A-C#-E in C major

C#-E-G in A minor

The voice that is always doubled in a second inversion triad.

A IV-I progression at the very end of a phrase.

The subtonic of the scale in G# melodic minor.

B-D#-F# in G major

G#-B natural-D-F in D minor

Consecutive fifths between the same 2 voices, where one of the 5th is diminished.

A group of 2 to 4 phrases, where the cadence at the end o the last phrase is stronger than all previous cadences.

The happiest day of the week.

C-E-G-Bb in Bb major

D-F#-A-C natural in B minor

The chord factor that is doubled on VI in a progression V-vi or V-VI.

The type of period where the beginning of the phrases is neither identical nor very similar.

The notes of viio42/iii in Cb major.

F#-A-C-Eb in D major

G-Bb-Db-Fb in F minor

The motion from C natural to B within the same voice (any voice), in the progression V65/III to III, in F# minor.

The type of period where the beginning of the phrases is either identical or very similar.

The day of the week that is quite envious of Monday's repute as the happiest day of the week.

Fx-A#-C#-E# in F# major

Cx-E#-G#-B# in A# minor

The mistake created by the tenor voice daring to go from B to Cx in D# minor.

The third strongest or most conclusive type of cadence.

The most inconvenient voice-leading mistake fixing strategy.