SOUND PATTERNS

A Structural Examination of Tonality, Vocabulary, Texture,
Sonorities, and Time Organization in Western Art Music

by PHILLIP MAGNUSON

THE ABC's OF CHORALE SETTING

Chapter 28. F is for FINISHING

Chapter 23. A is for ANALYSIS
Chapter 24. B is for BASS LINES
Chapter 25. C is for COUNTERPOINT
Chapter 26. D is for DIVERSITY
Chapter 27. E is for EMBELLISHMENT
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FINAL PROJECT

In order to experience the complete procedure of chorale setting, you have a final project to do. This project will require you to remember and apply all of the information in the previous 27 chapters into a single 4-part writing exercise.

Set the following chorale melody, in the style of Bach (as outlined in the previous five chapters), by adding appropriate bass, alto, and tenor lines. Do not alter the soprano in any manner.

Add, where logical, the following musical devices:

• Two modulations
• At least three tonicizations (one to V, one to IV or ii, and one to vi or iii)
• At least one passing tone, one neighbor tone, and one suspension in each phrase
• Do not use more than one embellishment on any given beat, and do not add any embellishments under the fermatas

Appearance:

• The completed project must be submitted as a print-out from a computer notation program, on one side of one sheet of paper.
• Distribute the measures evenly into four staff systems and provide ample space between the staff systems for Roman numeral and structural analyses.
• The analyses may be written by hand, but must be done neatly in ink. Use a ruler for prolongation lines and subordinate progressions.
• Do not circle and label the embellishments.
• To prepare this writing assignment properly, use the notation guidelines appendix, located at Basic Principles of Music Notation, Semester II.

The grading for this project:

• 25% for the bass line (quality of line, counterpoint, and support)
• 25% for the part writing
• 25% for the Roman numeral/structural analysis
• 10% for the use of chromatics (tonicizations and modulations)
• 10% for the use of embellishments
• 5% for clarity of notation and presentation

It is important to do your own work; this is NOT a group project. Phrases which strongly resemble other students' work will result in a penalty for all individuals.

REVIEW OF STEPS

• A is for ANALYSIS:

  Locate and define the prolongations and cadences for each phrase of the chorale melody; locate modulations, if any.

• B is for BASS LINES:

  Write a foundation for the chorale melody which works as:

  • Good melodic line
  • Good counerpoint with the choral melody
  • Good support for the chorale melody

  When bass is complete, project the implied harmony in Roman numerals.

• C is for COUNTERPOINT:

  Write good alto and tenor lines which

  • Complete sonorities
  • Use proper doublings
  • Resolve all dissonances
  • Avoid parallel perfect consonances
  
  
• D is for DIVERSITY:

  Add, where appropriate, at least three tonicizations (modulations should be planned with the analysis and bass support step).

• E is for EMBELLISHMENT:

  Add, where appropriate, suspensions, passing, and neighbor tones. Always check for parallels after adding the embellishment.

• F is for FINISHING:

  Provide an accurate Roman numeral analysis and structural analysis. It is strongly advised that you do not copy this from earlier work but that you do the analysis over again. This is an excellent way to catch any errors that may have been made. Also, please listen to a MIDI performance of your work; this is another way to find mistakes.