Choosing appropriate chords
Cadence Points -----
Concluding cadence: would either be perfect or plagal
Cadence/s in the middle of given phrase would often be imperfect cadence or interrupted cadence.
Preceding a cadence ---
Hierarchy of predominant chords
Chord
vi IV ii
Strength of anticipation to V (from weakest to strongest)
In understanding this, more effective harmonisation would avoid putting chord vi after ii or chord vi after IV. We can also deduce the most ideal chord succeeding ii is a V.
As you work backwards, aim to use stronger predominants first if you have options.
Starts of phrases ----
It is often good to start the first phrase with V or I to establish the key. For subsequent phrases, primary chords are always good option.
When to use first inversion chords ----
The bass voice is often the only voice that leaps are permitted whereas the upper voice requires smoother voice leading.
First inversion chord options help to create smoother bassline movement, which is ideal where possible. If there are options to use either the first inversion or root position, look at the bass note of the subsequent chord to assess which one is smoother.
Few Pointers on Doubling
- "Doubling Hierarchy": The most common doubling option is doubling the root of the chord, then double the 5th, and rarer, doubling the 3rd. Double the root where you can and try the 5th as as a second choice.
- Exception for chord VI, of doubling the third and chord I where you can triple the root in perfect cadence.
- It may be appropriate to choose an alternative doubling option if it can create smoother voice leading or aid in avoiding consecutive and parallel errors.
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