Harmonic Progression
The previous page illustrated harmonic motion in
cadences. Harmonic motion occurs not only at cadence points, but throughout a
piece. Many common harmonic patterns can be derived from the following progression
built of consecutive, ascending fourths or descending fifths. Note that both
progressions start and finish on the tonic.
- In major keys:
- I - IV - vii° - iii - vi - ii - V - I
- In natural minor:
- i - iv - VII - III - VI - ii° - v - i
All of the following common progressions result when certain specific chords
are selected from this series.
| I - IV - vii° - iii - vi - ii - V - I |
|
|
| I - |
V - I |
= |
I-V-I |
| I - |
ii - V - I |
= |
I-ii-V-I |
| I -IV |
V - I |
= |
I-IV-V-I |
| I - |
vi - ii - V - I |
= |
I-vi-ii-V-I |
Every motion by ascending fourth or descending fifth represents harmonic progression
and should be slurred. The complete progression given above would look like this
using macro analysis:
 |
| I |
IV |
vii° |
iii |
vi |
ii |
V |
I |
Notice that slurs go on the letter names, and inversions (if necessary) go
on the roman numerals. You may have noticed that one segment of this progression
does not include an ascending perfect fourth. A tritone occurs between the second
and third chord of the series. One tritone will occur at this point in any diatonic
progression in a major key, and therefore also receives a slur. A diatonic progression
that completes a full circle appears below.
Handel: Suite (Partita) in G Major (G 211-217)
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