Dissonance Treatment and Voice-leading Prohibitions for Chorale
Bass Lines Dissonance Treatment:
7thsThe following refers to the correct resolution of bound,
essential dissonances.Unessential dissonances are not bound and may
resolve freely.
In a 7th, the top note is bound and needsto resolve down by
step.
Voice-leading Prohibitions:
7 3
4ths In an aug. 4th, the interval tends toEXPAND, which is not
surprising, since thisinterval is the inversion of the dim.
5th.
P4ths Rather than repeat the bass note in the same register, it
can be
more effective to repeat it down the octave.NOTE: Dissonant
P4ths must occur on a strongbeat such as b. 1 or b. 3 (in common
time.)
4 3
4 3
2nds
In a 2nd, either the top or bottom voicecan resolve, and they
usually do so bystep. Most often, the bottom note resolvesdown by
step. (In your initial work, alldissonant 2nds must resolve in this
way.)
2
3 3
5ths In a dim. 5th, the top note needs to resolvedown by step
and the bottom note upby step, so that the interval CONTRACTS.
4 6
O
5 3
+
Notice that the only place that w
e can formthe aug. 4th and dim
. 5th in the major scale is
between the sub-dom
inant and leading-tone (scale-degrees). G
iven the explanation of these scale-degrees as tendency tones in
the first part of C
h. 5 in your textbook, can yousee w
hy these dissonant intervals need to expand and contract as they
do?
3 3from:
At this moment, the soprano moves downbut the bass delays,
creating a dissonance thatwe would call a bass suspension.
Consecutive 5ths and 8ves Direct (Hidden) 5ths and 8ves
by similarmotion:
by contrarymotion:
5 5
8 8
5 5
8 8 3 8 3 8 8 5 8
Oneexception:
(V I)
(often happens atcadences...)
Our inner ear fillsin the intervals!
by Dr. Daniel Stevens
or:
The top note must resolve down by stepover the same bass
note.
Direct 5th/8ve = When two voices move insimilar motion into a
perfect 5th or 8ve.
+
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Riemenschneider Chorales for MUSC 195 Project
To learn from Bach, we must ask the right questions:
1. How does Bach approach the cadences harmonically and
melodically? 2. How much conjunct (stepwise) versus disjunct
(containing skips) motion is used? 3. similar, contrary, oblique
motion (especially between outer voices)? 4. rhythmic interest (in
bass) and rhythmic imitation between soprano and bass? 5. approach
large intervals, and how are they resolved? 6. dissonant intervals,
and how are they resolved?
Observations:
1. Cadences
Melody notes [Melody notes rel. to Hptchd]
Chorale number Harmonic Progression used [relative to current
heptachord]
^5^3 [^8^6] #11 VI [IIV]
^5^3 #6 VI
^3^2 #1 (x3) IV
^2^1 #1 (x2); #11; #6 ii65VI
^2^1 #6 iidm65VI
^3^1 [^7^5] #1; #11 IIV [VI]
^7^8 #11 (x2) VI
^2^3 #11 V43I
^2^3 #6 VI
^7^8 #11 V43I
^4^3 #11 vii7I
^7^8 #11 VVIIVI
^4^3 #11 ii7vii65V7I
^7^8 [(^7)^5] #11 vii43I6ivI [(vii43)V6iV]
^4^2 #11 iiV