Chorale Harmonisation

Question 1

What is the most common cadence Bach uses in his soprano parts?

Answer 1

2-2-1

Question 2

how would one approach a seventh chord in the soprano part?

Answer 2

The seventh note, most often in the soprano or tenor part (though it can be in any part) must be prepared, then the seventh must be resolved downwards by step, before descending by a third.

Question 3

What are the two best chord progressions used to harmonise a 3-2-2-1 pattern in the soprano part of a perfect cadence?

Answer 3

Ib- 5sus- v7- I

Ib- ii7b- v7- I

Question 4

what is a blanket rule for doubling when using chord ic?

Answer 4

You have to double the fifth

Question 5

What are two ways to harmonise the 3-2-1 soprano part?

Answer 5

Ib- V7- I

Question 6

If using the soprano part 4-3-2-1, what cords are best harmonised with note 4?

Answer 6

4b is most optimal, but chord ii is also acceptable

Question 7

What is a good bass part for harmonising soprano part 3-2-1?

Answer 7

III-IV (as a passing note)- V - I

Question 8

Name 4 chord progressions to harmonise the soprano part 8-7-8?

Answer 8

+ Vsus- V7- I
+ ii7b- V- I
+ Ic- V- I
+ Ib - V- I

Question 9

What is one good chord to harmonise with the first note * in the chord progression 8-8-7-8?

Answer 9

Ib

Question 10

What rule relates to doubling of the third and parallels?

Answer 10

Though, as a general rule, we should avoid doubling the third, doubling the third of a chord is okay if it is done to void a parallel fifth or a parallel octave movement.

Question 11

What does the chord progression 3-3-2 suggests about the type of cadence we must use?

Answer 11

Note 2 is always harmonised with chord V, so it must be an imperfect cadence.

Question 12

What bassline fits best with the chord progressions I- Ib- Vc and I - Ib - Vsus? (clue; think WALKING)

Answer 12

notes 1-2-3-4-5 ( notes 1,2,3 and 4 being quavers)