harmonic do’s and dont’s

Question 1

DO

Answer 1

Keep most of the harmony simple by starting from stage 1 and only harmonic changes that are necessary in order to improve the bass line.

Question 2

DO

Answer 2

Use characteristic progressions from Bach’s own chorales as often as you can.

Question 3

DO

Answer 3

Ib and VI are the best approach to IIb7 in the run up to a cadence.

Question 4

DO

Answer 4

All other things being equal, it’s a good idea to keep a root position I on the first strong beat of a chorale or its upbeat (in fact, this is not a bad rule of thumb for all phrases).

Question 5

DO

Answer 5

Root progressions using falling 3rds (e.g VI to IV and I to VI) are much better than those using rising 3rds.

Question 6

DO

Answer 6

If you use the same chord twice in a row, make sure that one is in root position and one is in first inversion.

Question 7

DO

Answer 7

Play through at least the soprano and bass lines together to check they sound right.

Question 8

DON’T

Answer 8

Don’t use 2nd inversions other than IC in IC-V-I.

Question 9

DON’T

Answer 9

Avoid progressions using II other as an approach chord to V.

Question 10

DON’T

Answer 10

Don’t use II in root position in minor chords (it’s a diminished chord).

Question 11

DON’T

Answer 11

Don’t use iii other than as an approach to vi and avoid in minor keys altogether.

Question 12

DON’T

Answer 12

Avoid progressions between IV and V unless the melody is going in the opposite direction to the root progression of the two chords.

Question 13

DON’T

Answer 13

Only use VI in root position.

Question 14

DON’T

Answer 14

Don’t use vii other than as viib resolving either to I or Ib.

Question 15

DON’T

Answer 15

Don’t repeat the bass note (except from the upbeat to the first beat of the first phrase).

Question 16

DON’T

Answer 16

Don’t use passing notes in inner voices (except for at cadences) unless you are sure what you are doing (rising 6ths and falling 7ths work best).

Question 17

GENERAL NOTES

Answer 17

• Remember to look back at the fingerprint worksheets to look at the specific voice-leading patterns that Bach uses so that you can copy them.
• Where this a choice, it is often the case that one harmonic progression will cause less trouble with parallels etc., so try both if you are having problems.
• Any final perfect cadence in the minor key should be enhanced with a Tierce de Picardie.