Consecutive Parallels Perfect Authentic Cadence Pedal 6/4 Unequal Fifths Leading Tone Deceptive Cadence Expansion Predominant Plagal Cadence Weak Beat Parallel Tenths Parallel Fifths Imperfect Authentic Cadence Passing 6/4 Phrygian Half Cadence Cadential 6/4 Voice Exchange Half Cadence First Inversion Scale Degree 7 Anticipation Second- Level Analysis Chordal Sevenths Direct Parallels Inversion Phone Number Arpeggiating 6/4 Tonic 10-The- Long- Way Second Inversion Voice Crossing Voice Overlap Passing Tone Suspension Embedded Phrase Model Dominant Neighbor Tones Parallel Octaves Strong Beat Sprung/Frustrated L.T. Third Inversion Consecutive Parallels Perfect Authentic Cadence Pedal 6/4 Unequal Fifths Leading Tone Deceptive Cadence Expansion Predominant Plagal Cadence Weak Beat Parallel Tenths Parallel Fifths Imperfect Authentic Cadence Passing 6/4 Phrygian Half Cadence Cadential 6/4 Voice Exchange Half Cadence First Inversion Scale Degree 7 Anticipation Second- Level Analysis Chordal Sevenths Direct Parallels Inversion Phone Number Arpeggiating 6/4 Tonic 10-The- Long- Way Second Inversion Voice Crossing Voice Overlap Passing Tone Suspension Embedded Phrase Model Dominant Neighbor Tones Parallel Octaves Strong Beat Sprung/Frustrated L.T. 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.
Consecutive Parallels
Perfect Authentic Cadence
Pedal 6/4
Unequal Fifths
Leading Tone
Deceptive Cadence
Expansion
Predominant
Plagal Cadence
Weak Beat
Parallel Tenths
Parallel Fifths
Imperfect Authentic Cadence
Passing 6/4
Phrygian Half Cadence
Cadential 6/4
Voice Exchange
Half Cadence
First Inversion
Scale Degree 7
Anticipation
Second-Level Analysis
Chordal Sevenths
Direct Parallels
Inversion Phone Number
Arpeggiating 6/4
Tonic
10-The-Long-Way
Second Inversion
Voice Crossing
Voice Overlap
Passing Tone
Suspension
Embedded Phrase Model
Dominant
Neighbor Tones
Parallel Octaves
Strong Beat
Sprung/Frustrated L.T.
Third Inversion