| A | B |
|---|
| Melodic Augmented Second | Melodic augmented 2nd= These are always a problem in MINOR KEYS, especially when connecting IV and V= When you finish an exercise in a minor key, check each leading tone (first make sure they're there in the first place!) to make sure it isn't approached from scale-degree 6 |
| Antiparallel 5ths; Antiparallel 8ves | Antiparallel 5ths; Antiparallel Octaves= Motion from 5th to 5th, or 8ve to 8ve, in CONTRARY MOTION= You'll most likely write these in the bass and tenor voices |
| Dominant to Predominant | Dominant to Predominant (D-->P)= As a general rule (for now...) in common-practice tonality dominant chords go to TONIC= Dominants should never go to predominants |
| D5-P5 | Bad similar 5ths= Avoid motions from a diminished 5th to a perfect 5= EXCEPTION: motions from I to I6 with THREE ascending parallel 10ths between bass and soprano |
| Doubled Leading TOne | NEVER DOUBLE THE LEADING TONE!!!!!= Check your dominant harmonies (V, V7, VII, and its inversions) |
| HR | Don't repeat a harmony from a weak to a strong beat= Note that a chord and its inversions are construed as the same harmony |
| Hidden 5ths and 8ves | Hidden 5ths and 8ves= These are 5ths and 8ves approached in similar motion= Are not allowed if (a) they involve the bass and soprano, and (b) the soprano moves by skip or leap= All other hidden 5ths and 8ves are OK= So, when you finish writing your bass and soprano lines, check every time the soprano leaps to make sure that there are not any bad hidden 5ths and 8ves |
| Incomplete (Inverted) Chord | Incomplete inverted chord= For now, inverted chords MUST be COMPLETE |
| Leading tones in Minor | Always form leading tones in minor |
| MOD PAC | Always confirm modulation with a perfect authentic cadence |
| Melodic Tritone | Melodic Tritone= In general, melodic augmented intervals are not allowed in strict partwriting= Diminished ones are usually ok= These almost always involve the leading tone, so check the leading tones to make sure they're approached and left correctly |
| Melodic 7th | Melodic 7th= In general (for now..) voices should NEVER leap amore than a 5th |
| Melodic leap larger than an octave | Melodic leap larger than an octave= DO NOT leap more than an octave, especially a 9th |
| Motion from an octave to a unison (or visa-versa) | Motion from an octave to a unison (or visa-versa)= AVOID!!!! |
| Pivot Problems | Pivot Problems= The pivot should be a predominant in the new key (i.e., Iv, II, or VI)= It usually occurs before the first "significant" accidental |
| Parallel Unisons | Parallel Unisons (NEVER HAVE!!!)= Will probably involve the tenor and alto voices |
| Similar Motion to a doubled 3rd | Similar motion to a doubled 3rd= Avoid these whenever you're moving from V7 (or its inversions) to I= As a rule, then, you should avoid motions from V^7 to I^6 |
| Supertonic Expanding Tonic | Supertonic Expanding Tonic= Never use supertonic to connect 2 forms of the tonic= Use dominant function chords (V, V7, and their inversions, viiº6, and IV) |
| Unresolved Leading Tone in Soprano or Bass | Unresolved Leading Tone in Soprano or Bass= Whenver the leading tone occurs in one of the outer voices it MUST resolve (UNLESS you're moving to another dominant chord)= So, unless V6 (or V6/5) is moving to another inversion of V7, it must resolve to I |
| Unprepared 4th | The fourth of a cadential 6/4 must enter as a common tone in the same voice |
| Unprepared 7th | For all 7th chords (other than V^7, viiº7, and their inversions), the 7th of the chord must enter as a COMMON TONE in the SAME VOICE |
| 4th of Cadential 6/4 | Must resolve down by step |
| Augmented 5th of an altered triad or 7th chord | Must resolve UP to the 3rd of the next chord= (**NOTE** that in minor keys this will be the SAME NOTE) |
| 7ths of Seventh Chords | Should resolve DOWN by STEP= EXCEPTIONS: (1) when the 7th is transferred to another voice of a subsequent dominant seventh chord, or (2) when a V^[4/3] connects I and I^6 AND there are THREE consecutive ascending parallel 10ths in the outer voices |
| Voice Crossing | NOT ALLOWED= Is easy to do this between the tenor and alto voices |
