music theory chp 7

7/31/2019 Music Theory Chp 7

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Chapter 7

Harmonic Progression


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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


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Circle of Fifths


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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


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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?


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The ii Chord

Extending the circle-of-fifths progressionbackward one step gives us the followingprogression:

ii -> V -> I Many phrases contain only a I-ii-V-I

progression. (Example 7-9) shows the Sopranoand Bass framework

Compare to Bachs version of sameprogression (Example 7-10)


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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


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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


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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 plagalcadence

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


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A very confusing chart, unless you

know what its talking about


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Common Exceptions

1. V -> vi (deceptive cadence)

2. iii -> IV


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Differences in the Minor Mode

Most chords function similarly in major and minor

The mediant triad (iii) so uncommon in major iscommon in minor: it represents the relative major keywhere all minor keys want to drift

The variability of scale degrees 6 and 7 will sometimesproduce chords of different quality and function:

1. The subtonic VIII, sounding like V in the key of therelative major (a V of iii)

2. The minor v, usually v6, after which the lowered 7th willmove to lowered 6, usually as part of a vi6 chord. Theminor v does not have a dominant function


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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).


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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?


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Harmonizing a Simple Melody

Ex. 7-20, 7-21, 7-22

Self-Test 7-1

music theory chp 7

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