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Diatonic Harmony Basics and Progressions

The document summarizes eight aspects of harmony including basic root progressions like falling fifths, resolving 7ths, third progressions, progressions by second, and mediant triads. It also discusses minor dominant chords and includes homework assignments.

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35 views1 page

Diatonic Harmony Basics and Progressions

The document summarizes eight aspects of harmony including basic root progressions like falling fifths, resolving 7ths, third progressions, progressions by second, and mediant triads. It also discusses minor dominant chords and includes homework assignments.

Uploaded by

Anonymous zzPvaL89fG
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Music 16A Nov.

14, 2007

Chapter 8 Introduction to Diatonic Harmony

Eight Aspects of Harmony


Harmonic models
1) Basic Root Progressions
a. Falling Fifth Progression
i. I-IV (I-iv)
ii. vi-ii (VI-ii°)
iii. ii-V (ii°-V)
iv. IV-vii° (in minor, under 6-7-1)
v. V-I (V-i)
vi. Part-writing the falling fifth progression: these chords share one note (the
common tone); other voices should move to the nearest note, except for
the bass)

b. Resolve the 7th of a nondominant 7th chord down by step. IF there are two 7th
chords related by falling fifth, one will HAVE to loose its 5th to avoid PW errors.
2) Other progressions:
a. Third progressions share two pitch-classes
i. Falling Third – can be used in a chain, Bach Chaconne, but third-related
chords often act to expand a tonic or dominant area
ii. Rising Third – Again, often used to expand tonic or dominant areas.
Beware of retrogressions which contradict the “laws” of harmonic motion.
Some of these are typical of contemporary tonal pieces. Vincent is a good
ex (p. 289)
b. Progression by Second
i. I-ii (i-ii°): connects T & P
ii. IV-V (iv-V): connects P & D
iii. I-vii° (i-vii°) connects T & D (no P)
iv. vii°-I (vii°-i) connects D & T (dom sub)
v. V-vi (V-VI) connects D & T (tonic sub)
vi. Part-writing: move upper parts in contrary motion to the bass line to avoid
parallels
c. Mediant Triads: or why Dr. Bauer doesn’t like iii (III)
i. In most cases what LOOKS like iii/iii6/iii64 is really a tonic or dominant
with a delayed root, etc.
d. Minor dominant chords will give a modal sound to piece, but never use them at
the cadence

Workbook Chapter 9, pp. 57-62, #1-5; due Wed. 11/21

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