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Harmonic Progressions

Harmonic Progressions. By Wally Furrer. Chord Progressions.

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Harmonic Progressions

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  1. Harmonic Progressions By Wally Furrer

  2. 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

  3. Functional Diatonic Chord Progressions • [iii][vi][IV][vii ] I [iii][[[ii][V]

  4. 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.

  5. 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.

  6. Cadences • PAC (Perfect Authentic Cadence) – V or V7 moving to I. Both 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.

  7. 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.

  8. Non-Chord Tones Type Approached By: Left By:

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