17.3: Review of Common Progressions
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Functional Harmony
In addition to our common chord pairs that are used as cadences, we have other chords that commonly move from one to the other. These were touched on in the previous chapter 16: Functional Harmony and Syncopation, but we will focus on specific characteristics of some of these chord combinations.
Predominant Chords
The chord that precedes the dominant chord, especially at a cadence, is called a predominant chord. Of the chords that might be used in this capacity, we have two that are the most common: subdominant (IV) and supertonic (ii)
Major Keys
In a major key, the subdominant (IV) chord is a major chord that is made up of the scale degrees 4-6-1 (fa-la-do). It is distinctive because it is a major chord that contains do. Are there other major chords containing do? Other than the tonic chord? No.
In a major key, the supertonic (ii) is a minor chord that is made up of the scale degrees 2-4-6 (re-fa-la). It is distinctive because it is a minor chord and it does not contain do. You might also be able to hear the presence of re as being one step up from do.
Minor Keys
In a minor key, the subdominant (iv) chord is a minor chord that is made up of the scale degrees 4-lowered 6-1 (fa-le-do). It is distinctive because it is a minor chord that contains do. The tonic chord in this key will also be minor, but the only other triad that contains do would be the submediant (VI) that is a major chord.
In a minor key, the supertonic (ii°) chord is a diminished chord that is made up of the scale degrees 2-4-lowered 6 (re-fa-le). It is distinctive because it is a diminished chord and has a quality unlike most of the other chords we might hear.
Bass Progression By Step
Harmonic progressions are most effective when the movement from one to the next is smooth. In a music theory class, principles of voice leading and counterpoint make up a considerable portion of first year theory. As with an easy melody to sing, a smooth bass line is often made up of stepwise motion. Sometimes this stepwise motion will be created through the use of inversions. Sometimes, this stepwise motion will be created through common root position chord progressions.
Both Major and Minor Keys
- The movement from root position subdominant (IV/iv) to dominant (V) creates an ascending stepwise bass line.
- The movement from root position dominant (V) to supertonic (vi/VI) creates an ascending stepwise bass line. The deceptive cadence!
- The movement from root position mediant (iii/III) to subdominant (IV/iv) creates an ascending stepwise bass line.
- The movement from root position supertonic (ii/ii°) to tonic (I/i) creates a descending stepwise bass line.
Bass Progressions by Skip
The most common progression that uses root position chords and moves by skips is from the tonic (I/i) to the submediant (vi/VI) to the subdominant (IV/iv). In this progression, our bassline would move from scale degree one, down a third to the sixth, and then down another third to the fourth. This sounds like it is outlining a triad and is one of those helpful pieces of information to group together to make the dictation process easier.
Bass Progressions by Leap
The most common progression that uses consecutive leaps is the Circle of Fifths progression that was outlined in 16.5: Overview of Functional Harmony.