- Keep most of the harmony simple by starting from stage one and only harmonic changes that are necessary in order to improve the bassline
- Use characteristic progressions from Bach's own chorales as often as you can
- Ib and VI are the best approach chords to IIb7 in the run up to a cadence
- All other things being equal, it is a good idea to keep a root position I on the first strong beat of a chorale or its upbeat (in fact, this is not a bad rule of thumb for all phrases)
- Root progressions using falling thirds (e.g. VI to IV and I to VI) are much better than those using rising thirds
- If you use the same chord twice in a row, make sure that one is in root position and one is in first inversion
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- Don't use second inversions other than IC in IC - V - I
- Avoid progressions using II other than as an approach chord to V
- Don't use II in root position in minor keys (it is a diminished chord)
- Don't use III other than as an approach to VI and avoid in minor keys altogether
- Avoid progressions between IV and V unless the melody is going in the opposite direction to the root progression of the two chords (same goes for V and VI)
- Only use VI in root position (but VI is otherwise the most flexible secondary chord - it can progress effectively to IV, V and
- Don't use VII other than as VIIb resolving either to I or Ib
ii7b)
- Don't repeat the bass note (except from the upbeat to the downbeat in an anacrusic first phrase and in IC-V or V4-3)
- Don’t use passing notes in inner voices (except for at cadences) unless you are sure you know what you are doing (rising sixths and falling sevenths work best)
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