Types of Harmonic Progressions

types of harmonic progressions

Welcome to this new series of articles where we will explain, in a simple but rigorous way, the formal theory proposed by William Caplin.

 

William Caplin is an American music theorist born in 1948. He is well known for having written numerous articles and books on musical form in late 18th and early 19th century European music.

 

In this series of articles, we will explain the book titled “Analyzing classical form”, which has generated a breakthrough in the study of classical musical form. In this first essay, we will explain the first chapter of the book, which talks about harmonic functions and harmonic progressions.

 
 

The first step is to understand that even if we have seven different chords in a major or minor scale, the harmonic functions are only three: tonic, dominant and pre-dominant.

  • Tonic harmonies include the I and VI chords in their various positions.

  • Dominant harmonies include the V and VII chords in their various positions.

  • Pre-dominant harmonies include a wide variety of chords: IV, II, bII, secondary dominants of the dominant, and the various “augmented-sixth” chords.

 
 

If we place a series of chords in a successive and orderly manner, we obtain harmonic progressions. Most harmonic progressions can be classified into one of three main types: prolongational, cadential, or sequential.

 
 
 

Prolongational Progressions

 

Prolongational progressions sustain in time an individual harmony through the use of intervening chords. They can be grouped into four main types by virtue of the compositional technique associated with the prolongation:

  1. Pedal point

  2. Neighboring chords

  3. Passing chords

  4. Substitute harmonies

 

All the examples presented in this article are taken from the book Analyzing Classical Form: an approach for the classroom, unless otherwise stated.

 
 
 
  1. A prolongation of the tonic harmony is produced due to the first-inversion dominant seventh chord, which acts as a neighbouring chord.

  2. The second-inversion dominant seventh chord acts as a passing chord.

  3. The first-inversion subdominant acts as a passing chord.

  4. The root-position submediant acts as a subordinate harmony.

  5. We find a prolongation of the tonic harmony carried out by the pedal point technique. Notice that the bass note of the subordinate harmonies is replaced by the pedal note, thus significantly reducing the structural status of these harmonies.

 

For this entire series of articles, the subordinate harmonies of a prolongational progression will be placed in parentheses in order to highlight the prolonged harmony.

 
 
 

Cadential Progressions

 

Cadential progressions confirm a tonal center by bringing the fundamental harmonic functions in this order: initial tonic, pre-dominant, dominant, and final tonic.

 

A cadential progression is complete if it contains all of its component harmonic functions. An incomplete cadential progression lacks an initial tonic or a pre-dominant.

 

Let’s analyse the examples below:

 
 
 
  1. This is a complete authentic cadential progression since the progression contains initial tonic, pre-dominant, dominant and final tonic.

  2. We see a complete authentic cadential progression for the same reasons mentioned above.

  3. We see a complete authentic cadential progression. In this case, the progression is extended to five chords since the root-position dominant seventh is preceded by a second-inversion tonic.

  4. We see a complete half- cadential progression because it ends with a root-position dominant triad.

  5. We see an incomplete half-cadential progression since the pre-dominant harmony is missing.

  6. We see a complete deceptive cadential progression. As we mentioned earlier, it is complete because the progression contains initial tonic, pre-dominant, dominant and final tonic.

 

To reinforce the distinction between prolongational and cadential progressions, the harmonies of the latter will always be embraced by a horizontal square bracket.

 
 
 

Sequential Progressions

 

Sequential progressions destabilize harmonic activity by bringing a consistent pattern of root motion.

 

They can be classified into six types based on the size and direction of the interval between the roots of the individual chords of the sequence:

 

1. Descending 5th: is the most frequently used sequence in music around 1800.

2. Ascending 5th: is infrequently used in this period.

3. Descending 3rd: is frequently used.

4. Ascending 3rd: the most infrequently used sequence in this period.

5. Descending 2nd: frequently used.

6. Ascending 2nd: frequently used.

 

Next, we will take a closer look at each of these progressions.

 
 

Descending 5th

 

It features chords whose roots are organized into a series of descending fifths (most often alternating with ascending fourths)

 
 
 

Ascending 5th

 

The progression almost always features the same set of harmonies. It starts with a tonic and moves “backwards” through the circle of fifths as far as the submediant. At this point, the sequential chain is broken, and the music moves to the subdominant.

 
 
 

Descending 3rd

 

Below, we show an unembellished progression by ascending thirds.

In the common-practice period, however, it is common to find that the leap in the bass voice is filled in by stepwise motion, which produces intervening passing chords in first inversion.

 
 
 

Ascending 3rd

 

The ascending-third progression is the sequential pattern least frequently used by the classical composers. Its unembellished form is rarely found, if ever.

The following example is our own.

 
 
 

Descending 2nd

 

Sequential progressions by descending seconds occur often in the literature; however, they pose a potential problem of voice leading. If the chords were placed in root position, then parallel fifths could easily arise.

 
 

Ascending 2nd

 

The potential problem of faulty parallels encountered with the descending second progression applies as well to the frequently occurring ascending-step sequence.

The following example is our own.

 
 
 

In the analytical annotation of sequential progressions, the initial, functional chord has appended to it the label “seq.” in order to signal the nature of the subsequent progression.

 

 Keep up with Sonata Analysis concepts with the next chapters of this series of articles:

  1. The Sentence
  2. Composing a Sentence
  3. The Period
  4. Composing a Period
  5. Hybrid Themes

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