Chorale Writing

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Here is a list of rules you may find helpful for your revision when writing chorales in the style of Bach.

Part writing

Part writing in minor keys

Chords and cadences

Additional decorations

Modulations

PART WRITING

1. Avoid consecutive fifths and octaves. Check at all times.

2. Never double the LEADING note. The leading note must rise to the tonic or come from the tonic. Sometimes it can fall a third to the fifth note of chord I. e.g. in C major - B falls to G. (G being the fifth note of chord I).

3. Inner parts move by STEP as much as possible.

4. If one note is the same in two consecutive chords, keeps it in the same part.

5. Never use a DOUBLED THIRD in a major chord.

Exceptions: i) When the doubled third is approached by step in both parts.

ii) In the progression V - VI (see cadences).

6. No Overlapping of Parts

e.g. both the soprano and alto notes must not be:
	i) lower than the previous alto note.
	ii) higher than the previous soprano note.

7. Never have more than an octave between the soprano and alto and the alto and tenor parts.

Exception: Between the tenor and bass.

PART WRITING IN MINOR KEYS

1. Use of the 6th and 7th notes in a minor key:-

i) 6th and 7th are both raised when moving upwards.
ii) 6th and 7th are both lowered when moving downwards.
iii) 7th (used without 6th) is raised.
iv) 6th (used without 7th) is lowered.

2. You can use a doubled third in a minor chord.

3. In a minor key, III is a major chord, e.g. in A minor, III = C E G. The note G, which is the leading note, is not raised. Chord III should move to VI or IV.

CHORDS AND CADENCES

1. ALWAYS write a cadence at a pause.

2. Ensure cadences are written accurately. Extra marks are given for these.

3. In an interrupted cadence always double the third in chord VI.

4. A minim before a paused note MUST CONSIST OF TWO CHORDS.

N.B Bach frequently writes IIb7 - V7 - I .......LEARN THIS!!!!

5. The dominant 7th MUST always fall. Try to use V7 - I at the appropriate cadence.

6. In chords adjacent to each other (e.g. I - II) the top three parts must move in the opposite direction to the bass. This only happens when chords are in the root position.

Exception:

This does not apply to V -VI. In this cadence two parts move up and two parts move down. (See also No.3)

7.SECOND INVERSION CHORDS: Remember

i) 6 falls to 5

ii) 4 falls to 3

Look up and memorise these progressions:

i) Ic - V7 - I.............cadential 6/4 (a definite)

ii) I - Vc - Ib ............passing 6/4 (possible)

iii) I - IVc - Ib .......... auxiliary 6/4 (unlikely)

ADDITIONAL DECORATIONS

1. Suspensions:

i) the dissonant note MUST fall (e.g. 4 -3)
ii) the note of resolution must not be duplicated in another part.
iii) the first note of the suspension must be prepared in the previous chord. This is the same when the 7th in a dominant seventh chord is not treated as a passing note.

2. Auxiliary Notes:

i) when used, the first part falls / rises one note then returns to its original note.
ii) when falling, the lower note may be raised.
e.g. G - F# - G, or G - F - G.

3. Passing Notes:

These occur between intervals of a third. This is common.
e.g. G - B becomes G - A - B

MODULATIONS

1. When modulating remember to add / cancel out the appropriate accidentals.

2. If an accidental is given in the melody line the piece will probably change key.

3. Remember to use a PIVOT chord (that is a chord which is in the key you have come from and the key you are going to).

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