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Harmonising a cadence and its approach chords

Firstly, note that chorales in the exam have opening chords that are given in full.

These help to establish the key and may offer other helpful clues.

Use this exercise as an example:

1. Identify the Key

2. Decide on the type of cadence, and then choose the approach chord.

Identify the scale degree numbers of the last two notes of the phrase. From

this, work out the type of cadence that should be used, and write the Roman

numerals for this. Here, with a 2-1 degree number, a perfect cadence should be

used, with a C and F in the bass. Decide on whether a high F or a low F the lower F

has more weight and finality and this choice also reflects Bachs preference for a

falling 5th

in the bass, rather than a rising 4th

at a perfect cadence.

When scale degree 2 occurs either twice before the last note of a phrase (as two

crotchets) or once as a minim, ii7b makes an excellent approach to a perfect

cadence. The bass note of this chord (Bb) will fit neatly between the given A and the

C of the chord V, and most importantly the 7th

of II7b (which is F) can be

prepared by the alto F in the last of the given chords. We now have the next outline!

3. Check the outer parts for consecutives (contrary motion helps to stop this)

4. Add the alto and tenor parts

Follow the usual methods for spacing and doubling. Keep the tenor high and juggle

the notes until you get as much conjunct movement as possible. Check that if you

use chords such as Ic or ii7b, the discord is prepared, sounded and resolved in the

same part (as shown by P, S and R in next outline!)

This outline is a good harmonisation, but it doesnt entirely capture Bachs style. For

instance, it would be more conving if the alto fell to C at the end to complete the

final tonic chord and provide Bachs characteristic falling leading note at a perfect

cadence. But the main missing ingredient is the rhythmic flow produced by melodic

decoration.

5. Add melodic decoration

This is best done after checking the inner parts for consecutives. It is never necessary

to force decoration onto every beat, and the pause chord should not be decorated at

all.

It is usually best to keep to quavers for decoration, Bach never uses triplets when

he needs a three-note pattern he generally uses the quaver-semiquaver-semiquaver

rhythm, although even this is rare.

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The most common type of melodic decoration is the passing note. Remember to add

melodic decoration with discretion, not just for the sake of padding.

6. Final check!

Look at the final outline, adding the falling leading note in the alto part at the perfect

cadence, and the passing note in the tenor.

Check that all your chords are correct, accidentals have been included, and after

adding decoration, there are still no consecutives.

Complete the exercise given to you!