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.

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!