Contextual Analysis of Chorale Phrases

Instructions

1. Listen to the SATB harmonization by J.S. Bach.
   An audio plug-in (mp3) is required for playback.
2. Listen to the S-B counterpoint.
3. Locate the cadence and identify it as: PAC, IAC or HC.
4. Given a Roman numeral analysis (K/P 2008), provide a contextual analysis for the phrase.
   Click on the music example to see the contextual analysis. Double-click the example to hide it.
5. Read the analytical commentary and attempt to answer the question posed.

Example 1

J.S. Bach, "Wie schön leuchtet der Morgenstern" (How beauteous beams the morning star)

( ) - Indicates an ornamental tone.
Do NOT include these tones in your harmonic analysis.

Analytical Commentary
Note the sense of finality that is achieved when the melody ends on the tonic scale degree over a V–I progression. This is a quintessential example of a perfect authentic cadence (PAC). Listen carefully for the arrival of the dominant (D) in m. 2 and study how Bach adds the chord 7th to V in the Tenor voice at cadence. Also note how the tonic expansion begins and ends on a root position tonic triad and features parallel 10ths in the outer voices (S & B, m. 1). The parallel 10ths voice-leading paradigm is often found in tonic expansions. In your opinion, does the addition of the chord 7th to V at cadence (i.e., V⁷-I) sound more conclusive than a V-I progression? Explain your answer. ANSWER

Sources: Riemenschneider 1941, Chorale No. 195, mm. 5-6; K/P 2008, p. 646.

Example 2

J.S. Bach, "O Herre Gott, dein Göttlich Wort" (O Lord God, your divine word)

Analytical Commentary
In this case, the melody's final note is not the tonic scale degree. Compare the imperfect authentic cadence (IAC) in this example with the PAC in the previous example. Notice how the IAC sounds significantly less conclusive. ompare and contrast the use of root position chords (exclusively) in this harmonization with the use of inverted chords in the previous example. Now study the bass line. Notice how the bass line arpeggiates, or outlines, the vi chord at the beginning of the phrase. The vi chord is also emphasized by the V⁷-vi deceptive motion that concludes the tonic expansion. What chord is used to harmonize the descending seventh scale degree in the melody (m. 1)? ANSWER

Source: Riemenschneider 1941, Chorale No. 14, mm. 1-2; K/P 2008 RNA, p. 118.

Example 3

J.S. Bach, "Warum betrübst du dich, mein Herz?" (Why art thou troubled, O my heart?)

Analytical Commentary:
This phrase, which ends on V, is a typical example of a half cadence (HC). Notice how the raised sixth and raised seventh scale degrees are used to establish the minor key. With the exception of a single chord, all of the sonorities may be classified as tonic or dominant harmonies. In a K/P-style Roman numeral analysis, chords that serve an ornamental function are typically enclosed within parentheses. Notice how the half-diminished submediant chord is used to lead from V to vii^o. 1. As demonstrated in this example, vii^o may be used a chord subsitution for V because both chords share which phrase-model function? 2. Which chord member of vii^o is doubled? ANSWER

Source: Riemenschneider 1941, Chorale No. 145, mm. 4-6; K/P 2008 RNA, p. 247.

Example 4

"Jesu, der du meine Seele" (Jesus, thou who this my spirit)

Analytical Commentary
Again note the function of the raised seventh scale degree, the leading tone, in this the minor key example. This phrase contains our first example of pre-dominant function (PD). Listen carefully for the arrival of the pre-dominant (PD), a supertonic seventh chord in first inversion. Note the careful resolution of the dissonant Bb-F# interval (a d4) in the bass line. In the Baroque period, it was common to raise the third of the final tonic chord as shown in this example. What is this idiom called? ANSWER

Source: Riemenschneider 1941, Chorale No. 297, mm. 15-16; K/P 2008 RNA, p. 646.

Example 5

"Nun ruhen alle Wälder" (Now rest beneath night's shadow)

Analytical Commentary
Listen carefully for the arrival of the pre-dominant chord. Also notice how Bach incorporates T-PD-D-T motion within the tonic expansion. Laitz (2008) calls this an embedded phrase model (EPM). At this point in the course we do not want you to label EPMs, but we would like you to notice them. Which of the previous examples (Ex. 1-4 above) also features an EPM within the tonic expansion? ANSWER

Source: Riemenschneider 1941 Chorale No. 287, mm. 1-2; K/P 2008 RNA, p. 214.

Example 6

"Herr Christ, der ein'ge Gott'ssohn" (Lord Christ, the only Son of God)

Analytical Commentary
Like Example 3 above this phrase concludes with a HC, however, here the V chord is expanded. Notice how the tonic chord in m. 2 does not serve its normative tonic function, rather, it serves to embellish V. This is referred to as a dominant expansion. The predominant area is also expanded. As shown in this example (and in Ex. 3 above), what symbol does K/P frequently use to indicate that a chord in a Roman numeral analysis serves an ornametnal function. ANSWER

Source: Riemenschneider 1941, Chorale No. 101, mm. 5-6; K/P 2008 RNA, p. 634.

Example 7

"O Ewigkeit, du Donnerwort" (Eternity, thou thundrous word)

Analytical Commentary
Notice the emphasis on the vi chord in this example. In both the bass line (see the implied F-D-A outline) and the harmonization (vi appears twice in m. 1), this chord is emphasized. This rather complex tonic expansion begins on a root position tonic and ends on a first inversion tonic chord. Be sure to study the descending 5th root motions vi-ii and iii-vi, and the contrary motion in the outer voices which help give the progression a strong sense of directed motion. When ornamental tones are present, more than one legitate Roman numeral analysis may often be possible. In this interpretation what member of the iii⁷ chord is assumed to have been omitted? ANSWER

Source: Riemenschneider 1941, Chorale No. 26, mm. 2-4; K/P 2008 RNA, p. 110.

Chorale title translations by Z. P. Ambrose.

References

Ambrose, Z.P. Texts for the Complete Vocal Works [of J.S. Bach] with English Translation and Commentary. Available online at: http://www.uvm.edu/~classics/faculty/bach/

Kostka, Stefan and Dorothy Payne. 2008. Tonal Harmony: With An Introduction to Twentieth-Century Music, 6th ed. New York: McGraw-Hill.

Laitz, Steven. 2008. The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening, 2nd ed. New York: Oxford.

Riemenschneider, Albert. 1941. 371 Harmonized Chorales and 69 Chorale Melodies with figured bass by J. S. Bach. New York: G. Schirmer.

Updated: 1/6/2012