The second version of my reharmonization of the soprano from BWV 286 (with some analysis!)

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Note: In case you're interested, here is the link to the first version:

   • The first version of my reharmonization of...  

and here is the link to a third version:

   • The third version of my reharmonization of...  

I am hopeful there will be enough people who want me to continue an analysis of how I reharmonized this chorale melody, but I will start by only covering 1. How I created the cadence points in my reharmonization and compare them to the cadence points from Bach’s harmonization, 2. The creation of the bass as a foundation for my reharmonization of the chorale melody, and 3. A discussion of the chords in the first measure of my reharmonization.

Rather than have a “full-blown” cadence (by this, I mean the cadence involves two chords) at the first fermata, Bach instead has an Esus4 chord on the first beat of the third measure (with A in the tenor) resolving to an E major chord on the third beat (resolution of A in the tenor to G#), which creates an effect similar to a “full-blown” cadence.

For the cadence at the second fermata, Bach has an E major chord on the second beat of the sixth measure, with a resolution to an A minor chord on the third beat.

For the first fermata of my reharmonization, I decided to have a B major chord on the second beat of the third measure resolving to an E minor chord on the third beat. I used an E minor chord instead of an E major chord to keep the A minor tonality (since in a minor natural minor scale, the v chord is a minor chord).

For the second fermata of my reharmonization, I basically used the same cadence as Bach, except the E major chord is on the second beat of the sixth measure, and I preceded the E major chord with a B major chord on the first beat.

I originally decided to reharmonize this chorale melody as a challenge to see how stepwise I could make the bass line (I play the electric bass for decades now, so I probably look at the bass line I little more differently than most people who would reharmonize a chorale melody). Also, I tend to like to have the bass line move in contrary motion to the soprano – you will notice this happens a lot in my reharmonization. It creates a strong contrast to the soprano – besides, with contrary motion you don’t have to worry about parallel fifths and/or octaves!

Since the chorale melody is in A minor and I see the soprano is mostly going up, I decide to start by having the bass start on A on the top line of the staff rather than the A on the bottom space on the staff so it gives me room to go down in contrary motion to the soprano. Just in case, I still check to make sure there’s no parallel fifths or octaves.

I started with an A minor chord on the pickup measure and then an F major chord on the first beat of the first measure. I decided to have a B diminished seventh chord on the second beat of the first measure, which nicely proceeds to the C minor chord on the third beat of the first measure. I could have had the B diminished seventh chord resolve to C major chord (since the III chord in A minor is a major chord), but I like the C minor chord as a way to introduce a chord from outside the A minor tonality, and it especially seems to work here since both the B diminished seventh chord that precedes it on the second beat of the first measure and the G major chord that follows it on the fourth beat of the first measure just as easily resolves to the C minor chord (it’s interesting to note the notes of these three chords all fit neatly into a C minor harmonic minor scale!) By the way, if I used a B half diminished seventh chord on the second beat of the first measure (with A in the alto), there would have been parallel fifths between the alto and bass. The Ab in the alto breaks this up, but not only that - it also helps to create a nice chromatic line going from A on the first beat down to F# on the upbeat of the fourth beat. I’m aware some people might want to interpret the chord on the upbeat of the fourth beat in the first measure as a D major 7th chord in second inversion, but that can be explained away as just being a passing six-four chord.

Wow, there was a lot of stuff happening in that first measure! I plan to continue with a discussion of the chords in the second measure – feel free to ask any questions or make any comments!