Harmonic Sequences
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Transcript of Harmonic Sequences
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Harmonic Sequences
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Harmonic Sequences
• Harmonic sequences are short, melodic-harmonic patterns that are repeated on different scale steps. The strong linear or con-trapuntal direction of the melodic sequence dictates the chord progression and therefore overrides the chords’ normal tendencies.
• Harmonic sequences consist of a two-chord pattern that is repeated.
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Harmonic Sequences:
• Occur in both diatonic and chromatic versions (i.e., using secondary function chords).
• May use seventh chords instead of triads for one or both chords of the initial pattern.
• May alternate between root-position chords and inversions. However, once the initial pattern is stated, the pattern tends to be upheld.
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The Four Primary Harmonic Sequences.
•Descending Fifths (aka circle of 5ths)•Ascending Fifths•Descending 5-6 (aka Falling Thirds)•Ascending 5-6 (rising by step)
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The Descending 5ths Sequence:
• Is the most important (and most often used) of the four sequence types, because it is based on the most important chord progression in tonal music: the descending fifth.
• It often ‘cycles’ through all seven chords of the scale.
• It’s found in a variety of forms: diatonic, chromatic, using inversions, and 7th chords.
• Each repeated pattern is a step lower than its predecessor.
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The initial pattern of a descending 5ths sequence may be as simple as:
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When the pattern repeats, it appears a step lower. Notice that each voice part’s voice leading in the initial pattern is maintained.
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Two more repetitions of the pattern and the chord progression cycles all the way back to I.
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Here’s the same circle of 5ths sequence, but this time stated in minor:
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Here’s a descending 5ths sequence in the minor
mode:
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The Ascending 5ths Sequence
• Because root motion by ascending 5ths does not establish a sense of tonality, this sequence does not cycle through all seven chords.
• In the major mode the sequence usually takes the form of: IÿV, iiÿvi, iii. Note that if the sequence continued, the next two chords, viiøÿIV create root progression by tritone.
• In the minor mode, the first repetition of the pattern would be iiøÿVI, root motion by tritone, so these two chords are skipped and the sequence continues: iÿV | IIIÿVII, ivÿi
• When the initial pattern repeats, it will appear a step higher.
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The Ascending 5ths sequence in the major mode: basic voice leading
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Here’s an example of an ascending 5ths sequence in the major mode. As commonly happens, the sequence breaks off when we reach the iii chord.
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In this excerpt Handel extends the ascending 5th sequence one more fifth than usual, but he changes the expected chord (viiø) into a secondary dominant (V/iii), which here acts as back-relating dominant. That is, it’s the secondary dominant of the chord in front of it.
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Here’s an ascending 5ths sequence in the minor mode. As is typical, the progression iiøÿVI is omitted.
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The descending 5-6 sequence (aka “falling 3rds”) is driven by a stepwise melodic line, usually in the bass. The soprano is set either in parallel 10ths with the bass, or it creates an alternating pattern of 10-6 intervals. With each repetition, the pattern appears a 3rd lower.
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But the term “5-6” arises because of alternating intervals of a 5th and 6th between the bass and one of the upper voices. The sequence yields the progression. Note the pattern of alternating root-position and first-inversion chords.
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Here’s an example in the major mode. Note that the sequence starts on the upbeat.
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The descending 5-6 sequence is also commonly found in a root-position variant. All the chords are in root position and the soprano almost always descends by step.
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The most famous rendition of the root-position version of the descending 5-6 sequence is Pachelbel’s Canon in D. But here’s the same sequence used by Handel. (The dotted ties indicate implied suspensions.)
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The ascending 5-6 sequence also gets its name from a pattern of alternating intervals of the 5ths and 6ths Note: the pattern can also be expressed as 6-5.
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This example starts with the interval of a 6th and is most visible in the bass and tenor parts.
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The ascending 5-6 sequence is commonly found in a root-position variant. The root-position variant pro-vides for a much more interesting bass line.
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