Basic Harmony Chorale Project

Theory

Using the chorales of J.S. Bach as a model, write a two-phrase diatonic harmonization in 4 voices. For each step, write out a separate copy of your chorale-in-progress and play test your work.

Week 1

Preparation

  • Pick a key, time signature, pickup length, and harmonic rhythm
  • If you chose a minor key, remember to raise the leading tone (L.T.)
  • The harmonic rhythm shouldn’t change (except to pause on the last note of each cadence)
  • Remember to resolve ALL L.T. and chordal 7ths

Create a bass line

  • Follow good melody writing principles (stepwise motion, compensate leaps) where possible (everywhere except cadences)
  • Phrase 1 ends with HC (T-PD-D functions), phrase 2 ends with PAC (T-PD-D-T)
  • Include at least one of each of the following: I, I6, V6, V65, V43, V42, IV, IV6, V, V7
  • Extend tonic function using the linear (non root position) dominants
  • Analyze everything: RN/FB, function, cadences

Week 2

Substitute chords

  • Replace one IV or IV6 with ii or ii6
  • Replace one cadential V or V7 with V64-53 or V864-753

Add a melody line in soprano

  • Follow melody writing principles and also good voice leading principles (prefer oblique and contrary motion)
  • Use good doublings between bass and soprano (root preferred, 5th better than 3rd)
  • DON’T double active tones or 2 consecutive notes, as that creates parallel octaves
  • Include 1 voice exchange (S and B switch chord tones by step through an intervening chord)

Week 3

Add alto and tenor

  • Follow melody writing and voice leading principles
  • Make sure all chord tones are covered (you may omit the 5th in V7 and cadential I)
  • Check doublings
  • Check for parallel 5ths and octaves by following the voice leading of those intervals
  • A and T parts are often more “boring” with lots of oblique motion: this is a sign of good voice leading, but keep things interesting by making them more active towards cadences

Add non chord tones

  • Include at least 1 of the following in any voice: P, AP, N, ESC, APP
  • Circle and label the suspension in the V64
  • Add one anticipation in S at a cadence