Part Writing

Question 1

In 5/3 chords: Double the _____, which in this case is also the _____.

Answer 1

Double the BASS, which in this case is also the ROOT

Question 2

In 5/3 chords: Use the _______

Answer 2

Common Tone

Question 3

In 5/3 chords, after using the ______, lead the other two parts the ____ ____ to ____ ____

Answer 3

After using the COMMON TONE. Lead the other two parts the SHORTEST DISTANCE to GOOD DOUBLING.

Question 4

What are the two specific cases that are exceptions for keeping the common tone?

Answer 4

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

Question 5

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.

Answer 5

similar motion / opposite

Question 6

If the chord roots lie a 4th or 5th apart, there will be _____ common tone(s).

Answer 6

One

Question 7

If the chord roots are a 3rd or 6th apart, there will be _____ common tone(s).

Answer 7

Two

Question 8

Deceptive Cadence Rule

Answer 8

Double the third of the vi (VI) chord by step

Question 9

Deceptive Cadence Rule applies when….

Answer 9

You can do it Always

Absolutely Always in minor

Always in Major when the LT is in the soprano

Question 10

In a major or minor 6/3 one can double _____ unless it is a(n) ______

Answer 10

anything / active tone

Question 11

What are considered active tones?

Answer 11

LT or seventh in the chord

Question 12

In a major or minor 6/3 the best “sounding” doubling is the _____ with one of the ______

Answer 12

soprano / inner voices (alto, tenor)

Question 13

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.

Answer 13

False

these all trump this doubling idea

Question 14

In a major or minor 6/3 the least successful doubling is the _____

Answer 14

Bass

Question 15

T or F

sometimes you will need to double the bass in a 6/3 chord

Answer 15

True

It’s the least desirable, but will be necessary at times

Question 16

When writing consecutive 6/3 chords, one will HAVE TO _____

Answer 16

Vary the doubling, otherwise parallel fifths, octaves or unisons are bound to result.

Question 17

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

Answer 17

bass

fifth / soprano

Question 18

A cadence is:

Answer 18

a way to end a phrase

Question 19

The form of a piece of music is articulated by _____.

Answer 19

cadences

Question 20

PAC

Answer 20

Perfect Authentic Cadence

Question 21

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

Answer 21

V to I

root position / tonic (I) / root

Question 22

PAC soprano

Answer 22

7-8 or 2-1

Question 23

DC

Answer 23

Deceptive Cadence

Question 24

Deceptive Cadence is ___ chord to ___ chord

Answer 24

V to vi (in minor V to VI)

Question 25

DC soprano

Answer 25

7-8 or 2-1

Question 26

IAC

Answer 26

Imperfect Authentic Cadence

Question 27

In an IAC the soprano _______

Answer 27

varies

Question 28

LT IAC stands for

Answer 28

Leading Tone Imperfect Authentic Cadence

Question 29

LT IAC is _____ chord to ____ chord

Answer 29

viio6 / I

Question 30

HC =

Answer 30

Half Cadence

Question 31

An HC is:

Answer 31

An open cadence ending on V, usually preceded by tonic or subdominant

Question 32

HC soprano is _____. _____ is common with I to V and ___ is typical with IV to V

Answer 32

Half cadence soprano is Variable. 3-2 is common with I to V and 4-2 is typical with IV to V.

Question 33

PHC =

Answer 33

Phrygian Half Cadence

Question 34

The PHC occurs in ____

Answer 34

minor only

Question 35

PHC chords are

Answer 35

iv6 to V

Question 36

Plagal Cadence chords

Answer 36

IV to I (major or minor)

Question 37

Plagal cadence soprano is ______

Answer 37

variable

Question 38

Plagal cadence is also called the ____ cadence

Answer 38

“AMEN”

found at the end of hymns

Question 39

6/4 chords double the _____

Answer 39

Bass