Rules For Chorale Ion

Rules for Chorale Harmonisation
No Consecutive 5th and 8ve. Doubling When we harmonise a chorale, we will need to use 4 notes for each chord, and so one of the notes may need to be repeated or doubled to give every part a note to sing. It may be that parts therefore play/sing in unison, or it may be that they are one or two parts away from each other. There are a few points that need to be taken on board when harmonising chorales: - With root position chords, the root is commonly the note that is doubled. The third note is always present and should never be omitted. - First inversion chords have more scope, but it is often common practice to avoid doubling the 7th note of the scale (leading note) - Second inversion chords will often have the 5th note doubled as this is the bass note of the chord. Crossing parts The crossing of parts should always be avoided as it can lead to confusion amongst the parts. Although Bach did sometimes cross parts, it was only in certain circumstance, and this should only be replicated where it is clear that it is in the style and setting that Bach would have used. Overlapping Overlapping occurs between consecutive parts and involves the lower part being higher than the higher part in the second half of a chord Keep the Tenor part high - it should remain around middle C. The Alto and Tenor should both be reasonably static. All parts should move slowly and avoid leaps. Parts should not cross each other. The Bass line is the harmonic foundation and needs to be musical and directional. The Alto line basically moves by step to the nearest note or stays on the same note - only occasional leaps. The Soprano & Bass lines should move in parallel motion. Only Modulate to closely related keys - but aim to begin and end on the same key. Always end with a Major chord, even when in a Minor key. All Cadence chords should be in root position and include the root, 3rd & 5th. If the Soprano melody finishes the phrase on the Tonic or Mediant then use a Perfect Cadence. If the Soprano finished on a note of chord V, the Supertonic, Dominant or Leading note then use an Imperfect Cadence. If you see the 5th note then this is shared by the Tonic & Dominant so either use an imperfect cadence or modulate to the Dominant. The leading note where used must always move to the tonic, except at a Perfect Cadence where it can fall to the 5th. If the leading note occurs in the alto or tenor at a perfect cadence then it will often fall directly to the 5th of the tonic chord. Never double the leading note or the 3rd. The Strongest chords are I, IV and V in Root position and First inversion. One of the strongest cadential progressions is vi ii7b V I You should basically have a new chord for each new beat of the bar. Minims should be harmonised with 2 chords. There should be no consecutive fifths or Octaves. The best progressions could include a cycle of fifths vi-ii7b-V7-I, or a cadential 6-4 (ii7b)-Ic-V7-I. If the melody allows it, use a cycle of fifths (vi-ii7b-V7-I, or simply vi-ii-V-I) for a final perfect cadence.
You may modulate more than once. After a cadence, you can switch straight back into the home key, although it's more usual to modulate back again. If the tune indicates a modulation (accidentals are sometimes trigger signs), then your cadences must be in the modulated key. Never omit the third of a chord. Second inversions can be used under two main circumstances: the first, the cadential 6-4, you have already encountered (Ic-V- I or Ic-V-VI ). The second is known as the passing 6-4. This consists of either the progression IV-Ic-IVb, IVb-Ic-IV, Ib-Vc-I or I-Vc-Ib. At an Imperfect cadence aim to use I - V not Ib or Ic - V. Modulations are best started towards the beginning of a phrase - the cadence then confirms the key. Where there is a leap or a third a passing note can be inserted to fill the gap with stepwise movement. An auxiliary note lies a semitone or tone above or below two harmony notes of the same pitch and work in the same way as passing notes except that they return to their starting pitch instead of carrying on up or down the scale. iib is better than ii You should have no more than an octave between soprano/alto & alto tenor.
How to Choose Chords and Inversions or "Writing the Bass Line"

Here are the triads in order of how common they are, (e.g. I is the most commonly used chord, but iii is quite rare), and then the triads which most frequently follow them (e.g. chord iii is almost always followed by chord vi, but chord I can be followed by any chord at all). Any chord can also be followed by the same chord, as long as it's in a different inversion. For example, Ia is often followed by Ib.
Major Key Signatures

I V ii any chord I, vi I, V
IV I, V, ii, vi vi ii, V, IV viio I iii vi, IV
Minor Key Signatures

i V V, iv, ii?, VI i, VI
iv i, V iio i, V VI i, iv, V viio i iii+ avoid

Rules For Chorale Ion

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Rules For Chorale Ion

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Rules for Chorale Harmonisation

How to Choose Chords and Inversions or "Writing the Bass Line"

Major Key Signatures

IV I, V, ii, vi vi ii, V, IV viio I iii vi, IV

Minor Key Signatures

iv i, V iio i, V VI i, iv, V viio i iii+ avoid

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