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Hayes Music

Bach chorales

Rules quick reference

The complete rule set, for use while you work. Notes are labelled by part, for example A(S) or C#(T), and positions are bar'beat with the anacrusis as bar 0.

1. Cadences

  • Perfect V(7) to I; imperfect x to V; plagal IV to I (rare in Bach); interrupted V to vi.
  • Both chords of perfect and imperfect cadences in root position.
  • Good approaches: ii6/5 to V(7) to I (7th of ii7 prepared, falls to leading note); Ic to V to I (Ic on the strong beat, bass doubled); IV or ii6 to V; 4-3 suspension over V.
  • A chromatic note near a phrase end usually signals a cadence in a new key.

2. Chord choice and root progression

  • Each melody note can be root, 3rd or 5th of a triad, or a 7th. List the options.
  • Bass and chords are chosen together: contrary motion to the soprano, mostly stepwise, first inversions for smoothness.
  • Root falling a 5th is strongest (vi, ii, V, I), then rising a step (IV to V), then falling a 3rd (I to vi).
  • Retrogressions to flag: V to IV, ii to I, V to ii.
  • Same chord weak beat to strong beat (including across a barline, even with a new inversion): flag.
  • Three beats of the same chord: weak, static harmony.
  • Harmony limited to I, IV, V throughout: correct but dull; suggest ii, ii7, vi, first inversions, secondary dominants.

3. Restricted chords

  • iii: only under a descending 8, 7, 6 melody or in sequences. Otherwise flag as weak.
  • vii° root position: avoid. vii°6 acceptable as passing chord. Prefer V6/5 or V4/3.
  • 6/4 chords only as: cadential (Ic to V, strong beat), passing (bass by step, weak beat, e.g. I, V6/4, I6), auxiliary (I, IV6/4, I over held bass). Any other 6/4 is an error.

4. Sevenths and secondary dominants

  • 7th resolves down by step; never doubled.
  • Non-dominant 7ths (ii7, IV7, vi7) must be prepared in the same part.
  • V7 inversions: V6/5 (bass = leading note, rises to I); V4/3 (to I or I6); V4/2 (bass = 7th, falls to I6).
  • Complete root-position V7 usually resolves to incomplete I (tripled root). Omitting the 5th of V7 allows a complete I.
  • Secondary dominants (e.g. in D: E7 or G#ø7 to A; B7 to Em; F#7 to Bm; D7 to G) must resolve to their target. Chromatic raised note rises; 7th falls.

5. Modulation

  • Pivot chord belongs to both keys; label in the new key from the pivot onwards.
  • Confirm with ii/IV, V(7), I of the new key.
  • Return home with a note that cancels the new key (e.g. G natural after A major, often V4/2 of D).
  • Labels must match the key in force: a cadence onto A in D major with G# present is A: V to I, not D: V.

6. Voice leading

Ranges (comfortable / absolute)

S D4-G5 / C4-A5; A A3-D5 / G3-E5; T D3-G4 / C3-A4; B F2-D4 / E2-E4.

Spacing

Max an octave S-A and A-T; T-B up to about a 12th. No crossing, no overlap.

Doubling

  • Major root position: double root; avoid doubling the 3rd.
  • Minor root position: root or 3rd.
  • First inversion: root or 5th; never double a bass leading note.
  • 6/4: double the bass.
  • Never double the leading note or a 7th.
  • vi after V: double the 3rd (tonic).
  • Omit only the 5th if a chord is incomplete.

Forbidden progressions

  • Consecutive 5ths, octaves, unisons between any pair (compound too), including by contrary motion.
  • Hidden 5ths/octaves in outer parts when the soprano leaps.
  • Diminished 5th to perfect 5th involving the bass.
  • Consecutives on successive beats separated only by a passing note: most examiners still count them.

Tendency notes

  • Leading note rises to tonic in S and B, and at V to vi. At V to I it may fall to the 5th in an inner part.
  • Leading note leaping away from the tonic (e.g. C#(A) up to F#): error.
  • 7ths fall; chromatically raised notes rise, lowered notes fall.
  • Diminished 5th (in vii° or V7) closes inwards.

Melodic lines

  • No augmented intervals (augmented 2nd, augmented 4th), no diminished 5th leaps except falling then turning back, no 7ths, nothing over an octave.
  • After a big leap, step back the other way.

7. Non-chord notes and suspensions

  • Passing notes fill a 3rd by step; auxiliaries step away and back; anticipations at cadences.
  • Suspension = preparation (same part, previous beat, consonant) + held dissonance on strong beat + stepwise fall.
  • Unprepared "suspension" = appoggiatura; flag it in chorale style.
  • Resolution note should not sound elsewhere at the same time (except the bass in 9-8).
  • Decoration must be rechecked for consecutives.

8. Severity guide

Use these levels in reports.

  • Error: consecutive 5ths/octaves (direct), doubled leading note, doubled or rising 7th, unresolved leading note in outer part or at V to vi, wrong 6/4 use, non-root-position cadence chord, retrogression at a cadence, range violations, spacing over an octave in upper parts, augmented melodic intervals, unprepared non-dominant 7th.
  • Weakness (examiner-dependent): hidden outer 5ths/octaves, dim 5th to perfect 5th with bass, consecutives separated by a passing note, unprepared suspension, inner-part leading note falling other than at V to I.
  • Style: static harmony, iii outside its idiom, repeated chord weak to strong, plain I/IV/V harmony, blocky bass, mislabelled chords.