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Hi Máté.
Sorry, you must be really confused! I was so tired when I wrote the pdf, and I guess I made some stupid mistakes. I don't think I meant to write do four progressions. Do six in total, one in each key. I think I'd better do a revised version for you once I get the chance!
1) This may sound a litle strange, but in theory, any IV-I progression can be seen as either a move by a fourth or fifth actually, and likewise movement by a third can also be seen as movement by a sixth. The reason for this is that these intervals are what is called inversions of each other. It's quite hard to explain clearly, I think you'll probably just get it after a while, but a simple way of looking it could be as follows:
Start on the note middle C. Then move to G.
Ok so you have two options here, up to G or down to G. If you move up, you leap by a fourth, if you move down, you leap down a fifth. i.e. if the distance between two notes in one direction is a fourth, it will be a fifth in the other.
The same goes for C and A, A is a third below C but a sixth above it etc.
2) You may of course you cadences in the middle of the progression, but I think too much deliberate use of cadences inside the progression, especially if they fall in funny places (across the end of bar 5 or something) it may sound a little strange. Perhaps it's worth noting (but not worrying too much about it) that most musical phrases are constructed in groups of twp bar, four bar or eight bar phrases. (Don't worry if you don't get this though - we'll discuss it in more depth later).
Hmm, to be honest, I wouldn't bother using the weaker versions of some cadences that I should you in these progressions - but it's up to you of course. I think the main reason to know about certain 'weaker' cadence progressions is because later you may have to use them, as it will be dictated by other factors (you will already have been given the melody or bass or something else etc.), but otherwise they're actually best avoided in my opinion.
Sorry I should have made it clear, the rule about using chords a 3rd, 4th, 5th and 6th away doesn't apply to the cadences! Just use it as a guide in the rest of the chord progressions.
3) I think for now, it's a good idea to keep the soprano moving smoothly like the middle voices, but there's no reason why it can't leap a little. It's a good idea not to let it leap by any 'ugly' intervals though (diminshed fifth, augmented fourth, or seventh).
I think two octaves is a little bit too far away from the bass! Is there no way it can moved downward by step at one point, or stay tied over somewhere? Otherwise, yes, let it leap down, but try to keep leaps as small and as few as possible!
Ok sorry for the shoddy lesson, I hope this clears things up. I'll have a go at making a few revisions for you sometime later, so that it reads accurately for your reference later on.
Good luck with the work.
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