Part Writing Flashcards
In 5/3 chords: Double the _____, which in this case is also the _____.
Double the BASS, which in this case is also the ROOT
In 5/3 chords: Use the _______
Common Tone
In 5/3 chords, after using the ______, lead the other two parts the ____ ____ to ____ ____
After using the COMMON TONE. Lead the other two parts the SHORTEST DISTANCE to GOOD DOUBLING.
What are the two specific cases that are exceptions for keeping the common tone?
When connecting two 5/3 chords whose roots lie a second apart (IV to V)
When connecting two 5/3 chords, and the soprano note in the first chord moves down by step to double the bass in the second chord.
Ex: V-I with soprano of Re-Do, or in minor Ti-La
When connecting two 5/3 chords whose roots lie a second apart, the upper three voices will move in _____ motion and will be _____ to the bass.
similar motion / opposite
If the chord roots lie a 4th or 5th apart, there will be _____ common tone(s).
One
If the chord roots are a 3rd or 6th apart, there will be _____ common tone(s).
Two
Deceptive Cadence Rule
Double the third of the vi (VI) chord by step
Deceptive Cadence Rule applies when….
You can do it Always
Absolutely Always in minor
Always in Major when the LT is in the soprano
In a major or minor 6/3 one can double _____ unless it is a(n) ______
anything / active tone
What are considered active tones?
LT or seventh in the chord
In a major or minor 6/3 the best “sounding” doubling is the _____ with one of the ______
soprano / inner voices (alto, tenor)
T or F?
Issues of voice-leading, avoidance of leaps, smooth part-writing, are less important than doubling the soprano in a 6/3 chord.
False
these all trump this doubling idea
In a major or minor 6/3 the least successful doubling is the _____
Bass
T or F
sometimes you will need to double the bass in a 6/3 chord
True
It’s the least desirable, but will be necessary at times
When writing consecutive 6/3 chords, one will HAVE TO _____
Vary the doubling, otherwise parallel fifths, octaves or unisons are bound to result.
When part-writing diminished 6/3’s the best doubling is usually the ______.
An alternative: Sometimes if the ____ is in the ____, one can double it
bass
fifth / soprano
A cadence is:
a way to end a phrase
The form of a piece of music is articulated by _____.
cadences
PAC
Perfect Authentic Cadence
In a PAC a ___ chord goes to a ___ chord (major or minor keys)
Both chords are in ____ and the ___ chord has the ____ in the soprano
V to I
root position / tonic (I) / root
PAC soprano
7-8 or 2-1
DC
Deceptive Cadence
Deceptive Cadence is ___ chord to ___ chord
V to vi (in minor V to VI)
DC soprano
7-8 or 2-1
IAC
Imperfect Authentic Cadence
In an IAC the soprano _______
varies
LT IAC stands for
Leading Tone Imperfect Authentic Cadence
LT IAC is _____ chord to ____ chord
viio6 / I
HC =
Half Cadence
An HC is:
An open cadence ending on V, usually preceded by tonic or subdominant
HC soprano is _____. _____ is common with I to V and ___ is typical with IV to V
Half cadence soprano is Variable. 3-2 is common with I to V and 4-2 is typical with IV to V.
PHC =
Phrygian Half Cadence
The PHC occurs in ____
minor only
PHC chords are
iv6 to V
Plagal Cadence chords
IV to I (major or minor)
Plagal cadence soprano is ______
variable
Plagal cadence is also called the ____ cadence
“AMEN”
found at the end of hymns
6/4 chords double the _____
Bass
