choral harmonic analysis

The second chord in measure 3 is a V, the B delays the A

The first "?" on the second line is a V7, where G delays F#, same case as before

The last chord of the fourth measure of the second line I would indicate as V/IV

Second question mark, second line, same issue, the A delays G, if you want to be pedantic you can also write I9->8

Third "?" on the second line, passing notes... Bach has a contrapuntal language

ok thanks I had suspected some passing notes but the suspensions, definitely not those..... thanks thanks

Gerardo wrote:

The second chord at measure 3 is a V, the B delays the A

a propositto..... but doesn't it function as harmony in the bass? it seems to me much like a passing seventh....

question: but in the fragment shown, is the resolution of the tritone considered academically correct to have the complete chord, or is it considered an error (under normal conditions C would descend to B)?

AleGozzo wrote:

question: but in the fragment shown, is the resolution of the tritone considered academically correct to have the complete chord, or is it considered an error (under normal conditions do would descend to si)?

In the VII6 with two thirds, it is correct to resolve this way to obtain the complete triad and, moreover, historically that is the most frequent resolution, especially if the chant is given and rises to the third of the tonic chord. Often, if the distance between soprano and alto is wider, the soprano descends by a fifth (a solution very commonly used in Renaissance polyphony).

antares86 wrote:

Hello everyone, I have done my first harmonic analysis of a Bachian chorale...

I am not an expert in harmonic analysis, but I would not consider passing notes on weak beats to be chords; in detail:

2nd measure: the note SI is a passing note and I would not mark the VI chord

3rd measure: I V (the SI is a suspension)

6th measure: the 2nd quarter can be considered passing notes

9th measure: for me, the 2nd quarter is more VII6 (not II) and the 3rd quarter is I6 (not V6)

10th measure: here too, the V doesn't make much sense on a weak beat; it is more correct to consider it a passing note

bottom staff

1st measure: V (not I)

3rd measure: III I6 V7 (with a suspension of the 4th)

5th measure: temporary modulation (veeeery temporary!) to C major and therefore I of C major (the G7 in the last quarter of the previous measure is therefore the V7 of C major)

6th measure: V6 I VII6

8th measure: VI (because 4 3?) IV I

penultimate measure: no 7s, they are all passing notes

How and when to consider a chord versus passing notes? In my opinion, besides the discussion regarding weak beats and trying to understand the composer's "intentions," it is in principle always better to simplify the harmony

dactually, you placed the 2 question marks exactly where we have a suspension (the SOL descending to the FA# leading tone) and an appoggiatura (the LA descending to the SOL (tonic) in the bass)

It is interesting to note how Bach easily performs fifths (penultimate bar above, even if the first is a diminished 5th) and how he performs harmonic syncopations between the last 2 bars in the upper part

naturally IMHO

classic wrote:

How and when to consider a chord or passing notes?

Given that Bach should be analyzed first from a contrapuntal point of view and then harmonic, he is actually the first musician who found balance between the horizontality and verticality of music, so the harmonic sequences should also work from a "functional" perspective... in his language, one generally moves around VI II V and other typical syntaxes... therefore, one should try to trace such frameworks