[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"detail-sidebar-cat-1-en-105":3,"doc-seo-571939-105":53,"doc-detail-571939-en":127},{"code":4,"msg":5,"data":6},0,"success",[7,14,19,24,29,34,39,44,49],{"id":8,"doc_module":9,"doc_module_name":10,"category_name":11,"show_sort_weight":12,"slug":13},11,1,"Template","Presentations",90,"presentations",{"id":15,"doc_module":9,"doc_module_name":10,"category_name":16,"show_sort_weight":17,"slug":18},12,"Resumes",80,"resumes",{"id":20,"doc_module":9,"doc_module_name":10,"category_name":21,"show_sort_weight":22,"slug":23},14,"Invoices",70,"invoices",{"id":25,"doc_module":9,"doc_module_name":10,"category_name":26,"show_sort_weight":27,"slug":28},15,"Posters",60,"posters",{"id":30,"doc_module":9,"doc_module_name":10,"category_name":31,"show_sort_weight":32,"slug":33},16,"Social Media",50,"social-media",{"id":35,"doc_module":9,"doc_module_name":10,"category_name":36,"show_sort_weight":37,"slug":38},17,"Forms",40,"forms",{"id":40,"doc_module":9,"doc_module_name":10,"category_name":41,"show_sort_weight":42,"slug":43},18,"Letters",30,"letters",{"id":45,"doc_module":9,"doc_module_name":10,"category_name":46,"show_sort_weight":47,"slug":48},21,"Paper Templates",5,"papers-templates",{"id":50,"doc_module":9,"doc_module_name":10,"category_name":51,"show_sort_weight":4,"slug":52},158,"General","general-158",{"code":4,"msg":54,"data":55},"ok",{"site_id":56,"language":57,"slug":58,"title":59,"keywords":60,"description":61,"schema_data":62,"social_meta":120,"head_meta":122,"extra_data":124,"updated_unix":126},105,"en","music-theory-quick-facts-sheet-music-theory-rules-and-chord-cadence-reference","MUSIC THEORY QUICK FACTS SHEET - Music Theory Rules and Chord & Cadence Reference","","Music theory quick facts sheet compiling practical rules for part-writing, resolving tendency and non-chord tones, and maintaining correct voicing. Covers constraints such as avoiding parallel octaves, fifths, or unisons, limiting SA–AT spacing, preventing crossed or overlapping voices, and handling doubling and omissions within triads and seventh chords. Includes explanations of cadence types and identifying characteristics, inversion symbols, diatonic chord qualities, and interval halfstep counts. Also provides functional diatonic progressions and detailed references for chromatic chords: secondary chords, borrowed chords, Neapolitan 6th, and augmented sixth chords with notation and distinguishing traits.",{"@graph":63,"@context":119},[64,80,102],{"@type":65,"itemListElement":66},"BreadcrumbList",[67,71,74,77],{"item":68,"name":69,"@type":70,"position":9},"https://docshare.wps.com","Home","ListItem",{"item":72,"name":10,"@type":70,"position":73},"https://docshare.wps.com/template/",2,{"item":75,"name":51,"@type":70,"position":76},"https://docshare.wps.com/template/general/",3,{"item":78,"name":59,"@type":70,"position":79},"https://docshare.wps.com/template/music-theory-quick-facts-sheet-music-theory-rules-and-chord-cadence-reference/571939/",4,{"url":78,"name":59,"@type":81,"image":82,"author":87,"headline":59,"publisher":90,"fileFormat":93,"inLanguage":57,"description":61,"dateModified":94,"datePublished":95,"encodingFormat":93,"isAccessibleForFree":96,"interactionStatistic":97},"DigitalDocument",{"url":83,"@type":84,"width":85,"height":86},"https://docshare.wps.com/thumbnails/music-theory-quick-facts-sheet-music-theory-rules-and-chord-cadence-reference/571939.png","ImageObject",442,249,{"name":88,"@type":89},"MrHarris58","Person",{"url":68,"name":91,"@type":92},"DocShare","Organization","application/pdf","2026-10-25","2026-10-13",true,{"@type":98,"interactionType":99,"userInteractionCount":101},"InteractionCounter",{"@type":100},"ViewAction",7,{"@type":103,"mainEntity":104},"FAQPage",[105,111,115],{"name":106,"@type":107,"acceptedAnswer":108},"What are the key part-writing rules for resolving tendency tones and avoiding forbidden parallels?","Question",{"text":109,"@type":110},"Allow tendency tones to resolve correctly and avoid creating parallel octaves, fifths, or unisons by parallel or contrary motion. When notes cannot be kept, move each part by the smallest possible interval and avoid large or difficult leaps, especially augmented intervals.","Answer",{"name":112,"@type":107,"acceptedAnswer":113},"How should non-chord tones like leading tones, sevenths, and Neapolitan roots resolve?",{"text":114,"@type":110},"Leading tones in V or viio resolve up by step to the tonic when moving to I or vi. Chord sevenths resolve down by step, and the Neapolitan lowered 2nd scale degree resolves down by diminished 3rd to the leading tone of a V chord.",{"name":116,"@type":107,"acceptedAnswer":117},"What cadence types are listed, and what defines each one?",{"text":118,"@type":110},"The sheet lists PAC (V or V7 to I with both chords in root position and soprano on I’s root), IAC (V or V7 to I but with inverted chord or soprano not on the tonic), HC (ends on a V chord), PC (IV to I, also called church cadence), and DC (suggests I but substitutes another chord).","https://schema.org",{"og:url":78,"og:type":121,"og:title":59,"og:site_name":91,"og:description":61},"article",{"robots":123,"canonical":78},"index,follow",{"doc_id":125,"site_id":56},571939,1792010739,{"code":4,"msg":5,"data":128},{"doc_id":125,"user_id":129,"nickname":88,"user_avatar":130,"doc_module":9,"category_id":50,"category_name":51,"doc_title":59,"doc_description":61,"doc_content":131,"file_id":132,"file_url":133,"file_type":134,"file_size":135,"view_count":101,"is_deleted":4,"is_public":9,"is_downloadable":9,"audit_status":9,"page_count":76,"language":136,"language_code":57,"site_id":56,"html_lang":57,"table_of_contents":137,"faqs":138,"seo_title":139,"seo_description":61,"update_tm":140,"read_time":9},687212988360,"https://ap-avatar.wpscdn.com/davatar_276721f389ce27ea32af1340a28f341c","MUSIC THEORY QUICK FACTS SHEET  \n\n| | PART-WRITING RULES\u003Cbr>1. Allow all tendency tones to resolve correctly.\u003Cbr>2. Do not create parallel octaves, fifths, or unisons (by parallel or contrary motion) .\u003Cbr>3. If it is possible to keep a note, do so, if not, move each part by the smallest possible interval. Avoid leaping by large, or difficult intervals – especially augmented intervals.\u003Cbr>4. No more than an octave between SA and AT.\u003Cbr>5. No crossed voicings or overlapping of voices.\u003Cbr>6. When there is a choice of which chord member to double, use the most stable tone present. Usually, this is the root, followed by the fifth. Never double a tendency tone as this will force you to break rule 1 or 2.\u003Cbr>7. Never omit any note of a triad or seventh chord except the fifth – and only omit the fifth when you must do so in order to follow rule 1.\u003Cbr>These principles assume that you have written with the correct ranges and that all the chords actually contain the notes you say they do. |  |  |  |  |  |  |  |  |  |  | NON-CHORD TONES\u003Cbr>Type Approached By: Left By:\u003Cbr>\u003Cbr>TENDENCY TONES\u003Cbr>• The leading tone in a V or viio chord resolves UP by step to the tonic pitch when going to I or vi.\u003Cbr>• The 7th ofany chord resolves DOWN by step.\u003Cbr>• The root of a Neapolitan chord (lowered 2nd scale degree) resolves DOWN by diminished 3rd to the leading tone of a V chord.\u003Cbr>• The pitches forming the augmented 6th interval in any of the augmented sixth chords resolve outward by halfstep in both directions to the dominant pitch.\u003Cbr>• Any pitch that is altered usually resolves in the direction of its alteration. |  |  |  |  |  |  |\n| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |\n|  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |\n| Cadence Name Identifying Characteristics PAC\u003Cbr>(Perfect Authentic Cadence) V or V7 moving to I. Both chords in root position. Soprano on root ofI chord. IAC\u003Cbr>(Imperfect Authentic Cadence) V or V7 moving to I, but with either an inverted chord, or the soprano not finishing on\u003Cbr>the tonic. HC\u003Cbr>(Half Cadence) A cadence that ends on a V chord. The V chord can be approached from a number of\u003Cbr>other chords (I, ii, IV, V/V, etc.) PC\u003Cbr>(Plagal Cadence) IV moving to I. Also known as “church” cadence. Named for the “Amen” commonly\u003Cbr>used at the end of hymns. DC\u003Cbr>(Deceptive Cadence) A cadence that creates the expectation of going to I, but substitutes another chord instead. Common substitutes for I are: vi, IV6, VI, and occasionally IV or V/ii.\u003Cbr>CADENCE TYPES |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |\n|  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |\n| INVERSION SYMBOLS |  |  |  |  |  |  | DIATONIC CHORD QUALITIES |  |  |  |  |  |  |  |  |  |  | NUMBER OF HALFSTEPS IN SIMPLE INTERVALS\u003Cbr>2nd 3rd 6th 7th\u003Cbr>Dim 0 2 7 9\u003Cbr>Min 1 3 8 10\u003Cbr>Maj 2 4 9 11\u003Cbr>Aug 3 5 10 12\u003Cbr>Dim Per Aug 4th 4 5 6 5th 6 7 8 8th 11 12 13\u003Cbr>\u003Cbr> |\n| Triad\u003Cbr>Seventh Chord |  | Root Position | 1st Inv. | 2nd Inv. | 3rd Inv. |  |  |  |  |  |  |  |  |  |  |  |  |  |\n|  |  |  |  |  |  |  | Major\u003Cbr>Minor | I\u003Cbr>i | ii | iii | IV |  | V | vi | viio |  |  |  |\n|  |  |  |  |  |  |  |  |  | iio | III | iv |  | V\u003Cbr>(v) | VI | viio\u003Cbr>(VII) |  |  |  |\n|  |  | none 6 6\u003Cbr>4 none 7 6\u003Cbr>5 4\u003Cbr>3 4\u003Cbr>2 |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |\n|  |  |  |  |  |  |  | * In minor the V and the viio require an accidental to raise the leading tone. |  |  |  |  |  |  |  |  |  |  |  |\n|  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |\n| FUNCTIONAL DIATONIC CHORD PROGRESSIONS\u003Cbr>Rule of Thumb Diagram of Common Functional Progressions Root\u003Cbr>movement by: Typical\u003Cbr>Direction 2nd Ascending 3rd Descending 5th Descending |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |\n\nCHROMATIC CHORDS  \n\n| Secondary\u003Cbr>Chord | V/ii\u003Cbr>viio7/V | Any dominant-functioning chromatic chord that leads (by falling 5th or rising halfstep root movement) to a diatonic p","cbCaio3EyomGJsZP","https://ap.wps.com/l/cbCaio3EyomGJsZP","pdf",220002,"English","# Part-Writing Rules\n## Non-Chord Tones\n## Cadence Names and Types\n## Inversion Symbols and Diatonic Chord Qualities\n## Chromatic Chords (Secondary, Borrowed, Neapolitan, Augmented Sixth)\n## Functional Diatonic Chord Progressions","[{\"question\":\"What are the key part-writing rules for resolving tendency tones and avoiding forbidden parallels?\",\"answer\":\"Allow tendency tones to resolve correctly and avoid creating parallel octaves, fifths, or unisons by parallel or contrary motion. When notes cannot be kept, move each part by the smallest possible interval and avoid large or difficult leaps, especially augmented intervals.\"},{\"question\":\"How should non-chord tones like leading tones, sevenths, and Neapolitan roots resolve?\",\"answer\":\"Leading tones in V or viio resolve up by step to the tonic when moving to I or vi. Chord sevenths resolve down by step, and the Neapolitan lowered 2nd scale degree resolves down by diminished 3rd to the leading tone of a V chord.\"},{\"question\":\"What cadence types are listed, and what defines each one?\",\"answer\":\"The sheet lists PAC (V or V7 to I with both chords in root position and soprano on I’s root), IAC (V or V7 to I but with inverted chord or soprano not on the tonic), HC (ends on a V chord), PC (IV to I, also called church cadence), and DC (suggests I but substitutes another chord).\"}]","MUSIC THEORY QUICK FACTS SHEET - Music Theory Rules and Chord & Cadence Reference | PDF",1791924545]