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# Chapter 10 - PowerPoint PPT Presentation

Chapter 10. Harmonic progression. Harmonic Progression. Defined as the movement from one chord to the next; a succession of chords or chord progression A principal organizing force. Root Relationships. The relationship of chords to the prevailing tonality

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## PowerPoint Slideshow about 'Chapter 10' - derora

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### Chapter 10

Harmonic progression

• Defined as the movement from one chord to the next; a succession of chords or chord progression

• A principal organizing force

• The relationship of chords to the prevailing tonality

• The intervals formed by the roots of adjacent chords

• Circle progression

• Non-circle progression

• Ascending fifths

• Ascending seconds

• Descending thirds

• The most common and strongest

• Adjacent chord roots in ascending fourth or descending fifth (same note when inverted)

• The basis of all harmonic progression

• Found in succession: ii-V-I, or even

vi-ii-V-I

• Can derive many harmonic patterns from this progression: I-IV-vii°-iii-vi-ii-V-I, and many can be used based on this progression. Note that the progression starts and ends on the tonic (see figure 10.2) in book.

• Circle progression is a drive toward the tonic

• Anything that isn’t circle

• Used in conjunction with circle progression

• Adds variety to the music

• I-V, IV-I, V-ii, vi-iii, iii-viiº, and ii-vi

• Can be descending fourth also

• Provides relief from the constant motion of circle progression

• Most common is I-V

• Half cadence is a good example of this progression

• Adjacent chords whose roots are a second apart: IV-V, V-vi, I-ii, ii-iii, iii-IV, and viiº-I

• Used to prepare a shift from the circle progression to another

• The vii° chord is often used in a dominant function as a vii°6 to a I

• I-vi, vi-IV, IV-ii, iii-I, and V-iii

• Chords whose roots are a third apart

• Provide contrast and facilitate change from circle progression to another

• Used in harmonic movement away from the tonic or in a longer chord series

• Used in a cadential manner as in I6/4-V-I

• A decoration of the V chord that follows it

• No progression takes place with repeated chords, whether inverted or not

• The frequency of harmonic changes in a composition

• Typically defines the meter

• Can be slow or fast in its changes

• You must use half or authentic cadences for the final two notes of each phrase

• You should use circle progressions throughout each phrase

• Harmonize each melody note with one chord. It is possible to repeat chords, but add inversions for variety

• Use first inversion chords to make a smoother bass line

• Shape the bass line carefully to make it a singable melodic line.

• Avoid overuse of ascending third and descending second progressions