. . "\u516B\u5EA6\u539F\u5219\u662F\u5728\u5171\u6027\u5B9E\u8DF5\u4E2D\u4E3A\u81EA\u7136\u97F3\u9636\u914D\u7F6E\u548C\u58F0\u7684\u4E00\u79CD\u65B9\u5F0F\u3002\u5B83\u6E90\u4E8E\u6570\u5B57\u4F4E\u97F3\u3002\u516B\u5EA6\u539F\u5219\u4E5F\u662F\u6807\u8BB0\u4F4E\u97F3\u58F0\u90E8\u7684\u57FA\u7840\u3002 \u516B\u5EA6\u539F\u5219\u9996\u5148\u4E8E17\u4E16\u7EAA\u4E3A\u7409\u7279\u7434\u7684\u6570\u5B57\u4F4E\u97F3\u8BBA\u8457\u4E2D\u63D0\u51FA\u3002\u4E0A\u884C\u548C\u4E0B\u884C\u7684\u4F4E\u97F3\u7EBF\u6761\u4E00\u822C\u914D\u7F6E\u4E0D\u540C\u7684\u548C\u58F0\uFF1B\u800C\u4E14\uFF0C\u867D\u79F0\u4F5C\u201C\u539F\u5219\u201D\uFF0C\u4E5F\u6709\u4E0D\u540C\u548C\u5F26\u7684\u914D\u6CD5\u3002\u5927\u8C03\u548C\u5C0F\u8C03\u97F3\u9636\u6709\u591A\u79CD\u7248\u672C\u7684\u8BB0\u8F7D\u3002 \u4E0B\u4F8B\u662FJohn Hiles\u4E3A\u5927\u8C03\u97F3\u9636\u914D\u7F6E\u7684\u548C\u58F0\uFF1A 4 | \\bar \"||\" | | \\bar \"|.\" | } } } \new Staff { \new Voice = \"left\" { elative c { \\clef \"bass\" c4 d e f | g a b c | c b a g | f e d c | } } } \new FiguredBass { \\figuremode { <_>4 <4 3> <6> <6 5> | <_> <6> <6 5> <_> | <_> <6> <6+ 4 3> <_> | <2> <6> <4 3> <_> | } } \new Lyrics { \\lyricsto \"left\" { I V I II | V IV V I | I V V/V V | V I V I | } }>>\" />\u60A8\u7684\u6D4F\u89C8\u5668\u4E0D\u652F\u6301\u64AD\u653E\u97F3\u9891\u3002\u60A8\u53EF\u4EE5\u3002"@zh . "\u30AA\u30AF\u30BF\u30FC\u30D6\u306E\u6CD5\u5247\uFF08\u4ECF: r\u00E8gle des octaves\u3001\u82F1: rule of the octave\uFF09\u306F\u3001\u5168\u97F3\u968E\uFF08\u30C0\u30A4\u30A2\u30C8\u30CB\u30C3\u30AF\u30FB\u30B9\u30B1\u30FC\u30EB\uFF09\u306B\u4E00\u822C\u7684\u306A\u6163\u884C\u3092\u53CD\u6620\u3057\u3066\u548C\u58F0\u3092\u4ED8\u3051\u308B\u4F8B\u3067\u3042\u308B\u3002\u901A\u594F\u4F4E\u97F3\u3067\u306E\u6163\u884C\u306B\u7531\u6765\u3057\u3066\u304A\u308A\u3001\u30D0\u30B9\u306B\u7F6E\u304B\u308C\u305F\u97F3\u968E\u306B\u305D\u308C\u305E\u308C\u3069\u306E\u548C\u97F3\u3092\u5F53\u3066\u3089\u308C\u308B\u304B\u3001\u7279\u306B\u6570\u5B57\u304C\u4ED8\u3051\u3089\u308C\u3066\u3044\u306A\u3044\u3068\u304D\u306B\u63A2\u308B\u305F\u3081\u306E\u624B\u8EFD\u306A\u624B\u6BB5\u3092\u4E0E\u3048\u3066\u304F\u308C\u308B\u3002\u30AA\u30AF\u30BF\u30FC\u30D6\u306E\u97F3\u3092\u548C\u58F0\u4ED8\u3051\u3059\u308B\u548C\u97F3\u306B\u3064\u3044\u3066\u6700\u521D\u306B\u8A00\u53CA\u3057\u305F\u306E\u306F\u30A2\u30F3\u30C8\u30CB\u30AA\u30FB\u30D6\u30EB\u30B9\u30AD (Antonio Bruschi) \u306B\u3088\u3063\u3066\u30011711\u5E74\u306E\u3053\u3068\u3068\u8003\u3048\u3089\u308C\u3001\u3053\u306E\u540D\u79F0\u306F\u306B\u3088\u3063\u30661716\u5E74\u306B\u4ED8\u3051\u3089\u308C\u305F\u3002\u30AA\u30AF\u30BF\u30FC\u30D6\u306E\u6CD5\u5247\u306F\u96C6\u306B\u304A\u3051\u308B\"regole\"\uFF08\u6CD5\u5247\uFF09\u306E\u57FA\u790E\u3082\u5F62\u6210\u3057\u3066\u3044\u308B\u3002\u300C\u6CD5\u5247\u300D\u3068\u306F\u3044\u3063\u3066\u3082\u5909\u578B\u7248\u304C\u3044\u304F\u3064\u304B\u3042\u308A\u3001\u30D9\u30FC\u30B9\u30E9\u30A4\u30F3\u306E\u4E0A\u884C\u3068\u4E0B\u884C\u306B\u306F\u7570\u306A\u308B\u548C\u97F3\u3067\u7570\u306A\u308B\u548C\u58F0\u304C\u4ED8\u3051\u3089\u308C\u3066\u3044\u308B\u306E\u304C\u3075\u3064\u3046\u3067\u3042\u308B\u3002\u9577\u97F3\u968E\u304A\u3088\u3073\u77ED\u97F3\u968E\u306B\u306F\u7570\u306A\u308B\u30D0\u30FC\u30B8\u30E7\u30F3\u304C\u793A\u3055\u308C\u3066\u3044\u308B\u3002\u306B\u3088\u308B\u9577\u97F3\u968E\u3092\u4E00\u4F8B\u3068\u3057\u3066\u6319\u3052\u308B\u3002"@ja . "\u516B\u5EA6\u539F\u5219"@zh . "The rule of the octave is a way of harmonizing each note of the diatonic scale, reflecting common practice, and has its origin in the practice of thorough bass, or basso continuo, where it provided an easy way to find which chord could accompany each note of the scale in the bass, particularly in the absence of figuring. The earliest description of the chords harmonizing an octave may be that by Antonio Bruschi in 1711. The name (r\u00E8gle des octaves, \"rule of the octaves\") was first given by Fran\u00E7ois Campion in 1716. The rule of the octave also formed the cornerstone of the \"regole\" (rules) of partimento collections. There is normally a different harmonization for ascending and descending bass lines, and, although called a rule, there are several variants with different chords. Different ver"@en . "The rule of the octave is a way of harmonizing each note of the diatonic scale, reflecting common practice, and has its origin in the practice of thorough bass, or basso continuo, where it provided an easy way to find which chord could accompany each note of the scale in the bass, particularly in the absence of figuring. The earliest description of the chords harmonizing an octave may be that by Antonio Bruschi in 1711. The name (r\u00E8gle des octaves, \"rule of the octaves\") was first given by Fran\u00E7ois Campion in 1716. The rule of the octave also formed the cornerstone of the \"regole\" (rules) of partimento collections. There is normally a different harmonization for ascending and descending bass lines, and, although called a rule, there are several variants with different chords. Different versions for the major and minor scales are recorded. One example for the major scale by John Hiles: 4 | \\bar \"||\" | | \\bar \"|.\" | } } } \new Staff { \new Voice = \"left\" { elative c { \\clef \"bass\" c4 d e f | g a b c | c b a g | f e d c | } } } \new FiguredBass { \\figuremode { <_>4 <4 3> <6> <6 5> | <_> <6> <6 5> <_> | <_> <6> <6+ 4 3> <_> | <2> <6> <4 3> <_> | } } \new Lyrics { \\lyricsto \"left\" { I V I II | V IV V I | I V V/V V | V I V I | } }>>\" />Audio playback is not supported in your browser. You can ."@en . "\u30AA\u30AF\u30BF\u30FC\u30D6\u306E\u6CD5\u5247\uFF08\u4ECF: r\u00E8gle des octaves\u3001\u82F1: rule of the octave\uFF09\u306F\u3001\u5168\u97F3\u968E\uFF08\u30C0\u30A4\u30A2\u30C8\u30CB\u30C3\u30AF\u30FB\u30B9\u30B1\u30FC\u30EB\uFF09\u306B\u4E00\u822C\u7684\u306A\u6163\u884C\u3092\u53CD\u6620\u3057\u3066\u548C\u58F0\u3092\u4ED8\u3051\u308B\u4F8B\u3067\u3042\u308B\u3002\u901A\u594F\u4F4E\u97F3\u3067\u306E\u6163\u884C\u306B\u7531\u6765\u3057\u3066\u304A\u308A\u3001\u30D0\u30B9\u306B\u7F6E\u304B\u308C\u305F\u97F3\u968E\u306B\u305D\u308C\u305E\u308C\u3069\u306E\u548C\u97F3\u3092\u5F53\u3066\u3089\u308C\u308B\u304B\u3001\u7279\u306B\u6570\u5B57\u304C\u4ED8\u3051\u3089\u308C\u3066\u3044\u306A\u3044\u3068\u304D\u306B\u63A2\u308B\u305F\u3081\u306E\u624B\u8EFD\u306A\u624B\u6BB5\u3092\u4E0E\u3048\u3066\u304F\u308C\u308B\u3002\u30AA\u30AF\u30BF\u30FC\u30D6\u306E\u97F3\u3092\u548C\u58F0\u4ED8\u3051\u3059\u308B\u548C\u97F3\u306B\u3064\u3044\u3066\u6700\u521D\u306B\u8A00\u53CA\u3057\u305F\u306E\u306F\u30A2\u30F3\u30C8\u30CB\u30AA\u30FB\u30D6\u30EB\u30B9\u30AD (Antonio Bruschi) \u306B\u3088\u3063\u3066\u30011711\u5E74\u306E\u3053\u3068\u3068\u8003\u3048\u3089\u308C\u3001\u3053\u306E\u540D\u79F0\u306F\u306B\u3088\u3063\u30661716\u5E74\u306B\u4ED8\u3051\u3089\u308C\u305F\u3002\u30AA\u30AF\u30BF\u30FC\u30D6\u306E\u6CD5\u5247\u306F\u96C6\u306B\u304A\u3051\u308B\"regole\"\uFF08\u6CD5\u5247\uFF09\u306E\u57FA\u790E\u3082\u5F62\u6210\u3057\u3066\u3044\u308B\u3002\u300C\u6CD5\u5247\u300D\u3068\u306F\u3044\u3063\u3066\u3082\u5909\u578B\u7248\u304C\u3044\u304F\u3064\u304B\u3042\u308A\u3001\u30D9\u30FC\u30B9\u30E9\u30A4\u30F3\u306E\u4E0A\u884C\u3068\u4E0B\u884C\u306B\u306F\u7570\u306A\u308B\u548C\u97F3\u3067\u7570\u306A\u308B\u548C\u58F0\u304C\u4ED8\u3051\u3089\u308C\u3066\u3044\u308B\u306E\u304C\u3075\u3064\u3046\u3067\u3042\u308B\u3002\u9577\u97F3\u968E\u304A\u3088\u3073\u77ED\u97F3\u968E\u306B\u306F\u7570\u306A\u308B\u30D0\u30FC\u30B8\u30E7\u30F3\u304C\u793A\u3055\u308C\u3066\u3044\u308B\u3002\u306B\u3088\u308B\u9577\u97F3\u968E\u3092\u4E00\u4F8B\u3068\u3057\u3066\u6319\u3052\u308B\u3002 4 | \\bar \"||\" | | \\bar \"|.\" | } } } \new Staff { \new Voice = \"left\" { elative c { \\clef \"bass\" c4 d e f | g a b c | c b a g | f e d c | } } } \new FiguredBass { \\figuremode { <_>4 <4 3> <6> <6 5> | <_> <6> <6 5> <_> | <_> <6> <6+ 4 3> <_> | <2> <6> <4 3> <_> | } } \new Lyrics { \\lyricsto \"left\" { I V I II | V IV V I | I V V/V V | V I V I | } }>>\" />\u304A\u4F7F\u3044\u306E\u30D6\u30E9\u30A6\u30B6\u30FC\u3067\u306F\u3001\u97F3\u58F0\u518D\u751F\u304C\u30B5\u30DD\u30FC\u30C8\u3055\u308C\u3066\u3044\u307E\u305B\u3093\u3002\u3092\u304A\u8A66\u3057\u304F\u3060\u3055\u3044\u3002"@ja . . . . "Die Oktavregel ist eine seit dem fr\u00FChen 18. Jahrhundert \u00FCberlieferte Anweisung, die urspr\u00FCnglich die improvisatorische Realisierung unbezifferter Basslinien erleichtern sollte. Sie h\u00E4lt fest, welcher Akkord \u00FCblicherweise \u00FCber einem Basston gespielt wird \n* je nach der Position dieses Basstons in der jeweils herrschenden Dur- oder Mollskala (\u201EOktave\u201C) und \n* je nachdem, ob dieser Basston schrittweise an- oder absteigt. So schreibt die Oktavregel z. B. \u00FCber dem 6. Ton der Tonleiter (z. B. in G-Dur: e), dem ein Sekundschritt zum 5. Ton der Tonleiter folgt, einen Sextakkord oder Terzquartakkord mit gro\u00DFer Sexte vor (also mit g, cis und eventuell auch a). Geht ein solcher 6. Ton aber schrittweise aufw\u00E4rts, schreibt die Oktavregel hingegen einen leitereigenen Sextakkord (also mit kleiner Sexte) vor (in G-Dur: e-g-c). Da Klavierspiel vorgegebener Kompositionen, Generalbassspiel, Improvisation und Komposition erst im Laufe des 19. Jahrhunderts zunehmend als getrennte Bereiche galten, spielte die Oktavregel bis dahin in der Didaktik jeder dieser T\u00E4tigkeiten eine Rolle. Insbesondere seit Wolfgang Buddays Harmonielehre Wiener Klassik (2002) wird sie in der (hochschulischen) Musikausbildung im deutschsprachigen Raum erneut verst\u00E4rkt beachtet."@de . . . "\u516B\u5EA6\u539F\u5219\u662F\u5728\u5171\u6027\u5B9E\u8DF5\u4E2D\u4E3A\u81EA\u7136\u97F3\u9636\u914D\u7F6E\u548C\u58F0\u7684\u4E00\u79CD\u65B9\u5F0F\u3002\u5B83\u6E90\u4E8E\u6570\u5B57\u4F4E\u97F3\u3002\u516B\u5EA6\u539F\u5219\u4E5F\u662F\u6807\u8BB0\u4F4E\u97F3\u58F0\u90E8\u7684\u57FA\u7840\u3002 \u516B\u5EA6\u539F\u5219\u9996\u5148\u4E8E17\u4E16\u7EAA\u4E3A\u7409\u7279\u7434\u7684\u6570\u5B57\u4F4E\u97F3\u8BBA\u8457\u4E2D\u63D0\u51FA\u3002\u4E0A\u884C\u548C\u4E0B\u884C\u7684\u4F4E\u97F3\u7EBF\u6761\u4E00\u822C\u914D\u7F6E\u4E0D\u540C\u7684\u548C\u58F0\uFF1B\u800C\u4E14\uFF0C\u867D\u79F0\u4F5C\u201C\u539F\u5219\u201D\uFF0C\u4E5F\u6709\u4E0D\u540C\u548C\u5F26\u7684\u914D\u6CD5\u3002\u5927\u8C03\u548C\u5C0F\u8C03\u97F3\u9636\u6709\u591A\u79CD\u7248\u672C\u7684\u8BB0\u8F7D\u3002 \u4E0B\u4F8B\u662FJohn Hiles\u4E3A\u5927\u8C03\u97F3\u9636\u914D\u7F6E\u7684\u548C\u58F0\uFF1A 4 | \\bar \"||\" | | \\bar \"|.\" | } } } \new Staff { \new Voice = \"left\" { elative c { \\clef \"bass\" c4 d e f | g a b c | c b a g | f e d c | } } } \new FiguredBass { \\figuremode { <_>4 <4 3> <6> <6 5> | <_> <6> <6 5> <_> | <_> <6> <6+ 4 3> <_> | <2> <6> <4 3> <_> | } } \new Lyrics { \\lyricsto \"left\" { I V I II | V IV V I | I V V/V V | V I V I | } }>>\" />\u60A8\u7684\u6D4F\u89C8\u5668\u4E0D\u652F\u6301\u64AD\u653E\u97F3\u9891\u3002\u60A8\u53EF\u4EE5\u3002"@zh . . "1083591035"^^ . . . "Die Oktavregel ist eine seit dem fr\u00FChen 18. Jahrhundert \u00FCberlieferte Anweisung, die urspr\u00FCnglich die improvisatorische Realisierung unbezifferter Basslinien erleichtern sollte. Sie h\u00E4lt fest, welcher Akkord \u00FCblicherweise \u00FCber einem Basston gespielt wird \n* je nach der Position dieses Basstons in der jeweils herrschenden Dur- oder Mollskala (\u201EOktave\u201C) und \n* je nachdem, ob dieser Basston schrittweise an- oder absteigt."@de . . . . "Oktavregel"@de . "\u30AA\u30AF\u30BF\u30FC\u30D6\u306E\u6CD5\u5247"@ja . . . . . . "29645000"^^ . "Rule of the octave"@en . "3141"^^ . .