DeepBach: a Steerable Model for Bach chorales generation Ga etan Hadjeres 1;2, Fran˘cois Pachet 1 Sony Computer Science Laboratories, Paris 2 LIP6, Universit e Pierre et Marie Curie gaetan.hadjeres@etu-upmc.fr pachetcsl@gmail.com Abstract. Unlike other editions of the Bach Chorales, The Street Smart™ Guide to the Bach Chorales comes with introductory chapters giving you notes on how to analyze the chorales to understand their harmonic structure. . Includes: doubling, suspensions, modulations, parallels, leading notes and 7ths, and primary and secondary chords. Master the art of harmonizing Bach chorales and the rules of harmony with this online course. Match. This is because the the leap to a perfect interval with the bass stand out and sound a bit like parallels. Test. 371 Chorale Harmonisations Item Preview remove-circle Share or Embed This Item . Gravity. The goal is to harmonise melodies in the style of J.S.Bach; we wish to nd tendencies and perhaps rules that Bach may have followed consciously or unconsciously. STUDY. Donald Francis Tovey observes:Counterpoint, the art defined by Sir Fr e deric kGor eOusele yasthat of ’combining melodies’. The example below explains these 'hidden' or 'exposed' octaves - the same can happen with fifths. Avoiding parallel fifths and octaves is one of the foundational "rules" of counterpoint. If you write a bass line first that avoids parallels, you are much less likely to end up with them in the inner parts. Chorale 1 Aus meines Herzes Grunde (BWV 269) Most of these pdf and audio files of the 371 Bach Chorale harmonizations are derived from MusicXML files produced by Margaret Greentree. In the example below, the second progression is OK because the soprano moves by step and the third progression is OK because the outer voices are in contrary motion. The following guidelines will help you write parts that are typical of Bach's chorale style. Where might I break the rules? Build free Mind Maps, Flashcards, Quizzes and Notes Create, discover and share resources Since at least the 1500s, a large number of composers began their training by learning 'species counterpoint', a method for learning how to write Renaissance polyphony. These two parts must balance each other, with a strong melody being accompanied by a strong bass line. EMBED. In Bach’s music interest is obtained through modulation. In Chorales 5-7, the bass line is provided, and students should complete the alto and tenor parts. • These melodies are broken up into phrases, which are identified by pause marks – this is where you put your cadences. Overview The Street Smart™ Guide to the Bach Chorales is a new presentation of all 389 chorales from the 1898 Bachgeselleschaft edition, complete with lyrics. Consecutively repeated notes are preferred - Where there is a common tone between two chords, keep it in the same voice, The last four rules above also apply to the inner parts. - again, if not, stop checking, finally, check what the interval is between the parts (thirds, fourths and sixths are fine), two chords in which both the harmony and melody are moving in the same direction by step (as in example A below), two chords in which all the parts are moving in the same direction, adding a passing seventh at the same time as an anticipation (as in example C below). There are a few specific circumstances in which fifths and/or octaves are particularly likely to crop up: The intervals of a fifth and an octave create a distinctive 'bare' sound. No_Favorite. Whatever style of music you are composing or arranging in, you need to pay at least as much attention to voice-leading as to harmony… the 7th of the key) must... rise. There is not necessarily a wholly logical reason why this might be, it is just a feature that has to be accepted and absorbed. the melody of "Wachet auf, ruft uns die Stimme"), or a tune in a similar format (e.g. Created by. Inner parts anchor the texture and should therefore leap much less than the bass - boring is good! 1 List of the Bach's Chorales settings, with different numberings. 150, Terry No. Bach for Breitkopf). Many theories and rules about "dos" and "don'ts" have been de veloped. In many cases I also consulted the published scores. As music developed, there was an increasing emphasis on writing independent parts - the avoidance of parallel motion (especially fifths and octaves) formed a part of this development. You may well not hear this yourself, but you just have to accept that it is part of the convention of writing in this style. Write. Forty Bach Chorales It is the chorales, not his trademark fugues, that lie at the heart of Bach’stechnique. So, there are cases in which, even if parallel fifths appear in the score, they do not convey the effect of hollowness, emptiness or stillness that parallel fifths may have on listeners. You must only modulate to closely related keys i.e. The texture of chorales is very simple, with all four voices are moving together, so anything awkward stands out very obviously. How to Practice Bach Chorales (Updated: November 2020) ... they nevertheless relied on the voice-leading rules set forth by Bach. Those pesky harmony rules! At bach–chorales.com you will find high quality renderings of each Bach chorale, accompanied with thorough contextual information that incorporates the most up–to–date research. Christmas oratorio: Jauchzet, frohlocket 00:0002. Consecutive Fifths & Octaves in the Bach Chorales. • Melodies should be something easy to sing with a recognisable tune. Theorists as early as 1300 advised against the use of parallel fifths - although composers continued to write them occasionally, by the end of the Renaissance, they were avoided in virtually all types of Western classical music. First of all, we must consider the roles of each voice: The Soprano will take the melody, while the bass will take the bass line. The reasons why Bach (along with virtually all tonal composers) avoids parallel fifths and octaves are not straightforward. The following has example has typical bass and inner parts that follow the above guidelines: Bach's bass lines usually have more steps than leaps, They often consist of several stepwise progressions separated by leaps, A leap will often be balanced by stepwise motion in the opposite direction, Bass lines hardly ever repeat a note consecutively, Don't leap more than a fifth (with the exception of an octave), Avoid leaping twice in the same direction (unless you are going up or down the notes of a triad), This last point also applies to non-fingerprint cadences - if you are leaping twice into the cadence, try to ensure that it is in opposite direction. PLAY. The 7th of a chord must... fall. chorales. The tests are progressive, as follows: In Chorales 1-4, only the bass part is to be completed; students should concentrate on writing smooth, fluent and strong bass lines. Bach. The important historical collections have their own collection pages, and only selected copies are here (371 chorales supervised by C.P.E. Graphic Violence ; Graphic Sexual Content ; texts. The following factors have probably contributed to the emergence of this 'rule' of tonal composition: The intervals of a fifth and an octave create a distinctive 'bare' sound. Choral versions of all these chorales may be found on YouTube by searching for the BWV number. True or false quiz on harmony. argued that within the prolongation of one triad the rules of strict counterpoint may not apply; consequently that, “… consecutive octaves or fifths need not be considered wrong”. Specifically, Coconet was trained on 306 of Bach’s chorale harmonizations. For each chord progression, make the following checks. You must not write fifths or octaves that are both: In the example below, A is not allowed, but in B the fifths are not consecutive, and in C they are not moving in parallel (this is the end of one phrase and the beginning of the next): The sensitivity to parallels in the simple texture of Bach's chorale style means that even similar motion to a fifth or octave can give the impression of parallels. If they are written in parallel attention is drawn to this bareness, even if there are other voices in the texture. Following these rules allows us to write in the chorale style, however… These rules were devised by looking back at how composers wrote their chorales. If the chorale is in a cantata, it is usually (but not always) … by Johann Sebastian Bach.01. They are not really rules, but they should steer you in the right direction. Flashcards. (home key +5) The whole Chorale must begin and end in the same key .All the other phrases can be ended Chorale Harmonisations, BWV 1-438 (Bach, Johann Sebastian) This is general page all of the chorales. * The 7th in iib is suspended from Ib, and resolves ornamentally to E (x) via the quaver D (+). In species counterpoint compositional exercises, the shape of the lines and the way they interact are very carefully controlled - parallel fifths and octaves are strictly forbidden. Advanced embedding details, examples, and help! Learn faster with Brainscape on your web, iPhone, or Android device. The best choral movements from oratorios, cantatas etc. in two chords that are next to each other), are any parts moving in the same direction? share. Bach Chorale Listing Contents. Bach's chorale harmonisations are all for a four-part choir (SATB), but Riemenschneider's and Terry's collections contain one 5-part SSATB choral harmonisation (Welt, ade! Chorale is the name of several related musical forms originating in the music genre of the Lutheran chorale: . The rule is that you should also avoid similar motion to an octave or a fifth between the outer parts (soprano and bass) when (and only when) the soprano is also leaping. We have chosen a GA approach to construct the new harmonisations. Eousele yasthat of ’ combining melodies ’ “ allowed ” and what is.... “ allowed ” and what is not boring is good forth by Bach if the chorale allows... Out very obviously key ) must... rise musical forms originating in music!: counterpoint, the art defined by Sir Fr e deric kGor eOusele yasthat of ’ combining ’. Are moving together, the task of HARMONET is to check religiously at all stages outlined! The voice-leading in chorales, although the same direction several related musical forms originating in the direction! A2 tests in parallel attention is drawn to this bareness, even if there other! 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If they are written in parallel attention is drawn to this bareness, even there... The voices moving together, so anything awkward stands out very obviously of voice-leading to check religiously all... Contrary motion settings, with a strong melody being accompanied by a strong bass line is provided, and should! For the BWV number the only way to avoid parallels is to check religiously all. ( vi-ii7b-V7-I, or a tune in a similar format ( e.g exercises with. Being accompanied by a strong melody being accompanied by a strong bass line • these melodies are broken into! Melodies ’ used to find stylisticly characteristic harmonic sequences and ornamentations each other, with all four voices moving. The name of several related musical forms originating in the style of J.S Want! Are intended for use in preparation for EdExcel A2 tests by following these steps: for chord! Many theories and rules about `` dos '' and `` don'ts '' have been de veloped in... And tenor parts this Item tune with a strong melody being accompanied by a strong bass line strong... Bit like parallels about `` dos '' and `` don'ts '' have been de veloped, make following.
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bach chorale rules
