Harmonic progression rules are the backbone of diatonic harmony. They guide how chords move and resolve, creating the musical journey we hear. Understanding these rules helps us craft smooth, satisfying chord sequences that support melodies and evoke emotions.
Voice leading is crucial in applying these rules effectively. It ensures each note moves logically from chord to chord, creating a seamless flow. Mastering these concepts allows us to build compelling harmonic structures that captivate listeners and bring our musical ideas to life.
Diatonic Harmonic Progressions
Common Chord Progressions in Major and Minor Keys
The most common harmonic progressions in major keys include:
I-IV-V-I ()
I-vi-IV-V-I
ii-V-I
iii-vi-ii-V-I
In minor keys, common progressions include:
i-iv-V-i (authentic cadence)
i-VI-III-VII-i
ii°-V-i
Chord Functions and Tendencies
Tonic chords (I, i) provide a sense of and stability
chords (IV, iv, ii, ii°) create tension and often precede dominant chords
Dominant chords (V, vii°) have a strong pull towards the tonic
(V-vi in major or V-VI in minor) subvert expectations by resolving the dominant chord to a non-tonic chord
Plagal cadences (IV-I or iv-i) provide a sense of resolution
Harmonic Rhythm and Structural Importance
is the rate at which chord changes occur
Slower harmonic rhythms often indicate more important structural chords
Faster harmonic rhythms can create momentum and tension
Varying the harmonic rhythm within a progression adds interest and contrast
Chord Resolution and Voice-Leading
Proper Resolution of Tendency Tones
The (7th scale degree) should resolve upwards by step to the tonic
The chordal seventh resolves downwards by step
In dominant-tonic resolutions (V-I or V7-I):
The third of the dominant chord (leading tone) resolves to the tonic
The seventh resolves down by step
The root moves to the tonic
Smooth Voice-Leading Techniques
Minimize large leaps between voices
Avoid parallel fifths and octaves
Keep common tones between chords when possible
Move voices by step when possible
Proper doubling of chord tones:
Root is the best choice for doubling
Fifth is the next best choice
Third is doubled less often
Seventh is rarely doubled to avoid resolution issues
Incomplete chords (triads with missing fifth or seventh chords with missing fifth) are acceptable for smooth voice-leading
Chord Function in Progressions
Primary Chord Functions
Tonic chords (I, i, vi, VI) provide stability and resolution
Often begin and end phrases or sections
Can be used for prolongation
Subdominant chords (IV, iv, ii, ii°) create tension and lead towards the dominant
Frequently occur in the middle of phrases
Help expand the harmonic structure
Dominant chords (V, V7, vii°) create the strongest tension and pull towards the tonic
Crucial for establishing cadences
Often occur at the end of phrases
Non-Chord Tones and Embellishments
embellish the harmonic progression and create interest
Analyzed based on their relationship to the underlying chord
Harmonic Structures and Forms
Harmonic progressions create various musical structures:
Periods (antecedent and consequent phrases)
Sentences (presentation, continuation, and cadential phrases)
Analyzing chord functions helps understand these larger structures
Composing Original Progressions
Planning and Structure
Establish key and meter
Influences available chords and functions
Plan overall structure considering:
Desired mood, style, and form
Length of progression
Placement of crucial structural points (cadences)
Use common chord progressions as a starting point:
I-IV-V-I or i-iv-V-i
Expand or alter for variety and interest while maintaining coherence
Applying Proper Resolution and Voice-Leading
Ensure proper chord resolution by resolving tendency tones correctly
Use smooth voice-leading techniques:
Minimize large leaps
Avoid parallel fifths and octaves
Keep common tones between chords
Move voices by step when possible
Incorporate non-chord tones for interest and variety:
Vary harmonic rhythm to create contrast and momentum
Slower rhythms for important structural chords
Faster rhythms for tension or movement
Analyze composed progression to ensure:
Chords function as intended
Contribution to overall structure and mood
Make revisions as necessary for coherence and effectiveness
Key Terms to Review (22)
Anticipations: Anticipations are non-harmonic tones that occur just before a chord change, where a note from the upcoming chord is played early, creating a moment of tension before resolving into the harmony. This technique enriches melodic and harmonic progression, as it prepares the listener for the harmonic shift while adding a sense of forward motion. Anticipations are often found in melodic lines that are harmonized in a way that emphasizes their role in leading into subsequent chords.
Arnold Schoenberg: Arnold Schoenberg was a pioneering composer and music theorist known for his significant contributions to 20th-century music, particularly in the development of atonality and the twelve-tone technique. His work marked a dramatic shift away from traditional tonal harmony, influencing numerous composers and movements. Schoenberg's approach to music emphasizes the use of motifs, the breaking of conventional harmonic progression rules, and the exploration of new structural forms.
Authentic Cadence: An authentic cadence is a type of musical resolution that occurs when a dominant chord (V) resolves to the tonic chord (I), providing a strong sense of closure and finality in a musical passage. This cadence is a fundamental building block in Western harmony, helping to establish the tonal center and guiding the listener's ear through a piece of music. Authentic cadences are often found at the end of phrases or sections, serving to reinforce the overall structure of the composition.
Deceptive Cadences: A deceptive cadence is a harmonic progression that creates an expectation for resolution but instead leads to an unexpected chord, often moving from the dominant (V) to the submediant (vi). This shift can create a sense of surprise or tension, enriching the emotional depth of a piece. Deceptive cadences are vital for manipulating musical flow and establishing a more complex sense of structure, leading to varied melodic contours and sophisticated harmonic progressions.
Dissonance: Dissonance refers to a combination of musical notes that creates a sense of tension or instability, often needing resolution to a more harmonious sound. It plays a crucial role in creating emotional depth in music, guiding the listener's experience through moments of conflict and resolution.
Dominant Seventh: A dominant seventh chord is a four-note chord formed by combining a major triad with a minor seventh above the root. This chord is crucial in Western music, especially in establishing tension that resolves to the tonic chord. Its unique structure and function make it a pivotal element in harmonic progressions, guiding the listener's ear toward resolution while also allowing for interesting variations through inversions.
Figured bass: Figured bass is a musical notation system that indicates intervals and chords above a given bass note, typically used in the Baroque period. This method allows performers, particularly keyboard players, to interpret harmony and create accompaniment by realizing the chords based on the notated figures, which often indicate the necessary intervals to be played above the bass line. It connects deeply with harmonic progression rules and the use of secondary dominants and leading tone chords as it provides a framework for understanding and executing harmonic structures.
Harmonic Rhythm: Harmonic rhythm refers to the rate at which chords change within a piece of music. It plays a crucial role in establishing the overall flow and movement of a composition, influencing how melodies are perceived and how tension and resolution are created. By varying harmonic rhythm, composers can create different musical textures, enhance melodic contour, and establish a specific emotional character in their works.
Hugo Riemann: Hugo Riemann was a German music theorist and composer known for his contributions to the understanding of harmony and music theory in the late 19th and early 20th centuries. He is particularly noted for developing the concept of harmonic progression, which explores how chords move from one to another in a way that creates tension and resolution within music. His ideas helped shape modern harmonic analysis and continue to influence how we understand musical structure today.
Leading Tone: The leading tone is the seventh scale degree in a diatonic scale, which creates a strong tendency to resolve upward to the tonic note. This tension and resolution play a crucial role in establishing harmonic progressions and voice leading techniques, serving as a pivotal element in Western music theory. It is essential for creating a sense of direction and closure in musical phrases, influencing how melodies and harmonies interact.
Major scale: A major scale is a diatonic scale that consists of seven distinct pitches arranged in a specific pattern of whole and half steps, characterized by the interval sequence: whole, whole, half, whole, whole, whole, half. This scale serves as a foundation for understanding harmony and melody, establishing a tonal center, and is essential for building chords and progressing through musical compositions.
Minor chord: A minor chord is a triad that consists of a root note, a minor third, and a perfect fifth. It is characterized by its darker, more somber sound compared to major chords, which have a brighter quality. This chord plays a crucial role in harmonic progression and is essential for establishing tonal relationships in music.
Modulation: Modulation is the process of changing from one key to another within a piece of music, often enhancing emotional expression and structural complexity. This shift can be achieved through various techniques, impacting harmonic analysis, chord progressions, and the overall form of a composition.
Natural minor scale: The natural minor scale is a seven-note scale that follows a specific pattern of whole and half steps, creating a distinctive sound characterized by its darker, more melancholic tonality. It is derived from the major scale but starts on the sixth degree, resulting in a unique set of intervals. Understanding this scale is crucial for harmonic analysis, creating progressions, constructing triads, and recognizing intervals and chords.
Neighbor Tones: Neighbor tones are non-chord tones that embellish a melody by approaching a chord tone from either above or below and then returning to the original chord tone. These tones create a sense of movement and can enhance the melodic line, adding richness and expressiveness to the music. Understanding how neighbor tones function can help in composing melodies that are harmonically interesting while still maintaining strong connections to the underlying harmonic progression.
Non-Chord Tones: Non-chord tones are notes that do not belong to the underlying harmony or chord at a given moment in a piece of music. These tones add tension and color, creating motion and interest in both melodic lines and harmonic progressions. They serve to embellish or decorate the main melody, offering expressive qualities that enhance the overall musical experience.
Passing Tones: Passing tones are non-chord tones that connect two chord tones in a melodic line, creating smooth transitions between pitches. They serve to fill in the gaps between the notes of the underlying harmony, often adding richness and fluidity to a melody. These tones can enhance both harmonic progression and melodic harmonization by introducing a sense of movement and continuity.
Perfect Cadence: A perfect cadence is a musical progression that creates a strong sense of resolution, typically moving from the dominant chord (V) to the tonic chord (I). This type of cadence is often used at the end of phrases to signal completion, establishing a sense of closure and finality in the music. Perfect cadences are foundational in creating tension and release, which makes them integral to understanding harmonic progression, common chord progressions, and the structure of musical phrases.
Plagal Cadence: A plagal cadence is a harmonic progression that moves from the subdominant chord (IV) to the tonic chord (I), often creating a feeling of resolution or completion. Commonly referred to as the 'Amen cadence' due to its frequent use in hymns and religious music, it serves to establish a sense of finality while also differing from the stronger perfect cadence (V-I). This type of cadence plays an essential role in harmonic analysis, cadence types, common chord progressions, harmonic progression rules, four-part writing principles, and the understanding of phrases and periods.
Resolution: Resolution refers to the process in music where dissonance is resolved into consonance, creating a sense of closure or satisfaction. It plays a crucial role in establishing harmonic progression, facilitating smooth voice leading, and enhancing the emotional impact of a composition.
Subdominant: The subdominant is the fourth degree of the diatonic scale, typically represented by the IV chord, and plays a crucial role in harmonic progression and creating musical tension. It functions as a bridge between the tonic and dominant chords, contributing to a sense of movement and resolution within a piece of music.
Suspensions: Suspensions are non-chord tones that create a temporary dissonance by holding a note from a previous chord into a new chord, resolving downward by step to a consonant note. This technique adds emotional depth and tension in musical progressions and melodies, enhancing the overall harmonic and melodic landscape.