Bach’s chorale harmonizations
E912931
Bach’s chorale harmonizations are a celebrated collection of four-part Lutheran hymn settings that exemplify his mastery of tonal harmony and voice leading.
Statements (51)
| Predicate | Object |
|---|---|
| instanceOf |
Lutheran hymn settings
ⓘ
chorale harmonization collection ⓘ sacred vocal music ⓘ |
| avoids |
parallel fifths
ⓘ
parallel octaves ⓘ |
| basedOn |
German chorale melodies
ⓘ
Lutheran hymn tunes ⓘ |
| countryOfOrigin | Germany ⓘ |
| creator | Johann Sebastian Bach NERFINISHED ⓘ |
| genre |
chorale
ⓘ
liturgical music ⓘ sacred music ⓘ |
| influenced |
Western classical harmony
ⓘ
choral writing practices ⓘ tonal harmony pedagogy ⓘ |
| language | German ⓘ |
| movement | Lutheran church music ⓘ |
| notableFor |
exemplary voice leading
ⓘ
functional harmony ⓘ mastery of tonal harmony ⓘ pedagogical value in harmony teaching ⓘ |
| numberOfVoices | 4 ⓘ |
| pedagogicallyEditedIn | 19th century chorale collections ⓘ |
| period | Baroque ⓘ |
| religiousTradition | Lutheranism ⓘ |
| studiedIn |
counterpoint classes
ⓘ
harmony textbooks ⓘ music theory courses ⓘ |
| texture | four-part harmony ⓘ |
| timeOfComposition |
early 18th century
ⓘ
mid 18th century ⓘ |
| typicalCadences |
deceptive cadence
GENERATED
ⓘ
imperfect authentic cadence GENERATED ⓘ perfect authentic cadence GENERATED ⓘ plagal cadence GENERATED ⓘ |
| usedFor |
harmonic analysis exercises
ⓘ
sight-singing practice ⓘ |
| usedIn |
cantatas by Johann Sebastian Bach
ⓘ
motets by Johann Sebastian Bach ⓘ passions by Johann Sebastian Bach NERFINISHED ⓘ |
| usesTechnique |
functional tonality
ⓘ
modulation to closely related keys ⓘ neighbor tones ⓘ passing tones ⓘ pedal points ⓘ secondary dominants ⓘ suspensions ⓘ |
| voiceTypes |
alto
ⓘ
bass ⓘ soprano ⓘ tenor ⓘ |
Referenced by (1)
Full triples — surface form annotated when it differs from this entity's canonical label.