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Chapter Seven Harmonic Progression and the Sequence Introduction Tonal Harmony developed slowly out of the great polyphonic modal tradition of the Renaissance period (1430-1600) The “rule” of counterpoint resulted in certain recurring and recognizable combinations of chords (tonal harmony) which is the heart of this chapter It developed from counterpoint, not “invented” Some chord successions(progression) “progress” to move forward toward a goal, whereas others tend to wander, to leave our expectations unfulfilled (example 7-1) Sequences and the Circle of Fifths Sequence, a pattern that is repeated immediately in the same voice but that begins on a different pitch class Sequence is one the important means of achieving unity in tonal music Tonal sequence: keep the pattern in a single key; the modifiers of the intervals (minor, major, and so on) will probably change Real sequence: transposes the pattern to a new key Sequence vs Imitation: o Sequence: single voice o Imitation: between two or more voices Vocabularies: Imitation, real imitation, modified sequence Circle-of-fifths progressions: series of roots related by descending 5ths (and/or ascending 4ths) o Most of the 5ths will be perfect o A o5 (or +4) intervals will appear if the a diatonic circle-of fifths progression goes on long enough Circle-of fifths harmonic sequence Frequently found in 20th century popular music and jazz Root progression of a 5th down (or 4th up) is the most basic progression in tonal harmony The strongest of all root movements is a descending 5th, the V-I progression The I and V Chords The ultimate harmonic goal: TONIC TRAID (I chord) Tonic triad is most often preceded by a V (or V7) It would be difficult to exaggerate the important of the I-V-I progression at all levels of musical structure, from the phrase on up Prolongation: a process to expanded the domain of a chord through the use of one or more subsidiary chords o i | V65 | i | V | i | V 43 65 | i 6 V | i | i----------V | i--------------V | i | The II Chord Extend the circle-of-fifths progression backward on step from the V chord o [ ii ] [V] I--------- follow by anything Pre-dominant chord The VI Chord One more step in the circle of fifths o [vi][ ii ] [V] I---------follow by anything The III Chord Another 5th backward brings us to the iii chord o [iii][vi][ ii ] [V] I---------follow by anything o When a [iii] is found in a major-mode bass line, the chord above it is almost always a I6 rather than a [iii] o The III chord in minor is used more frequently The VII chord Continuing the circle of fifths backward from iii brings us to viio viioiii does occur in sequential progress, the viio usually acts instead as a substitute for V viio and V are so closely related that moving from one to the other is not considered to be a “progression” viio and V share the dominant function which is to define the tonality by resolving to the tonic triad The customary goal of the viio (except in sequence) is the tonic trial o [iii][vi][ ii ] [viio or V]I---------follow by anything V usually follow the viio because the V is the stronger sound Most common use: prolong a tonic triad, in first inversion, sometimes involves a voice exchange between the bass and some upper voice in which one voice line outlines 1-2-3 and the other mirrors it with 3-2-1 o I-viio6-I6 or I6-viio6-I The IV Chord Lies a P5 below the tonic Has a pre-dominant function, moving directly to V or viio May prolong the pre-dominant area by moving first to ii or ii6 IV – I is call a plagal progression o [iii][vi][ IV or ii ] [viio or V]I---------follow by anything 6 Cadential six-four I4 – V (example 7-16)(Chapter 9 more detailed explanation) Common Exceptions 1. V-vi: deceptive progression 2. iii-IV o [iii][vi][ IV or ii ] [viio or V]I---------follow by anything Difference in the Minor Mode 1. VII sounding like V in the key of the key of the relative major, V/III 2. The minor v, usually v6, after which the lower 7th degree will move to lower 6th degree, usually as part of a iv6 chord 3. Minor v does not have a dominant function o [VII][III][VI][ iv or iio ] [viio or V]i---------follow by anything Progression 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 follow by the I chord (or sometimes by the vi chord) The only exception is the tonic seventh chord (IM7 or i7), not stable, followed by a subdominant chord More about Harmonic Sequences Other harmonic sequences beside the circle-of-fifths sequence do occur Things to remember about sequences: 1. Sequential pattern may result in unusual doublings (root position dimished chords, and unusual leaps, all acceptable in a sequence) 2. Chords may not function in a sequence in their usual ways-that is, according to the chord diagrams 3. Inversions do not affect a harmonic sequence 4. Sequences may begin and end at any point in the pattern Example of sequences (pg. 107 example 7-19) Harmonizing a Simple Melody Writing only of root position Avoid diminished triads First step should be to select the chords for the very beginning and for the last two or three chords Next write out the possibilities for each remaining chord Every melody note can serve as a root, third , fifth of a triad Compose the rest of the bass line Create a good harmonic progression while avoiding creating parallel or direct 5ths and 8ves with the melody Finally, add one or two inner voices