The Rule of the Octave
Introduction
The Rule of the Octave (ROTO) is a harmonized scale that reflected the harmonic practice of the late 18th century. It was originally practiced on keyboard instruments, however I found the ROTO in all 12 major and minor keys in a guitar method by Mrs. Joseph (Louisa) Kirkman.
The ROTO is beneficial to practice for several reasons.
1) It teaches our ears and hands some of the most fundamental progressions in tonal music. Composers often used progressions found in the ROTO, so you will frequently see those harmonic movements in pieces of music.
2) It's a great technical exercise for both hands, but particularly the left. Playing chords for a prolonged period of time is a great way to improve left hand strength, dexterity and flexibility. Arpeggios can be added to the ROTO to produce exercises of great merit.
The most important thing is that you practice the Rule of the Octave! Knowing harmony is more important than understanding it, as Czerny (Beethoven’s pupil) points out:
“A thorough knowledge of the Theory of Harmony, which may also be gained practically by means of the finger-exercises, assists us much in playing at sight; on the contrary, he who has only a mere superficial knowledge of it, and that only in his brains, will only be led the more astray”
The Rule of the Octave (ROTO) is a harmonized scale that reflected the harmonic practice of the late 18th century. It was originally practiced on keyboard instruments, however I found the ROTO in all 12 major and minor keys in a guitar method by Mrs. Joseph (Louisa) Kirkman.
The ROTO is beneficial to practice for several reasons.
1) It teaches our ears and hands some of the most fundamental progressions in tonal music. Composers often used progressions found in the ROTO, so you will frequently see those harmonic movements in pieces of music.
2) It's a great technical exercise for both hands, but particularly the left. Playing chords for a prolonged period of time is a great way to improve left hand strength, dexterity and flexibility. Arpeggios can be added to the ROTO to produce exercises of great merit.
The most important thing is that you practice the Rule of the Octave! Knowing harmony is more important than understanding it, as Czerny (Beethoven’s pupil) points out:
“A thorough knowledge of the Theory of Harmony, which may also be gained practically by means of the finger-exercises, assists us much in playing at sight; on the contrary, he who has only a mere superficial knowledge of it, and that only in his brains, will only be led the more astray”
A Basic Guide to the ROTO
Here is an outline of the basic construction of a ROTO. The following guidelines apply to the ROTO in both major and minor.
1. Each scale degree was assigned as either being stable or unstable, resulting in the type of chord that each note was harmonized with.
Yellow represents the stable scale degrees. These are the notes of repose and relaxation. Purple represents the unstable scale degrees. These are the notes of movement and tension. (The third degree is considered both stable and unstable - more on that later).
Here is an outline of the basic construction of a ROTO. The following guidelines apply to the ROTO in both major and minor.
1. Each scale degree was assigned as either being stable or unstable, resulting in the type of chord that each note was harmonized with.
Yellow represents the stable scale degrees. These are the notes of repose and relaxation. Purple represents the unstable scale degrees. These are the notes of movement and tension. (The third degree is considered both stable and unstable - more on that later).
2. Stable scale degrees receive a root position (5/3) chord. These will be triads only, i.e. chords that contain only three different notes.
Example: in C major, scale degrees 1 (C), 5 (G) and 8 (C) receive a root position chord, i.e. C – E – G and G – B – D.
Example: in C major, scale degrees 1 (C), 5 (G) and 8 (C) receive a root position chord, i.e. C – E – G and G – B – D.
3. Unstable scale degrees usually receive a chord of inversion (6/3, 6/4, etc). These will also often include seventh chords to maximize the tension.
Example: in C major, scale degree 2 (D) receives a V-6/4 chord (G dominant 7th in second inversion). Play that chord and note the tension created from the tritone on top (B-F).
Example: in C major, scale degree 2 (D) receives a V-6/4 chord (G dominant 7th in second inversion). Play that chord and note the tension created from the tritone on top (B-F).
4. The harmonization is different when the scale descends
Extra dissonances were often added to the unstable notes that precede the stable ones, especially 6 descending to 5 (A down to G). Notice the raised 4th (F#), which adds greater tension before landing on a chord of much greater stability.
Extra dissonances were often added to the unstable notes that precede the stable ones, especially 6 descending to 5 (A down to G). Notice the raised 4th (F#), which adds greater tension before landing on a chord of much greater stability.
5. The third scale degree was considered partly stable and partly unstable
Observe the chord harmonized over the third scale degree (E), which is a tonic chord in first inversion (I-6). So, stability comes from being harmonized with the tonic triad, and instability comes from it being an inversion.
Observe the chord harmonized over the third scale degree (E), which is a tonic chord in first inversion (I-6). So, stability comes from being harmonized with the tonic triad, and instability comes from it being an inversion.
Fun Exercises using the Rule of the Octave
Combining the ROTO with arpeggios creates a match made in heaven. This can reveal to us a fundamental purpose of the arpeggio exercises found in many 19th century method books, particularly Giuliani’s 120 Right Hand Exercises. Rather than just practicing these arpeggios on the chords of C and G, apply them to the ROTO to create hours of fun and creativity!
In the following examples, I’ve only used an excerpt of the C Major ROTO. You can apply arpeggios to the ROTO in any major or minor key.
The following arpeggio patterns are taken from my book, The 19th Century Arpeggio Bible. In that book there are over 50 pages of arpeggios to choose from!
In the following examples, I’ve only used an excerpt of the C Major ROTO. You can apply arpeggios to the ROTO in any major or minor key.
The following arpeggio patterns are taken from my book, The 19th Century Arpeggio Bible. In that book there are over 50 pages of arpeggios to choose from!
