Transcript Harmonic Progressions

Harmonic
Progressions
By Wally Furrer
Chord Progressions
 The best way to study harmonic progression is to consider
progressions in groups according to the interval produced by
the roots of adjacent chords. The following general categories
will form the basis of out study of harmonic progression.
Many harmonic patterns can be derived from the following
progression built of consecutive ascending fourths or
descending fifths. Note that both progressions begin and
finish on the tonic.
In major keys:
In natural minor keys:
I-IV-vii-iii-vi-ii-V-I
i-iv-VII-III-VI-ii-v-i
Functional Diatonic Chord
Progressions
 [iii][vi][IV][vii ]
[iii][[[ii][V]
I
The Circle Progression
The Circle Progression: Examples: iii-vi, vi-ii-V, V-I. Undoubtedly the
most common and the strongest of all harmonic progressions is the
circle progression-adjacent roots in ascending fourth or descending
fifth relationship. The circle progression, like no other, provides
direction and drive toward a goal: the tonic chord. Circle
progressions are often found in succession. \
Ascending Fifths and Descending Fourths:
Examples: I-V, IV-I, V-ii, vi-iii, iii-vii , and ii-vi.
The ascending fifth or descending fourth provides relief from
constant motion toward tonic.
The Circle Progression cont.
 Examples: IV-V, V-vi, I-ii, ii-iii, and iii-IV.

The ascending second progression is often
used to prepare a switch from the circle
progression, I-IV, to another circle
progression, V-I. The resulting progression
I-IV-V-I is often considered a substitute for
I-ii-V-I.
Cadences
 PAC (Perfect Authentic Cadence) – V or V7 moving to I. Both
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Chords in root position. Soprano on root of I chord.
IAC (Imperfect Authentic Cadence) – V or V7 moving to I, but
with either an inverted chord, or the soprano not finishing on the
tonic.
HC (Half Cadence) – A cadence that ends on a V chord. The V
chord can be approached from a number of other chords (I, ii,
IV, V/V, etc.)
PC (Plagal Cadence) – IV moving to I. Also known as “church”
cadence. Named for the “Amen” commonly used at the end of
hymns.\
DC (Deceptive Cadence) – A cadence that creates the
expectation of going to I, but substitutes another chord instead.
Common substitutes for I are: vi, IV , bVI, and occasionally IV
or V/ii.
Root Relationships
 Two forces, both involving root relationships, govern
the relationship of chords in succession. Together
they help form the organization of phrases, periods,
sections, and other musical units. These two forces
are (1) the relationship of the chords to the
prevailing tonality and (2) the intervals formed by
the roots of the chords. The triads constructed on
each of the scale degrees relate to the tonic triad,
which is the point of rest and the goal of harmonic
progression. Individual chord progressions, can be
analyzed in terms of the interval formed between
their roots.
Non-Chord Tones
Type
Approached By:
Left By:
Neighbor tone:
Step
Step in opposite direction
Passing Tone:
Step
Step in the same direction
Appoggiatura:
Leap
Step in opposite direction
Escape Tone:
Step
Leap in opposite direction
Suspension:
Same note
Step down
Retardation:
Same note
Step up
Anticipation:
Step or leap
Same note
Pedal Tone:
Same note
Same note