To Part or Not To Part?: That Is the Question
Posted: Wednesday, August 20, 2008
by Elfreda Eriksen
If two part writing in the style of Bach is on the syllabus how many teachers really have the skills to teach it? Quite a few I have no doubt, but what training is provided for those who haven't got a clue or need to brush up on their existing skills? How do they manage to bluff their way through the techniques? Well, there are books on two part writing of course and the odd course here and there. Many courses seem to be preoccupied with teaching class management or cover syllabus changes rather than being subject specific.
in the hope of providing some support to those teachers who are probably brilliant in other areas of the syllabus, but could do with a booster shot on the art of two part writing. Some of it will be very familiar to you and this will hopefully encourage confidence that you actually knew it all in the first place.
In the first of these 5 articles, we will be briefly considering the following areas:
- Related Keys
- Figured bass
- Basic harmonic and melodic rules
- Stylistic continuity
What are related Keys? Why is it important to know the related keys? These are two very important questions that students must discover the answers to, as this is the first thing they have to consider before tackling either a Bach Chorale or a two part exercise. There are a number of ways students can be taught this and I suggest spending time instilling this knowledge at the very beginning. In my 2nd article, I will offer ways of teaching the related keys.
What are the related keys? They are the keys that either have the same number of sharps or flats in the key signature, or one more or one less sharp or flat than the home key. For example, F major has one flat and is related to d minor with one flat. Bb major and related key g minor have two flats (one more than F major) and C major and a minor both have one flats (one less than F major.)
Read article 2 for ideas on how to get students to discover the related keys for themselves via problem solving visual methods.
Why is it important to know the five related keys? This is a question that students will be able to come back to every time they experience a new two part exercise or indeed a new chorale. First they have to know what key they are dealing with and then they have to know what keys to modulate to. Modulation (key change) usually involves going from the "home" Key (original key) to one or more of it's five related keys. For example a piece in C major is likely to modulate to a minor or the other 4 related keys of C major. C d e F G a (Capitals=major lower case =minor)
D e f sharp G A b.
Figured Bass
Figured bass are the numbers placed under the bass of the two part writing. For example:6 6 4-3
3 4
It is a musical shorthand that informs the keyboard player (harpsichord player) which chords to play. In Baroque two part writing the composer just gave the top melody and bass line and left the keyboard player to fill in the rest of the harmony. The numbers are really very easy to decipher if you understand the basic principles. In article 3, I will go through the principles of interpreting the figured bass.
Basic melodic and harmonic rules
In order to secure good marks in an exam there are a number of basic rules that must be adhered to. A check list of all the rules should be kept and the students should attempt to memorize them. These rules should govern the choices that are made and reasons should be given to students as to why these rules are in place. For example, in the melody line, augmented intervals such as an augmented 2nd should be avoided. Listening to the
sound should supply adequate reason why the interval should be avoided. The students should have been introduced and should have listened to Bach's two part intentions to get a feel for the melodic shape and style. Harmonic rules also need to be considered. For example, making sure the root of a second inversion chord is not doubled and is approached and resolves correctly.
In article 4 we will consider the rules of two part writing, most of which also apply to chorale writing.
Stylistic continuity
When attempting to maintain a consistent style throughout a two part composition, there are a number of basic considerations. Firstly, each movement in a Baroque style piece only has one mood expressed throughout. Bach, for example, was very economical with his musical material and would employ ideas from the opening bars to extend the movement. Devices such as imitation, sequences, invertible counterpoint, help to extend melodic ideas. Rhythmic and melodic features should be maintained and the instrumental ranges and styles considered.
Article 5 will look at aspects of stylistic continuity in greater depth. In the meantime it would be beneficial to listen to a number of Bach two part inventions and analyze the harmonic and melodic features of each piece.
I hope that this initial article has been of some interest to those teachers wanting to know
the basic areas to look at when considering two part writing. If you would find the articles that follow shortly of any use, please don't hesitate to send me some feedback and some further suggestions on other aspects that would help to support your teaching of Compositional techniques.
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Top-level comments on this article: (7 total)Hello dear namesake, Eriksen that is,Though I used to play a lot of insruments, the organ and the accordion amongst some and which I own 10 of(Honestly), your article was to heavy for me.But I want you to know I read it, and that maybe later I can make some sense of it. You are proberbly a very advansed musician, and I did not mean to hurt in any way by responding to you this way.That is the bad news.And here is the good news. Thanks for joining my fan club, and if OK by you, I joined yours.With warm regards,Mr. Eaka Olof
I am by no means any type of musician; however, although most of your article was way over my head, I did find it interesting. I try hard to read some of the music as I sing in a choir in church, but find most of it much too complicated for me. Enjoyed your article none the less and hope many of your readers will benefit from it.Sandra
I really miss playing the viola and piano. All I do now is sing praise and worship music.When I was in school I was blessed to play the viola in the juinor symphany. I would be surprised if I could pick up that lovely instrument and even read 'Mary had a little lamb' today. God bless you!
hi elfreda,this was a great article, although, i am like sandra, music is way over my head, but you wrote about it beautifully. i believe this one, and your planned articles will help others. my dream has always been to be able to sing-too bad, maybe the next life :) if i could be stevie knicks for a day, yeah!thank you for joining my fan club, i truly appreciate it.i look forward to more of your articles.my best to you,sue thom
Thank you so much for your kind and encouraging comments Sue. I have really enjoyed your articles and am proud to be one of your fans.Look forward to reading all your other articles.Again, many thanks for your great comments.Elfreda
Ha! I sure wish that I could bluff my way through the techniques! I love Bach. My parents were avid classic music lovers, and so I grew up listening to Bach, Beethoven, Mozart, Chopin, etc..I will have to ask my mother, but I am sure it was a Mozart or Bach Sonata that they used to play on the morning of our birthdays whilst we opened our presents - sleepy eyed and in our jammies! It was a tradition that I would love to continue!
Hi,Great article! It is over my head but I think I 'get' it. I listen to all types of music ('cept C&W) and firmly believe that all music is central to a healthy life and society. I look forward to the other articles.Phil
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