Chorale Harmonization and Figured Bass Chapter 14

Chapter 14 Topics Harmonizing a Melody (starting with the bass) Special treatment of perfect intervals Completing the inner voices Voice-leading summary Figured bass

Key Concept - page 237 When you write a bass line to a given melody, follow the basic phrase model-but you need not work “left to right”: one way is to start with the cadence, then go back to the beginning to write the tonic opening. Finally, fill in the middle of the phrase.

Harmonizing a Melody - Creating a Soprano-Bass Counterpoint Steps to create a solid bass line given a soprano line: 1. Analyze the melody using solfege or scale degrees. Individually, SILENTLY analyze the scale degrees in d minor. 2. Plan the cadence first. Fill it in. Can we put a cadence in this example anywhere? (Remember, they usually go at the end of a phrase.) Example: Bach’s O Haupt voll Blut und Wunden page 237

Harmonizing a Melody - Creating a Soprano-Bass Counterpoint Example: Bach’s O Haupt voll Blut und Wunden page 237 Steps to creat a solid bass line given a soprano line: 3. Create a “map” or plan of chords/triads. -Ask yourself: What triads/chords will go with each melody pitch? 4. Vary the bass line by using inversions on repeated triads/chords. -Are there opportunities for you to make the bass line more interesting by using inversions for repeated triads/chords?

Review Key Concept - page 237 When you write a bass line to a given melody, follow the basic phrase model-but you need not work “left to right”: one way is to start with the cadence, then go back to the beginning to write the tonic opening. Finally, fill in the middle of the phrase.

Example: Bach’s O Haupt voll Blut und Wunden Completing the Phrase Completing the phrase: 1. Dealing with the anacrusis (pick-up) -Rule of Thumb: If there is an anacrusis in a phrase, the chord is usually the dominant. (The smoother the connection to the tonic pitch in the bass, the better. Root position is not necessary, but a possibility.) 2. Determine which soprano pitch we should harmonize on beat 3. -Analyze it for any non-chord (embellishing) tones. The tone left out will become an embellishing tone. Options: 1. E = PT (connecting F-D) 2. D = N (between the Es) -To balance the tonic triads and to add strength to the cadence, a V (harmonizing the E) is the best. This mean the D become a passing tone. Example: Bach’s O Haupt voll Blut und Wunden page 237

Example: Bach’s O Haupt voll Blut und Wunden Completing the Phrase Example: Bach’s O Haupt voll Blut und Wunden page 237 Final Step - Making the phrase more interesting: We can make the phrase more interesting by adding embellishments. -Look at the example to the right, what can we add to make the bass part more interesting? By adding the embellishments, the bass line not only become more interesting, by more melodic.

Key Concept - page 238 Write the soprano-bass counterpoint first before filling in the inner voices. Make sure both voice parts have singable melodic lines, and that they make good contrapuntal and harmonic sense. In other words: If the soprano and bass lines can stand alone as pretty good melodies, you are in good shape.

Special Treatment of Perfect Intervals Good Parallel Motion: Imperfect Consonances - 3rds and 6ths Repetition of 5ths and octaves are permitted Bad Parallel Motion: Perfect Consonances - 5ths and octaves

Special Treatment of Perfect Intervals Examples

Direct Octaves and Fifths When approaching a 5th or octave by similar motion you are writing a “direct” or “hidden” 5ths or octaves. Only permitted IF and ONLY IF the soprano moves by step.

Direct Octaves and Fifths When approaching a 5th or octave by similar motion you are writing a “direct” or “hidden” 5ths or octaves. Only permitted IF and ONLY IF the soprano moves by step. Do not use direct octaves or 5ths in the outer voices (soprano and bass) Allowable for the inner voice (alto and tenor) Also can be used when there is a step-wise soprano line

Contrary Octaves and Fifths Moving perfect intervals from one triad/chord to another, even if it moves in a different direction, is not acceptable.

**Remember a d5 needs to resolve into a 3** Unequal Fifths Avoid moving from and to fifths, even if there are not the same interval quality. Example: Do not move from d5 to P5 P5 may move to d5 if the d5 resolves correctly **Remember a d5 needs to resolve into a 3**

Summary - page 240 When you write in common-practice style, do not use: direct octaves or fifths: similar motion into a perfect interval in the soprano-bass pair (permitted only in inner voices of the soprano move by step) contrary octaves or fifths: contrary motion from one perfect interval to another of the same size unequal fifths: motion from a diminished fifth to a perfect fifth, especially in the soprano-bass pair, since this interferes with proper resolution of the tendency tones (7 resolve up to 1 and 4 resolving down to a 3).

Key Concept - page 241 Before voicing the first chord of a phrase, scan the soprano and bass lines for motion up or down. Plan your first chord’s spacing with this motion in mind. For example, if the bass moves upward, place the other voices in a higher range to allow them room to move down in contrary motion.

Filling In the Inner Voices Steps to fill in the inner voices: Look ahead at the soprano and bass. -Look for places where outer voice and particularly close together, large leaps, unusually large distance, etc. Use as many common tones as possible to avoid breaking rules. Last chord does not have to have a 5th if voice leading does not allow it.

Voice-Leading Summary (page 243) Work to achieve smooth voice-leading: Resolve tendency tones correctly, and never double them. If two chords share a common tone, keep the common tone in the same voice. Move each voice to the closest possible member of the following chord (without creating parallel perfect intervals). Avoid skipping down to a chordal seventh.

Voice-Leading Summary (page 243) Aim for independence of the four voices: Keep each within its own characteristic vocal range. Avoid moving all four voices in the same direction. Avoid placing a pitch in one part so that it crosses above or below the pitch sung by an adjacent voice part-either within in a single chord (voice-crossing) or between two consecutive chords (overlapping). Avoid prolonged parallel or similar motion; balance with contrary and oblique motion.

Voice-Crossing Example On what chord does the voice-crossing occur? Between what two voices does it occur? 2nd Chord Alto and Tenor

Voice Overlapping Example Between what two voices does it occur? Alto and Tenor

Voice-Leading Summary (page 243) Make each voice a singable melody: Avoid large leaps (except bass leaps between chord members). Avoid melodic motion by augmented or diminished intervals (e.g. the augmented second between scale degrees 6 and 7 harmonic minor). Include passing or neighboring tones to create a smooth line or add melodic interest.

Voice-Leading Summary (page 243) Pay careful attention to voice-leading to and from perfect intervals: Use contrary or oblique motion when your approach and leave any perfect interval (unison, octave, fifth) since parallel perfect intervals are prohibited in this style.

Voice-Leading Summary (page 243) Remember to write musically: When a harmony is repeated, create some variety by changing the soprano pitch, the inversion, and/or the spacing of the chord. Where possible, avoid static or repetitive melodic lines.

Figured Bass (This should be REVIEW!!) Figured bass is a way of indicating the chords without notating them fully. We did this before in Chapter 7. Same rules apply, but we are dealing with more chord possibilities. Realizing is creating a full music texture from a figured bass.

Cracking the Code If nothing is under the bass note, it is assumed to be a root position (53) triad above the bass tone. If there is a flat (b) or sharp (#) next to a number in the figured bass line, then raise or lower that pitch only. (This will cancel out the key signature for this pitch only.) If the If there is a flat (b) or sharp (#) but not number, it is an implied alteration to the 3rd ONLY.

Figured Bass Code Cracked **Remember the numbers in the figured bass are the diatonic (scale) intervals above the bass note, unless marked other wise.** Look at the example on the right. As a class lets figure out what each number means and what notes would be written. 5 = 5th above bass = G 6 = 6th above bass = Ab 4 = 4th above bass = F 5 = 5th above bass = G 3 = 3rd above bass = Eb n7 = altered 7th above bass = Bn 4 = 4th above bass = Ab 2 = 2nd above bass = D

Key Concept - pages 246-247 When realizing a figured bass: Sing the given line(s) to help orient yourself tonally. An accidental next to a number means to raise or lower the pitch associated with that number by one half step. Creates a B triad.

Key Concept - pages 246-247 An accidental by itself means to raise or lower the third above the bass - not necessarily the third of the chord.

Key Concept - pages 246-247 Place pitches above the bass in an appropriate octave according to the generic intervals given in the figured-bass symbols. The 6th is places first. Then the 5th. The 7th is added in the empty voice.

Key Concept - pages 246-247 Use pitches diatonic in the key. In order to build this triad: 1. Figure out the 6th above the bass. 2. Decide if Eb or C is the root of the triad. 3. Fill in the rest of the triad.

Key Concept - pages 246-247 A slash through a number means to raise the pitch associated with that number by a half step. Slash raised the 3rd one half step.

Key Concept - pages 246-247 Accidentals in the figure apply only to that single chord. Figured bass does not list all intervals above the bass, some, like octaves and thirds, may be implied by the figures. Follow the doubling and voice-leading guidelines when voicing or connecting chords.

Notice how the 4-3 suspension Key Concept - pages 246-247 A dash between two numbers means that those intervals belong in the voice-leading strand. Notice how the 4-3 suspension is created in one voice.

Key Concept - pages 246-247 Melodic embellishing tones (other than suspensions) are not shown in the figures because they are not a part of the main harmonic framework. Musicians realizing the bass would be expected to add them according to their taste.

The End This ends notes for chapter 14.