Sequences w/Applied Chords
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SUMMARY of CHROMATIC SEQUENCES The sequences below are realized as root-position triads, but they may also o ccur as 7th chords and/or in inversions. They may begin on any chord, but usually end on dominant or tonic. DESCENDING-5TH SEQUENCES in major keys: • diatonic descending-5th sequence in major: I–IV–vii°–iii–vi–ii –V–I example in C major: C F b° e a d G C • desc. 5th sequence with dominant-tonic pairs in major: V/iii–iii –V/ii–ii–V–I OR V/vi–vi–V/V–V–I example in C major: B e A d G C E a D G C • dominant chain in major: V/iii–V/vi–V/ii–V/V–V–I example in C major: B E A D G C note that when this progression consists of dominant 7th chord s, it contains two different descending chromatic lines, made up o f alternating chord 3rds and chord 7ths, which are sometimes voiced in parallel tritones: B 7 –E 7 –A 7 –D 7 –G 7 –C 7 D D C C B B A G G F F E in minor keys: • diatonic descending-5th sequence in minor: i–iv–VII–III–VI–ii°–V–i example in C minor: c f B E A d° G c • dominant-tonic pairs in minor: V/VII–VII–V 7 /VI–VI–V/V–V–i OR V/iv –iv–V 7 /III–III–V 7 / II– II–V–i example in C minor: F B E 7 A D G c C f B 7 E A 7 D G c note: 7ths are usually added to V/III, V/VI and V/ II to differentiate them from their diatonic versions VII, III and VI II is often used when preceded by a dominant because ii° is not a stable major or minor triad, so it cannot be tonicized • dominant chain in minor: V/iv–V/VII–V 7 /III–V 7 /VI–V 7 / II–V/V–V–i example in C minor: C F B 7 E 7 A 7 D G c as dominant 7th chords, with descend ing chromatic lines: C 7 –F 7 – B 7 –E 7 –A 7 –D 7 or D 7 –G 7 E E D D C C or C B B A A G G F or F F DESCENDING-3RD SEQUENCES in major keys: • diatonic descending-3rd sequence of si ngle chords in major: I–vi–IV–ii–vii°–V example in C major: C a F d b° G • desc ending-3rd sequence with dominant-toni c pairs in m ajor: I–V/vi –vi–V 7 /IV–IV–V/ii–ii–V example in C major: C E a C 7 F A d G • diatonic descending-3rd sequence of chord pairs in major: I–V–vi–iii–IV–I–ii–V example in C major: C G a e F C d G note that if the iii chord was major, this would be a sequence of tonic–dominant pairs
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handout on chromatic sequences by descending 5th with applied dominants
Transcript of Sequences w/Applied Chords
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SUMMARY of CHROMATIC SEQUENCES The sequences below are realized as root-position triads, but they may also occur as 7th chords and/or in inversions. They may begin on any chord, but usually end on dominant or tonic.
DESCENDING-5TH SEQUENCES in major keys:
diatonic descending-5th sequence in major: IIVviiiiiviiiVI example in C major: C F b e a d G C
desc. 5th sequence with dominant-tonic pairs in major: V/iiiiiiV/iiiiVI OR V/viviV/VVI example in C major: B e A d G C E a D G C dominant chain in major: V/iiiV/viV/iiV/VVI example in C major: B E A D G C
note that when this progression consists of dominant 7th chords, it contains two different descending chromatic lines, made up of alternating chord 3rds and chord 7ths, which are sometimes voiced in parallel tritones:
B7E7A7D7G7C7 D D C C B B A G G F F E
in minor keys:
diatonic descending-5th sequence in minor: iivVIIIIIVIiiVi example in C minor: c f B E A d G c
dominant-tonic pairs in minor: V/VIIVIIV7/VIVIV/VVi OR V/ivivV7/IIIIIIV7/IIIIVi example in C minor: F B E7 A D G c C f B7 E A7 D G c note: 7ths are usually added to V/III, V/VI and V/II to differentiate them from their diatonic versions VII, III and VI II is often used when preceded by a dominant because ii is not a stable major or minor triad, so it cannot be tonicized
dominant chain in minor: V/ivV/VIIV7/IIIV7/VIV7/IIV/VVi example in C minor: C F B7 E7 A7 D G c
as dominant 7th chords, with descending chromatic lines: C7F7 B7E7A7D7 or D7G7 E E D D C C or C B B A A G G F or F F DESCENDING-3RD SEQUENCES in major keys:
diatonic descending-3rd sequence of single chords in major: IviIViiviiV example in C major: C a F d b G
descending-3rd sequence with dominant-tonic pairs in major: IV/viviV7/IVIVV/iiiiV example in C major: C E a C7 F A d G
diatonic descending-3rd sequence of chord pairs in major: IVviiiiIVIiiV example in C major: C G a e F C d G
note that if the iii chord was major, this would be a sequence of tonicdominant pairs
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(DESCENDING-3RD SEQUENCES, continued) in minor keys: diatonic descending-3rd sequence of single chords in minor: iVIiviiV example in C minor: c A f d G descending-3rd sequence with dominant-tonic pairs in minor: IV7/VIVIV/IVivii or V/VV example in C minor: C E7 A C F d or D G diatonic descending-3rd sequence of chord pairs in minor: iVVIIIIiviiiV example in C minor: c G A E f c d G note that if the i chord was major and the ii chord was minor, this would be a sequence of tonicdominant pairs ASCENDING-2ND SEQUENCES diatonic ascending-2nd sequence in major: IiiiiiIVV or IVVviviiI example in C major: C d e F G F G a b C ascending-2nd sequence with dominant-tonic pairs in major: IV/iiiiV/iiiiiiV/IVIVV/VV example in C major: C A d B e C7 F D G note that this progression contains an ascending chromatic line: C C D D E E F F G another ascending-2nd sequence with dominant-tonic pairs in major: V7/IVIVV/VVV/vivi example in C major: C7 F D G E a note that this progression contains an ascending chromatic line: E F F G G A DESCENDING-2ND SEQUENCES diatonic descending-2nd sequence in minor: iVIIVIV example in C minor: c B A G descending-2nd sequence with tonic-dominant pairs in minor: iVVIIV/VIIVIV/VIiiV example in C minor: c G B F A E d G
