Chapter 10
Harmonic progression
Harmonic Progression
• Defined as the movement from one chord
to the next; a succession of chords or
chord progression
• A principal organizing force
Root Relationships
• The relationship of chords to the prevailing
tonality
• The intervals formed by the roots of
adjacent chords
Chord Progressions
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Circle progression
Non-circle progression
Ascending fifths
Ascending seconds
Descending thirds
Circle Progression
• The most common and strongest
• Adjacent chord roots in ascending fourth
or descending fifth (same note when
inverted)
• The basis of all harmonic progression
• Found in succession: ii-V-I, or even
vi-ii-V-I
Circle Progression
• Can derive many harmonic patterns from
this progression: I-IV-vii°-iii-vi-ii-V-I, and
many can be used based on this
progression. Note that the progression
starts and ends on the tonic (see figure
10.2) in book.
• Circle progression is a drive toward the
tonic
Non-Circle Progression
• Anything that isn’t circle
• Used in conjunction with circle progression
• Adds variety to the music
Ascending Fifths
• I-V, IV-I, V-ii, vi-iii, iii-viiº, and ii-vi
• Can be descending fourth also
• Provides relief from the constant motion of
circle progression
• Most common is I-V
• Half cadence is a good example of this
progression
Ascending Seconds
• Adjacent chords whose roots are a second
apart: IV-V, V-vi, I-ii, ii-iii, iii-IV, and viiº-I
• Used to prepare a shift from the circle
progression to another
• The vii° chord is often used in a dominant
function as a vii°6 to a I
Descending Thirds
• I-vi, vi-IV, IV-ii, iii-I, and V-iii
• Chords whose roots are a third apart
• Provide contrast and facilitate change from
circle progression to another
• Used in harmonic movement away from
the tonic or in a longer chord series
Tonic 6/4 Triad
• Used in a cadential manner as in I6/4-V-I
• A decoration of the V chord that follows it
Repeated Chords
• No progression takes place with repeated
chords, whether inverted or not
Harmonic Rhythm
• The frequency of harmonic changes in a
composition
• Typically defines the meter
• Can be slow or fast in its changes
Harmonizing a Chorale Phrase
1.
2.
3.
4.
5.
6.
You must use half or authentic cadences for the final
two notes of each phrase
You should use circle progressions throughout each
phrase
Harmonize each melody note with one chord. It is
possible to repeat chords, but add inversions for
variety
Use first inversion chords to make a smoother bass
line
Shape the bass line carefully to make it a singable
melodic line.
Avoid overuse of ascending third and descending
second progressions