Bach Chorale

Bach Chorale

The maker and bender of the rules, only this time around, he is the only one who can make and bend. I on the other hand, have to follow these rules. It's all about the harmony.

Cadences are used frequently, mostly perfect cadences (75%) and Imperfect cadence (25%.) Plagal and Interrupted should not be used. The great thing is, is that to gain marks, you make sure you finish your phrase with a cadence. If it is final, use a perfect cadence, if it's gonna carry on, why don't you use a imperfect cadence.

Cadences

They must have the third and the root within them. The fifth is a high priority but if you have to get rid of one of the notes, make it the 5th. Never use chord III, only I, II, IV, V, VI and VII. the seventh chords you can use are II/7, V/7 and VII/7. All these chords must be in root or first inversion. Having said that, you can invert the following chords into 2nd inversion, that is, with the fifth in the bass. 

I - Vc - Ib (Cadential 6/4) A gooden.

Ib - Vc - I (Also a gooden.)

IV - Ic - IVb

IVb - Ic - IV

The first is used consistently by Bach and he avoids the rest a little. When opportunity knocks, use these progressions, that is, at the end of each phrase. The seventh chords consist of four notes every time, any inversion is permitted apart from the 2nd inversion.

Progression Rules

Never ever have two lines moving in parallel octaves and 5ths. This is bad, very bad, and should always be avoided. The reason being is because it is an over powering sound and it rids the rest of the music of it's cooperativeness. Another thing to stay well clear of is using the same chord over two consecutive bars. This should be used only if it's function is to be an anacrusis. This is a vital jigsaw piece, when resolving the 7th, you must resolve it upwards to the tonic or downwards to the fifth. This resolution can happen in another part though. So the 7th has to resolve downwards by step.

When moving towards conjunct melodies, never make a augmented or diminished leap. Diminished leaps can happen if they resolve inwards. major 6th leaps should definitely be avoided.

Primary chords are the ones to use, try and use chord I about 40% of the time, chord V7 30% of the time and chords IV, II and VI around 30 % of the time with VI being used hardly ever. The strongest progressions are the ones that move from the bass upwards, an example would be, I - V - I - IV - I II - V - I. Contrary motion between the bass and soprano is great stuff, don't over do it though okay? The inner parts should be static with the tenor part high.

Smoothness is the key, especially with chorale. That means no successive leaps and no range between parts being more than a tenth. Every note that falls on the beat should be one that harmonizes. There should be a harmonic rhythm.

Modulation

Interest is obtained through modulation, unlike the other music you listen to that has no modulation in it. Isn't that strange? At the moment, i am listening to a piece that doesn't modulate for an entire 20 minutes and i think it is absolutely great. Anyway, back to modulation. Never modulate to a radically different key, like C major to F sharp major. Think about the Circle of Fifths. Remember, just plus or minus 5 notes to get to a key with a key signature that's just a bit different from the previous version. Only one thing, the chorale must begin and end in the same key. Note to self, i must change my musical taste if I am going to succeed at all in this, I am now listening to another track that doesn't modulate for an entire 10 minutes. Anyway, where was I, oh yes, your phrases must end in related keys such as V and IV (i think.)

Modulation can happen at will at any time only if you have prepared it with another such as V.

Auxiliary Notes and the like

The three types are suspension, passing note and auxiliary note. Passing notes occur off the beat and are conjunct to the previous note. Two passing notes can happen in the bass part, but in descending fashion only.

Auxiliary notes can occur but only off the beat.

A suspension must be resolved downwards by step / conjunctively. Here's a tip, the 4 - 3 suspension is the strongest and most striking as it resolves onto a note that does not sound. 9 - 8 suspensions are alright, the one that doesn't work too well is the 6 - 5 suspension. Suspensions sound good in the inner parts the most. Bach makes them sound good all round.

Tierce de Picardi's are also permitted

But all in all, you can use all of these, but no rule breaking!

Respect to A.A. Owen.