Chorale Writing What to expect: Full harmony of the opening bars will be given, to provide a starting point and

a guide to the style required. Example: (although normally approximately 9 bars to complete)

Writing for four-part choir

The Chorale Style Each phrase ends in a cadence, shown by a pause sign on the last chord of the cadence. Majority of cadences are perfect, with both V7 and I in root position. Most other cases are imperfect, often with the first chord in first inversion Chords usually change on every beat until a cadence. Bach makes use of primary triads in root and first inversion, but other chords also appear, including II7b (often used before a perfect cadence). Some phrases are likely to modulate to closely related keys In many chorales, non-chord notes keep up an almost continuous flow of quaver movement until each cadence. However, the final chord of a cadence is not usually decorated there is normally a clean break before the next phrase begins. Bachs chorales are basically homophonic, with the lower parts supporting the chorale melody, but the lower parts do have some rhythmic and melodic interest and character.

a) The following 5-3 chords all lack an alto part, a tenor part or both. Add appropriate notes so that each has two roots, a 3rd and a 5th. Be sure to follow the advice on chord spacing.

b) The following 6-3 chords lack both middle parts. Add appropriate notes to complete each one, explaining which note youve doubled.

Writing Cadences Important Point: Most cadences are perfect or imperfect There is no need to use an interrupted cadence ever, as a perfect cadence can always be used instead Key Points 1. Identify the key at the end of the phrase 2. Identify the scale numbers of the final two notes (for example, 7-8) 3. Decide which type of cadence will best fit these notes, and write out the notes of the chords you will need. 4. Work out what the bass notes are, and write them in 5. Add the alto and tenor parts 6. Check everything carefully!

Perfect Cadences

This is a phrase from a chorale. Working through steps 1-3, you should be able to see this ends in a cadence. 1. The phrase ends in . Major 2. The two last notes of the phrase (E-D) are scale degrees .-.. 3. The notes 2-1 will fit with a cadence. Write down the notes needed for a perfect cadence in D major.

Moving onto steps 4-5 (write out last two notes here with treble and bass):

4. As most perfect cadences are in root position, the bass part here can be . For Chord V and .... for Chord I. A falling 5th from A to D would work, but a rising 4th from the lower A to D is better since it provides desirable contrary motion between the outer parts. 5. Adding the inner parts it is often best to do this one chord at a time After step 4, Chord V lacks a 3rd (C#). This has to go in the alto part since C# a 3rd above the bass note would be awkwardly low for the tenors, while middle C# (an octave higher) would leave no room for an alto note. With all three notes of the triad now accounted for, the tenor must double a note, preferably the root (A). After step 4, Chord I has a doubled root (D), so the inner parts need to supply the 3 rd (F#) and preferably also the 5th (A).

Can you spot the error in this example? The leading note (C#) in the alto doesnt rise to the tonic (D) in the way expected of a tendency note. In fact, this is not an error, but an important feature of Bachs chorale harmonisations If the leading note occurs in the alto or tenor at a perfect cadence, it often falls directly to the 5th of the tonic chords. This is so that you have a full-sounding chord rather than a thinner one without a 5th. This is an important feature of Bach choralestyle, so try to use it where you can. But, remember that the leading note should move directly to the 5th of the tonic chord. Bach never uses a passing note between the two. This is a common mistake in exams. a) Write a perfect cadence at the end of each of the following four chorale phrases. Follow the steps outlined earlier, be sure to play your work, and use the checklist to make sure to correct your work.