Ch. 14: Harmonic Progression + Sequences

vii (fully diminished) chord

1) Resolved to I or sometimes V

2) 2 and 7 both resolve to the tonic

3) 2 resolved to the mediant if the resolution is I6

4) Bass is doubled

5) 2s should resolve in contrary motion

vii (fully diminished) in minor

1) Root must be raised to create in LT minor, the same in maj/min

2) Most commonly resolves to I or V7

3) Can resolve to V7 by the chord seventh resolving down to the root of V

Resolving vii7 (half-diminished)

Revoice the chord so that the interval between the third and chord seventh is inverted to a perfect fourth, or resolve it to V6/5 first.

Resolving IV7 to V

1) Make sure the chord seventh is in a lower register than the third or

2) Interpose at least one connecting chord

• I.e. cadential 6/4 between IV7 and V

ii7 (half-diminished) and iv7 in minor

1) Sevenths resolve downward by step

2) Scale degree 6-scale degree 5

vi7

Usually resolves downward by step if it is vi7.

iii7

Resolves to vi or IV.

First harmonic motion

Up a second

Second harmonic motion

Down a third

Third harmonic motion

Up a fourth or down a fifth.

Diatonic circle of fifths harmonic sequence

• Proceeds counterclockwise along the circle

• Root motion of the first pair is repeated a step lower in the second pair

• Seven chords (first one twice)

Reverse (ascending fifth) circle of fifths harmonic sequence

• Travels clockwise (root motion) along the circle

• Root motion ascends by P5 or descends by P4

• Seven chords (almost never complete)

Descending third harmonic sequence

• Root motion of a descending fourth repeated at successive levels by descending thirds

Descending fifth harmonic sequence

• Consists of alternating fifths and sixths

Ascending second 5-6 harmonic sequence

• Uses the linear intervallic pattern of 5-6, but the initial movement is in the upper voice

Chromatic circle of fifths harmonic sequence

• Follows the chromatic circle, consisting of twelve chords instead of seven

• Moves clockwise in intervals of a P5