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Part-writing in Chorales

Crossing Parts Dont do it!

Overlaps

An overlap occurs if two neighbouring parts, such as tenor and bass, move so thatthe lower part in the second chord is higher than the upper part in the first chord,

or vice versa, as shown in Example 6.11.1 (i) and (ii) below. This is best avoided

by choosing a different note to double.

Some overlaps are acceptable, such as the cadential progressions shown in (iii)and (iv) below, but even here the overlap could be avoided by taking the bass

down to a low G.

Note that an overlap from the end of one phrase to the start of the next, as shownin (v), is perfectly acceptable. It may even be desirable when, as here, the new

phrase doesnt start with a change of chord, and so needs a different layout of

notes in order to sound distinct.

Doubling Follow earlier notes

Dissonances

The effect of a suspension or 7th chord is spoiled if the resolution of thedissonance is sounded at the same time in another part.

All suspensions, along with the 7th in chord ii7b should always be prepared andresolved.

When using the cadential 6/4 (aka Ic-V-I) ensure that the 6th and 4th above thebass in chord Ic fall respectively to the 5th and 3rd above the bass in chord V. Bach

regarded a 4th above the bass as dissonance, so it should be prepared in the

preceding chord whenever possible failing that, it should be approached bystepwise movement from above.

Consecutives

Consecutive 5ths, octaves or unisons between any pair of parts must be avoided. A perfect 5th followed by a diminished 5th in the same pair of parts is usually best

avoided, especially between the bass and an upper part.

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A danger of too much similar motion between soprano and bass is the creation ofexposed 5ths and exposed octaves. These can only occur between the outer parts,

and only within a phrase (not between the end of one phrase and the start of the

next). They happen where:

o The soprano leaps and the bass moves in the same direction (by step orleap) so that the two parts arrive on a perfect 5th or an octave

Exposed 5ths and octaves, shown in Ex.6.11.2, sound poor because the perfectintervals concerned are too prominent, too exposed.

In the outer parts it is also preferable to avoid consecutive 5ths or octaves evenwhen produced by contrary motion. These 5th and octaves by contrary motion are

shown in (iii) and (iv) below.

Because of these special points about the outer parts, never add A and T until you are

sure there are no consecutive 5ths or 8ves (including any by contrary motion) or

exposed 5ths or 8ves between S and B.

Then complete A and T, aiming for as much conjunct movement as possible, and finally

carry out checks on all six pairs of parts.

Sometimes it isnt easy to remove consecutives. If they exist between S and B before

passing notes have been added, the choice of chords is faulty, so choose one or more

different chords. If consecutives arise between other pairs of parts, the doubling in one

or more chords may be unsuitable.

Too much similar motion between soprano and bass sometimes makes it difficult to

avoid consecutives between other parts. They are far less likely to arise if the bass movesin contrary motion to the soprano as much as possible.

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In the following two passages, there are a number of mistakes, including awkward part-

crossing, incorrect doubling, poor chord-spacing, overlapping and consecutives.

Find and label each mistake the first one has been done for you.