Chapter 7

Harmonic Progression

Sequences & the Circle of Fifths

Sequence : a pattern this is repeated immediately in the same voices but that begins on a different pitch class Tonal Sequence : keep the pattern, intervals change Real Sequence : transposes pattern to new key Sequence vs. Imitation
Imitation: repetition of pattern occurs in different voice

Circle of Fifths

Progressions
Sequences may be melodic harmonic or both Recall roman numerical designation of chords One common sequential progression
I V vi iii IV I

Circle of Fifths progression : series of roots related by descending 5th (or ascending 4ths) Most basic progression in tonal harmony

The I and V Chords

Most of all music pushes toward the tonic triad (I), commonly preceded by the V (or V7) chord I and V (V7) are the most essential elements in tonal music (How many songs can you think of that use only these two chords?) Why?

The ii Chord
Extending the circle-of-fifths progression backward one step gives us the following progression:
ii -> V -> I

Many phrases contain only a I-ii-V-I progression. (Example 7-9) shows the Soprano and Bass framework Compare to Bachs version of same progression (Example 7-10)

The vi Chord
One more step in the progression brings us to the vi chord:
vi -> ii -> V -> I In root position, this progression gives us an ostinato bass pattern often found in popular tunes/music

The iii Chord

Once again
iii -> vi -> ii -> V -> I

Including the iii chord is not common but does occur occasionally and usually goes to vi The III chord in minor is used more frequently Ex. 7-13, 7-14

The vii Chord

And finally Continuing backwards from iii brings us to vii vii does occur but usually acts as a substitute for V or V7 (in fact, these chords are so closely related that moving from one to another is not considered to be a progression) The primary goal of vii is not iii, but I Ex. 7-15, 7-16

The IV Chord
Missing is the IV chord which lies a P5 below the tonic An interesting chord with three dominant functions:
IV -> I creates a plagal cadence IV can be sub. with ii going directly to V or vii IV can also be followed by ii (IV-ii-V)

Ex. 7-17, 7-18

A very confusing chart, unless you know what its talking about

Common Exceptions
1. V -> vi (deceptive cadence) 2. iii -> IV

Differences in the Minor Mode

Most chords function similarly in major and minor The mediant triad (iii) so uncommon in major is common in minor: it represents the relative major key where all minor keys want to drift The variability of scale degrees 6 and 7 will sometimes produce chords of different quality and function:
1. The subtonic VIII, sounding like V in the key of the relative major (a V of iii) 2. The minor v, usually v6, after which the lowered 7th will move to lowered 6, usually as part of a vi6 chord. The minor v does not have a dominant function

Progressions Involving Seventh Chords

In almost every case, seventh chords function in the same way as triads: for example both V and V7 tend to be followed by the I chord (sometimes vi).

Checkpoint
What is the difference between a tonal sequence and a real sequence? Does a circle-of-fifths sequence use descending fifths or ascending fifths? What are three conventional uses of the IV chord?

Harmonizing a Simple Melody

Ex. 7-20, 7-21, 7-22 Self-Test 7-1