1/18
Looks like no tags are added yet.
Name | Mastery | Learn | Test | Matching | Spaced | Call with Kai |
|---|
No analytics yet
Send a link to your students to track their progress
Number 1
No parallel octaves
Number 2
No parallel fifths
Number 3
Retain the common tone
Number 4
Bass moves ‘root to root’ unless there is an inversion
Number 5
For triads in four part harmony - double the root (first choice), then the fifth (second choice), then the third choice (last choice, with reason)
Number 6
double the fifth as a first choice on 6 4 chords
Number 7
Going I-vi, retain two common tones
Number 8
Tenor line may be the most “static” voice
Number 9
No jumps of an augmented second in a melody
Number 10
Going I-IV - Bass to Bass, retain the common tone, other two voices will ascend
Number 11
Going I-V - Bass to Bass, retain the common tone, other two voices will descend
Number 12
Going IV-V - Bass to Bass, all other voices “get down”
Number 13
Going V-vi - double the third on the vi chord
Number 14
Going V-I - 3rd of the V chord ascends to the Root of the I chord
Number 15
Going V7-I - 3rd of the V chord ascends to the root of the I chord, and the seventh of the V chord descends to the third of the I chord
Number 16
Don’t overlap voices
Number 17
Don’t cross voices
Number 18
No more than an octave between soprano and alto, and alto and tenor. Bass can be more than an octave from tenor.
Number 19
Observe ranges of soprano, alto, tenor, and bass