In chorale music, the four voices move independently, and the only thing to think about when writing in this style is what it’s going to sound like, because you’re not limited to the confines of a specific instrument. The first nine bars are then repeated, followed by a different ending wherein the progression resolves nicely to an A major chord. Now play through the rest of the progression through the first ending, taking notice of the voice leading-the notes that stay the same versus the notes that change. If you now look at the first five chords, you will see that, as the bass notes move around, the higher voices either remain constant or move only a half step or whole step up or down. Notice that the first three chords here, Am, F/A and Dm7, share a high C note on top. Following the first six chords, bars 3 and 4 present the next six chords. FIGURE 3 depicts the first 20 bars of “Omnis Mors Aequat,” wherein each chord is played with a tone swell.
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