&
?
4
4
4
4
b
b
bb
bb
PAC
___:
Cadential six-four
œœ˙
I IV I6
4V
T D
w
I
T
IAC
___:
˙œ# œ
i V6 5
3
T D
˙ Ó
i
T
___:
PAC
œœœœ
I vi ii6V
T PD D
w
I
T
&
?
###
###
4
3
4
3
bbb
bbb
( )
___:
S-B voice exchange
œœœ
i vii˜6i6
T
HC
˙œ
ii6 5
3
PD
.
˙
V
D
( )
___:
Parallel 10ths
between S & B
˙œ
I vii˜6
T
HC
˙œ
I6ii6
PD
.
˙
V
D
&
?
#
#
4
4
4
4
####
####
bb
bb
DC
___:
T PD D
œœ˙
I ii6Vvi
"T"
w
___:
T D T
œœ˙
I V I
PC
˙˙
IV
A -
I
men.
HC
Phrygian
( )
___:
Note use of a minor dominant triad
to harmonize a descending, uninflected ^7.
œœ˙
i v6iv6
T PD
w
V
D
1. 2. 3.
4.
Given a bass line and harmonic analysis, identify the key and compose a 4-voice SATB setting of the phrase
that concludes with the given cadence type and employs the given voice-leading paradigm (where indicated
within a box above the staff).
5.
6. 7. 8.
BAIN MUSC 116
Theory of Tonal Music I
Worksheet 10-1
Cadences and Part Writing
{1 pt. per chord and motion;
2 pt. per key symbol;
2 pt. per cadence;
2 pt. per voice-leading paradigm}
