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Voice Leading in Four-Part Chorale Writing

Voice Leading in Four-Part Chorale Writing. Chapter 9. What is Four-part Chorale Writing?. 18 th and 19 th century baroque style Chorale Congregational hymn in German protestant church Sung in the vernacular, not Latin

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Voice Leading in Four-Part Chorale Writing

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  1. Voice Leading in Four-Part Chorale Writing Chapter 9

  2. What is Four-part Chorale Writing? • 18th and 19th century baroque style • Chorale • Congregational hymn in German protestant church • Sung in the vernacular, not Latin • J.S. Bach used chorale melodies in many of his compositions – considered the “best” in this style of liturgical writing • Highlights the interaction of harmony and melody • Soprano sings melody • Bass generates the harmony • Alto and tenor fill in the chords

  3. First Inversion Triads • Smooth bass lines • Allow for melodic motion in bass lines

  4. Second Inversion Triads • Cadential • I⁶₄ used as a decoration of V at the cadence • Passing Bass • I⁶₄ used as a passing tone between IV and IV⁶ • Arpeggiated Bass • I I⁶ I⁶₄ • Pedal Bass • Placed between two root positions of the same triad • I IV⁶₄ I

  5. Stylistic Practices • When both chords are in root position and the roots are a P4 or P5 apart • 1. Keep the common tone. • 2. When you cannot keep the common tone, move all three upper voices in similar motion. • When both chords are in root position and the roots are a 3rd apart • 3. Keep both common tones. • When both chords are in root position and the roots are a 2nd apart • 4. Move the three upper voices in contrary motion to the bass. • When chords are repeated • 5. Maintain proper range and order of voices

  6. Stylistic Practices • When one chord is in 1st inversion • 6. Double the soprano (first choice) or bass (second choice) • When using the vii°⁶ triad • 7. Double the bass • When using the ii˚⁶ triad • 8. Double the bass • When using 2nd inversion chords • 9. Double the bass

  7. Exceptions to Stylistic Practices • When you cannot follow stylistic practices, use the following guidelines. • Never: • 1. Write parallel P8, P5, and P1 • 2. Double the leading tone of the scale • 3. Write pitches out of range • 4. Write a melodic A2 or A4 in any voice

  8. Exceptions to Stylistic Practices • Observe these guidelines carefully unless you have no other alternative: • 5. Avoid crossing voices (in one chord) • 6. Spacing between two adjacent voices should not be more than a P8 (Exception: tenor and bass spacing can be up to two octaves) • 7. Avoid overlap of voices (in two adjacent chords) • 8. Do not move in the same direction to perfect intervals in soprano and bass • 9. Unequal 5ths (P5 to d5) can be used sparingly • 10. Use the melodic d5 sparingly • 11. Leading tone of the scale should progress upward to tonic when written in soprano or bass

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