Voice leading: Bach chorales

Voice leading is how each part moves from one chord to the next. This is where most marks are lost, and it is exactly what the Chorale Checker tests.

Doubling

With four parts and three-note chords, one note is doubled.

Major chord in root position: double the root. Avoid doubling the 3rd.

CorrectI with C, the root, doubled

Minor chord in root position: double the root or the 3rd.

Correctvi with A, the root, doubled

First inversion: double the root or the 5th. Never double a bass leading note.

CorrectIb with C, the root, doubled over E in the bass

6/4 chord: double the bass.

CorrectIc with G, the bass, doubled

vi after V: double the 3rd (the tonic), so the leading note can rise.

CorrectV to vi: B(A) rises to C, doubling the 3rd of vi

Never double the leading note or a 7th.

MistakeDoubled leading note: B in both soprano and tenor. One of them cannot rise to C

If a chord is incomplete, leave out only the 5th, never the 3rd.

CorrectIncomplete I after V7: C tripled and E present, G left out

Forbidden progressions

There are six pairs to check every time: S/A, S/T, S/B, A/T, A/B and T/B.

Consecutive 5ths, octaves and unisons between any pair of parts. This includes compound intervals (a 12th to a 12th) and contrary motion (a 5th to a 12th).

MistakeConsecutive 5ths: G(S) over C(B) moves to A(S) over D(B), a 12th to a 12th

CorrectFixed: ii in first inversion. The bass rises to F instead, so the 5ths disappear

MistakeConsecutive octaves: C(S) and C(B) both move up to D

Hidden 5ths and octaves in the outer parts: soprano and bass move the same way into a 5th or octave with the soprano leaping.

MistakeHidden octave: the soprano leaps E to G while the bass also rises to G

A diminished 5th to a perfect 5th involving the bass. A diminished 5th should close inwards instead.

Consecutives separated only by a passing note: most examiners still count them.

Mistake5ths across a passing note: G(T) over C(B) moves to E(T) over A(B), with B(B) in between

Tendency notes

The leading note rises to the tonic in the soprano and bass, and at V to vi.

CorrectB(S), the leading note, rises to C at V7 to I

At V to I, an inner-part leading note may fall to the 5th of the tonic chord.

CorrectB(A) falls to G so that chord I is complete

A leading note leaping away from the tonic, for example B(A) up to E, is an error.

7ths fall. Chromatically raised notes rise, lowered notes fall.

CorrectThe 7th, F(A), falls to E, and the raised F#(A) of V7/V rises to G

The diminished 5th in vii° or V7 closes inwards.

CorrectB(S) and F(T), a diminished 5th apart, close inwards to C and E

Melodic lines

No augmented intervals (augmented 2nds and 4ths). In A minor, the raised leading note G# makes an augmented 2nd with F, so keep F and G# in different parts.

CorrectA minor, iv to V: F(A) falls to E rather than rising to G#, which would be an augmented 2nd

No diminished 5th leaps, unless the part falls and then turns back.

No 7ths, and nothing larger than an octave.

After a big leap, step back the other way.

CorrectThe bass leaps up a 6th from C to A, then steps back down to G