Lessons with Matthaeus

Hi Máté,

Sorry I've been a little slow getting back with this chorale - I've been on holiday in Spain! I'm working on a lesson for you at the moment and did a version of this chorale myself on the plane to show you some things, which I'll put up later. I think that for the moment chorales are actually quite tricky. I know lots of people would disagree but Bach's harmony is very advanced and not necessarily a good starting point.

If you don't mind I'm going to try to start you off soon with some classical minuets for string quartet. It'll be the same kind of thing - four part harmony, but the language will be much more straight forward.

Don't think too much about the leading note sounding boring for now. Remember the rules I told you about using the melodic minor scale? It's only acceptable really in passing. Otherwise always use the leading note. If you don't your music will start sounding modal (like Vaughan Williams or something), and then returning to the leading note will sound very pronounced.

The thing about Bach's chorales is they modulate all the time within the phrases - so it's hard to understand without a lot of work. However, that is kind of the next thing I want to look at - modulation and secondary dominants.

One thing that surprised me about your harmonisation is that you haven't used any suspensions! The melody line moves by step a lot in the first phrase - perfect for creating suspensions one after the other!! (Have a look at example 13 in the suspensions binder for a reminder). I'll put my version up here later and go through what I've done with you.

Matt

Hi Máté,

Here we are at last - the next two lessons in one go. The first is a lesson like you've been having until now, with three homework assignments. Read this lesson first please and do the homework before trying the next lesson.

The next lesson is a tutorial explaining the ins and outs of harmonisation. I've included the chorale you did yourself recently and have some other stuff in there too. Good luck! At the end are two quite tricky pieces of homework. Don't worry though, if you do everything as we've been through it you'll have no trouble at all!

P.S. I've included a midi of all the examples in the tutorial for your reference.
P. S. S. In the Classical style, the 7th of V7 does not need to be prepared. Don't use 6/4s without preparation though!
Matt

Wow Matt, thank you very much for the lessons!
I have only read the first lesson (as suggested), so I have only one question, yet:
When I'm using II (V/V) in minor, should I sharpen both the 3rd and the 5th of the diminished ii* chord at the same time to make a major chord? So the D minor homework should be ended with "E maj - A maj - D min" progression?

Thanks,
Máté

PS. Hope you've enjoyed your holiday!

Hi Máté - yeah that's absolutely right. Sorry I didn't make that quite clear - V/V is always a proper major triad!

Matt

P.S. One other thing. In the feminine endings example - (ex. 8) the first one is NOT a feminine ending - that's a normal perfect cadence with an arpeggiated bass - just for comparison! Sorry I missed that!

[this is part of the next lesson]

YouTube Video

Mozart Minuet

(Original Source)

Hello Matt,

I'm ready with the 1st and 2nd homework (secondary dominants), however I had to leave most of the chords in root position, because inverting them would cause either paralell octaves or doubled leading notes.

I've listened to the string quartet. I like it very much (at least the first 4 mins )! Are we going to analyze it or write a similar one?

Máté

PS.: Posting the 3rd homework (feminine endings) soon!

Hi Máté - Ok good work. Keep going with the feminine endings too, but also could you have another go at your first progression in C.

I want you to make sure you don't use ANY chords a second apart. (i.e. no V-iv and especially no V-IV). Try to get a really good feel for motion at the fourth/fifth. I can see lots of opportunities for chromatic bass line movement that you've missed. For example - the IV - V/V -V progression can be chromatic. The VI - II progression would also sound much better if you used VI in 6/3 inversion. Don't be over-cautious - there are ways to stop the parallels occurring if you're careful! You may have to double the fifths occasionally this is fine - remember as long as the voice-leading is smooth you can double the fifth. Also - you CAN double the leading note, (if you look at all Bach's chorales - he doubles a major third in every single one!) but the voices much approach and leave the doubled major third IN CONTRARY motion. IT IS A MYTH THAT YOU CANNOT DOUBLE MAJOR THIRDS. If they are approached and left by contrary motion they will sound appropriate and fitting.

I'd also like to see some suspensions!

Matt

Ok, Matt I'll try it again!
Oh, and may I use 1st inversions when writing progressions? I find it difficult to use root position chords only and inverting them later.

Máté

Hi Máté - yes if you find that easier do it like that. Once you've done that there's one more progression I'd like you to do, before you start the next lesson. Don't write it until you've redone the C major exercise and posted it for me to look at, but in the meantime you can quickly go back and revise all of these things, because I want them all contained in the progression (it may be quite long):

(Please write in D major)
1) A passing vii6/3 between I and I6/3 with a suspension or double suspension on the vii chord. Look at example 11 in the suspensions binder for help. Also - can you explain why is it so easy to create a suspension over this progression?

2) Include in the progression at least one other example of each kind of suspension. One of these suspensions should resolve onto another chord (V7-I is not allowed). (See ex.8 of the suspensions binder for ideas)

3) End with a modulation to B minor, by using a rising chromatic bass line that begins with a D major triad in 6/3 (see ex. 5 of the secondary dominants lesson), followed by a i6/4-V-i in B minor. (Prepare the 4th of i6/4 in one of the ways shows in the second inversions lesson). In the bass line you should incorporate one of the two bass line figures shown in ex. 2 as well.

4) An example of a passing falling seventh from a minor triad in bass onto another chord (see ex. 5 of the 6/4 and dominants sevenths lesson).

Good luck!
Matt

P.S. One important comment on your latest homework - that I forgot to say last night. In the D minor exercise, you have a progression from IV-VI both with major thirds. This doesn't work because you haven't quite got the secondary dominant principle right. The chords must be a FIFTH apart, because then they actually act as dominants. The G major triad is not related to the A major chord that follows! Secondary dominants only work when they are actually dominants! The same goes for your VI-IV-II in the same progression. Why is IV major? It doesn't lead onto II! Instead, you could have had I-V/II(6/3)-II.

Sorry if I didn't make that quite clear with the homework assignment. Remember to always use secondary dominants to LEAD onto the next chord, with the root a fifth below/fourth above. I think I also worded the instruction a little badly - don't think so much about making the thirds major in a minor key - think about using secondary dominants of the chords. I.e. each chord in the key has its OWN dominant that you can use (except vii, and ii in the minor - although if you make it into II it can - BUT II must always lead onto V, as it is V/V).

The thing is secondary dominants are liked 'borrowed' chords, they don't belong in the main key. Therefore when you do use them they have to serve a very particular purpose - acting as dominants of the chords they precede.

Your A major progression is much better!

OK? I hope that's all clear. Good luck with the C major again.

Hi, Matt! Posting the C major h/w and the feminine endings. I hope they aren't as bad as the previous...

Máté