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The unit also details cadences (perfect authentic, imperfect authentic, half, plagal, deceptive) and progression/doubling principles, including how to handle seventh 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[https://simplestudies.edublogs.org](https://simplestudies.edublogs.org & @simplestudiesinc on Instagram)[ ](https://simplestudies.edublogs.org & @simplestudiesinc on Instagram)[& @simplestudiesinc on Instagram](https://simplestudies.edublogs.org & @simplestudiesinc on Instagram)  \nHarmony and Voice Leading I: Chord Function, Cadence,  \nand Phrase  \nVoice Leading  \n● Describes how individual parts move as a harmony from each chord to the next  \n● This movement between two voices can happen 4 ways (definitions are from CollegeBoard):  \n○  Contrary Motion: voices move in opposite directions  \n○  Oblique Motion: one voice remains stationary while the second moves up or down  \n○  Parallel Motion: voices move in the same direction and by the same melodic interval  \n○  Similar Motion: voices move in the same direction but not by the same melodic interval  \nGeneral Voice Leading Rules  \n● Avoid excessive leaps; keep the voice leading moving mostly by step  \n● Common tones should, for the most part, stay within the same voice part  \n● Use SATB (soprano-alto-tenor-bass) to avoid confusion in your leading voice and to avoid voice crossing  \n● All voices should proceed with these intervals: major and minor second, perfect fourth, and perfect fifth  \n● Exclude melodic augmented and diminished intervals, as well as melodic intervals larger than a perfect fifth.  \n● Resolve leading tones (in soprano or bass)  \n● After a perfect octave or unison, move to an interval that is not another perfect octave or unison.  \n● After a perfect fifth, move to an interval that is not another perfect fifth.  \n● You can include dissonances in soprano or bass, only if they are part ofan acceptable harmonic progression.  \n● An acceptable harmonic progression can be made up of tonic, supertonic, subdominant  \nand dominant triads.  \nCadences  \n● Conclude musical phrases  \n● A bass line helps imply the cadence at the end of each phrase  \n● Appropriate cadences  \n○ Perfect Authentic  \n■ the chords are in root position  \n■ tonic is the highest voice in the final chord  \n■ Known as the strongest type of cadence  \n○ Imperfect Authentic  \n■ There are three types of imperfect authentic cadences (IAC): Root  \nPosition, Inverted, and Leading Tone  \n■ Root Position IAC: just like a perfect authentic cadence, but the tonic isnot the highest voice  \n■ Inverted IAC: just like a perfect authentic cadence, but one or both chords are inverted  \n■ Leading Tone IAC: the V chord is replaced with a leading tone chord, but the cadence ends on a tonic chord  \n○ Half  \n■ Any cadence that ends on a dominant (V) chord  \n■ Considered a “weak” chord because it sounds incomplete/suspended  \n○ Plagal  \n■ Cadence that goes from a subdominant (IV) chord to a tonic (I) chord  \n○ Deceptive  \n■ Cadence that goes from a dominant (V) chord to any other chord that isnot the tonic (I)  \n● Final cadence must be a perfect authentic cadence  \n● There are two categories of cadence types  \n○ Inconclusive: Half, Imperfect Authentic, and Deceptive Cadences  \n○ Conclusive: Perfect Authentic and Plagal Cadences  \nGeneral Doubling Rules  \n● Whenever voice leading allows, double the root ofa triad.  \n● Thirds and fifths can also be doubled in triads.  \n● Never double tendency tones. Tendency tones are leading-tone and chordal seventh.  \n● If the fifth is not in a root-position seventh chord, double the root.  \n● In 6/4 chords, always double the bass  \nHarmonic Progression  \n● Also known as chord progression  \n● Harmonic progression is the sequence of chords in a musical piece  \n● Can be represented by Roman numerals  \n● When inversions are used, it can also include Arabic numerals  \nVoice Leading with Seventh Chords  \n● Chordal sevenths should be approached by step. They can also be approached by ascending leap or descending leap of a third (although, the latter is rarely used) .  \n● All chordal sevenths should resolve by descending step.  \n● The fifth in a root-p","cbCaiuDC4El9iNN8","https://ap.wps.com/l/cbCaiuDC4El9iNN8","pdf",332808,"English","# Voice Leading\n## General Voice Leading Rules\n# Cadences\n## Perfect Authentic\n## Imperfect Authentic\n## Half\n## Plagal\n## Deceptive\n# General Doubling Rules\n# Harmonic Progression\n## Roman Numerals and Inversions\n# Voice Leading with Seventh Chords","[{\"question\":\"What are the four ways voices can move between chords?\",\"answer\":\"They include contrary motion, oblique motion, parallel motion, and similar motion.\"},{\"question\":\"What distinguishes a perfect authentic cadence from other cadence types?\",\"answer\":\"In a perfect authentic cadence, the chords are in root position, the tonic is the highest voice in the final chord, and it is described as the strongest cadence.\"},{\"question\":\"How should chordal seventh chords be resolved?\",\"answer\":\"Chordal sevenths should be approached by step, and they must resolve by descending step.\"}]","AP Music Theory - Unit 4 - Harmony and Voice Leading I | PDF"]