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