Music Theory Quick Facts Sheet
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3MUSIC THEORY QUICK FACTS SHEET
NON-CHORD TONES
PART-WRITING RULES
Type
Approached By:
Left By:
Neighbor Tone
step
step in opposite direction
1. Allow all tendency tones to resolve correctly.
Passing Tone
step
step in the same direction
2. Do not create parallel octaves, fifths, or unisons
Appoggiatura
leap
step in the opposite direction
(by parallel or contrary motion).
Escape Tone
step
leap in the opposite direction
3. If it is possible to keep a note, do so, if not, move
Suspension
same note
step down
each part by the smallest possible interval. Avoid
Retardation
same note
step up
leaping by large, or difficult intervals – especially
Anticipation
step or leap
same note
augmented intervals.
4. No more than an octave between SA and AT.
Pedal Tone
same note
same note
5. No crossed voicings or overlapping of voices.
6. When there is a choice of which chord member to
TENDENCY TONES
double, use the most stable tone present. Usually,
• The leading tone in a V or vii
o
chord resolves UP by step
this is the root, followed by the fifth. Never
to the tonic pitch when going to I or vi.
double a tendency tone as this will force you to
• The 7
th
of any chord resolves DOWN by step.
break rule 1 or 2.
• The root of a Neapolitan chord (lowered 2
nd
scale degree)
7. Never omit any note of a triad or seventh chord
rd
resolves DOWN by diminished 3
to the leading tone of
except the fifth – and only omit the fifth when you
a V chord.
must do so in order to follow rule 1.
• The pitches forming the augmented 6
th
interval in any of
the augmented sixth chords resolve outward by halfstep
These principles assume that you have written with the
in both directions to the dominant pitch.
•
correct ranges and that all the chords actually contain
Any pitch that is altered usually resolves in the direction
the notes you say they do.
of its alteration.
CADENCE TYPES
Cadence Name
Identifying Characteristics
7
V or V
moving to I. Both chords in root position. Soprano on root of I chord.
PAC
(Perfect Authentic Cadence)
7
IAC
V or V
moving to I, but with either an inverted chord, or the soprano not finishing on
(Imperfect Authentic Cadence)
the tonic.
A cadence that ends on a V chord. The V chord can be approached from a number of
HC
(Half Cadence)
other chords (I, ii, IV, V/V, etc.)
PC
IV moving to I. Also known as “church” cadence. Named for the “Amen” commonly
(Plagal Cadence)
used at the end of hymns.
A cadence that creates the expectation of going to I, but substitutes another chord
DC
6
(Deceptive Cadence)
instead. Common substitutes for I are: vi, IV
, VI, and occasionally IV or V/ii.
INVERSION SYMBOLS
DIATONIC CHORD QUALITIES
NUMBER OF HALFSTEPS
st
nd
rd
o
IN SIMPLE INTERVALS
Root
1
2
3
Major
I
ii
iii
IV
V
vi
vii
Position
Inv.
Inv.
Inv.
o
V
vii
o
Minor
i
ii
III
iv
VI
6
Triad
none
6
none
(v)
(VII)
4
Dim
Min
Maj
Aug
o
* In minor the V and the vii
require
Seventh
6
4
4
nd
2
0
1
2
3
7
Chord
5
3
2
an accidental to raise the leading tone.
rd
3
2
3
4
5
th
6
7
8
9
10
th
FUNCTIONAL DIATONIC CHORD PROGRESSIONS
7
9
10
11
12
Rule of Thumb
Diagram of Common Functional Progressions
Dim
Per
Aug
Root
Typical
movement by:
Direction
th
4
4
5
6
nd
2
Ascending
th
5
6
7
8
rd
3
Descending
th
8
11
12
13
th
5
Descending
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