Harmonic Vocabulary Part Writing Stylistic Features Cadences

D/E Limited, unidiomatic A number of red Awkward Simple, unvaried,

C Harmonic clichs
e.g. I-viib-Ib, Ib-viib-I, IVb-
V7b-I
Correct distribution of
different chord classes
B/A Diminished 7th
Secondary dominants
V7d
Use of melodic/harmonic
minor
alerts modulations limited decoration
few
Unaccented passing
notes
Limited decoration
A number of amber Range evidence of
alerts Bach fingerprints
e.g. i-ib-V / V4-3-I
4-3 suspensions
Strong, independent Cadences decorated
bass line
7-6 / 9-8 suspensions Smooth modulations Phrygian cadence
Accented passing
notes

Red alert checklist

No 2nd inversion chords other than at a Ic- V-I cadence
No diminished chords in root position (vii in major key, ii in minor key)
No consecutive 5ths/8ves
No augmented intervals between two notes in one part (e.g C-F#, Eb-
F#)
Incorrect passing note in V7-I
Incorrect resolution of leading note S or B: LT resolves up by step; Aor
T: may resolve down a 3rd OR up by step.
Dont double leading note

Amber warning checklist

No exposed 5ths/8ves (similar motion to an 8ve or 5 th, where the
soprano has a leap to the interval)
Unprepared 7ths / 7th approached by leap
Any chord iii should be followed by chord vi or occasionally IV
No repeated chord in the same inversion
No repeated bass note
The progression V-IV must have outer parts in contrary motion
The progression IV-V must have outer parts in contrary motion
Avoid progression of chords that rise by a third (e.g IV-VI)
Chord ii should be followed by chord V
Chord VI should be in root position
7th of ii7b must be prepared
7th of 7th chords resolve down by step
Avoid having more than one octave between S-A or A-T
Avoid two leaps in the same direction
Avoid leaps of more than a 4th in one part (except at cadences in the
bass)
Avoid leaps to and from a 1st inversion chord