ASA 2 Music Bach Chorale Cadences How to

AS/A 2 Music Bach Chorale Cadences How to Harmonize Bach Chorale Cadences

AS/A 2 Music Bach Chorale Cadences What you will have to do in the AS Exam. You will be supplied with a Bach Chorale. l It will be complete, except at the cadences, where the Alto, Tenor and Bass parts will drop out. l You will be required to supply the missing Alto, Tenor and Bass parts. l. In most cases this will involve supplying the two cadence chords, their approach chord and one or two other chord preceding this. l

AS/A 2 Music Bach Chorale Cadences Make sure you know the following before going any further : Rules on consecutives l Guidance on note doubling l Vocal Ranges for SATB l The Roman Numeral system for labelling chords l General characteristics of Bach’s chorales l

AS/A 2 Music Bach Chorale Cadences Analysis of the cadences of the ‘ 371’ chorales From : Bach Chorale Harmonization and Instrumental Counterpoint by Malcolm Boyd (1999)

AS/A 2 Music Bach Chorale Cadences What does this tell us? Perfect cadences in root position are most frequently used, followed by Imperfects, either in root position or inverted. They represent the two ways of finishing a phrase, with an ‘answer’ or with a ‘question’. l Imperfect cadences can be re-defined as any chord leading to chord V. l Plagal and Interrupted cadences are very rare and are only used to accommodate unusual soprano patterns. l It is often better to modulate, and use a Perfect or Imperfect Cadence in a new key, rather than use Plagal or Interrupted Cadences. l

AS/A 2 Music Bach Chorale Cadences Which one? Perfect or Imperfect? Just look at the soprano l If it finishes the phrase on the 1 st (Tonic) or 3 rd (Mediant) scale degrees use a Perfect. l If it finishes on a note of Chord V, the 2 nd (Supertonic), 5 th (Dominant) or 7 th (Leading Note) then use an Imperfect. l Note, the one note that is shared by both the Chords I and V, the 5 th scale degree is almost always harmonized by Chord V at the end of a phrase. This note signifies use of an Imperfect Cadence or modulation to the Dominant. –

AS/A 2 Music Bach Chorale Cadences General Points about Bach’s Perfect and Imperfect Cadences l The Pause Chord Should be in root position for maximum strength serving as a pillar in the harmonic framework of the piece. – If inversion is used at an Imperfect Cadence, it will be the chord preceding the pause chord that is inverted. l – Should be full, ie. include the 5 th , root, and 3 rd l – An exception to this will only occur if you need to avoid consecutives. Should not contain any movement, passing notes or suspensions. l Remember, the Pause Chord marks the end of a line of sung text.

AS/A 2 Music Bach Chorale Cadences General Points about Bach’s Perfect and Imperfect Cadences l The Chord before the Pause Chord is often two beats long. Even so it should be harmonized with two crotchet chords, even if they are the same eg. V-V-I. – l The final Pause Chord of the whole chorale should always be major. In a minor key this will mean adding a ‘tierce de Picardy’ or Picardy third, with the correct accidental in the appropriate part. –

AS/A 2 Music Bach Chorale Cadences General Points about Bach’s Perfect and Imperfect Cadences l 3 Cadence Chords rather than 2 Bach uses an ‘approach chord’ before the two cadence chords, particularly in Perfect Cadences, and reproducing this is essential to capturing the style. – The approach chord is either a chord of dominant preparation, such as IV, IVb, iib or ii 7 b, or a chord belonging to the tonic family, I, Ib, vi or vib. – This enables us to identify different types of Perfect or Imperfect Cadences by referring to them by the approach chord and the two cadence chords, eg. ii 7 b-V-I, or I-Ib-V. – For the AS Exam you will be required to supply these three chords plus one or two preceding chords. –

AS/A 2 Music Bach Chorale Cadences Perfect Cadences They make a phrase sound complete and rounded off rather like a full stop in a sentence. l They completely reinforce the idea of being in a key and are essential to modulation. l They provide the maximum degree of harmonic stability. l In order to achieve this, root position chords should be used for the two cadence chords. The approach chord may be inverted. l For some frequently occurring melodic patterns, Bach devised stylistic formulae, or standard patterns that should be memorised. l For all other situations, common sense should be applied in terms of choice of approach chord and voice leading. l

AS/A 2 Music Bach Chorale Cadences Imperfect Cadences Make a phrase sound as if it is momentarily taking a break before moving on, rather like a comma rather than a full stop in grammar. l Any chord leading to Chord V will work as an Imperfect Cadence in chorale style. l If inversion is used it will usually be the chord preceding Chord V. l In a minor key remember that the 3 rd of Chord V will always need an accidental as it is the Leading Note. l

AS/A 2 Music Bach Chorale Cadences The Video Tutorials demonstrate how to harmonize the main types of cadence found in the chorales. l Working with pencil and paper you should copy the steps as they occur on the screen, to learn how to build the cadences and to make decisions based on the given situation. l