Stage 2 of 17

The Rule of the Octave

Name: Gradus ad Parnassum — Music Composition Curriculum
Price: 199 USD
Availability: InStock

What harmony goes over each scale degree?

The harmonized scale, ascending and descending, major and minor, as memorized vocabulary — the tradition’s own starting point. Stable degrees carry root-position harmony; the mobile degrees carry the sixth.

The 12 exercises

Bass 179 — Octave rule — major, ascending
F major
The Rule of the Octave rising: 5/3 on the stable degrees, the sixth on the mobile ones, and sevenths pressing the bass onward at the second and fourth degrees.
Bass 180 — Octave rule — major, ascending
G major
The Rule of the Octave rising: 5/3 on the stable degrees, the sixth on the mobile ones, and sevenths pressing the bass onward at the second and fourth degrees.
Bass 181 — Octave rule — major, ascending
C major
The Rule of the Octave rising: 5/3 on the stable degrees, the sixth on the mobile ones, and sevenths pressing the bass onward at the second and fourth degrees.
Bass 182 — Octave rule — major, descending
F major
The Rule of the Octave falling, where the fourth degree carries the seventh in the bass itself and must step down to resolve it.
Bass 183 — Octave rule — major, descending
G major
The Rule of the Octave falling, where the fourth degree carries the seventh in the bass itself and must step down to resolve it.
Bass 184 — Octave rule — major, descending
A major
The Rule of the Octave falling, where the fourth degree carries the seventh in the bass itself and must step down to resolve it.
Bass 185 — Octave rule — minor, ascending
A minor
The minor Rule of the Octave rising, where the sixth and seventh degrees are raised so the bass can climb into the tonic without an augmented second.
Bass 186 — Octave rule — minor, ascending
C minor
The minor Rule of the Octave rising, where the sixth and seventh degrees are raised so the bass can climb into the tonic without an augmented second.
Bass 187 — Octave rule — minor, ascending
D minor
The minor Rule of the Octave rising, where the sixth and seventh degrees are raised so the bass can climb into the tonic without an augmented second.
Bass 188 — Octave rule — minor, descending
A minor
The minor Rule of the Octave falling, where the sixth and seventh degrees revert and only the dominant keeps its accidental.
Bass 189 — Octave rule — minor, descending
C minor
The minor Rule of the Octave falling, where the sixth and seventh degrees revert and only the dominant keeps its accidental.
Bass 190 — Octave rule — minor, descending
D minor
The minor Rule of the Octave falling, where the sixth and seventh degrees revert and only the dominant keeps its accidental.

Voice-leading patterns drilled in this stage

GVL-042 GVL-043 GVL-044 GVL-053 GVL-054

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The 12 exercises

Bass 179 — Octave rule — major, ascending

Bass 180 — Octave rule — major, ascending

Bass 181 — Octave rule — major, ascending

Bass 182 — Octave rule — major, descending

Bass 183 — Octave rule — major, descending

Bass 184 — Octave rule — major, descending

Bass 185 — Octave rule — minor, ascending

Bass 186 — Octave rule — minor, ascending

Bass 187 — Octave rule — minor, ascending

Bass 188 — Octave rule — minor, descending

Bass 189 — Octave rule — minor, descending

Bass 190 — Octave rule — minor, descending

Voice-leading patterns drilled in this stage

The 12 exercises

Bass 179 — Octave rule — major, ascending

Bass 180 — Octave rule — major, ascending

Bass 181 — Octave rule — major, ascending

Bass 182 — Octave rule — major, descending

Bass 183 — Octave rule — major, descending

Bass 184 — Octave rule — major, descending

Bass 185 — Octave rule — minor, ascending

Bass 186 — Octave rule — minor, ascending

Bass 187 — Octave rule — minor, ascending

Bass 188 — Octave rule — minor, descending

Bass 189 — Octave rule — minor, descending

Bass 190 — Octave rule — minor, descending

Voice-leading patterns drilled in this stage