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AND PATTERNS
DIRECTION OF MOTION
Intermediate Harmonies
Predominants
IV
iii
vi
ii
Dominants Tonic
viio
V
CONTRAPUNTAL PATTERNS
Chord motions that do not move this way are usually not harmonic progressions
at all, they are simple coincidences of contrapuntal motion.
We usually think of these are part of the EXPANSION of a harmony.
They tend to follow specific, familiar patterns.
The following examples fill the space between two existing outer chords with a
new inner chord.
X X6 (X+4th)
Examples:
I I^ -IV
V V^ -I
ii -ii^ -V
[ IV IV^ -V% ]
Reversible.
Good candidate for voice exchange
X (X-2nd)6 - X6
Examples
I viio^ -I^
ii I^ -ii^
IV iii^ -IV^
V-IV^ -V^
vi V^ -vi^
Reversible. Fills gap between root position and first inversion of a single chord type (as in previous
examples) with the first inversion of the chord rooted a second lower. (Used when First Inversion is
above root, to make stepwise bass).
Excellent candidate for voice exchange.
X (X-4th)6 - (X-3rd)
Examples
I V^ -vi
IV I^ -ii
Similar to the reverse form of the previous example (same bass line), except that the higher
bass note is a root position chord, rather than first inversion.
Compare:
iVII^ -III
IV I^ -ii
X (X-3rd) - X6
Examples
I vi I^
IV ii IV^
Alternative way to fill the space between root position and first inversion (as in
previous examples) when the first inversion bass is expressed as a sixth below
the root position, to subdivide the leap of a sixth into a third and a fourth.
ARPEGGIATION
I I^ -V
or occasionally
I iii V
Ascending, quite common for connecting the tonic to the dominant, with bass
notes on the three chord tones of the tonic chord. Rare on other chords
because the harmonic motion is backwards.
Descending is more flexible, and can extend much farther down through thirds:
[ I vi IV ii V^ -V ] -I
I vi ii
IV ii V
IV ii^ -V
=====
IV) pp ^ -V
SEQUENCES
Sequences are long-term chord patterns in which a cell of two chords related in a
specified way are repeated successively (usually) one step higher or one step lower.
Example:
This allows long-term parallel ascents and descents without parallel voice-leading.
In the example above, the chords seem to move in the wrong direction (the second
chord in each unit is called a back-related dominant), but this is okay because the
real motion is between the units, not within them.
FAUXBOURDON
You can also ascend or descend stepwise for long periods of time in parallel first
inversion chords:
INVERSIONS OF V7
Each inversion of V7 has its own particular tendencies, and usually extends the
tonic is particular ways:
V%:
I V% -I
V#:
I V# -I^
I V# -I
V@:
I V@ -I^
V V@ -I^
I^ -V# -I^
Most of the chord patterns in the Rule can be recognised from the preceding
discussion.
Ascending
1
I
2
viio^
V#
3
I^
4
ii^
II%
IV^
4
ii^
V@
7
V^
V%
2
viio^
V#
Descending
V^
6
IV^
II#
5
V
I^
GENERAL ADVICE
Second-inversion triads ( ) are far less common than root or first inversion. Until
you study the very specific and unforgiving ways they can be used, you should only
use them as double suspensions leading to the chord whose root shares the same
bass note.
First inversion triads can be used more freely, but are still usually used to make the
bass line smoother. If the bass line does not leave the first-inversion triad by step
(except
I^ -V and a few other special cases), ask yourself why you chose the first
inversion.
GENERAL ADVICE
Seventh chords and their inversions are used to intensify the drive towards the next chord in
the circle of fifths:
i.e.
@ ) must