  • Ludwig Holtmeier: Functional ambiguity, tonality and Arabic levels. Considerations for reforming harmonic analysis. In: Journal of the Society for Music Theory (ZGMTH). Vol. 8, No. 3, 2011, ISSN  1862-6742 , pp. 465-487, ( online ).
  • Markus Jans : Towards a History of the Origin and Development of the Rule of the Octave. In: Towards Tonality. Aspects of Baroque Music Theory (= Collected Writings of the Orpheus Institute. 6). Leuven University Press, Leuven 2007, ISBN 978-90-5867-587-3 , pp. 119-143.
  • Giorgio Sanguinetti: The Art of Partimento . Oxford University Press, Oxford 2012, ISBN 978-0-19-539420-7 .

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