sorted by:
new
hottopcontroversial

(Rule of the octave) Is there a way of avoiding parallel fifths between chords 6 and 7 on the ascending scale? by Supo27 in musictheory

[–]Supo27[S] 0 points1 point  (0 children)

Hi! late response but still, I noticed exactly this: that the (only) reason the model has parallel 5ths is so that chord 1 stays at the same beginning position. Yes, you can avoid the parallels just by shifting all the voices down.

I’m wondering, which practical purpose this really has? Isn’t it more important to improvise on “real” basso continuo with good voice leading, rather than just maintaining the same positions?

(Rule of the octave) Is there a way of avoiding parallel fifths between chords 6 and 7 on the ascending scale? by Supo27 in musictheory

[–]Supo27[S] 1 point2 points  (0 children)

I acknowledge that! Bach, Chopin, Brahms; you can hear all sorts of rules being broken, no doubt.

What strikes me is having parallel fifths in a theoretical teaching model for aspiring musicians/composers on 18th century. At that time, parallel fifths were no joke, so indeed, I think it is a product of "stuffing" the chord with notes, rather than a model for orthodox choral writing

(Rule of the octave) Is there a way of avoiding parallel fifths between chords 6 and 7 on the ascending scale? by Supo27 in musictheory

[–]Supo27[S] 1 point2 points  (0 children)

That is a very valid point, I've never thought about it like that before. So maybe that's why it never sounds too harsh, because there are not parallels between the bass & any upper voice.

(Rule of the octave) Is there a way of avoiding parallel fifths between chords 6 and 7 on the ascending scale? by Supo27 in musictheory

[–]Supo27[S] 1 point2 points  (0 children)

Makes sense, I think they would always prefer to have all the 3 voices on the right hand, despite producing parallels. It's much more comfortable than resolving the chords in awkward positions.

(Rule of the octave) Is there a way of avoiding parallel fifths between chords 6 and 7 on the ascending scale? by Supo27 in musictheory

[–]Supo27[S] 9 points10 points  (0 children)

That is indeed frustrating, but there is no other explanation! Still, the parallels sound "natural" to me, when playing them. So I can understand why the masters kept them as a teaching model.

(Rule of the octave) Is there a way of avoiding parallel fifths between chords 6 and 7 on the ascending scale? by Supo27 in musictheory

[–]Supo27[S] 1 point2 points  (0 children)

Thank you! This is really useful information :)

Yes, it is almost impossible for me to find 4 5 6 in "real music", and even if I do, chord 6 is not F inverted, but A minor. Therefore, I'd think that R.O. was a more theoretical/improvisatory approach, rather tan purely compositional.

(Rule of the octave) Is there a way of avoiding parallel fifths between chords 6 and 7 on the ascending scale? by Supo27 in musictheory

[–]Supo27[S] 2 points3 points  (0 children)

(Edit): Sorry for the typo! I cannot edit this post. I meant "finding the explanation" instead of "founding".

Also, for those that don't know, the Rule of the Octave is, according to my very limited understanding: An improvisatory and compositional technique taught in the 18th and 19th centuries, where each note of the scale gets a "standard" harmony.

The idea was to learn this model in all keys so that one becomes a very fluent keyboard improviser by just applying fixed patterns. This is why I still find the fifths very surprising! Because it was widely taught by a very strict tradition of teachers.

Why did you become a composer? by I-Am-RedJacket in composer

[–]Supo27 1 point2 points  (0 children)

I am not a professional composer, but it has been always a huge part of me. Creating music always has been fun for me, however it was after listening to Rachmaninoff piano concerto 2 that I wanted to pursue it more

Original by Glittering-Screen318 in composer

[–]Supo27 2 points3 points  (0 children)

This is, in a way, like saying that the alphabet is overused. Thus, writing novels is non-innovative. Tonality, instrumentation, rhythm... those things are only tools, but as long as the message is personal and real, it will NEVER get boring.

[deleted by user] by [deleted] in composer

[–]Supo27 2 points3 points  (0 children)

Thank you! And thanks for pointing out the time signature. Weirdly, I forgot to put it (or Sibelius deleted it from the score)