Compendium

of Voice-Leading Patterns from

the 17th and 18th Centuries
to Play, Sing, and Transpose
at the Keyboard

Compiled by Derek Remeš

Lucerne School of Music (Switzerland)

Version: Jan. 28, 2024

Get the latest version at:

<www.derekremes.com/teaching/historicalimprovisation>
oroughbass Abbreviations and the Figures to Add . . . . . 2

***
Cadences
Simple Cadences in Two Voices. . . . . . . . . . . . . . . . . . . . . 3
Simple Cadences in ree Voices . . . . . . . . . . . . . . . . . . . .4
Simple Cadences in Four Voices . . . . . . . . . . . . . . . . . . . . 5

Compound Cadences in Two Voices . . . . . . . . . . . . . . . . . 6

Compound Cadences in ree Voices . . . . . . . . . . . . . . . . 7
Compound Cadences with 5/4 in Four Voices. . . . . . . . . . 8
Compound Cadences with 6/5 in Four Voices. . . . . . . . . . 9
Compound Cadences with 6/4 in Four Voices. . . . . . . . . 1 0

Double Cadences in ree Voices . . . . . . . . . . . . . . . . . . .1 1

Double Cadences in Four Voices . . . . . . . . . . . . . . . . . . . 1 2

Evaded Cadences in ree Voices . . . . . . . . . . . . . . . . . . .1 3

Evaded Cadences in Four Voices . . . . . . . . . . . . . . . . . . . 1 4

Tenor or Discant Clausulae in the Bass in ree Voices. . . 1 5

Tenor or Discant Clausulae in the Bass in Four Voices . . . 1 6

Cadences with an "Active" Tenor Clausula . . . . . . . . . . . .1 7

***
Rules of the Octave
(Non-Sequential Stepwise Bass Harmonizations)
Overview: Rules of the Octave . . . . . . . . . . . . . . . . . . . . .1 8

Basic Rule of the Octave in ree Voices . . . . . . . . . . . . . 1 9

Basic Rule of the Octave as Clausulae . . . . . . . . . . . . . . . .20
Basic Rule of the Octave in Four Voices (Complete) . . . . .21

Advanced Rule of the Octave in Four Voices (Complete). 22

Advanced Rule of the Octave (Larger Section) . . . . . . . . .23
Advanced Rule of the Octave (Smaller Section). . . . . . . . .24

***
Sequences
Stepwise Bass: Parallel 6/3 Chords. . . . . . . . . . . . . . . . . .25
Stepwise Bass: 5-6 & 7-6 Sequences. . . . . . . . . . . . . . . . 26
Stepwise Bass: Suspension Chain in Two Voices . . . . . . . 27
Stepwise Bass: Syncopated Bass (with 6 Chords). . . . . . .28
Stepwise Bass: Syncopated Bass (with 6/5 or 9). . . . . . . 29
Stepwise Bass: Ascending Sequences . . . . . . . . . . . . . . . .30
Stepwise Bass: Ascending "Leapfrog" Sequences. . . . . . . 31
Stepwise Bass: Lament-Bass . . . . . . . . . . . . . . .. . . . . . . 32

Leaping Bass: Falling irds (with 6 Chords). . . . . . . . . 33

Leaping Bass: Falling irds (with 6/5 Chords). . . . . . . .34
Leaping Bass: Falling Fourths Sequence. . . . . . . . . . . . . .35
Leaping Bass: Rising Fourths Sequence. . . . . . . . . . . . . . 36
Leaping Bass: Falling Fifths Sequence. . . . . . . . . . . . .37-38
Leaping Bass: Rising Fifths Sequence . . . . . . . . . . . . . . . 39

Chromatic Bass: Omnibus Sequence . . . . . . . . . . . . . . . 40

Appendices
Common Modulation Strategies . . . . . . . . . . . . . . . . 41 -42
Alphabetical List of Schemata . . . . . . . . . . . . . . . . . . 43-47
oroughbass Abbreviations and the Figures to Add
 e most common gures are in bold boxes.

2
 Simple Cadences in Two Voices
Bass scale degrees are indicated with 1o, 2o, etc. Upper voices are indicated with 1, 2, etc.
"Simple" means "only consonances." Consonant intervals are unison, 3, perfect 5, 6, and 8.
e unison, perfect 5, and 8 are perfect consonances; 3 and 6 are imperfect consonances.
A simple cadence in two voices requires the tenor and discant clausulae.
Clausulae are stereotypical melodic segments used to make various kinds of cadences.
e tenor clausula (TC) uses the degrees 3 2 1, and is always colored green here.
e discant clausula (DC) uses the degrees 1 7 1, and is always colored red here.
Clausulae maintain their names regardless of which voice they are placed in.
For example, the discant clausula could be placed in the top, middle, or lowest voice.
Traditionally the three pitches in clausulae are named Ultima (ULT), Penultima (PEN),
and Antepenultima (ANT), meaning "last," "2nd-to-last," and "3rd-to-last," respectively.
with inverted voices:
discant clausula tenor clausula

1 7 1 3 2 1
˙˙ ˙˙
major
keys & C ˙˙ ˙
˙
w
w
ww
1o 7o 1o
C: 3o 2o 1o
discant clausula
tenor clausula
ANT PEN ULT ANT PEN ULT

In minor-key cadences, the seventh degree must be chromatically raised to make a leading tone: po
ü.
with inverted voices:
discant clausula tenor clausula

1 #7 1 3 2 1
minor
& C ˙˙ #˙ w ˙˙ #˙˙ ww
keys
˙ w 1o po
ü 1o
a: 3o 2o 1o
discant clausula
tenor clausula
ANT PEN ULT ANT PEN ULT

In practice, the tenor clausula may also begin on 1oor end on 3o, but always has 2oat PEN.
Below are all eight possible simple cadences in two voices. e discant clausula is always the same.
with inverted voices: with inverted voices:

3 2 1 1 2 3
˙˙ ˙˙ ˙ ˙˙ w
& ˙˙ ˙˙ w ww & ˙˙ ˙˙ w
w
w
w
C: 3o 2o 1o with inverted voices: 1o 2o 3o with inverted voices:
3 2 3 1 2 1
˙˙ ˙˙ w ˙ ˙˙
& ˙˙ ˙˙ w
w
w & ˙˙ ˙˙ w ww
w
3o 2o 3o 1o 2o 1o

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 Simple Cadences in ree Voices
A simple cadence in three voices adds the bass clausula ( 1o 5o 1o) to the TC/DC pair.
Unlike the other clausulae, the bass clausula may only appear in the bass voice.
All four versions of the tenor clausula are possible (see bottom of page three).
oroughbass gures are included between the staves.
oroughbass gures indicate the intervals of the upper parts as measured from the bass.
e ordering of the gures does not always correspond to the ordering of the upper voices.
A "spacing" or "position" indicates the starting interval between the outer voices.

{
with inverted upper voices:
octave position third position

˙˙ ˙˙ w
& ˙˙ ˙
˙
w
w
w
major 3 5 3
8 3 8 8 3 8
˙ ˙
keys
? ˙
3 5 3
w ˙ w
C: 1o 5o 1o 1o 5o 1o

bass clausula bass clausula

ANT PEN ULT ANT PEN ULT

In minor-key cadences, the seventh degree must be chromatically raised to make a leading tone.

{
Accidentals in thoroughbass refer to a third above the bass (i.e. here G becomes G#).

with inverted upper voices:

octave position third position

& ˙˙ #˙ w ˙˙ #˙˙ w
w
˙ w
minor
8 # 8 3 5 3
?
keys 8 # 8
˙ ˙
3 5 3
˙ w ˙ w
a: 1o 5o 1o

bass clausula bass clausula

ANT PEN ULT ANT PEN ULT

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 Simple Cadences in Four Voices
A simple cadence in four voices adds the alto clausula (5 5 5) to the three-part cadence.
As before, the upper voices can be inverted to create the different spacings based on the starting interval.
e parts in a four-voice texture are named (from top down): soprano (or discant), alto, tenor, and bass.

{
ese names are used even when the composition is for one or more instruments (not singers).
In practice, composers usually preferred not to end a piece with the fth in the top voice.
third position fth position
˙˙˙ ˙˙ w
octave position
˙˙ ˙˙˙ w w
& ˙˙˙ ˙˙
˙
w
w
w ˙ w
w ˙ w
major 8 3 8 3 5 3 5 8 5
5 8 5 8 3 8 3 5 3
˙ ˙ ˙
keys
? ˙
3 5 3 5 8 5 8 3 8
w ˙ w ˙ w
C: 1o 5o 1o 1o 5o 1o 1o 5o 1o

ANT PEN ULT ANT PEN ULT ANT PEN ULT

{
In minor-key cadences, the seventh degree must be chromatically raised to make a leading tone.
Accidentals in thoroughbass refer to a third above the bass (i.e. here G becomes G#).

octave position third position fth position

˙˙ w ˙˙˙ ˙ w
w
& ˙˙˙ #˙˙ w
w
w ˙ #˙˙˙ w
w #˙˙ w
minor
˙
8 # 8 3 5 3 5 8 5
keys 5 8 5 8 # 8 3 5 3
?
5 8 5
˙ ˙ ˙
3 5 3 8 # 8

˙ w ˙ w ˙ w
a: 1o 5o 1o 1o 5o 1o 1o 5o 1o
ANT PEN ULT ANT PEN ULT ANT PEN ULT

In practice, baroque composers saved time in two ways: (1 ) rather than indicate the order of the upper voices via
the gures (as above), composer would simply write the gures from highest to lowest and let the player
"realize" the spacing as desired; (2) composers would abbreviate gures. Learn the abbreviations by using the
table on page two. For instance, if 8/5/3 were written, the player could realize this in the octave, third, or fth
spacing. But the 5/3 chord was so common that if nothing was written, the player assumed a 5/3 chord and
realized the gure in as many or as few voices as required by the situation at hand.

{
three voices four voices

octave third octave third fth

position
w
position position
w
position
w
w
position

& w w w
w w
w w
w w
could be
8 3 8 3 5
realized as: 3 8 5 8 3
? w
3 5 8
w w w w w

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 Compound Cadences in Two Voices
"Compound" means that there is a dissonance in the form of a syncopatio (i.e. suspension). Whereas the modern
term "suspension" implies the delay of a chord tone, the historical term "syncopatio" implies the syncopated delay
of an interval. In the baroque era, the two-voice cadence occurred most often with a syncopatio dissonance. e
syncopatio dissonance arises by "delaying" the arrival of 7 in the discant clausula. is delay splits the PEN
position into two parts, which is where the name "compound" may come from.

with inverted voices:

"syncopated" discant clausula tenor clausula

1 __ 7 1 3 2 1
˙
& C Œ̇ œ œ̇ œ w œ ˙œ œ ww
Œ
major
keys
w __
1o 7o 1o
C: 3o 2o 1o
"syncopated" discant clausula
tenor clausula
ANT PEN ULT ANT PEN ULT

A syncopatio has 3 parts: (1 ) consonant preparation, (2) dissonant "clash," and (3) consonant resolution.
After Giovanni Artusi (c.1 540-1 61 3), the tied ("delayed") voice is the patient, the moving voice the agent.
In a cadence, the discant clausula is always the patient, while the tenor clausula is always the agent.
Memory aid: the patient is passive (tied); the agent is active (it moves to make the dissonant "clash").
e terms supersyncopatio and subsyncopatio refer to the position of the patient voice (above or below).

with inverted voices:

(1 ) consonant
preparation (3) consonant (1 ) consonant (3) consonant
resolution preparation resolution

Œ̇ œ œ̇ w ˙ œ ˙œ ww
&C œ
w Œ
œ
thoroughbass gures: 6 7 6 8 3 2 3 1

(2) dissonant "clash" (2) dissonant "clash"

Here are the same eight two-voice cadences as on page three, but with syncopatio dissonances.
Sometimes a dash between two thoroughbass gures indicates the resolution of a syncopatio.

˙ œ ˙œ œ ˙ œ ˙œ œ ˙˙
& C Œ̇ œ œ̇ œ ˙˙ Œ & Œ˙ œ œ̇ œ ˙˙ Œ̇
6 7 6 8 3 2 3 1 8 7 6 6 1 2 3 3

˙ œ ˙œ œ ˙˙
& Œ̇ œ œ̇ œ ˙˙ Œ & Œ˙ œ œ̇ œ ˙˙ Œ̇
œ ˙œ œ ˙
6 7 6 6 3 2 3 3 8 7 6 8 1 2 3 1

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 Compound Cadences in ree Voices
Compound cadences in three voices come in three variants: 5/4, 6/5, and 6/4.
As in the simple cadence in three voices, one adds the bass clausula ( 1o 5o 1o) to the DC/TC pair.
All four versions of the tenor clausula are possible. e small notes in the bass are optional.
e discant clausula is shown here in its syncopated form.
Memory aid: in a compound cadence, one voice always has the "delayed" DC: 1 1 7 1.

Compound cadence with 5/4

{
is compound cadence has a 5/4-chord at PEN. e dissonant 4 in a 5/4 chord must always be prepared.
major keys minor keys
octave position third position octave position third position
Œ̇ œ œ̇ œ w ˙ œ ˙œ œ w
w Œ œ œ̇ w
&c w Œ ˙ #œ w
w Œ̇ œ ˙œ #œ w

?c ˙ e ˙ ˙e ˙ e w ˙e ˙ e w ˙e ˙ e w
5 5 5 5

e w
$ 4 3 $ 4 3 $ 4 # $ 4 #

C: 1o 3o 5o 1o a: 1o 3o 5o 1o

Compound cadence with 6/5

is compound cadence has a 6/5 chord at PEN. Only the bass is different from the 5/4 version. is
bassline is considered a variant on the bass clausula, since it still ends with 5o 1o. e 5 in a 6/5 chord acts
like a dissonance, even though it is a consonant perfect 5. us, if the 5 can be prepared (tied by common
tone), it should be. Ironically the dissonant diminished 5 may enter unprepared in a 6/5 chord, though.

{
major keys minor keys
octave position third position octave position third position
˙ œ ˙œ œ w
& Œ̇ œ œ̇ œ w
w Œ
w Œ œ œ̇ #œ w ˙ w
Œ̇ œ œ #œ w
˙ w
? ˙e œœ w ˙e œ œ w ˙e œ œ w ˙e œ œ w
6 6 6 6
$ 5 3 $ 5 3 $ 5 # $ 5 #

C: 1o 3o 4o 5o 1o a: 1o 3o 4o 5o 1o

Compound cadence with 6/4

e compound cadence with 6/4 "syncopates" the TC, resulting in a double syncopatio with the DC.
ough the 4 is a dissonance, it may enter unprepared in a 6/4 chord (see page ten).

{
major keys minor keys
octave position third position octave position third position

& Œ œœ œœ œœ w Œ œœ œœ œœ w
w Œ œ œ #œ w Œ œœ œœ #œœ w
w
w œ œ œ w
? ˙ e ˙ ˙ e ˙ e w ˙ e ˙ e w ˙ e ˙ e w
6 5 6 5 6 5 6 5

e w
$ 4 3 $ 4 3 $ 4 # $ 4 #

C: 1o 3o 5o 1o a: 1o 3o 5o 1o

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 Compound Cadences with 5/4 in Four Voices
is compound cadence adds the alto clausula to the three-part compound cadence with 5/4.
You may also syncopate the entry of the red discant clausula. Small bass notes are optional.
As noted already, the 4 must be prepared in a 5/4 chord, but not in a 6/4 chord.

{
major keys
octave position third position fth position

˙˙ ˙˙œ œ w ˙˙˙ ˙˙œ w

w
& c ˙˙˙ œ̇ œ
˙
w
w
w ˙ w
w œ w

?c ˙ e ˙ ˙ e ˙ ˙ e ˙
$ 5 5 5

e e e
4 3 $ 4 3 $ 4 3
w w w
C: 1o 3o 5o 1o

{
minor keys
octave position third position fth position

˙˙ ˙œ #œ w ˙˙˙ ˙˙œ w
w
& ˙˙˙ œ̇ #œ w
w
w ˙ ˙ w
w #œ w
˙

˙ e ˙ e ˙ e ˙ e ˙ e ˙ e
5 5 5
?
$ 4 # $ 4 # $ 4 #

w w w
a: 1o 3o 5o 1o

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 Compound Cadences with 6/5 in Four Voices
is compound cadence adds the blue voice to the three-part compound cadence with 6/5.
is is considered a variant on the alto clausula because it still ends with 5 5.
In reality, the alto and bass clausulae are exible ller voices to the DC/TC pair.
You may also syncopate the entry of the red discant clausula. Small bass notes are optional.
As noted already, the 5 in a 6/5 chord should be prepared, if possible. (e perfect 5 must
be prepared, but the diminished 5 may enter unprepared in a 6/5 chord.)

{
major keys

œ
octave position third position fth position
˙˙˙ œœ œœœ
˙˙ w w
w
& c ˙˙˙ œœ œœ w
w ˙ œœœ œœœ w
w w
œ œ w
?c ˙ e œ œ ˙ e œ ˙ e œ
6 6 6
5
œ 5
œ 5
w w w
alternate bassline

C: 1o 3o 4o 5o 1o
6 6 6
?c ˙ œ œ ˙ œ œ ˙ œ œ
6 5 6 5 6 5
w w w
C: 3o 4o 5o 1o

{
minor keys

œ
octave position third position fth position
˙˙ œœœ #œœœ w ˙˙˙ œœ #œœœ w
w
& ˙˙˙ œœ #œœ w
w
w ˙ w
w w
œ œ

˙ e œ œ ˙ e œ œ ˙ e œ œ
6 6 6
?
5 # 5 # 5 #

w w w
5o
alternate bassline

a: 1o 3o 4o 1o
6 6 6
? ˙ œ œ œ œ œ œ
6 5 # 6 5 # 6 6 5 #

w ˙ w ˙ w
a: 3o 4o 5o 1o

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 Compound Cadences with 6/4 in Four Voices
is compound cadence adds the alto clausula to the three-part compound cadence with 6/4.
You may also syncopate the entry of the DC and TC, as on page seven. Small bass notes are optional.

{
major keys
octave position fth position
˙˙˙ œœœ œœ w
third position
˙˙ œœ œœ w w
& c ˙˙˙ œœ œœ
œ œ
w
w
w ˙ œ œ w
w œ w

?c ˙ e ˙ ˙ e ˙ e ˙ e ˙ e
6 5 6 5 6 5

e
$ 4 3 $ 4 3 $ 4 3
w w w
C: 1o 3o 5o 1o

œœœ œœ œœœ œœ
parallel fths can be avoided thus:
w
w
œ œ w

{
ough the 4 is a dissonance, it may enter
unprepared in a 6/4 chord, but not in a 5/4 chord.

œœœ œœœ œœœ œœ w

parallel fourths invert to parallel fths!
œœ œœœ œœ œœ w w
& œœœ œœœ œœœ œœœ w
w
w œ œ œ w
w œ w
6 6 5 6 6 5 6 5
? œ œ ˙ ˙ ˙
6

e œ œ e œ œ e
4 3 4 3 4 3
w w w

{
C: 1o 4o 5o 1o
minor keys
octave spacing third spacing fth spacing
˙˙ œœ #œœ w ˙˙˙ œœœ œœ w
w
& ˙˙˙ œœ #œœ
œ œ
w
w
w ˙ œ œ w
w #œ w

˙ e ˙ e ˙ e ˙ e ˙ e ˙ œ
6 6 5 6 5

?
5 $ 4 # $ 4 #
$ 4 #

w w w
a: 1o 3o 5o 1o
Perfect 5ths may move to dim. 5ths.
But dim. 5ths are a dissonance and need

{
to resolve to a third. us, dim. 5ths
do not usually progress to perfect 5ths,
but this is nevertheless allowable if
(1 ) it is not in the outer voices and

œœœ œœœ œœœ œœ

(2) there are three or more voices.

œœ œœœ œœ #œœ w w
w
& œœœ œœœ œœœ #œœ w
w œ œ œ w
w #œ w
œ w
6 6 5 6 6 5 6 6 5

?
4 #

œ œ ˙ e œ œ ˙ e œ œ ˙ e
4 # 4 #

w w w
a: 1o 4o 5o 1o

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 Double Cadences in ree Voices
A double cadence combines the simple and compound cadences, as shown in the rst example.
ere are two main types of double cadences: with 5/4 and with 6/5 (depending on the bassline).

{
Memory aid: one voice always has the "syncopated" DC preceded by an extra 7: 7 1 1 7 1.

major keys minor keys

third position fth position
œœ œœ ˙œ œ w
third position fth position

& c œœ œœ œ̇ œ w
w
w #œ œœ œ̇ #œ w #œœ œœ ˙œ #œ w
w
œ w
?c œ œ ˙ w œœ˙
5 5 5 5

e e w
œœ ˙ œœ˙
e w e w
4 3 4 3 # 4 # # 4 #

C: 5o 1o 5o 1o a: 5o 1o 5o 1o
simple + compound

?c w 4 w4
6 5 6 5 6 5 6 5

E E
w w
E E
4 3 4 3 # 4 4 # # 4 4 #
w w
alternate basslines

w w
C: 5o 1o a: 5o 1o

?c œ œ œ œ w œœœ œ w
6 6 6 6
œœ œ œ w œœœ œ w
5 5 # 5 # # 5 #

C: 5o 1o 4o 5o 1o a: 5o 1o 4o 5o 1o

?c œ œ œ œ w œœœ œ w
6 6 6 6
œœ œ œ w œœœ œ w
6 5 6 5 # 6 5 # # 6 5 #

C: 5o3o 4o 5o 1o a: 5o 3o 4o 5o 1o

{
Here the rst pitch of the TC is changed, making a 7 chord. e nal bassline below is also slightly different.

œœ œœ ˙œ œ w
& c œœ œœ œ̇ œ w
w
w #œœ œœ œ̇ #œ w
w #œœ œœ ˙œ #œ w
w

?c œ œ ˙ w œœ˙
7 5 7 5 7 5 7 5

e e w
œœ˙ œœ˙
e w e w
4 3 4 3 # 4 # # 4 #

C: 5o 1o 5o 1o a: 5o 1o 5o 1o

?c w 4 w4
7 6 5 7 6 5 7 6 5 7 6 5

E E
w w
E E
4 3 4 3 # 4 4 # # 4 4 #
w w w w
alternate basslines

C: 5o 1o a: 5o 1o

?c œ œ œ œ w œœœ œ w
7 6 7 6 7 6 7 6
œœœ œ w œœœ œ w
5 5 # 5 # # 5 #

C: 5o 1o 4o 5o 1o a: 5o 1o 4o 5o 1o

? c œ œ œ5 œ w œ œ œ5 œ w
7 6 7 6 7 6 7 6
œœœ œ w œœœ œ w
# 5 # # # 5

C: 5o 6o 4o 5o 1o a: 5o 6o 4o 5o 1o

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 Double Cadences in Four Voices
is version merely adds the exible alto clausula to the three-voice double cadence.

{
To save space, only major-key versions are shown here. Don't forget to use #7 in minor.
major keys
fth position octave position
œœ œœœ ˙˙œ w
third position
œœœ œœœ ˙˙œ œ w w
& c œœœ œœœ œ̇˙ œ w
w
w
w
w œ œ w

?c œ œ ˙ œ œ ˙ œ œ ˙
5 5 5
4 3 4 3 4 3
w w w
C: 5o 1o 5o 1o
alternate bassline

simple + compound

?c w w w
6 5 6 5 6 5
4 4 3 4 4 3 4 4 3
w w w

{
C: 5o 1o
e same as above, but starting with a 7 instead of 5/3.

œœ œœ ˙œ œ w wœ œœ ˙œ w
w
& œwœ œœ œ̇ œ w
w
w w w
w œ œ w

? œ ˙ œ ˙ œ ˙
5 5 5
7 4 3 7 4 3 7 4 3
œ w œ w œ w
alternate bassline

C: 5o 1o 5o 1o

? w w w
7 6 5 7 6 5 7 6 5

w w w
4 4 3 4 4 3 4 4 3

{
5o 1o
Variant with a 6/5-chord.

œœœ œœ œœœ œœœ w œœ œœœ œœœ œœ w

w
& œœœ œœœ œœœ œœœ w
w
w œ
w
w œ œ w

? œ œ œ œ œ œ œ œ œ œ
6 6 6

œ œ
5 5 5

w w w

{
C: 5o 6o 4o 5o 1o

œœ œœœ œœœ œœ
Mores variants with 6/5-chords.
œœœ œœœ œœœ œœœ w w
w
& œœœ œœœ œœœ œœœ w
w
w
w
w œ œ w

œ
œ œ œ
œ œ œ5 œ œ œ 5œ œ
6 6 6
? 5
w w w
alternate bassline

C: 5o 1o 4o 5o 1o
6 6
? œ œ œ œ œ œ œ œ œ œ œ œ
6
6 5 6 5 6 5
w w w
C: 5o 3o 4o 5o 1o

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 Evaded Cadences in ree Voices
A cadence is "evaded" if the impression is given of ending with 5o 1oin the bass, but then something
else happens. Here are three common evasive strategies (with a fourth shown on the next page).

{
Form 1 : any cadence ending with 6oin the bass (i.e. a "deceptive" cadence)
major keys minor keys
œœ œœ ˙œ œ ww
& c œœ œœ œ̇ œ w #œ œœ œ̇ #œ w #œœ œœ ˙œ #œ ww
w œ 6 w
? c œ œ6 œ5 œ w œ œ6 œ5 œ w
6 6 6
œœœ œ w œœœ œ w
# 6 5 # # 6 5
#

{
C: 5o3o 4o 5o 6o 5o 6o a: 5o 3o 4o 5o 6o 5o 6o

Form 2: any cadence ending with 5o 3oin the bass

w
major keys
œœ œœ ˙œ œ w
minor keys

& œœ œœ œ̇ œ w
w w #œ œœ œ̇ #œ w
w #œœ œœ ˙œ #œ w
œ
? œ œ œ5 œ œ œ œ5 œ
6 6 6 6 6
w w œ œ œ œ
œœ œœ
6 6 # # # # 6
w w
5 5
œ œ œ œ
alternate bassline

C: 5o1o4o5o 3o a: 5o 1o 4o 5o 3o

? ˙ ˙
6 6 6 6 6 6 6 6 6 6
4 5
˙ w
6 4 5
˙ w
6
˙
# 4
˙
5 Ä 6
w ˙
# 4 5
˙
Ä 6
w
C: 5o 4o 3o a: 5o 4o 3o

{
Form 3: DC resolves to n7 (often 4 in new key), modulating down a fth (see arrow): motivo di cadenza.

#œœ œœ œ̇ nœ œœ œœ ˙œ œ w
w
&
w
7 6 5 6 5
? w # 4 4 3 7 4 4 3
w
G: 5o C: 5o 1o

{
In the rst evaded double cadence given below, all three voices can be inverted,making 6 combinations total.
is is called triple invertible counterpoint. green = TC (agent); red = DC (patient); blue = alto clausula (auxiliary)

œ œ
& œ œ ˙œ œ ww ˙œ œ ˙˙ w
œ̇ œ œ̇ œ w
w
w
? ˙
6 6 6 6 4 5 4
˙ w œ œ6 ˙7
7 4 5 4 6 5 2 3 2 6
œ œ œ œ w w

{
C: 5o 4o 3o 7o 1o 7o 1o 4o 3o 2o 1o

œ̇ œ ˙ w
& œœ œœ œ̇ œ w
˙
w
w
œ̇ œ œ̇ œ w
w
? ˙7
6 6 6 6 4 5 4
˙ w œ œ6 ˙7
4 5 4 6 5 2 3 2 6
œ œ œ œ w w
C: 5o 4o 3o 7o 1o 7o 1o 4o 3o 2o 1o

www.derekremes.com 13 Version: Jan. 28, 2024

 Evaded Cadences in Four Voices

{
e exible alto clausula is added, plus a new variant with toniziation. Minor-key versions are not shown.

œœœ œœœ œœœ œœœ ee ww œœ œœœ œœœ œœ ee ww

Form 1 : any cadence ending with 6oin the bass (i.e. a "deceptive" cadence). e small notes refer to the alternative bass.

œœ ee œe w
& c œœœ œœœ œœœ eJ w
w
œ eJ
œ
w
w J
œ œ w œ 6œ 5œ œ w œ œ6 œ5 œ w
6
?c œ œ
6 6
6 5

C: 5o 3o 4o 5o 6o
alternate bassline

with tonicization of 6o:

w w w
6 6 6
? c œ œ #œ #œ œ œ #œ #œ œ œ #œ #œ
6 6 6
6 5 5 6 5 5 6 5 5

{
C: 5o 3o
a: uo
ü po
ü 1o

#œœ œœœ œœ #œœ

e tonicized version is often sequenced, making the modulating "carousel" pattern:
œœ œœ œœ œ
etc.
œ œ œœ œ œ œ œœ œ
& œ œ œ œ œ nœ œœ œœ œœ œ œœ œœ œœ b œ œœ œœ
6 œ
œ œ #œ #œ œl
6 y 6
œ
5 6 6

œ œ œ
6
œ
# 6 5 5 5 n 6

œ #œ #œ
# 9 6 5 5
? œ
9 6 9

œ œ œ
5 b

{
G: 5o 3o C: 6o 7o 1o 3o F: 6o 7o 1o
e: uo
ü po
ü 1o 3o a: uo
ü po
ü 1o 3o

œœ œœœ œœœ œœ ww
Form 2: any cadence ending with 3oin the bass

& œœœ œ œœ œœ w
w œœœ œœ œœœ œœœ ww
w œ œ w
œœ œ œ w œ
? œ œ œ œœ œ œ 5œ œ œ w œ œ 5œ œ œ w
6 6 6 6 6
w
5 6

C: 5o 6o 4o 5o 3o

{
Form 3: DC resolves to n7 (actually 4 in new key), modulating down a fth (see arrow): motivo di cadenza.

#œwœ œœ œ̇ nœ œœ œœ ˙œ œ w
& w w
w
6 5
w
7 6 5
? w # 4 4 § 7 4 4 3
w

{
G: 5o C: 5o 1o
Form 4: DC moves to #1, which becomes #7 (leading tone) in the key a step higher (see arrow)

& œœ̇ œœ œ̇œ œœ #œ œœ bœ̇œ #œœ w

w
œ̇ w
6 #
Ä 6 5
œ œ œ œ
6 6
? œ œ œ œ
5 2 !
w
C: 5o 3o 4o 5o d: 4o 3o 4o 5o
www.derekremes.com 14 Version: Jan. 28, 2024
 Tenor or Discant Clausulae in the Bass in ree Voices
e DC and TC can also appear in the bass. ey are less conclusive than cadences that end with 5o 1o. e
blue voice, which resembles an alto clausula, is merely an auxiliary to the DC/TC pair.

Discant clausula in the bass:

major keys minor keys
third position third position
œ̇ œ w
octave position octave position
˙˙ œ̇ œ w
& c ˙˙ œ̇ œ w
w
w ˙ œ̇ œ w
˙˙ w
˙ w
alternate upper voices

4 6 4 6 4 6 4 6
2 3 2 3
˙˙
2 3 2 3

˙˙ ˙˙ w ˙˙
& c ˙˙ w w ˙ ˙˙ w ˙˙ w
w

{
w ˙ w
5 6 5 6 5 6 5 6

˙˙ ˙˙ w
2 3 2 3 2 2 3
˙ ˙˙
3

& c ˙˙ ˙
w
w
w ˙
˙
˙
˙
w
w
˙˙ w
w
4 5 4 5 4 5 4 5
?c Œ œ œ œ w
2 3 2 3
Œ œœœ w Œ œ œ #œ w Œ œ œ #œ w
2 3 2 3

{
C: 1o 7o 1o a: 1o po
ü 1o
With a tenor clausula in the bass: 3o 2o 1o

Œ̇ œ œ̇ œ w ˙ œ œ̇ w Œ̇ œ œ̇ #œ w ˙ œ œ̇
& œ w #œ w
w
w Œ w Œ
? ˙ ˙
6 7 6 6 7 6 6 7 ´ 6 7 ´
˙ w ˙ w ˙ ˙ w ˙ ˙ w
C: 3o 2o 1o a: 3o 2o 1o

{
With another tenor clausula in the bass: 1o 2o 3o. Notice that the third spacing ends with a
dim. 5 moving to perfect 5, which is allowable if it involves a middle voice.

˙ œ œ̇ œ w w
& Œ̇ œ œ̇ œ w w Œ œ œ̇ #œ w œ œ̇ w
w Œ w Œ̇ #œ
˙
? ˙ w w
6 7 6 6 7 6 6 7 ´ 6 7 ´
˙ ˙ ˙ ˙ ˙ w ˙ ˙ w
C: 1o 2o 3o a: 1o 2o 3o

In this compendium, clausulae have been identi ed via scale degrees. is works most of the time.
But there is another TC/DC pair—the "mi-cadence"—that ends on 5oin the bass (solfège syllable "mi"

{
in hexachordal solmization). Here the TC ends with a half step (F-E) and the DC with a whole step (D-E).
When conceived in terms of the major/minor system, a mi-cadence is equivalent to a half cadence.
Œ œ œ̇ œ w
& œ œ #w œ œ
Œ œ œ̇ œ #w
w
? œ œ ˙ w mi œ œ ˙7 6 w#
7 6 #
mi

a: 1o po
l uo
o l 5o

www.derekremes.com 15 Version: Jan. 28, 2024

 Tenor or Discant Clausulae in the Bass in Four Voices
Compare the four-voice versions here with the three-voice versions on the previous page. e black and blue
voices are auxiliaries to the DC/TC pair. To save space, minor-key versions are not shown.

Discant clausula in the bass. To avoid parallel 5ths, the upper voices are not always invertible.
major keys

œœ œœ ˙˙˙ œœœ œœœ w

octave position third position fth position
œœ œœœ ˙˙ w w
& c ˙˙˙ œ w
w
w ˙ œ œ w
w w
alternate upper voices

4 6 4 6 4 6
2 3 2 3 2 3

˙˙ ˙˙ ˙˙ w ˙˙˙ ˙˙ w
w
& c ˙˙˙ w
w ˙ ˙ w
w ˙ w

{
˙ w
5 6 5 6 5 6

œ̇˙ œ
2 2 3
˙˙˙ w
2 3 3

˙˙ ˙œ̇ œ w w
& c ˙˙˙ œ̇˙ œ w
w
w ˙ w
w w
4 6 4 6 4 6

?c Œ œ œ
2 5 2 5 2 5

œ w Œ œ œ œ w Œ œ œ œ w
C: 1o 7o 1o

{
With a tenor clausula in the bass: 3o 2o 1o. Notice that in a 7-6 suspension, one usually avoids
adding 5 to the 7 (i.e. double 3 or 8 instead). is progression is much easier in three voices than four.
Œ ˙
Œ œ œ̇ œ w ˙˙ œ ˙˙œ œ w
w œ ˙˙œ œ w
ww
& ˙ ˙ w
w w Œ̇
˙
? ˙ ˙ ˙
6 7 6 7 6 7
˙ ˙ ˙
6 6 6
w w w
C: 3o 2o 1o

{
With another tenor clausula in the bass: 1o 2o 3o. Dim.5-perf.5 is allowable if involving a middle voice.
Œ̇ ˙ œ ˙˙œ w
Œ œ œ̇ œ
& ˙˙ ˙
w
w ˙ œ ˙˙œ œ w
ww Œ̇ œ ww
w
? ˙ w w w
7 6
˙ ˙ ˙
7 6 6 7 6 6 6
˙ ˙

{
C: 1o 2o 3o

mi-cadence (almost the same as the third spacing)

& œœœ œœœœ œ̇ œ #w œœ œœ ˙œ̇ œ #w

w
w
œœœ œœ ˙œ̇ œ w
#w
w
w
w œ œ œ
˙
? œ œ ˙ w mi œ œ ˙7 w mi œ œ ˙7 w mi
7 6 # 6 # 6 #

a: 1o po
l
o uo
l 5o

www.derekremes.com 16 Version: Jan. 28, 2024

 Cadences with an "Active" Tenor Clausula
Up until now, we only examined situations where the TC remains held during the resolution of the
syncopatio dissonance in the DC (a "static" TC), as shown below.
"static" tenor clausula
3 2 1
˙
& Œ̇ œ œ̇ œ w œ ˙œ œ ww
w Œ
3o 2o 1o
"static" tenor clausula
ANT PEN ULT ANT PEN ULT

But the TC (indeed, any agent voice in a syncopatio) may also move to a different consonance after the
dissonant "clash" at the PEN position, but before the ULT position, like when the TC leaps to 5oon beat
four, as shown below. But this creates ambiguity regarding the clausulae. Is the green voice a tenor or a
bass clausula? It has 2oat the PEN position, like a tenor clausula, but it also ends with 5o 1o, like a bass
clausula. Ultimately, it doesn't matter what we call it if we recognize the underlying contrapuntal
processes: clausulae.
"active" tenor clausula or bass clausula?

œ
3 2 5 1
Œ̇ œ œ œœ w ˙ œ œœ œ ww
& œ w Œ
3o 2o 5o 1o
"active" tenor clausula or bass clausula?
ANT PEN ULT ANT PEN ULT

However, theories that track root motion (e.g. Roman numerals and function theory) draw a largely arbitrary
distinction between the "active" and "static" tenor clausulae shown above. For example, why should the two
chords at the arrows below be analyzed differently, when the overall voice-leading patterns are so similar? e
reason is that, if you are working within a theory that assumes that (1 ) all chords have roots (even dissonant
ones), and that (2) root motion between chords is syntactically meaningful, then you must analyze these two
chords differently. But if you emphasize the underlying contrapuntal similarities in the clausulae, then you can
view these two progressions as quite similar. roughout the seventeenth century and up until around 1 750,
very few musicians thought in terms of chordal roots as we understand them today. Rather, these ideas

{
emerged in the early 1 8th century and rst gained widespread adoption in the second half of the 1 8th century.

Œ œ œ̇ w Œ œ œ̇ w
& ˙˙ œ w ˙˙ œ
˙ w ˙ w
w
? ˙ ˙ ˙ œ œ
w w
Roman numerals: I6 vii o7 6 I I6 ii7 V7 I
T6
 /4
Ä 3 T T6
 Sp7 D7 T
Function theory:

www.derekremes.com 17 Version: Jan. 28, 2024

 Overview: Rules of the Octave
(Non-Sequential Stepwise Bass Harmonizations)
Rule of the Octave (Basic Form)
e Rule of the Octave (RO) determines the normative harmonies for each bass degree.
"Basic" means that this RO only has 5/3 and 6/3 chords (exception: 4odescending).
A line through a gure means that this interval is raised chromatically.
"5" serves merely as a reminder that the given bass degree takes a 5/3 chord.
Notice that, in major, the descending RO tonicizes the dominant key (key of V).

major keys
ascending either/or descending 6

œ œ œ œ œ œ œ œ
4
?c œ œ œ
5 6 6 5 6 5 6 6 5 5 6 ´ 5 6 6 5
œ œ
2
œ œ œ
C(I): 1o 2o 3o 4o 5o 6o 7o 1o 1o 7o 6o 5o 4o 3o 2o 1o
G(V): 2o 1o
minor keys

œ <n>œ <n>œ
ascending either/or descending 6

œ
5 5 Ä

? œ #œ #œ
5 ´ 6 5 6 6 6 5 5 6 6 6 ´ 5
œ
# # 2

œ œ œ œ œ œ œ œ
a: 1o 2o 3o 4o 5o uo
ü po
ü 1o 1o po
l
o uo
l 5o 4o 3o 2o 1o

Rule of the Octave (Advanced Form)

"Advanced" means that this RO contains dissonant harmonies (i.e. chords other than 5/3 and 6/3). See arrows.

major keys
ascending descending
6 ´ 6 6
œ œ
6
œ œ
4
œ œ
5 4 6 6 5 6 5 5 6 5 4 6 4 5
œ œ
5
?c œ œ œ
3
œ œ
3 5 3
œ œ
2
œ
C(I): 1o 2o 3o 4o 5o 6o 7o 1o 1o 7o 6o 5o 4o 3o 2o 1o
G(V): 2o 1o

minor keys
ascending descending
´ ´ 6 ´

œ œ nœ nœ
4 Ä 4

œ #œ #œ
6 6 4 5
?
5 6 5 6 5 5 6 6 5
œ
3 3
œ œ
5 5 3 # 2
œ œ
#
œ œ œ œ
a: 1o 2o 3o 4o 5o uo
ü po
ü 1o 1o po
l
o uo
l 5o 4o 3o 2o 1o

www.derekremes.com 18 Version: Jan. 28, 2024

 Basic Rule of the Octave in ree Voices
To avoid parallel perfect fths in the octave spacing, 7oascending only
has a 5/3 chord instead of the normative 6/3 chord (see arrow).

major keys
ascending

œ œ
third position
œœ œ œ œœ œœ œœ œœ #œœ
descending
œœ œ œ œœ œœ œœ
&c œ œ œ œ œ œ

{
octave position 6

œ œœ œ
& c œœ œœ œœ œœ œœ œ
œ œ
œ
œ
œ
œ #œ œœ œœ œœ œœ œ
œ
?c œ
5 6 6
œ
5
œ
5
œ
6
œ5 œ
5
œ
5
œ6 œ´ œ
5 4
nœ
6 6 5
œ œ
2
œ œ œ
C(I): 1o 2o 3o 4o 5o 6o 7o 1o 1o 7o 6o 5o 4o 3o 2o 1o
G(V): 2o 1o

To avoid parallel perfect fths in the octave spacing, 6odescending

can take an augmented sixth (a dissonance). See the asterisk.

minor keys
ascending

œ œœ <#>œœ œ
descending
œ œœ œ œœ œœ œ œœ œ
third position

& œœ #œ œœ œœ œœ
*

{
œ #œ #œ #œ #œ
6
octave position [# ] 6

& œœ #œœ œœ œœ #œœ œœ œ œ œ œœ #œœ #œœ #œœ œœ #œœ œ

œ œ œ œ
œ œ nœ nœ #œ
Ä

œ #œ #œ
5 ´ 6 5 5 6 5 5 6 ´ 5 6 ´ 5
?
5 2
œ œ
#

œ œ œ œ œ œ
a: 1o 2o 3o 4o 5o uo
ü po
ü 1o 1o po
l
o uo
l 5o 4o 3o 2o 1o

www.derekremes.com 19 Version: Jan. 28, 2024

 Basic Rule of the Octave as Clausulae
Here we see how even a stepwise bassline can be conceived as a series of cadences.
Notice how each tetrachord (i.e. four-note bass segment) has invertible upper voices.
A 4/2-chord appears on 1odescending, which makes the bass into an incomplete
DC ( 1o 7o 6oinstead of 1o 7o 1o). e TC is in the bass in green notes.

major keys
ascending

˙ œ œ̇ œ ẇ ˙ Œ̇ œ œ̇ #œ ẇ ˙ <#>ẇ ˙
third position descending
œ̇ #œ ˙ ẇ ˙
c
& Œ ˙ œ̇ œ ˙˙

{
octave position
˙
& c Œ̇ œ œ̇ œ ẇ ˙ <#> ˙
œ œ̇ ẇ ẇ œ̇ #œ ˙˙ ẇ ˙ œ̇ œ ˙
Œ̇ #œ ˙
˙6 ˙ ˙ ˙6
4

˙ ˙ ˙7
4
˙ n˙2 ˙
2
?c ˙ ˙ ˙
7 6 6 7 ´ ´ 6 7 6
˙ ˙ ˙
C(I): 1o 2o 3o 4o 5o 6o 7o 1o 1o 7o 6o 5o 4o 3o 2o 1o
/0 Ä
2
G(V): 1o 2o 3o 4o /4o 3o 0 2o 1o

Notice the parallel perfect 5ths in the ascending version. At least they are not between the outer voices!

minor keys
ascending
third position descending
˙˙ ˙˙ Œ œ œ̇ œ ˙˙ ˙˙ ˙˙ ˙˙ œ̇ œ ˙ ˙ ˙˙
œ̇ #œ ˙˙

{
& Œ̇ œ œ̇ #œ #˙ #˙ #˙
octave position

& Œ˙ œ œ̇ #œ ˙˙ ˙˙ # œ œ̇ œ ˙˙ ˙˙
par. perf. 5ths
˙ ˙˙
˙ œ̇ œ #˙˙ #˙˙ ˙˙ œ̇ #œ ˙
˙
Œ̇
4
#˙ ˙ ˙2 n˙6 n˙7
Ä
? #˙
7 ´ 6 # 7 6 6 6 # 6 7 ´
˙ ˙ ˙ ˙ ˙
2

˙ ˙ ˙ ˙ ˙
a: 1o 2o 3o 4o 5o uo
ü po
ü 1o 1o po
l
o uo
l 5o 4o 3o 2o 1o

www.derekremes.com 20 Version: Jan. 28, 2024

 Basic Rule of the Octave in Four Voices (Complete)
Some variation in the voice-leading is possible.
Notice how similar the fth spacing is to the third spacing.
A few three-note chords are necessary to avoid voice-leading errors.
Both C. P. E. Bach and J. D. Heinichen allow for the player to
occasionally add or subtract a voice from the prevailing four-voice texture.
major keys

œœœ œœœ œœ œœ œœœ œœœ œœ #œœ œœ œœ

ascending descending

c œœ œœ œœœ œ œœœ œœ œœ
& œ œ œ œ œ œ œ
other positions

œ œœ œœ œœ œœ œœ œœ œœ #œœ œœ œœ œœ œœ

{
œœ œœœ œœœ
6

& c œœ œ œ œ œ œ œ œ œ œ œ œ
6
œœ œœ œ
& c œœœ œœ
œ
œœ
œ
œœ
œ œœ
œ
œ
œ œ
œœ
œ
œœ
œ œ #œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œ œ œ6 œ œ œ6 œ´ œ
4
?c œ œ nœ
6 6 5 6 6 6

œ œ œ œ
2
œ
C(I): 1o 2o 3o 4o 5o 6o 7o 1o 1o 7o 6o 5o 4o 3o 2o 1o
G(V): 2o 1o

minor keys

œœ <#>œœ œœ
ascending descending
œ œœ œœœ œœœ
& œœ #œœœ œœ
œ
œœ #œœœ œœ
œ œ #œ #œœœ œœ #œœ
œ œ
œœ
œ
other positions

œœ <#>œœ œœ

{
œœ
6

& œœœ #œœœ œœ œœ œœ œœ œœ œœ #œœ œœ

œ #œœœ œ œ œ œ #œ #œœœ œ œ œ
6

œ <#>œ6 œ
& œœœ #œœ œœ œœœ #œœ œœ œœ œœ œœ œœ œ #œœ #œœ œœ #œœ œœ
œ œ œ œ œ œ œ œ œ œ
œ #œ #œ œ œ nœ6 n(´)œ
Ä
?
´ 6 # 6 6 # 6 ´
œ
5
œ œ œ œ
2

œ œ œ œ
a: 1o 2o 3o 4o 5o uo
ü po
ü 1o 1o po
l
o uo
l 5o 4o 3o 2o 1o

www.derekremes.com 21 Version: Jan. 28, 2024

 Advanced Rule of the Octave in Four Voices (Complete)
e advanced RO is not possible in only three parts.
Some variation in the voice-leading is possible.
A few three-note chords are necessary to avoid voice-leading errors.
Both C. P. E. Bach and J. D. Heinichen allow for the player to
occasionally add or subtract a voice from the prevailing four-voice texture.

major keys

œœœ œœœ
descending
œœœ œœ œœ œœ œœœ œœœ œœœ œœ #œœœ œœ œœ œœœ œœ œœœ
ascending

& c œ œ œ œ œ
other positions

œœ œœ œœ œœ

{
œ œœ œœœ œœ œœ œœ œ œœ œœ œœ œœ œœ
& c œœ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ

& c œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œœœ œœœ

œ œ œ œ œ œ œ #œœ œ œ œ
6
œ œ
6 ´
œ œ
6
œ œ
4 4
œ œ
4 6 6 6 6 4 6
?c œ œ nœ
5
œ œ
2 3
œ œ
3 5 3
œ
C(I): 1o 2o 3o 4o 5o 6o 7o 1o 1o 7o 6o 5o 4o 3o 2o 1o
G(V): 2o 1o

minor keys

œ œ œœœ œœœ œ œœ œœœ œœœ œœœ œœ #œœœ œœ œ œœœ œœ œœœ

ascending descending

& œœ œ#œ #œœ #œ #œœ #œ

other positions

{
& œœœ #œœœ œœ
œ œœœ #œœœ œœ
œ
œœ
œ
œœ
œ
œœ
œ œœ œœ #œœœ
#œ #œœœ œœ #œœ
œ œ
œœ
œ

& œœœ #œœœ œœœ œœ #œœ œœ œœ œœ œœ œœ œ #œœ #œœ œœ #œœœ œœ

œ œ œ œ œ œ œ # œœ œ œ œ œ
´ ´ ´

œ #œ #œ œ œ nœ nœ
4 6 6 # 6 6 6 4 # Ä 6 4
? œ œ œ
3 5 5 3 2 3

œ œ œ œ œ œ
a: 1o 2o 3o 4o 5o uo
ü po
ü 1o 1o po
l
o uo
l 5o 4o 3o 2o 1o

www.derekremes.com 22 Version: Jan. 28, 2024

 Advanced Rule of the Octave in Four Voices
(Larger Section)
larger section larger section

?
œ œ œ œ œ œ œ œ œ œ
œ œ œ #œ #œ œ
C: 5o 6o 7o 1o 2o 3o 4o 5o a: 5o uo
ü po
ü 1o 2o 3o 4o 5o

e RO is often more useful when conceived in two sections centered around the tonic.
All three upper voices are invertible, as shown by the colors.
e colors do not relate to clausulae, as in the previous section.

major keys

˙
ascending descending
˙˙˙ ˙˙˙ ˙˙˙ ˙˙ w
w w
w ˙˙˙ ˙˙˙ w
w
w
& c w w
other positions

{
˙ ˙ ˙˙ ˙˙˙ w w ˙˙ ˙ w
& c ˙˙ ˙˙ ˙ w
w w
w ˙ ˙˙ w
w

& c ˙˙˙ ˙˙˙ ˙˙

˙
˙˙
˙
w
w
w
w
w
w
˙˙
˙
˙˙˙ w
w
w
4 6 4 4
?c ˙
3
˙ ˙
6
˙
5
w ˙ ˙
2
˙
6 3
˙ w
C: 1o 2o 3o 4o 5o 5o 4o 3o 2o 1o

minor keys

˙
ascending descending
˙ ˙#˙˙ ˙˙˙ w w ˙˙˙ ˙#˙˙ w
& c ˙˙ ˙˙ #w
w #w
w w
w
other positions

{
& c ˙˙˙ #˙˙˙ ˙˙
˙ ˙˙˙ #w
w
w #w
w
w
˙˙
˙ #˙˙˙ w
w
w

& c ˙˙˙ #˙˙˙ ˙˙ ˙˙ #w

w #w
w ˙˙ #˙˙˙ w
w
˙ ˙ w w ˙ w
´ ´
4
?c
6 6 # # Ä 6 4

˙ w ˙ ˙
3
˙ ˙
5 2 3

˙ ˙ ˙ w
a: 1o 2o 3o 4o 5o 5o 4o 3o 2o 1o
www.derekremes.com 23 Version: Jan. 28, 2024
 Advanced Rule of the Octave in Four Voices
(Smaller Section)
smaller section smaller section

? œ œ œ œ œ œ œ œ œ œ
œ œ œ #œ #œ œ
C: 5o 6o 7o 1o 2o 3o 4o 5o a: 5o uo
ü po
ü 1o 2o 3o 4o 5o

e RO is often more useful when conceived in two sections centered around the tonic.
All three upper voices are invertible, as shown by the colors.
e colors do not relate to clausulae, as in the previous section.
major keys

˙˙˙ ˙˙˙ ˙˙ ˙˙
ascending
#˙˙˙ n˙˙˙ ˙˙
descending

c ˙ ˙ ˙˙
& ˙ ˙
other positions

˙˙*

{
˙ ˙˙˙ ˙˙ ˙˙˙ ˙˙˙ ˙˙
& c ˙˙ #˙ n˙ ˙
˙˙
˙

& c ˙˙˙ ˙˙
˙ #˙˙˙ ˙˙
˙
˙˙
˙ n˙˙˙ ˙˙˙ ˙˙˙
´
6 6 6
?c ˙
4
5
˙
3
˙ ˙ ˙ ˙ ˙ ˙
C(I): 1o 7o 6o 5o 5o 6o 7o 1o
G(V): 3o 2o 1o *f2 instead of c2 avoids parallel fths.

same as the upper half in G major

minor keys
descending
˙ ˙˙˙ ˙ ˙
ascending
#˙˙˙ ˙˙˙ ˙˙
& c ˙˙ #˙˙ #˙˙ ˙
˙˙
˙
other positions

{
& c ˙˙˙ ˙˙ ˙ #˙˙˙ #˙˙˙ ˙˙ ˙˙
#˙˙
˙˙
*
˙ ˙ ˙ ˙
& c ˙˙˙ ˙˙
# ˙˙˙ #˙˙ #˙˙ ˙˙
˙˙˙ ˙˙˙
˙ ˙ ˙ ˙
´ 6
4 6 5
?c
6 # #
3

˙ n˙ n˙ ˙ ˙ #˙ #˙ ˙
a: 1o po
l uo
l 5o 5o uo
ü po
ü 1o
*d2 instead of a1 avoids parallel fths.
www.derekremes.com 24 Version: Jan. 28, 2024
 Stepwise Bass: Parallel 6/3 Chords
Fauxbourdon refers to a series of 6/3 chords whose bass moves in stepwise motion.
In order to avoid parallel fths between the upper voices, the 6 has to be in the top voice.
Parallel 6/3 chord are usually realized in three voices, since the voice-leading is simpler than in four.

{
major keys ree voices

œœ œœ
ascending
œœ œœ
descending
œœ œœ œœ œœ œœ œœ
& c œœ œœ œœ œœ œœ œ
œ
œ œ6 œ6 œ œ œ6 œ6 œ
?c œ œ œ
6 6 6 6 6 6 6 6
œ œ œ œ œ
C: 1o 2o 3o 4o 5o 6o 7o 1o 1o 7o 6o 5o 4o 3o 2o 1o

{
minor keys
ascending descending

œœ œœ œœ œœ œœ œœ œœ œœ
& c œœ #œœ œœ œœ œœ œœ #œœ œ
œ
?c
´ 6 6
œ œ #œ #œ
6 6 6
œ œ nœ6 nœ6 œ
6 6
œ
6 ´

œ œ œ œ œ œ
a: 1o 2o 3o 4o 5o uo
ü po
ü 1o 1o po
l uo
l 5o 4o 3o 2o 1o

In four voices, a ller-voice (green) is added that must move in a zig-zag to avoid parallels.
e ller voice alternates between doubling the bass and the sixth of each chord.

{
major keys Four voices

œœ œœ
ascending
œœ œœ
descending
œœ œœ œœ œœ œœ œœ
& c œœœ œœœ œœ
œ œ œ œ œ œ œ œ œ œ œ
œœ
œ
œœ
œ
œœ
œ
œ œ œ6 œ œ œ6 œ œ
?c œ œ œ
6 6 6 6 6 6 6 6 6 6
œ œ œ œ œ

{
Fn (see arrow) avoids a tritone leap in the tenor (c1 -f#1 ),
but also creates an augmented second in the bass (fn-g#).
minor keys
descending
œœ œœ
ascending

& c œœœ #œœ œœ œœ œœ nœœœ œœ œœ œœ

œ œœ œœ œœ #œœ œœ
œ œ œ œ œ œ œ œ œ œ
œ œ œ
?c
´ 6 6
œ nœ #œ
6 6 6
œ œ nœ6 nœ6 6
œ
6 6 ´

œ œ œ œ œ œ œ œ
augmented 2
www.derekremes.com 25 Version: Jan. 28, 2024
Stepwise Bass: Ascending 5-6 & Descending 7-6 Sequences
An ascending stepwise bass can also be harmonized by a 5-6 sequence.
e 7-6 is the analogue for descending stepwise basslines.
As in fauxbourdon, the voice leading is simpler in three voices than in four.

{
ree voices (minor keys not shown)

major keys descending

˙ ˙ œ œ̇ œ ˙˙ œ̇ ˙ ˙ œ œ̇ ˙ œ œ̇ ˙ œ œ̇ ˙
ascending
c ˙ œ œ̇ ˙ ˙ œ œ̇ ˙ œ˙
& œ̇ ˙ ˙
˙ ˙ ˙ ˙ ˙ ˙ 7˙ 6 7˙ 6 7˙ 6 7 6 7 6
?c ˙ ˙ ˙ ˙
5 6 5 6 5 6 5 6 5 6 5 6 5 6 5 6 7 6
˙ ˙ ˙
C: 1o 2o 3o 4o 5o 6o 7o 1o 1o 7o 6o 5o 4o 3o 2o 1o

{
with chromaticism (Monte sequence)

˙ ˙ œ œ ˙˙
ascending
˙ œ œ̇ œ̇ œ
& c œ̇ ˙ œ #œœ œ̇ ˙ J J
? c œ #œ œ œ œ #œ œ #œ ˙ ˙
œ #œ ˙
C: 1od: 7o 1oe: 7o 1oF: 7o 1oG: 7o 1oa: 7o 1o C: 5o 1o

with inverted voices

{
major keys descending

˙ œ œ̇ ˙ ˙ œ œ̇ œ ˙˙ œ̇ ˙ ˙ œ œ̇ ˙ ˙ œ œ̇ ˙ ˙ œ œ̇ ˙˙
ascending
˙
& c œ̇ ˙ œ œ̇ ˙ œ

?c ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙ ˙ ˙
5 6 5 6 5 6 5 6 5 6 5 6 5 6 5 6 7 6 7 6 7 6 7 6 7 6 7 6
˙ ˙
C: 1o 2o 3o 4o 5o 6o 7o 1o 1o 7o 6o 5o 4o 3o 2o 1o

{
in four voices

descending

œ œœ œœ œœœ ˙˙ œ˙œ œ̇ ˙œœ œ˙œ œ œ

ascending
œ œ œ œ̇ ˙œœ ˙œœ̇ ˙œœœ œ˙œœœ ˙˙˙
&c œ œ œ
œœ œœœ œœœ œœ œœœ œœ œœœ œœ œœ œ œœ œ œ ˙
œ
œ
?c ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
5 6 5 6 5 6 5 6 5 6 5 6 5 6 5
˙ 6 7˙ 6 7˙ 6 7˙ 6 7˙ 6 7 6 7 6
˙ ˙ ˙
C: 1o 2o 3o 4o 5o 6o 7o 1o 1o 7o 6o 5o 4o 3o 2o 1o
www.derekremes.com 26 Version: Jan. 28, 2024
 Stepwise Bass: Suspension Chain in Two Voices

{
with "static" agent voice (blue)

major keys with inverted voices

˙ ˙ ˙ ˙ Œ ˙ œ œ˙ œ œ˙ œ œ
& ˙ ˙ ˙ ˙ œ˙
˙ œ
2 3
œ ˙ œ œ˙ œ œœ˙
2 3 2 3 2 3 2 3 2 3
? Œ
7 6 7 6 7 6 7 6 7 6 7 6
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
C: 1o 7o 6o 5o 4o 3o 2o 1o C: 1o 2o 1o 7o 6o 5o 4o 3o

{
with "active" agent voice (blue)
compare this version with the falling fth sequence

˙ œœ œœœœ œœ œ œ˙
with inverted voices

& œ œ Œ ˙ œ œ˙ œ œ˙ œ œ
œ˙
˙ œ œ ˙ œ œ ˙ œœ œœœœ œœ œ œ˙
2 6 2 6 2 6 2 6 2 6 2 6
? Œ ˙ œ œœ˙
7 3 7 3 7 3 7 3 7 3 7 3

œ œ

{
with "static" agent voice (blue)
minor keys with inverted voices

& ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
Œ ˙ œ œ˙ œ œ
˙ œ œœ˙
? Œ ˙ œ œ˙ œ œ˙ œ œœ
2 3 2 3 2 3 2 3 2 3 2 3 7 6 7 6 7 6 7 6 7 6 7 6

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
a: 1o 7o 6o 5o 4o 3o 2o 1o
a: 1o 2o 1o 7o 6o 5o 4o 3o

with "active" agent voice (blue)

{
compare this version with the falling fth sequence
with inverted voices
œ
& ˙ œ œ œ œ œ œ œ œ œ œ #œ ˙ Œ ˙ œ œ˙ œ œ
˙ œ œ œ˙
? Œ ˙ œ œ ˙ œ œ˙ œ œ œ
2 6 2 6 2 6 2 6 2 6 2 ´

˙ œ œ œ œ œ œ œ œ œ #œ ˙
7 3 7 3 7 3 7 3 7 3 7 3

˙ œ œ
www.derekremes.com 27 Version: Jan. 28, 2024
Stepwise Bass: Syncopated-Bass Sequence (with 6/3 Chords)
e 4/2 sequence is one of the most common sequences of the baroque period.
It is important to know that the bass voice is the patient in the syncopatio.

{
major keys ree voices
third position octave position

c ˙˙ œ̇ œ œ̇ œ œ̇ œ œ̇ œ œ̇ œ œ̇ œ ˙ ˙ œ̇ œ œ
& ˙ ˙ œ̇ œ̇ œ œ̇ œ œ̇ œ œ̇ œ ˙˙
˙ ˙ 2 œ 2œ 6˙ 42 6œ 42œ 6˙ 42 6 42 6
4 6 4 6 4 6 4 6 4 6 4 6 4 6 4

?c Œ
2
œ œ
2
˙
2
œ œ
2
˙ œ œœ˙
2 2

Œ œ œœ˙
C: 1o 7o 6o 5o 4o 3o 2o1o

{
minor keys
octave position

˙ œ̇ œ œ
third position
œ̇ œ œ̇ œ œ̇ œ œ̇ œ œ
& c ˙˙ #œ̇ #œ̇ #œ ˙˙ ˙ œ̇ œ̇ œ œ̇ œ #œ̇ œ #œ̇ #œ ˙˙
4 6 4 6 4 6 4 6 Ä 6 Ä ´ 4 6 4 6 4 6 4 6 Ä 6 Ä ´

?c Œ ˙ œ œ ˙ œ œ ˙ œ œ Œ ˙ œ œ ˙ œ œ˙ œ œ œ˙
2 2 2 2 2 2 2 2 2 2 2 2

œ˙
a(i): 1o po
l uo
l 5o 4o 3o 2o 1o
C(VI): 4o 3o 2o

{
Four voices
major keys

˙˙ œœœ œœ œœ œœ œœ œœ œœ œœ œ œ ˙˙ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œ œœ œ œ ˙˙

third position fth position

c ˙ ˙
& ˙ œ œ œ œ œ œ œ œœ œœ œœ œœœ ˙˙ œ œ œ œ œœ œ œœ œœ ˙
œ
˙ ˙
4 6 4 6 4
œ œ œ œ ˙ œ 2œ ˙ 2 œ 2œ
4 6 4 6 4 6 4 6 4 6 4 6 6 4 6 4 6 4 6
˙ œ 2œ ˙ 2 œ
2 2
?c Œ
2 2 2 2 2
œœ˙ Œ œ˙
C: 1o 7o 6o 5o 4o 3o 2o1o

{
minor key
[ e octave and fth
octave position third position positions are not shown.]

& c ˙˙˙ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœœ œœ œœ ˙˙ ˙˙ œœœ œœ œœ œœ œœ œœ œœ œœ #œ œ #œœ #œœœ ˙˙˙
˙ œ œ œ œ œ œ œ œœ œœ
4 6 4 6 4 6
œ œœ˙ œ
˙ œ œ ˙ œ œ ˙ œ œ2 ˙
2 2 2 4 6 4 6 4 6 4 6 4 6 4 6 4 6 Ä 6 Ä ´

?c Œ œ œ ˙ œ œ˙ œ
2 2 2 2 2 2 2 2
œ˙ Œ œ œ˙
a(i): 1o po
l uo
l 5o 4o 3o 2o 1o
C(III): 4o 3o
www.derekremes.com 28 Version: Jan. 28, 2024
Stepwise Bass: Syncopated-Bass Sequence (with 6/5 Chords)
e 4/2 sequence is one of the most common sequences of the baroque period.
Both the bass and the red voice are syncopated in alternation with one another.

{
Four voices
major keys

˙˙ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œ œ œ œ ˙˙

third position fth position
˙ œœ œœ
& c ˙˙ œœ œœ œœ œœ œœœ œœœ œœ œœ œœ œœ œœ œœ ˙˙
œœœœ œ œ˙ œ œ œ œ œœ œœ œœ œœ ˙
˙ ˙
4 6 4 6 4 6 4 6
œ œ œ œ ˙ œ 2œ 5˙ 2 5œ 2œ
4 6 4 6
˙ œ
4 6 4 6 4 6 4 6 4 6 4 6
œ˙ œ œ œ˙
2 5 2 5 2 5 2 5
?c Œ
2 5 2 5 2 5 2 5 2
Œ œ˙
C: 1o 7o 6o 5o 4o 3o 2o1o

{
octave position

& ˙˙˙ œœ œœ œœ œ œ œ œ œ œ œ
œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœœ ˙˙
œ
˙
4 6
œ œ
4 6 4 6 4 6 4 6
˙
4
œ œ ˙ œ œ2 œ6 ˙
2 5
? Œ
2 5 2 5 2 5 2 5

{
minor keys

˙˙ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œ œ œ œ ˙˙

third position fth position

& c ˙˙˙ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ nœœ œœ #œœ #œœ ˙˙˙ œ œ œ œ nœœ œœ #œœ #œœ ˙
œ œœ œ œ
4 6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 Ä ´
˙
Œ ˙ œ œ ˙ œ œ˙
4 6 4 6 Ä ´
?c Œ œ œ˙ œ œ ˙ œ œ œ
2 5 2 5 2 5 2 5 2 5 2 2 5 2 5 2 5 2 5 2 5 2

˙ œ œ œ˙
a(i): 1o po
l uo
l 5o 4o 3o 2o 1o
C(III): 4o 3o

{
octave position
˙˙ œœ œœ œœ œ œ œ œ œ œ œ
& ˙ œ œ œ œœ œœ œœ œœ œœ nœœ œœ œœ #œœœ ˙˙
#œ
? Œ ˙
4 6 4 6
œ œ ˙
4 6 4 6 4 6 Ä ´
œ œ ˙
2 5 2 5 2 5 2 5 2 5 2
œ œ œ ˙

www.derekremes.com 29 Version: Jan. 28, 2024

 Stepwise Bass: Ascending Sequences
is sequence has the patient in the upper voice always reset to form the preparation of the next sycnopatio.
Although it can occur with only one of the upper voices, it is more common with two upper voices moving

{
in parallel thirds or sixths. For reasons of space, minor-key versions are not shown.

with 9/4-8/3 syncopatio chain

œ œœ
˙˙ œœ œœ ˙˙ œœ œœ ˙˙ œœ œœ ˙˙ œœ œœ ˙˙ œœ œ w
major keys

& Ó ˙˙ œœ w
w
w w w
9 8 9 8 9 8 9 8 9 8 6
? w w w w
4 3 4 3 4 3 4 3 4 3
w

{
œ
˙ œ œœ ˙˙ œ œœ ˙˙ œœ œœ ˙˙ œœ œœ ˙˙ œœ œ œw œ œ œ w
with inverted voices
˙ w
& Ó ˙ ˙ œ œ
w w w
9 8 9 8 6
w
9 8
? w w
9 8 9 8
w
4 3 4 3
w
4 3 4 3 4 3

{
with 9/7-8/6 syncopatio chain

œ ẇ ˙
major keys

& Ó ˙ œ ˙ w
˙ ˙˙ œœ œœ ˙˙ œœ œœ ˙˙ œœ œœ ˙˙ œœ œ ˙ œœ œ w
w w w
9 8 9 8
w
9 8 9 8 9 8 6
? w w w
7 6 7 6
w
7 6 7 6 7 6

{
œ
˙ œ œœ ˙˙ œ œœ ˙˙ œœ œœ ˙˙ œœ œœ ˙˙ œœ œ ẇ ˙
with inverted voices
w
& Ó ˙˙ ˙ œ œ
w

w w
9 8 9 8 9 8 9 8 9 8
w
6
? w w w
7 6 7 6 7 6 7 6 7 6
w w

{
another variant with 7-6 suspensions

œ œ œ œ ẇ œ œ ẇ œ œ w
& Ów ˙ ẇ œ
œ ẇ œ ẇ œ ẇ w

w w w w
? w w
7 6 7 6 7 6 7 6 7 6 7 6
w w

{
with inverted voices
ẇ œ
& w ˙ ẇ œ œ ẇ œ œ ẇ œ œ ẇ œ œ ẇ œ œ œ w
w
Ó
w w
7 6
w
7 6
w
? w w
7 6
w w
7 6 7 6 7 6

www.derekremes.com 30 Version: Jan. 28, 2024

 Stepwise Bass: Ascending "Leapfrog" Sequences

is "leapfrog" sequence gives the impression of a continuous ascending syncopatio chain by having each
patient leap up a fourth after its resolution, becoming the agent of the next syncopatio.
e inverted versions do not occur as often, because the two upper voices end up quite far apart.

{
with 9-8 syncopatio chain

w
major keys
Ó̇ ˙˙ ˙˙ ˙˙ ˙˙ w
& Ó ∑˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙

w w w w
? w w
9 8 9 8 9 8 9 8 9 8 9 8

w w

{
minor keys
∑ Ó ˙˙ ˙˙ ˙˙ #˙˙ w
w
& Ó ˙ ˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙

?
9 8 9 8 9 8
w
9 8
w
9 8
#9w 8
w
w w w w

{
with 7-6 syncopatio chain

Ó̇ œ̇ ˙ ˙˙ œ̇ œ ˙˙ œ̇ œ ẇ œ œ w
major keys
∑˙ ˙
œ ˙ œ̇ œ ˙ œ̇ œ w
& Ó
7 6 5 7 6 5 7 6 5
w
7 6 5
w
7 6 5
w
7 6 5
w
? w w w w

{
˙ œ̇ œ ẇ œ œ w
minor keys

& Ó ∑˙
Ó̇ œ̇ ˙
œ ˙˙ œ̇ œ ˙˙ œ̇ œ ˙ œ̇ œ ˙ w

?
7 6 5 7 6 5 7 6 5 7
w
6 5
w
7 6 5
#w
7 6 5
w
w w w w

www.derekremes.com 31 Version: Jan. 28, 2024

 Stepwise Bass: Lament-Bass
e Lament-Bass pattern descends by step in the bass from the tonic to the dominant.
e descent may occur with diatonic or chromatic tones.
One common realization is in three voices with a 7-6 chain.

{
two voices Diatonic Bass

˙ ˙ ˙ ˙
&c ˙ ˙ ˙ #˙
?c ˙ ˙ ˙ ˙ ˙ ˙6 ˙ ˙
D 6

a: 1o 7o 6o 5o

{
three voices
˙ ˙˙ ˙˙ ˙
& ˙ #˙ ˙
˙
˙
˙ #˙˙ #˙˙

? ˙ ˙6 ˙ ˙ ˙ ˙6 ˙ ˙
6 D H D

{
two voices with ornaments
œ œ œ œ œ ˙ œ œ œ
&
œ œ œ œ œ œ ˙

? ˙ ˙ ˙ ˙ ˙5 ˙7 ˙ ˙
5 6 7 6 7 6 6 6 7 6

{
three voices
œ̇ œ œ̇ œ œ̇ œ #˙˙
& œ̇ œ œ̇ œ œ̇ œ #˙˙
? ˙ ˙ ˙ ˙ ˙5 ˙7 ˙ ˙
5 6 7 6 7 6 D 6 6 7 6 D

{
Chromatic Bass
three voices
œ̇ œ œ̇ œ œ̇ œ #˙˙
& œ̇ œ œ̇ œ œ̇ œ #˙˙
? ˙ #7œ nœ6 #œ nœ ˙ ˙5 #œ7 nœ6 #œ nœ ˙
5 6 7 6 D 6 7 6 D

a: 1o püo plo uüo ulo 5o

www.derekremes.com 32 Version: Jan. 28, 2024
 Leaping Bass: ↓ 3 ↑ 2 Sequence with 6/3 Chords
e falling thirds sequence is one of the most common sequences of the baroque period.
To save space, only the beginning and end of each sequence is shown here.
You should ll in the missing measures by continuing the sequential pattern.

{
ree voices
major keys

œœ œœ œœ œœ
third position fth position
œ œ œ
& c œ œ œœ œ œ œ ˙ œœ œœ ˙˙
T T
?c œ œ œ œ
6 6
œœ 6œ ˙ œ 6œ œ 6œ 6

œ ˙ œ œ ˙
C: 1o 6o 7o 5o 2o 7o 1o

{
minor keys
third position fth position
œœ œœ œœ œœ
& c œœ œœ œœ œœ œ œ ˙ œœ œœ ˙˙
T T
?c œ œ œ œ œœ œ ˙ œ œ6 œ œ6
6 6 6 6

#œ ˙ œ #œ ˙
a: 1o 6o 7o 5o 2o po
ü 1o

Yet another three-voice version would arise by omitting the tenor voice, leaving only red and green voices below.

{
Four voices
major keys

œœ œœœ œœ œ
octave position

œœœ œœœ œœ œœ
fth position
œœ œœ œœ œœ
third position

c œ œ œ œ œœ œœ œœœ ˙˙
& œœœœ œœ œœ œœœ œœ
˙˙ œ ˙˙˙ œ ˙
œ T œ 6œ œ 6œ T 6 œ 6œ œ 6œ T
œ œ œ œ
œ œœ ˙˙
6 6 6 6
?c œœ ˙ œœ ˙

{
minor keys
octave position
œœ œœœ œœ œ
third position fth position
œœœ œœœ œœ œœ
& c œœœ œœœ œœœ œœœ œœ œœ ˙˙ œœ œœœ œœ
œ œ œœ œœ œœœ ˙˙
œ ˙˙˙ œ ˙
T T T
?c œ œ œ œ œ œœ œ œ œœ œ
6 6 6 6 6 6 6 6 6
œœ œ ˙ œ #œ ˙ œ #œ ˙
#œ ˙

www.derekremes.com 33 Version: Jan. 28, 2024

 Leaping Bass: ↓ 3 ↑ 2 Sequence with 6/5 or 9
e falling thirds sequence is one of the most common sequences of the baroque period.
Since the 5 in a 6/5 chord is treated like a dissonance, it must therefore be prepared and resolved down by step.
To save space, only the beginning and end of each sequence are shown here.
Fill in the missing measures by continuing the pattern.

{
with 6/5
major keys
octave position
third position
œœœ œœœ œœ œœ
fth position œœ œœ œœ œ
œ œ
& c œœ œœ œœœ œœœ œœ œœ ˙˙ œœœ œœœ ˙˙ œ œ œ œœ
œ œ œœ œœ ˙˙
œ œ˙
˙
T 56 T 56 T 56
œ œ 5œ œ 5œ œ 5œ œ 5œ
6 6 6 6 6 6

?c œ œ œ œœ œ ˙
5 5

œ˙ œ œ ˙ œ œ˙

{
minor keys

œœ œœ œœ œ
third position fth position octave position
œœœ œœœ œœ œœ
& œœœ œœœ œœœ œœœ œœ œœ ˙˙ œ œ œœœ œœœ ˙˙
œ œ œ œœ œœ œ ˙
œ œœ ˙˙
6 6 T 6 6 6 T 6
˙ 6 6 T 6

? œ œœ œ œœ œ ˙ œ œœ œ œ œœ œ
5 5 5 5 5 5 5 5 5

#œ ˙ œ #œ ˙ œ #œ ˙

{
with 9
major keys

œœ œœ œœ œ
third position (makes fths) fth position (best choice) octave position (makes fths)
œ œ œœœ œœœ œœœ œœ œ œ œ œœ œœ œ ˙
& c œœ œœ œœœ œœœ œœ œœ ˙˙
œ œœœ œœœ ˙˙ œ œœ ˙˙
˙
T T T
œ œ 5œ œ 5œ œ 5œ œ 5œ
6 9 6 9 6 6 9 6 9 6 6 9 6 9 6

?c œ
5
œ œ
5
œœ œ ˙
5 5 5

œ˙ œ œ ˙ œ œ˙

{
minor keys

œœ œœ œœ œ
third position (makes fths) fth position (best choice) octave position (makes fths)
œœœ œœœ œœœ œœ
& œœœ œœœ œœœ œœœ œ œœœ œœœ ˙˙ œ œ œ œœ œœ œ ˙
œ œœ ˙˙
œœ œœ ˙˙ ˙
6 9 6 T 9 6 6 9 6 T 9 6 6 9 6 T 9 6

? œ œœ œ œœ œ ˙ œ œœ œ œ œœ œ
5 5 5 5 5 5 5 5 5

#œ ˙ œ #œ ˙ œ #œ ˙

www.derekremes.com 34 Version: Jan. 28, 2024

 Leaping Bass: ↓ 4 ↑ 2 Sequence
is sequence is famous from Pachelbel's "Canon in D." It is also called a romanesca.

{
major keys
fth position
œœœ œœ œœ œ œ œ
octave position third position
3 œœ œœœ œœ œœ œ œ
& 2 œœœ œœœ œœœ œœ œœ œœ œ œ œ œœ œœ œ œ œœ œœ œœ
œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
? 23 œ œ œ œ œ
C: 1o 5o 6o 3o 4o 1o

{
with tonicizations
fth position
œœœ œœ œœ œ œ œ
octave position third position
3 œœ œœ œœ bœœ œ œ
& 2 œœœ œœœ œœœ œœ œœ œœ œ œ œ œ œœ œœ œ œ bœœ œœ œœ
bœ œ œ
? 23 œ #œ œ œ œ œ
œ #œ œ œ œ œ œ #œ œ
œ œ œ
C: 1o F: 7o 1o
a: 7o 1o C: 1o

{
minor keys (tonicizations not shown)
octave position third position fth position

œœ œœ œœ œ œ
& œœœ nœœ nœœ œœ œœ œ nœœœ nœœœ œœœ œœ œœœ œ nœ nœœ œœ œœœ œœ
œ œ œ œ œœ œ œ
œ
? œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
œ œ
a: 1o 5o 6o 3o 4o 1o

{
Syncopatio dissonances can be added by holding over (1 ) the blue voice, or (2) the blue and red voices.

blue voice held (4-3 suspension): blue and red voices held (6/4-5/3 suspension):

3œ œœ œœ œœ œœ œœ œœ œ œ œ œ
& 2 œœ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œ œ œ œ œ œœ œ œœ œœ
œ œ œ4
6 5 9 8 6 5 9 8 6 5
œ œ œ
4 3 9 8 4 3 9 8 4 3
? 23 œ œ
3 4 3 4 3 4 3 4 3
œ œ œ œ

www.derekremes.com 35 Version: Jan. 28, 2024

 Leaping Bass: ↑ 4 ↓ 3 and ↑ 4 ↓ 2 Sequences

{
Only major-key versions are shown. ↑ 4 ↓ 3 is also called a monte ("mountain").

œœ œœœ #œœœ œœœ #œœœ œœœ nœœœ nœœœ ˙˙˙

octave position
œœ œœ ˙˙
third position
œœ œœœ #œœœ œœœ #œœœ œœœ
fth position

& œœœ œœœ #œœœ œœ #œœœ œœ nœœœ nœœ ˙˙ œ nœ ˙ œ

œ œ œ˙ œ
? œœ œ œ #œ œ œ œ œ œ œ œ œ œ˙ œ œ œ œ œ œ
œ œ œ œ
# # # # #
˙ ˙
C: 1o 4o 2o 5o 3o 6o 4o 5o1o
F: 5o 1o
G: 5o 1o
a: 5o 1o

#œœœ œœœ œœœ

with 9/4-suspensions

c œœœ bœœœ œœœ œœ #œœœ œœœ œœœ œœœ œœ

œ
œ œ
œœ œœ
˙˙
˙
& œ

{
œœ œœœ œœœ œœœ œœ œœœ œœœ œœœ œœœ œœœ ˙˙
& c œœ œ œ œ
œ bœœ œœ œœ #œ #œ ˙
œ œ œ œ
& c œœœ bœœœ œœ œœ
œ œ #œœ
œœ œœ œœ
œ œ œ #œœ œœ œœ œœ
œ
œœ œœ
œ œ
˙˙
˙
˙ ˙ œ œ
8 m 9 8 8 7 9 8 8 7 9 8
?c ˙ ˙ ˙ ˙
v 3 # 4 3 # 4 3
˙
C: 1o 4o 2o 5o 3o 6o 4o 5o 1o

{
F: 5o 1o G: 5o 1o a: 5o 1o

œ
œœ œœœ œœœ œœœ œœœ
œœœ œœ œœœ œœœ œœœ œœœ œœ
fth position octave position third position
3 œœœ œœœ œœœ œœ
& 2 œœœ œœœ œ œ œ
œ œ œ œ œ
? 23 œ œ œ œ œ œ œ œ
œ œ
œ œ œ
C: 1o 4o 3o 6o 5o 1o

{
œœ ## œœœ œœ
modulating, with leaps of an augmented 2 in the red voice

œœ œœœ œœ ##œœœ œœ #œœœ œ œ

& c œœœ œœ #œœœ œ œ œ
œ
œ
Ë
œ
Ë
?c œ #œ
# # #
œ
#

œ œ œ œ
œ œ œ
F: 5o 1o a: 5o 1o C: 5o 1o e: 5o 1o G: 5o 1o b: 5o 1o

www.derekremes.com 36 Version: Jan. 28, 2024

 Leaping Bass: ↓ 5 ↑ 4 Sequence
e falling fths ("circle of fths") sequence is one of the most common in the baroque period.
e simplest form is in two voices, forming a canon in contrary motion.
In three voices it is common to make a chain of interlocking 7th chords.

{
Two voices (major keys)

œ œ œ
&c œ œ œ œ œ œ œ œ œ œ œ
œ œ
?c œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
C: 1o 4o 7o 3o 6o 2o 5o 1o

{
Two voices (minor keys)

œ œ œ #œ
& œ œ œ œ œ
œ œ œ œ œ #œ œ
? œ œ œ œ
D D
œ œ œ œ œ œ œ œ œ œ
œ œ
a: 1o 4o 7o 3o 6o 2o 5o 1o

{
ree voices with 7th chords (major keys)

third position octave position

œ œœ œœ œœ
& œ œœ œœ œœ œ
œ
œ
œ œœ œœ œœ œœ œœ œœ œœ
? œ œ œ œ œ œ œ
7 7 7 7 7 7 7 7 7 7 7 7

œ œ œ œ œ œ œ œ œ
C: 1o 4o 7o 3o 6o 2o 5o 1o

{
ree voices with 7th chords (minor keys)

œ
third position octave position
œœ œœ œœ œœ œœ #œœ
& œœ œœ œœ œœ œœ œœ #œœ œ
œ
œ œœ
7 7 7 7 7 7 7 7 7 7 7 7
? œ œ
D D

œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
a: 1o 4o 7o 3o 6o 2o 5o 1o
www.derekremes.com 37 Version: Jan. 28, 2024
 Leaping Bass: ↓ 5 ↑ 4 Sequence
e falling fths ("circle of fths") sequence is one of the most common in the baroque period.
It occurs with (1 ) only 5/3 chords, (2) alternating 5/3 and 7 chords, (3) vice versa, or (4) only 7 chords.
Notice how the dissonant 7 is always prepared (tied over) by common tone in the same voice before it occurs.
To save space, only the beginning and end of each sequence is shown in major and in four voices.

{
Four voices
(1) only 5/3 chords
œœ œœœ œœ œœ
octave position
œœœ œœœ œœ œœ
fth position
œœ œœ œœ
third position
œ œ œœ œœ œœœ ˙˙
& c œœ œœœ œœ œœ ˙˙ œœ
œœœ œœœ ˙˙ œ ˙
T œ œ˙ T ˙ T
?c œ œœœ œœœ
œœœ œ œ œœ˙ œ œœ˙
œ˙
C: 1o4o7o3o 2o 5o 1o

{
(2) 5/3 chord + 7 chord
œœ œœœ œœ œœ
octave position
œœœ œœœ œœ œœ
fth position
œœ œœœ œœœ œœ
third position

œœ œœ œœ ˙˙ œ œœ œœœ œœœ ˙˙
& œ œ
œœœ œœ ˙˙ œœ˙ ˙
œ
T 7 ˙ T T
? œœ œœ œ œ 7œ œ œ 7œ
7 7 7

œ ˙ œ œ ˙ œ œ ˙
œ œ œ
C: 1o4o 7o3o 2o 5o 1o

{
(3) 7 chord + 5/3 chord
œœ œœ œœ œœ
octave position
œœœ œœœ œœ œœ
third position fth position
œ œ œ œœ œ
& œœ œœ œœœ œœœ œ œ œœœ œœœ ˙˙ œœ œœ ˙˙
œœ œœœ ˙˙ ˙ œ œ˙
œ ˙
T T T
œ 7
œ
7 7
œ 7œ œ 7 7
œ 7œ œ 7 7
? œ œ œ œ˙ œ œ œ˙ œ œ œ˙
C: 1o 4o7o 3o 2o 5o 1o

{
(4) only 7 chords
œœ œœ œœ œœ
octave position
œœœ œœœ œœ œœ
third position fth position
œ œ œ œ œ œ
& œœ œœ œœœ œœœ
œœœ œœœ ˙˙ œ œ œœ œœ ˙
œ œ ˙˙
œœœ œœœ ˙˙
˙
T ˙
œ 7œ 7œ 7 T 7 7 œ 7œ 7œ 7 T 7 7
? œ œ œ œ
7 7 7 7 7
œ œ˙ œ œ œ˙ œ œ œ˙
C: 1o 4o 7o 3o 2o 5o 1o

www.derekremes.com 38 Version: Jan. 28, 2024

 Leaping Bass: ↑ 5 ↓ 4 Sequence

{
ree voices
octave position
˙ ˙ ˙ ˙ ˙ ˙ œœ˙
third position

& c ˙˙ ˙ ˙˙ ˙˙ ˙˙ ˙˙ œœ œœ ˙˙ ˙ ˙ ˙ ˙ ˙ ˙ œœ˙
˙
?c ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
C: 1o 5o 2o 6o 3o 4o 5o 1o

is sequence has two typical three-voice solutions, both of which contain 4-3 syncopatio dissonances.

œœ<#>œœ #œ œœ <#> œœ #œ œœ œœ Œ œœ #œ œœ œœ #œ œœ <#>œœ #œ œœ<#>œœ #œ œ œ

{
octave position
œ œ
third position

& c Œ œœ #œ œœ œ # œ
œ
œ
& c Œ œœ œœ œ œ œœ œœ œœ œ œœ Œ œœ œœ œœ œœ œœ œœ œœ œœ œ
œ œ œ
?c ˙ ˙
4 3 4
˙
3
˙
4 3 4 3
˙ ˙
4 3 4
˙
3
˙
4 3 4
˙
3

˙
C: 1o 5o 2o 6o 3o

e two upper voices, which are canonic, also appear on their own without the bassline.

&
Œ
œ œ œœ œœ œœ œ œœ Ó Œ
Œ œ œ œœ œœ œœ œœ œœ œœ œœ
Ó œ œŒ œ œ œ
6 7 3 2 6 7 3 3 2 6 7 3 2 6

Œ œ #œ œ œ œ<#>œ #œ œ œ
& Œ œ#œ œ œ # œ œœ<#>œœ #œ œœ<#> œœ #œ œœ œœ Œ œ#œ œ œ œ<#>œ #œ œ œ œ œ
Ó
Ó Œ œ
6 4 3 5 6 4 3 3 5 6 4 3 5 6

{
Four voices

˙˙ ˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙ ˙˙ ˙˙˙ ˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙ ˙˙˙
octave position
˙˙ ˙˙ ˙ ˙
third position fth position

& ˙˙˙ ˙˙˙ ˙˙˙ ˙˙

˙ ˙ ˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙ ˙

? ˙˙ ˙ ˙ ˙˙ ˙˙ ˙ ˙˙ ˙ ˙ ˙ ˙ ˙
˙˙ ˙ ˙ ˙˙ ˙ ˙
C: 1o 5o 2o 6o 3o 4o 5o 1o
www.derekremes.com 39 Version: Jan. 28, 2024
 Chromatic Stepwise Bass: Omnibus Sequence
e omnibus sequence or progression is usually more associated with the 1 9th century, but it rst
emerged in the late 1 8th century. Composers only use a segment of the entire sequence. Notice how
two voices hold while the other two move chromatically in contrary motion. e harmonies also repeat
after each group of four chords. e entire progression is reversible. e omnibus is thus a special case
of "wedge" voice leading, or when two parts move in contrary motion by step. It is difficult to decipher
the key of the omnibus sequence, since it is so chromatic. erefore, no bass scale degrees have been

{
added. In practice, any chord can be taken as the start of a key. us, one function of the omnibus
sequence is to modulate quickly to distantly related keys.

& C ẇ #˙ nẇ #˙ n#ẇ ẇ bẇ ẇ bw n˙ bẇ n˙

w w w #˙ nw #˙ b w n ˙ bw n˙ n ẇ w
? C ˙ #˙ n˙ ˙ ˙ #˙ n˙ #˙ b˙ n˙ b˙ b˙ b˙ ˙ b˙ ˙
7 6 4 7 7 6 f 7 m n n m m 6 4 7
4 2 # # f 2 g b 4 4 4 x §
x

enharmonic

{
respelling

b˙ nẇ b˙
& ẇ
w w nbẇ
w b˙ n ẇ
w b˙ #n#ẇ #ẇ
w n˙ #n w n˙
#ẇ n˙ #ẇ n˙
w w
? b˙ b˙ n˙ b˙ #˙ n˙ #˙ n˙ ˙ n˙ #˙ ˙
˙ b˙ n˙ b˙
7 4 6 m m n n m 7 f 6 7 7 4 6 7
§ x 4 4 4 b g 2 f # # 2 4
x

enharmonic
respelling

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 Appendix 1 : Common Modulation Strategies
modulation up a fth via bass syncopation and #4/2

{
bass syncopation
double cadence

˙˙ #ẇ ˙ ˙˙ #˙˙ w
&c Ó w
˙ ˙
Ä
˙ ˙
6 7 7
w
2
?c Ó ˙
#

C(I): 1o G(V): 4o 3o 2o 5o 1o

{
modulation down a fth via motivo di cadenza (see p. 1 3)

bass syncopation double cadence

˙˙ ẇ ˙ ˙˙ ˙˙ ˙ ˙˙ w
& Ó b˙ w
˙ ˙ ˙7
4
b˙ ˙2
4
˙
6 6 7
˙
2
? Ó w
C(I): 1o F(IV): 4o 3o 2o 5o 1o

modulation down a fth via motivo di cadenza (see p. 1 3)

{
evaded double cadence double cadence

& ˙˙ ˙ b˙ ˙˙ ˙˙ w˙ w
˙ ẇ ˙ w
7 6 5 6
? w ˙ w
m
˙
4 4 ! 5

˙ ˙ b˙ ˙
C(I): 5o F(IV): 5o 1o 4o 5o 1o

{
modulation up a second (see page 1 4)

evaded double cadence double cadence

˙ #˙ ˙˙ #˙ w
& ˙˙ ˙ ẇ
˙
˙ ẇ w
˙#
7 6 5 Ä 6 7 7
? w ˙3 ˙2 ˙ ˙ w
4 4

˙
C(I): 5o d(ii): 4o 3o 2o 5o 1o

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{
modulation down a third each time (see "carousel" on p. 1 4)

˙ œ ˙œ ˙œ
& Œ œ œ̇ œ œ ˙œ œ b˙œ œ œœ

œ œ
6
œ
b
œ9 6 6
#œ
b
œ
9 6 n b
? Œ œ #œ œ œ œ
5 5
œ
C(I): 5o 6o 7o 1o 3o
a(vi): uüo po
ü 1o 3o
F(IV): 6o 7o 1o

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 Appendix 2: Alphabetical List of Schemata
e vocabulary of schemata (singular: schema) analysis is mostly a product of recent music theory scholarship—
that is, it is for the most part not historical in origin. Schemata are best identi ed in terms of outer-voice scale
degrees in a given rhythmic pattern of strong and weak beats. at is, the key and time signatures given here are
somewhat arbitrary. In context, schemata are varied and ornamented in countless ways. Roman numerals indicate
the relationship of tonicized keys to the main key of C major. Not all schemata can be transferred to the minor
mode. Because middle voices are subordinate, they are only indicated as thoroughbass gures. Parenthesis show
possible variations. Schemata can most clearly be seen in galant and classical works (i.e. after c.1 720 into the early
1 9th century).

{
Comma

˙
4 3
˙ œ5 œ
4 3
˙
& C
6 6
?C
5 5

˙ ˙ ˙ ˙
C: 7o 1o 7o 1o

{
Complete Cadence

œ5 œ
4 3
œ
2
œ
1
w
&C
6 5
?C œ œ œ
6 6 4 3

œ w
C: 3o 4o 5o 5o 1o

{
Converging Cadence

2 1 7
œœ4 œœ
3 2

&C œ œ ˙ ˙˙

˙ ˙
6
?C œ #œ œ #œ
6 5 6 7

C(I): 4o to
ü 5o C(I): 4o to
ü 5o
G(V): 7o 1o G(V): 7o 1o

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 {
Cudworth Cadence

œ œ œ7 œ6 œ5 œ4 3
1
2 1
œ œ w
&C
6 5
?C œ œ œ
6 6 4 3

œ w
C: 3o 4o 5o 5o 1o

{
Do-Re-Mi

˙
1 2 2 3

&C ˙ ˙ ˙

?C ˙ ˙ ˙
˙
C: 1o 5o 5o 1o

{
Fenaroli (often forte, repeated piano)

& C ™™ ™™
˙
4
˙
3 7
˙
1
˙

? C ™™ ˙ ™™
6 4 6

˙ ˙
5 3
˙
C: 7o 1o 2o 3o

{
Fonte ("spring")

˙ ˙ ˙
d(ii): 4 3 C(I): 4 3
˙
&C
6 6
? C #˙ ˙
5 5
˙ ˙
d(ii): 7o 1o C(I): 7o 1o
7
?C
7
˙ ˙
#

˙ ˙
d(ii): 5o 1o C(I): 5o 1o
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 {
Indugio
2 4 6 1 7

& œ œ œ w
œ
w
6
? ˙ œ #œ
6 6 5

C(I): 4o 4o to
ü 5o
G(V): 7o 1o

{
Le-Sol-Fi ( uo
l 5o to
ü in bass)

& bw
w nw
w
? b˙
6
œ
4
#œ
7
w
§

c(i) uo
l 5o to
ü 5o
G(V): 7o 1o

{
Meyer

˙
1 7 4 3
˙
&C ˙ ˙
4 6

?C ˙
5
˙
3
˙ ˙
C: 1o 2o 7o 1o

{
Monte ("mountain")

F(IV): 4 3 G(V): 4 3

& C b˙ ˙ ˙ ˙

˙
6 6
?C ˙ ˙ #˙
b 5

C(I): 3o 4o tüo 5o
F(IV): 7o 1o G(V): 7o 1o

?C ˙ ˙ ˙
m 7

˙
#

C(I): 1o 4o 2o 5o
F(IV): 5o 1o G(V): 5o 1o

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 {
Passo Indietro ("step back")
7 1 6 7 1

&C ˙ ˙ œ œ ˙
4 6 3 4 6
?C ˙ ˙ ˙ ˙
2 2

C: 4o 3o 4o 3o

{
Ponte ("bridge") - any prolongation of 5o
w w
& w
w w
w

? w w
C: 5o

{
Prinner / La-Sol-Fa-Mi

˙6 ˙5 ˙
4 3
˙
&C
?C ˙
6
˙
7 6
˙ ˙
C: 4o 3o 2o 1o

?C ˙ ˙ œ
7 7
œ ˙
C: 4o 3o 2o 5o 1o

{
Quiescenza

C: 1 b7 6 n7 1

&C ˙ b˙ ˙ n˙ w
m 6 u 8
?C w
8 3 4 2 3
w w
3

C: 1o
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 {
"New" Romanesca

3
˙ ˙5 1
˙
1
˙
&C
?C ˙ ˙ ˙
6

˙
6

C: 1o 7o 6o 3o

{
"Old" Romanesca / Pachelbel Canon in D
3 2 1 7
˙ ˙ ˙
&C ˙

?C ˙ ˙ ˙ ˙
C: 1o 5o 6o 3o

{
Sol-Fa-Mi

˙5 ˙
4
˙
4 3
˙
&C
6
?C ˙ ˙
5
˙ ˙
C: 1o 2o 7o 1o

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