ENTRY 5

FROM SPECIES TO CHORALE STYLE SOPRANO & BASS LINES

* The composition of a soprano and bass lines chorale-style has the characteristic of other species involved, along with embellishment added to the melody allowing it to be more attractive. 

SOPRANO & BASS LINES CHORALE-STYLE


* The cantus-firmus normally uses semibreve notes to establish the bass part of the melody, this and the other voices is now set-up like a fifty species counterpoint, and it still continues to carry the bass line for the melody. 

THIS IS HOW A BASSLINE WOULD LOOK


* Passing tones, neighbour tones and consonant skips are all used in the chorale style soprano and bass lines melodies. 

PASSING TONES      NEIGHBOUR TONES   CONSONANT SKIP


* There are three kinds of passing tones, the dissonant that is either accented or unaccent and the consonant passing tone. These passing tones are commonly found in chord suspensions.
Unaccented passing tone



* As in strict style species counterpoint, the dissonant suspensions in the soprano and bass lines chorale-style are the same in the upper voice 4-3, 7-6, and 9-8 also in the lower, there is the 2-3 and (n9-10). 

 * The seventh chord is commonly used in soprano and bass line chorale-style, especially when approaching the end of the melody. The dominant seventh chord is usually the chord just before the last chord. The leading note of this chord is resolved by a step-up and the dissonant fourth by a step-down. 

The Dominant 7th Is The Chord Before The Last 




This Video Explains The Bassline In Chorale Style Arrangement



This Video Describes The Sopranos and Bass Lines


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