How do you harmonize Bach chorales?
Summary of Bach Chorale Harmonisation Method
- Step 1: Keys and Cadences. 1a – Keys. Work out the home key and the five closely related keys.
- Step 2: Simple harmonisation. 2a – Modulations.
- Step 3: Refining the bass line. 3a – Fingerprints.
- Step 4: Adding inner parts. 4 – inner parts.
Did Bach ever use parallel fifths?
Bach never intended to write parallel fifths in m. 7. Regarding BWV 248.23 (in G Major, not included in EMB), two different harmonizations of that melody appear in EMB (chorale numbers 323 and 324), but in 4/4 instead of 12/8 measure and in D and C Major respectively.
How do you modulate in a Bach chorale?
The easiest way to modulate is to change key at the beginning of a phrase, so that each phrase stays in the same key. This is called a phrase modulation (i.e. the new key starts at the beginning of the phrase).
Why are parallel 5ths bad?
In this style, known as the Common Practice Period, parallel fifths and octaves tend to leave a blank space, or a gap, in the musical texture (the overall sound) as if a voice has disappeared. This is why, in this context, parallel fifths are bad.
Which instrument works the best with parallel 5ths?
Note that when using parallel fifths, the part that’s up a fifth should generally played on an instrument with a relatively “pure” tone, such as a flute.
Do Tritones count as parallel fifths?
Repeating the same octave or fifth in a row, however, is not bad. In this case there is no parallel or contrary “motion” at all. Parallel 3rds, 6ths, 4ths, and even tritones are all OK.
Why should you avoid parallel fifths?
Parallel octaves and fourths Consecutive fifths are avoided in part because they cause a loss of individuality between parts. This lack of individuality is even more pronounced when parts move in parallel octaves or in unison. These are therefore also generally forbidden among independently moving parts.
What are hidden 5ths?
A hidden fifth occurs when an implied consonant passing note would create a parallel fifth. A hidden octave occurs when an implied consonant passing note would create a parallel octave.
Are parallel 6ths OK?
Parallel 3rds, 6ths, 4ths, and even tritones are all OK. Unisons (two parts sharing the same note) count as a kind of octave. Thus, these two instances are also bad. Sometimes students start to see parallels when there aren’t any, because they get confused as to which notes belong to which voice.
Can you have parallel Tritones?
If two voices separated by a major third both move in the same direction by a whole step, the lower and upper notes of the first and second intervals will form a tritone. That’s the origin of the “rule” about parallel major thirds.
Can you use parallel octaves?
A parallel octave refers only to two consecutive notes! If you have two or more instruments that are intentionally arranged to play the same voice (in unison or) one or more octaves apart, then you have octave doubling, which gives you a fat sound.
Is copying a chord progression illegal?
While distinct Voice Leading is copyrightable, Chord Progressions (like 12 Bar Blues, ii-V-I, C-G-Am-F) are standardly used in all genres of music and do not belong to any one individual. Rhythm – In most cases, the sequence of rhythms and “groove” of a song cannot typically be copyrighted.