Passing 6/4 Parallel Fifths Deceptive Cadence First Inversion Voice Exchange Inversion Phone Number Imperfect Authentic Cadence Second Inversion Perfect Authentic Cadence Voice Crossing Pedal 6/4 Tonic Passing Tone Arpeggiating 6/4 Parallel Octaves Cadential 6/4 Strong Beat Sprung/Frustrated L.T. Suspension Leading Tone Neighbor Tones Phrygian Half Cadence Second- Level Analysis Dominant Parallel Tenths Weak Beat Expansion Embedded Phrase Model Half Cadence 10-The- Long- Way Direct Parallels Voice Overlap Consecutive Parallels Predominant Chordal Sevenths Anticipation Plagal Cadence Unequal Fifths Scale Degree 7 Third Inversion Passing 6/4 Parallel Fifths Deceptive Cadence First Inversion Voice Exchange Inversion Phone Number Imperfect Authentic Cadence Second Inversion Perfect Authentic Cadence Voice Crossing Pedal 6/4 Tonic Passing Tone Arpeggiating 6/4 Parallel Octaves Cadential 6/4 Strong Beat Sprung/Frustrated L.T. Suspension Leading Tone Neighbor Tones Phrygian Half Cadence Second- Level Analysis Dominant Parallel Tenths Weak Beat Expansion Embedded Phrase Model Half Cadence 10-The- Long- Way Direct Parallels Voice Overlap Consecutive Parallels Predominant Chordal Sevenths Anticipation Plagal Cadence Unequal Fifths Scale Degree 7 Third Inversion
(Print) Use this randomly generated list as your call list when playing the game. There is no need to say the BINGO column name. Place some kind of mark (like an X, a checkmark, a dot, tally mark, etc) on each cell as you announce it, to keep track. You can also cut out each item, place them in a bag and pull words from the bag.
Passing 6/4
Parallel Fifths
Deceptive Cadence
First Inversion
Voice Exchange
Inversion Phone Number
Imperfect Authentic Cadence
Second Inversion
Perfect Authentic Cadence
Voice Crossing
Pedal 6/4
Tonic
Passing Tone
Arpeggiating 6/4
Parallel Octaves
Cadential 6/4
Strong Beat
Sprung/Frustrated L.T.
Suspension
Leading Tone
Neighbor Tones
Phrygian Half Cadence
Second-Level Analysis
Dominant
Parallel Tenths
Weak Beat
Expansion
Embedded Phrase Model
Half Cadence
10-The-Long-Way
Direct Parallels
Voice Overlap
Consecutive Parallels
Predominant
Chordal Sevenths
Anticipation
Plagal Cadence
Unequal Fifths
Scale Degree 7
Third Inversion