Bach Chorale - Note Doubling & Voice Leading Rules

Note Doubling in Root Position Chords

3 Rules

• Normally double the root

• If root can’t be doubled then double the 5th

• If 5th can’t be doubled then double the 3rd

• Can (occasionally) omit the fifth (e.g. have three roots and a third)

• Never omit the 3rd of a chord!!!

Note Doubling in First Inversion Chords

4 Rules

• Double any note that is note 1, 4 or 5 of the key you are in. (Doubled note can be the root, third or fifth)

• Alternatively double the rood of the chord

• Never double the leading note!!! (7th degree of current key scale)

• Bach often doubles the 3rd of Ib - mainly at a cadence

Note Doubling in Second Inversion Chords (Generally Ic)

1 Rule

• Double the fifth (bass note)

Note Doubling in all Chords

3 Rules

Never double any notes that tend to act, or usually move, in particular ways:

• 7ths, which normally fall

• The leading note, which rises

• Dissonant notes (like suspensions), which resolve

Doubling these will cause parallels

Voice Leading (Part writing)

Rules

• Aim to use contrary motion between the Sop & Bass as much as possible

• Do not overlap parts (except after a pause)

• Never cross parts

• Most forbidden intervals involve the leading note - So use the melodic minor in a minor key to avoid augmented intervals (tritones & augmented 2nds)

Voice Leading (Part writing) - Leaps / Stepwise movement

Rules

• Include more stepwise motion compared to leaps but have a mix of both

• Any leap should generally be followed by a step in the opposite direction

Voice Leading (Part writing) - Alto & Tenor

Rules

• Keep the Tenor part high (Around middle C)

• Tenor and Alto should move to nearest note possible (Reducing the leaps)

Voice Leading (Part writing) - Repetition of a chord

Rules

• If two adjacent chords have a note in common then keep the note in the same part

• Do not repeat the same chord (or bass) i.e I - I instead of I - Ib. ‘weak to strong’ - except in an anacrusis

Side Note: Exposed octaves and 5ths

These occur when the soprano and bass arrive at the interval of an octave or 5th through similar motion and the Soprano moves by a leap.

This creates a sparse sound and should be avoided at all costs.

If the bass and soprano move in contrary motion or the soprano moves in stepwise fashion then an exposed 5th/octave has not occurred.