Lesson with Mark

Here are three minor phrases I'm fairly happy with. I'm aware of one hidden parallel fifth in the third phrase, between the bass and the alto, bars one to two, but as far as I know the rest is clear. I've tried to be a bit more creative with these than the last ones, which were mainly just tonicizing the predominant.

I've tried to vary the exercises slightly, by using different meters and registers, just to keep things interesting, and give myself practice in more situations.

Thought I'd provide a brief analysis, to give you an idea of my intentions in each exercise:

In the first exercise I used a V/iv to precede an imperfect cadence. It seems more like an 8 bar sentence in structure than a 4 bar phrase, as the second bar ends with an imperfect cadence - though with a minor v - and the fourth bar ends with a perfect cadence after a bit of repetition, so I suppose it could be barred in 2/4 and called an 8 bar sentence. I was in a happy mood, and so ended with a tierce de picardie.

The second I was slightly more adventurous and decided to end the phrase with a perfect cadence on the relative major. This is definitely a four bar phrase, and leaves a definite feel of a need of a consequent phrase to balence it, with a perfect cadence on the tonic. I might write one actually, next time I have some time to kill

The third phrase I tried using one of your formulae, example ten in your finale file: V - V/VI - VI. This was a slight problem for me as your example was in the major mode, and I am in the minor, but eventually I worked out what I think to be a pleseant sounding and theortically sound progression.

I look forward to your comments/corrections

I like how all of your exercises sound; I see you are improving and these are all harmonies that would fit in nicely in any music you might write.

And I have many comments and concerns :).

NOTE: I actually had comments about your exercises, but they turned into a historical and philosophical commentary on parallels. So feel free to not read the rest of this post. I will post real comments and criticism tomorrow.

First, about those hidden parallels: I personally would advise you be more careful and avoid them. As for the truth, however, I doubt it matters at all. Parallels between an inner voice and the bass, especially fifths, are hardly noticeable.

Historically composers have been far less consistent with managing parallels than modern textbooks admit. Vocal composers of the Renaissance often religiously avoided parallels like the ones you used... That said, certain parallels textbooks now prohibit were common in many Renaissance situations! Parallels were often hidden with ornamentation in one of the voices so that the perfect interval would ultimately be approached by contrary motion despite the underlying parallel structure. The reverse was also common: when consorts would play vocal music on instruments, improvised ornaments and scale elaborations ("divisions") would often introduce hidden parallels. Renaissance treatises explicitly permitted such hidden fifths in fast music on the grounds that the ear barely hears fast notes!

Furthermore, as composers ventured further into the realms of accompanied melody and homophony, many theorists questioned whether or not parallels were an issue in chordal passages where the voices were not meant to sound independent. Keyboard treatises of the Renaissance often asserted that parallels were perfectly fine as "filler" in keyboard music. So in Frescobaldi's correntes and toccatas and in Byrd's excellent pavans, we can easily find parallels... everywhere! And of course the music was skillfully composed; the composers knew what they were doing.

That said, all Renaissance composers were quite skilled at avoiding parallels in contrapuntal and sacred music. And this trend eventually affected keyboard music and figured bass too, so that by the Baroque period parallels were once again taboo.

As an example of how I personally view parallels, I will present a small excerpt from Pachelbel. Pachelbel's music (and his Canon is neither representative of his style nor his skill) is always smooth and careful; every note is always clear and singable, each one carefully chosen. Pachelbel, perhaps more than Bach or Buxtehude or others, guarded a conservative ethic and almost never broke the rules he set for himself.

Now open the attachment "Parallel Fifths."

So imagine how surprised I was to find a perfectly obvious parallel fifth in the left hand of this variation from his Hexachordum Apollinis... a passage both virtuosic and flowing and intense... I admire his daring here. A composer who was so disciplined, yet here he simply decides the fifths are necessary. And having made his wise decision, he leaves the fifths plain to the eye, makes no pretense to hide them. A true master :D.

Well, I am sorry to bother you with that little unrelated rant, but I think it is important to have a deep understanding of the place of rules in music... which is something of course you will see with time, and probably already begin to realize.

As for me, I will refuse to purposely write certain parallels until I feel as wise as Pachelbel :D. Not that I haven't found accidental ones in my own music afterwards.. I just leave them there.

As for you; do whatever you want as long as you have thought through it. :thumbsup:

Parallel Fifths.MUS

Have read through and understood all that you've said, and think I've come to the decision that I'll try and avoid as many parallels as possible, as long as I can do so without screwing too much with the music, and avoid parallels between the bass and soprano, of course, and in contrapunctal textures - where the individual line is much more important that in homophonic textures.

I look forward to your comments :)

I like the sound of all of your exercises. You use all the secondary dominants well.

However I think the way you are using the minor v chord is affecting your sense of tonality. As I know you understand, the v chord is a modal phenomenon. It hardly tonicizes the i chord at all; in other words it does not at all fulfill the dominant function or any other tonal function for that matter.

This is an excellent example of the more general approach to harmony described in our first lesson.

Modal music in the minor modes from the Renaissance and early Baroque frequently utilizes the lowered seventh degree in sonorities like VII and v and III. These sounds, however, do not reaffirm the minor tonic. If anything, from time to time they will imply the relative major mode. More often a totally different "modal flavor" is imparted since even those dominant tendencies might not be followed to resolution... until the very end of the phrase, where a leading tone is artificially created in V or vii* to cadence onto i.

My favorite music is based on the old modes and I consciously adopt modal progressions in my music, so I applaud any use of modality in music. Your VII and v chords, however, are sending some of your exercises to the relative major.

Your second exercise is a classic example of what I tried to explain in my first lesson. You begin on a c minor chord and have three flats in your signature, so this must be in c minor, right?

You already know the answer: No. You do begin on a c minor chord. But then you move to a VII chord, a chord that lacks a leading tone and challenges the c minor feel. In fact, any major chord can be a dominant, and this one follows that tendency, although deceptively. You labeled the first three chords i VII6 i, but much more likely they sound like vi V6 vi6 in Eb Major. The minor v chord that follows worsens things further, and finally we see V7/III... or simply put, V in Eb Major. In fact this second exercise is attracted from the very start to Eb Major, never to c minor.

Your first exercise is more typical of modal music in that although the relative major is at first hinted at with the minor v chord, eventually a true dominant V chord appears to keep things in c minor.

The third exercise is nice, but what I was showing you originally was a varied deceptive cadence, V V/VI VI. Your secondary dominant is used well, but there is no deceptive cadence anywhere because there is no dominant - you used v once again! And of course such a modal progression is just fine as long as you understand what you are doing.

I have attached a version of your third exercise showing how I would use a true dominant where you used the minor v chord.

Like with the parallel fifths, I am not bothered by this at all. I myself love using v and VII in minor music. But remember that v and VII do not serve any sort of dominant function. So especially if you go ahead and use a secondary dominant right away, the ear may never get a chance to feel the original minor key... which is fine if that's what you intended.

So overall I enjoyed these last exercises and am merely checking to make you understand the affect those v and VII chords produce. Keep using v and VII as well as V and vii* in minor, carefully noting what keys are implied and the overall color and sound.

Secondary Dominant Suggestion.MUS

Another small issue is the augmented second I see in the bass of the third measure of your third exercise: the line moves from Ab to B. If the lower parts are not melodic and only serve to paint a rich harmonic accompaniment, chances are the ear will not notice the awkward melodic interval. If, however, you are writing vocal music or mean the part with the augmented second to be a melody, be sure you realize what you are doing.

The augmented second is often found melodically when arpeggiating through a diminished seventh chord or in between statements of a short motive. Only rarely is it appropriate in the middle of a continuous melody, perhaps as a special device. Otherwise it acts like a large leap, splitting the line in two or even worse, just sounding awkward.

Thus in a harmonic texture like yours it is fine. Once again I was just not sure if you were fully aware of it here.

And I found a good quote!:

Kostka, Stefan and Dorothy Payne (2003). Tonal Harmony, p.289. "The line between modulation and tonicization... is not clearly defined in tonal music, nor is it meant to be." :D

Your comments about v and VII make a lot of sense to me, and I shall think about what you've said. I personally love the sound of harmony based on the natural minor (Aeolian) but I see what you mean about the possibility of the tonic being ambiguous if other keys are tonicized before a true dominant in the original key appears. I shall think about this in my next exercises.

Your point about the augmented second is a good one, Iit wasn't intentional, and now - when listening for it - I do detect a slight 'awkwardness' and shall avoid this interval in future :)

I do want you to realize that, for example, in a dance piece or something, if the left hand is providing a simple block chord accompaniment, an augmented second in one of the inner voices will not be noticed and could save you from using some very awkward progressions with the lowered seventh degree or raised sixth degree. If you just want some standard harmony, chances are that iv V or ii*6 V will require that augmented second in an inner voice. In a fugue, on the other hand, every voice will be heard and the unusual second will sound unusual.

This weekend soon I will post a lesson about using chromatic non chord tones (what do you call them? like passing tones, etc...), the Neapolitan chord and that augmented III+6 chord. I also hope we can begin working on our sarabandes.

I now understand completely about the augmented seconds :)

I look forward to the next lesson, in the meantime I shall continue with my secondary dominant phrases, and perhaps try writing a few simple Sarabande style phrases/sentences/sections, so I have some idea of what I'm doing when we come to write our chromatic one :)

I apologise for the lack of exercises completed - I have been quite busy with school, and was away all weekend.

If you don't mind sidestepping slightly, would you mind having a quick look at a short prelude I wrote in an attempt to prove to myself that I can write music? (still not sure on that one) It doesn't sound quite right to me, but I can't find any textbook errors. Is this something that will improve with practice, or am I doing something very wrong? :D

Thanks :happy:

Prelude.MUS

Well, I do plan to post that next lesson very soon! I am always behind :(.

You can certainly write good harmony and counterpoint; do not despair! In fact, you are quite good at both techniques and your invention demonstrates this.

But nonetheless your invention is very deficient in one major aspect of music. Think carefully about all the elements of music and decide what your piece is most deficient in.

I have attached a "corrected" version of your invention I made in a few minutes. How did I "correct" it? What improves its flow? I will give you one hint: although I altered some harmonies and added ornaments, neither of those are to what I am referring. This is something I tried to work on in our first exercise... but I think perhaps you did not recognize it for what it was.

All this said, it is a nice piece as you originally wrote it and you should be happy with your progress :). Also please understand that a real harpsichordist (or pianist) would make those ornaments expressive rather than annoying like Finale.

Invention.MUS

The main differences I can see are more rhythmic variation - I used semiquavers and quavers pretty much all of the time, wheras you use some demisemiquavers, and semiquavers in both voices sometimes, which adds to the interest - and that in your version there is more of a feel of melody, and the melody feels like it's going somewhere, there is a shape to it, it's not just going all over the place, and the two voices have opposing but complimenting melodic curves.

I think I used far too many commas in that last sentence :blush:

Was that what you were thinking of? Or am I again barking up the wrong tree? :D

Well, actually the rhythm was not it either.

But yes, you noticed the Melody.

And I emphasize that the most important element in almost all Baroque music is melody. I know how easy it is to forget, amid technical training with harmonies and counterpoints, that both harmony and counterpoint are tools based on melody: harmony to enhance melody, counterpoint to combine melodies. And you have probably already noticed that some of your melodies are far from inspiring.

Learning to voice lead chords and write counterpoint is only the beginning of learning to write music in any style. Making beautiful music will probably imply writing beautiful melody at this stage, and unlike with counterpoint and harmony, there are no simple rules. Thus I even hesitate to point out some of your "mistakes" because they could all be appropriate in certain circumstances. Furthermore, even composers like Bach occasionally wrote awkward melodies when that would allow for a particularly interesting harmony or imitation. As we have discussed already with the aug. 2nd, it is not necessary for all the voices to always be prominent... and a very slow (or very fast) voice acting as filler clearly does not have to be so melodic.

So please do not take this advice too seriously:

(all referring to your original)

1. Notice the deceptive resolution of the leading tone in the right hand from bar two to three. This can occasionally be a special effect, but notice that your dominant chord jumps to yet another dominant chord inversion, halting the harmonic rhythm exactly where the music should be moving forward. Furthermore you approach it awkwardly in the left hand too :(.

2. Even in measures three and four you never resolve that leading tone.

3. In measure four, the right hand does not repeat the countersubject properly. Yes, there would have been a parallel fifth... but I used those fifths freely in my version. Try singing parts of what you wrote to see why I don't like your alteration.

4. Measures five and six, left hand: this motive could be more creative.

5. Consonant ties are usually not even a fraction as interesting as true suspensions. Most of the ones you used sounded awkward.

6. Measure nine: the right hand motive is not the most spectacular...

7. Measures fourteen through sixteen: The ending should be the most inspiring, but instead you used some questionable melodies. Especially the right hand; try singing that and you will understand.

I went through a very similar phase as I learned harmony and counterpoint. So for you to avoid the painful writing of many awkward pieces like mine, I suggest you try writing some solo melody. I suspect you will find it more difficult than you could possibly imagine. And I don't mean nice melodies... no, I mean some awesome melodies where every note counts and contributes to a strong emotion.

Of course in a contrapuntal piece you will adopt a different melodic style... but many of the same elements apply: graceful curve and solid direction.

As for rhythm, you seem to be fine if you are imitating Bach. I have a personal tendency (learned from of course the 17th century) to avoid smooth 16th note motion, but Bach's style depends on it. More importantly I think you are not aware of the major differences between motives that begin on the beat and motives that begin after/before the beat. Motives that begin before/after the beat and lead into a stronger beat are the most flowing and Bach uses them constantly. Melodies beginning on the beat, on the other hand, feel more block-like and separated. Experiment with both!

All of this is a mere introduction to the intricacies of melody and rhythm... if you are interested we could have a few proper lessons on these subjects with examples for clarification. And of course ask questions!

So just to clarify, you are learning a lot about music and should not feel disappointed in yourself, as you know remarkable things about harmony and counterpoint. I merely suggest that you now take yet another element of music into closer account as you compose. Melody is the missing ingredient.

Your points all make excellent sense to me, and now I see why there has always seemed to be something missing in my contrapunctal writing, while there are no 'mistakes' per se the melodies lack melodic tendancies. Some lesons/exercises on melody and so forth would certainly not go amiss, as this is clearly an area in which I am lacking.

:)

:( I'm still always behind... but you have also not completed your exercises so I don't feel too guilty :D. And I hope when I do get around to writing lessons, that they are informative and quality.

THE NEAPOLITAN CHORD

As Brandon had pointed out on the fugue thread a long time ago, the NEAPOLitan chord refers to Naples, because it was very popular among a group of composers based there including Alessandro Scarlatti, I think.

Please open up the attachment "Neapolitan - Voice Leading."

Once again I will begin with a short discussion of the Neapolitan chord's melodic properties. Whether in an inner voice, merely adding color, or an outer voice, central to the melody, you should be aware of the sound of the lowered 2nd degree note.

Just to review (I think you already know the theory involved), the Neapolitan chord is a major chord on the flattened second degree of the minor scale. In major the Neapolitan chord is a sort of mode mixture and would have two altered notes. During the Baroque period, however, N was confined to minor and was far from common. More on its history later.

Example one in e-minor shows how the 2b (flattened second degree) might be approached in an actual melody. The 2b wants to move downwards towards the leading tone (and thus dominant harmony). In this example, however, it first passes through the tonic note (whether as a passing tone or in an I64).

Notice that two consecutive minor seconds result, between the 2b and the tonic and between the tonic and the leading tone. Their sound is very distinctive and you should get to know it well so that you can purposely choose the effect in your music. And in your music, all chromaticism should be purposeful. Rather than just deciding to throw in a few chromatic chords here or there, as composers we must carefully attempt the affects we want using all the resources we have. Given the melodic nature of the Baroque period, it is wiser to write a nice melody, perhaps incorporating that 2b, perhaps not, and only afterwards look back to see if a N chord sounds appropriate to the melody's character. Less wise would be to contrive some awkward melody with the sole purpose of using this or that chromatic harmony.

Example two shows the 2b leaping directly to the leading tone. This diminished 3rd is an interesting effect.

Example three harmonizes the melody of example one. Notice the the fourth degree is usually in the bass, that is, N is usually in first inversion, N6. N6 often passes through I64 before reaching V. N has a harmonic character startlingly different from its melodic character. The harmony can be quite noble. Example four harmonizes the melody of example two.

If you consider the normal circle of fifths in minor:

I - iv - VII - III - VI -(dim)- ii* - V - i,

you see that one of the "fifths" is actually a diminshed fifth; there is a diminished fifth between the roots of VI and ii*. This often goes unnoticed in sequences, and explains why VI ii6 is more common than VI ii (the bass would leap by a diminished fifth). The N chord simply corrects this fifth and moves it to between N and I:

I - iv - VII - III - VI - N -(dim)- V - i.

Since in minor V is more common than v, we get two major chords a tritone apart - a significant departure from the tonal system and thus very colorful. Examples five and six illustrate circles of fifths, first with ii* and then with N, so you can compare.

Example seven illustrates how easily parallel fifths result when moving from N to I64. The good voice leading almost requires that the sixth degree and the 2b both move downwards. Most composers place the 2b above the sixth degree so that you get parallel fourths instead. Some authors say these parallel fifths are acceptable. Either way, the listener won't be able to tell or even care!

Neapolitan - Voice Leading.MUS

THE NEAPOLITAN CHORD

HISTORY

If you have ever worked through Gradus ad Parnassum, you will remember Fux advocates flattening the note B to correct any tritones, whether harmonic or melodic. This was one of the principal uses of Bb (and sometimes even Eb) in Renaissance music. That sort of thought naturally leads to flattening the root of the diminished second degree chord, making it consonant and major.

That said, pieces in the mode of A (aeolian) rarely introduced the N chord the way later Baroque composers did. When they did, the Bb temporarily belonged to the phrygian mode on A. Thus the Neapolitan chord is something the minor mode borrows from the phrygian mode with its 2b.

The development of the assorted chromatic harmonies of the late Baroque is a complex subject and I could write much on the topic. During the 17th century, many bizarre and colorful harmonies were experimented with as modality incorporated chromaticism and became tonal. Some of the earliest mixes of chromaticism with Renaissance theory led to fascinating results quite unlike the harmonies of Bach or other familiar late Baroque composers.

Even in the late Baroque, however, composers were still influenced by modal theory. As late as Bach himself, composers did not think in terms of inversions or chord names or secondary dominants or root movements. Rameau's theories on the fundamental bass only gradually changed the analysis of music to understand the idea of inversion. And furthermore, it is only one way of analyzing the patters of tonal music. To truly understand harmony like a Bach or a Vivaldi or a Froberger, we must instead think of melody and voice leading.

So although I have described different ways of understanding progressions in music, remember that Bach himself was not thinking of ii* chords or inversions or anything of the sort. He was instead voice leading all the individual voices in a very tonal way, with great emphasis placed on leading tones. Bach was one to almost never use the minor v chord in the minor mode. He tends to the opposite, almost religiously using the leading tone and creating more leading tones in secondary dominants and diminished seventh chords. Composers before him did not always go so far, often times working somewhere in between modality and tonality.

This does not mean that Bach and his contemporaries wrote more "advanced" music. The harmonic colors of Buxtehude and Frobeger with their mixture of tonality and modality are simply different from the harmonic colors of Bach and Rameau. Both approaches have distinct sounds. (Personally I find the earlier styles more creative. Bach I think is sometimes too unrelenting in his tonality.) Since I see you have a taste for modal chords yourself, if you are interested I could make a lesson much later describing the 17th century's exotic chromatic-modal mix.

Anyway, whether in the 17th or 18th centuries, Baroque composers never used N very much. I have attached one of the few rare examples from the theme of Muffat's monumental (and virtuosic!) passacaglia in g minor. You will notice it, don't worry! In fact, it might be good for you to write out all the harmonies as homework. Also, what happened to analyzing the Rameau? I think I mentioned this earlier; analysis is a giant step towards understanding the Baroque styles.

And for the Neapolitan sixth, I think it would be a good idea for you to write at least one short sarabade phrase using a Neapolitan chord. Colorful chromatic chords are particularly suited to the sarabande's typically lush homophony.

Muffat Example.MUS

The Passacaglia:

| / i - | ii* V - | i N6 V7 | VI V V7 | i - - |

You agree?

I shall start on some Sarabande-y type ideas now, using a few secondary dominants aswell, and trying out the different melodic uses of the b2.

:)

The Passacaglia:

| / i - | ii* V - | i N6 V7 | VI V V7 | i - - |

You agree?

I shall start on some sarabande-y type ideas now, using a few secondary dominants as well, and trying out the different melodic uses of the b2.

:)

Your analysis is almost perfect.... the issue here is your ii* chord. You could interpret the first eigth of the second measure as an ii* chord... but right away the G resolves like a suspension to F# and thus vii065.

Of course neither the composer nor the listener hears all that. The second measure all fulfills dominant function and thus is free to pass through inversions of both vii07 and V7. Notice how the leading tone is irregularly resolved in the tenor and taken up instead in the soprano. Both those voices reach their goal G at the beginning of the third measure.

I'm sure you noticed that all, however. I just wanted to point out that you could analyze the second measure without an ii* chord at all. What you want to label the chords as is relatively unimportant; understanding their collective tonal function is our goal.

So actually your analysis is fine. :)

And for the sarabande, I could try to soon post a brief survey of the rhythms and textures of the harpsichord sarabande from its rise to its fall, with plenty of examples. For now please be writing sarabande melodies. I advise that you primarily focus on melody before harmonizing. Of course you may want some counterpoint here and there for contrast.

Do you understand the basic rhythm of the sarabande and how composers played with it? With dance music, rhythm is almost as important as melody. And rhythm is a subject as deep or perhaps even deeper than melody; unfortunately few books cover its intricacies, which are especially important to counterpoint. I may also soon post that lesson about melody and rhythm.

And of course I planned and still plan to write detailed lessons about III+6, the augmented sixths (which like the N were not really baroque, although they showed up occasionally), mode mixture, the raised sixth and lowered seventh degrees in minor, and chromatic nonchord tones. And perhaps a lesson about early chromaticism and modal harmony. Many of those would be combined lessons, of course.

What I've deduced about the Sarabande from a bit of reading and a lot of listening/analysing is that it's always in Binary form, and in 3/4, a harmonic and/or melodic rhythm of | * * - | seems to be common, with an accent (again, melodic or harmonic) on the second beat of the bar. It seems the the first section is usualy one to two periods, between 8 and 16 bars and the second section is longer, more harmonically adventurous with more developmental features.

I shall start on Sarabande melodies now :) I have a few Bach Sarabandes printed off and sitting at my piano (and guitar in

I'm also working on some short phrases in four part harmony and in some cases three part counterpoint using the neopolitan chord, just to get its sound into my head and become as comfortable with using it as I am with secondary dominants. I started an attempt at a Sarabande style phrase but found it difficult working the N6 in there without it sounding awkward, so I'll work on getting myself more used to using it in a variety of contexts :)

As for your plans for future lessons - all sounds great and I can't wait :D (well, I can, plently to work on atm ;))

Here I present the four best (and most recent) of my attempts.

They're all 8 bar periods, consisting of an anticedent and consequent phrase.

I'm not happy with the second phrase of the third one, but apart from that I'm fairly pleased with them.

Sorry about the scanned image - my computer's not happy with running finale at the moment :wacko:

:)

Just to let you know, I have not forgotten our lessons... I have been gathering examples for a lesson on melody and another on the sarabande.

I think your melodies are mostly fine (I will critique them carefully in that next melody lesson), and I would like for you to try harmonizing some of them in a typical sarabande keyboard texture. Naturally I mean more than just adding block chords in the left hand. Seeing at least one such harmonization will help me know what exactly to put in the sarabande lesson.

I attached a midi of your melodies. I think you may have forgotten a few accidentals; I entered everything exactly as you wrote. Also I have attached a few of my secondary dominant exercises in major. The third one, without inner voices, I wrote after noticing that the second melody could also be harmonized in a minor. If your are bored you could fill in those inner voices. Generally I write chorale-style harmonizations this way, beginning with the outer voices.

Mark's Sarabande Melodies.mid

Secondary Dominant Exercises II.MUS

Sorry I've not posted anything - I have had a good few tries at harmonising all of the melodies, and a few more that I've written since, but have scrapped each attempt very quickly - as it seems to sound just wrong. Would you be able to post a few tips or examples on the sort of texture/harmony we're looking for?

:)

OK, finally the next lesson:

I'm not sure whether to post the sarabande lesson or the melody lesson first. You seem to be gaining more melody-awareness, so I think...

THE SARABANDE

(Sorry, I like big fonts.)

History

with many listening and viewing examples and commentaries

I hope you can view PDF files; many of the examples I will present are on the Werner Icking Music Archive, a site with quality, public domain PDF editions of mostly Baroque and Renaissance Music. I have also entered into Finale passages from sarabandes I could not find on the internet; these are attached.

The sarabande apparently began as a spanish dance brought over from the new world (sarabanda or zarabanda). Lore of its early history is not particularly relevant to our discussion, but you might be surprised to hear it was a fast, lascivious dance so popular that the church attempted to ban it.

Clearly it survived and somehow transformed into the slow triple meter dance we are familiar with. Dance music was obviously secular and thus was performed chiefly by consorts and the harpsichord or lute rather than the organ. As the consorts died out, they were replaced, of course, by the string orchestra with basso continuo.

Among the first composers to cultivate the sarabande was Chambonnieres, the "father" of the French harpsichord style.

Listen to tracks 3 and 5 of Hanneke van Proosdij: Harpsichord suites of Chambonnieres

You see in track 3 that the sarabande was not necessarily a slow dance yet. French treatises of the early Baroque sometimes asserted that the courante was a slower dance than the sarabande!

The first sarabande (track 3) has a memorable melody, lightly ornamented, accompanied by subtly light (never distracting!) brisee arpeggios. I will discuss the style bris

Bach Sarabande.MUS

Bach Sarabande.pdf

As always that was a fascinating and very enjoyable read. I want to thank you again for putting so much time and effort into this - it really is appreciated :D

I was aware of the Sarabande's roots, and its somewhat controversial introduction to Europe. All I can say is that I'm glad the Church didn't get their way!

The Chambonnieres examples were very nice - I especially enjoyed the first one. I'm not familier with the 'style bris

Yes, that is the sarabande I refer to. It has some very stunning passages.

As for Rameau, part of your objection my be due to Trevor Pinnock rather than Rameau! Trevor Pinnock's ornaments are always extravagant, and it is a sign of virtuosity. You may have explored some of the other tracks too and found them more agreeable. But many harpsichordists would make many of those trills shorter. The quality of the MP3 may also be involved. But I'm sure we agree that underneath the ornaments there are some gorgeous harmonies.

And of course Chambonnieres is great; his style is always down to earth, simple yet deep, and full of rhythmic drive. As for the style brise, I was saving a proper explanation of what exactly it is for the next lesson. I left that a bit unclear. :) Just keep in mind that it takes a very solid grasp of texture to work with. Like you I am more versed in counterpoint than texture, so I have had lots of trouble working with the brise style. But it is one of the most idiomatic techniques in harpsichord music and thus really ought to be studied.

I may just have enough time tomorrow to post that next lesson before you leave... but don't count on it; I need to work on a sonata. If I do not post that lesson, then yes, I think the most important task ahead of you is analysis, analysis of not only harmony but melody and texture and rhythm too. And also try emulating some of the textures. You can even copy the rhythms note for note and use your own harmonies. Just a few bars of different styles and some of your own textural experiments. Most importantly watch for why the composers' textures work so well; that is in fact the purpose of such exercises, since in your real music you will not be copying textures.

And I also thank you for being interested in these musics! You have done a good job of understanding the styles and harmonies I've taught. It will be a difficult journey, ascending Parnassus, but it is for everyone.

I've found a score of a Chambonnieres Sarabande that looks like it'll be worth printing off and analysing too. There's a lot of chromatic harmony that'll be worth taking a good look at :)

I will act upon your suggestion, trying out different textures by closely imitating phrases from the pieces we've been discussing with my own harmony and melody.

I listened to the clips from your sonata, and wish you every success with it. As a recorder player myself (descant tenor and bass) I enjoyed playing through the parts, they are very idiomatic - do you play recorder?

:)

Composing the Sarabande

Moving on from chorale harmonies and counterpoint exercises into real music is always a painful process and is always frustrating. Your situation is much better than mine was a year and a half ago. I had spent months learning common-practice harmony, and was left entirely clueless as to how real music worked.

It is most important to acknowledge the two freedoms real music offers in addition to the counterpoint and harmony you have already studied: rhythm and texture. Melody is something all students should have in mind from the very start. So if you start writing a few bars with some nifty harmonies and some counterpoints, do not be surprised if it sounds terrible. But be comforted that both texture and rhythm can be studied and learned just like any other aspect of music. Perhaps good harmony and counterpoint is not enough, but when you combine inspired harmony, counterpoint, melody, texture, rhythm and eventually structure, you will undoubtedly create something fantastic. I do not mean that these subjects should be turned into science, but mastering their technical sides now will only allow you more freedom later on.

THE STYLE BRISE (I've given up on the little French accents)

The style brise originally comes from lute music. Essentially you play a simple melody or counterpoint but sustain some of the tones over the others in a shimmering texture. For the most part this effect is at home on the harpsichord with its clear but sustained tone rather than the piano and organ where it becomes too dense. The style brise or luthee is essentially the "pedal" of the harpsichord, achieved via the fingers rather than the feet.

So lets open the attachment "Style Brise."

The first example is a true classic, a few bars from a Louis Couperin chaconne. You see that the upper two voices combine almost to form a single melody but with notes sustained over each other. The effect is soft and expressive. If only Finale would add in appropriate ornaments and some inegal, we would have a nice performance. This is the lute style at its best. Notice that the three voices take turns playing rather than sounding simultaneously. The overall rhythm can be even since the texture provides sufficient variety. The figurations flow evenly yet the patterns change every bar; when an integral part of the melody itself, the feel must be organic rather than formulaic. You can study this chaconne at http://icking-music-archive.org/scores/l.couperin/Bauyn/Couperin_Louis_Chaconne_Dmin.pdf.

That said, simple brise formulas can and should appear in other contexts. The next example shows a simple brise accompaniment found in many grounds and passacaglias.

The next example from a courante by Johann Mattheson has the chordal style in the right hand (though these chords should be slightly rolled) and brise octaves in the left hand. Such octaves are clearly not parallels; like orchestral doubling, they simply add weight to the sound. Feel free to use them to take advantage of the harpsichord's dark, low bass notes. (My harpsichord goes down to the G two octaves and a half below middle C.)

In the very same suite Mattheson includes a "double," a variation on the same courante. The next example shows how the composer reverses the arrangement; now the right hand has the brise accompaniment figures and the left has two-note chords. The right hand figures sound like the gentle strumming of chords on a harp or lute or guitar. You can find both courantes at http://icking-music-archive.org/scores/mattheson/pieces-de-clavecin/Suite_1.pdf.

The brise style is very rich and can serve a variety of purposes. It hints at counterpoint and adds depth to otherwise simple two-part music.

SPACING and TEXTURE

In a four part chorale harmonization, the voices are traditionally within an octave of each other (except perhaps the bass) and share similar rhythms. The goal is one giant block of chordal sound.

This is not what you want in an accompanied melody on the harpsichord. Many different arrangements are possible and highlight the melody (or melodies in counterpoint) on different ways.

If composing for the harpsichord, remember that the sound is clearer and that thus fairly dense chords may sound fine fairly low. Thirds do not sound muddy until slightly past the C below middle C. If the thirds are arpeggiated in a brise texture, they can make attractive but tenebrous sounds even lower.

One common texture on the harpsichord is chords in close disposition in the left hand with a singable melody farther away in the right hand. The melody can be separated by over an octave from the accompaniment for an even clearer sound. This is the arrangement Pachelbel uses in the arias of his Hexachordum Appolinis; see the first aria of http://icking-music-archive.org/scores/pachelbel/1hexar.pdf. I strongly recommend studying the simple but inspired arias of the entire collection at http://icking-music-archive.org/scores/pachelbel/pahexar.pdf. There are six arias, each with about six masterful variations.

The left-hand chords in such an arrangement are usually about two notes large, sometimes three at cadences. It is vital that the left hand not sound too regular or too loud in such a chordal accompaniment. The number of voices in the accompaniment should constantly change to suit the melody. (Of course the accompaniment can have a faster rhythm in other dances, but care must be taken that the melody is not drowned out. You could, for example, have the left hand play rapid scales, the right hand playing a melody doubled in thirds or in chords.)

In the best homophony there are still hints at counterpoint. Occasionally the accompaniment might hint at one of the melody's motives, as in the second bar of the first Pachelbel aria. The melody can move to the bass or even a middle voice for variety. Any pair of voices can double the melody in thirds or sixths or share a characteristic rhythm.

In your sarabande experiments, be sure to use both the style brise as well as simple rolled chords, separately or together like in the Mattheson courantes.

If you would like to try some phrases or an entire piece in counterpoint, experiment with various dispositions and voicings. The left hand often has accompaniment and the right hand two contrapuntal voices. Or all the voices can share in imitation. The voices should not be too close in the bass, but, as I mentioned, this is not as much an issue on the harpsichord as on the piano.

Brise figures often hint at counterpoint, and the two techniques are often mixed since there is no clear-cut boundary in between them.

RHYTHM

I had planned an extensive section on rhythm, but I don't think I will have enough time today. Most importantly, be sure to observe the rhythms of the sarabandes you study, trying some of them out and observing what beats they accent. The sarabande traditionally accents the second beat of each measure, but some early sarabandes do not and even those that do are never consistent. Phrases may alternate between accenting the second beat and accenting the first and third.

The sarabande is usually a slow piece, but as some of yesterday's examples show, they can be a moderate dance as well, especially in the early 17th century. At a very slow tempo the melodies are likely to have intricate rhythms and flourishes; at a moderate tempo there will be less time for tiny notes but hopefully better flow.

Note: Many of the examples in the attachments do not sound nice in Finale. I might make a rough recoding of me playing them later on to demonstrate the style of performance involved.

Style Brise.MUS

Style Brise.pdf