Chord Function, Cadence, and Phrase

Having both soprano and bass leap simultaneously in the same direction.

Moving voices in contrary or oblique motion.

Keeping strict parallel motion between outer voices.

Doubling the root of dominant chords in soprano and bass.

Minor third

Major second

Perfect fourth

Major third

Contrary Motion Not Maintained

Oblique Motion Inappropriately Applied

Parallel fifths

Crossed Voices

Tenor

Bass

Alto

Soprano

Maintaining common tone retention.

Implementing contrary motion for all resolutions.

Ensuring proper spacing between adjacent upper voices.

Avoiding direct octaves and fifths.

To emphasize the subdominant function of iv6 before resolution.

To establish modal interchange with harmonic minor.

To create a leading tone that resolves to tonic.

To avoid voice crossing between alto and tenor parts.

Oblique motion

Parallel motion

Similar motion

Contrary motion

A minor sixth often offers pleasing sonority and does not generally need avoidance.

A major third provides consonance that may appear commonly between any voices.

The augmented fourth/diminished fifth interval should be avoided due to its dissonance and difficulty in tuning accurately in an SATB context.

A perfect fourth can occur frequently between tenor and bass parts without creating undue dissonance.

Applying extended tertian harmonies such as ninth and eleventh chords as substitutions for traditional diatonic triads without regard for dissonance control measures specific for each era’s compositional conventions

Implementing augmented sixth chords resolving directly to dominant seventh chords without modulation sequences intervening

Introducing neapolitan sixth chords followed by predominant functions through stepwise descending motion only

Using diminished seventh chords as leading-tone chords resolving to either root position or first inversion tonic triads

The G will stay on G.

The D will move down to C.

The F will move down to E.

The B will move up to C.