College-Conservatory of Music • University of Cincinnati • Instructor Paul Dell AquilaRoig-Francolí, Harmony in Context, 2nd ed., Ch. 16, pp. 392–393

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Examples 16.19

A Summary of Harmonic Sequences: Elaborating the I–V–I ProgressionExample 16.19 shows a summary of all the sequence types we have studied in this chapter: the descending

circle of 5ths (example 16.19a to c); the ascending circle of 5ths (example 16.19d); the sequence by descending3rds (with a connecting passing 63 chord in example 16.19e and the “down a 4th-up a 2nd” bass pattern in 16.19f);and four sequences by steps, including the succession of parallel 63 chords (example 16.19g), sequences using 7–6and 5–6 techniques (examples 16.19h and i), and the “down a 3rd-up a 4th” bass pattern (example 16.19j).

The function of harmonic sequences is to provide a linear contrapuntal prolongation of a chord (most oftenthe tonic), or to provide a path leading from one chord to another. Each of the sequences in example 16.19 illustratesthis function. All of them are set in the context of a I–V–1 progression (in most cases with a pre-dominant precedingthe cadential dominant), and each of them can be interpreted as a contrapuntal extension of the initial tonic, aswell as a linear path leading from the initial tonic to the cadential V–I. Each of these sequences thus functions asan extended contrapuntal elaboration of the I–V–I progression.