How would one harmonise this?

Hi,

This is an extract from a chorale in Bb Major.

drive.google.com/file/d/1oYhrZFeWaS5Z0N3dYMCoR6_PSfr3f1f4/view?usp=sharing

Thanks,

Jack

Here's a chart for classical western chord progressions.

drive.google.com/file/d/1ZdlusHM95OhOQkFKDJ67rChilif1arFx/view?usp=sharing

I also wrote out what it could be.

drive.google.com/file/d/1D9a_q0V0iN5Tp-l1YO98Q9E8Z9twDJ9j/view?usp=sharing

Let me know if there are any problems with the links.

- Ian

I thought that vii had to be in first inversion with a doubled third (supertonic)? Also doesn't the diminished 7th have to resolve onto a stable chord (i.g I or V)?

I really all depends. Classical music theory is just based on passed conventions so there really is no right or wrong harmonisation. The vii* chord in first inversion, however would create a stronger cadence. If you take a look at the progression chart, the dominant chords (V and vii*) can go to the iii, and sometimes to vi for a deceptive cadence. I found this website with some of the more common cadences if you want to take a look.

www.simplifyingtheory.com/perfect-imperfect-plagal-deceptive-half-cadence/

This is a Bach style chorale and the phrase does not end there.

I did some research and I'll post the links that I looked at. I found that baroque music (the time that Bach was making music) shifted into a more tonally centered era with more focus on the melody as opposed to harmony. With that being said, there's basso continuo. This would be the chordal accompaniment.

From what I know about vocal music and scoring, and perhaps even specific to this time, you would want to move all the voices in a stepwise motion as much as possible. Along with this, you should avoid having any movement in parallel 5ths and octaves. Adjacent voices (bass to tenor, tenor to alto, alto to soprano) should not exceed an interval greater or equal to an octave.

This is mostly stuff I learned my sophomore year of high school so it could be a bit off.

Considering that it is not the end of the piece but the end of a phase instead, then it is fair to assume that one of the typical cadences would follow regardless. So, that phase could end on the V.


helsinginkaupunginorkesteri.fi/en/harmony

maxweber.hunter.cuny.edu/pub/eres/MUS105.00_DEFORD/BaroqueIntro.html

www.baroque.org/baroque/whatis