The Most Important Points of Chorale Writing

Harmonising a Melody Steps to complete this: a) Name the key b) Write out the triads for each degree of the scale, and label them with the Roman numeral system and the letter name (e.g. I/C major) c) Using Roman numerals, name the three possible chords for each note marked with a * (e.g. the note C may have I, IV or vi in C major) d) Choose one chord from each group of three, and choose the inversion

7th (d) 5th (c) 3rd (b) root I II(7) III IV V(7) VI VII

Checklist for Harmonising

Check all notes are correct for the scale you are in Check the accidentals Check cadences are correct Label all of your chords including inversions Check you are in the right key major/minor Make sure you have included a root, 3rd and 5th in your chord CHECK VOICES are the voices sensible? o Alto and Tenor as subtle as possible with little movement Make sure all the stems are the correct way No crossed parts Make sure there is a chord on every crotchet beat dont follow the rhythm of the melody No gaps larger than an octave between alto and tenor, or soprano and alto

Non-Chord notes We normally embellish music with non-chord notes (dont necessarily fit the chord you are playing) to make the music more interesting These arent necessarily just in the melody, and sometimes they may clash to provide further interest You need to be able to recognise the following non-chord notes, and use them in your harmonising where appropriate: o Passing notes, Auxiliary notes, Echappee, Anticipation, Appoggiatura, Suspension Passing Notes Move by step between two notes that are a third apart, on the weaker beat This is a passing note: And a chromatic passing note:

Accented passing notes also move by step but are on the stronger beats, which often sounds like a clash, like this:

Go back through your exercise and add passing notes (not accented passing notes) to your harmonies where appropriate. Play through the music to help you decide where you should put the passing notes Auxiliary notes Very similar to passing notes, but these occur between two notes that are the same pitch An upper auxiliary is one step above the note, and a lower auxiliary is on step below

Go back through your exercise and add passing notes to your harmonies where appropriate. Play through the music to help you decided where you should put the passing notes

Doubling 5-3 Chords Normally double the root, never omit the 3rd 6-3 Chords Double any itch that is note 1, 4 or 5 of the key you are in, it doesnt matter if its root, 3rd or 5th. All Chords Dont double any tendency notes (7ths, chromatic notes, dissonant notes, leading notes) 7th Chord Double the root and omit the 5th 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!

In perfect cadences, if the leading note occurs in the alto or tenor, it often falls directly to the 5th of the tonic chord. In imperfect cadences, Notes 3-2 at the end of a phrase always suggests this type of cadence. When trying to recreate Bachs style, note that for imperfect cadences, Bach preferred to use Ib rather than Ia in the first chord of an imperfect cadence Opportunity to double major 3rds in imperfect cadences Do not use Ic-V in imperfect cadences Note that you dont have to use chord I in an imperfect cadence II7b or IV7b is fine too, if the melody is not moving 3-2.

Contrary Motion is crucial!

 Change chord on every crotchet beat, unless it is a long pause chord, which should only have one chord.