Harmonic Sequences

Harmonic Sequences

Harmonic Sequences
• Harmonic sequences are short, melodicharmonic
patterns that are repeated on
different scale steps. The strong linear or contrapuntal
direction of the melodic sequence
dictates the chord progression and therefore
overrides the chords‟ normal tendencies.
• Harmonic sequences consist of a two-chord
pattern that is repeated.

Harmonic Sequences:
• Occur in both diatonic and chromatic versions
(i.e., using secondary function chords).
• May use seventh chords instead of triads for
one or both chords of the initial pattern.
• May alternate between root-position chords
and inversions. However, once the initial
pattern is stated, the pattern tends to be
upheld.

The Four Primary Harmonic
Sequences.
•Descending Fifths (aka circle of 5ths)
•Ascending Fifths
•Descending 5-6 (aka Falling Thirds)
•Ascending 5-6 (rising by step)

The Descending 5ths Sequence:
• Is the most important (and most often used) of the
four sequence types, because it is based on the
most important chord progression in tonal music:
the descending fifth.
• It often „cycles‟ through all seven chords of the
scale.
• It‟s found in a variety of forms: diatonic,
chromatic, using inversions, and 7 th chords.
• Each repeated pattern is a step lower than its
predecessor.

The initial pattern of a descending 5ths
sequence may be as simple as:

When the pattern repeats, it appears a step
lower. Notice that each voice part’s voice
leading in the initial pattern is maintained.

Two more repetitions of the pattern and the
chord progression cycles all the way back to I.

Here’s the same circle of 5ths sequence,
but this time stated in minor:

Here‟s a descending 5ths sequence
in the minor mode:

The Ascending 5ths Sequence
• Because root motion by ascending 5ths does not establish a
sense of tonality, this sequence does not cycle through all
seven chords.
• In the major mode the sequence usually takes the form of:
IÿV, iiÿvi, iii. Note that if the sequence continued, the
next two chords, viiøÿIV create root progression by tritone.
• In the minor mode, the first repetition of the pattern would
be iiøÿVI, root motion by tritone, so these two chords are
skipped and the sequence continues: iÿV | IIIÿVII, ivÿi
• When the initial pattern repeats, it will appear a step
higher.

The Ascending 5ths sequence in the major
mode: basic voice leading

Here‟s an example of an ascending 5ths sequence
in the major mode. As commonly happens, the
sequence breaks off when we reach the iii chord.

In this excerpt Handel extends the ascending 5 th
sequence one more fifth than usual, but he changes the
expected chord (viiø) into a secondary dominant (V/iii),
which here acts as back-relating dominant. That is, it‟s
the secondary dominant of the chord in front of it.

Here‟s an ascending 5ths sequence in the minor
mode. As is typical, the progression iiøÿVI is
omitted.

The descending 5-6 sequence (aka “falling 3rds”) is driven by a
stepwise melodic line, usually in the bass. The soprano is set
either in parallel 10ths with the bass, or it creates an alternating
pattern of 10-6 intervals. With each repetition, the pattern
appears a 3 rd lower.

But the term “5-6” arises because of alternating
intervals of a 5 th and 6 th between the bass and one of the
upper voices. The sequence yields the progression.
Note the pattern of alternating root-position and firstinversion
chords.

Here‟s an example in the major mode. Note that the
sequence starts on the upbeat.

The descending 5-6 sequence is also commonly found
in a root-position variant. All the chords are in root
position and the soprano almost always descends by
step.

The most famous rendition of the root-position version
of the descending 5-6 sequence is Pachelbel‟s Canon in
D. But here‟s the same sequence used by Handel. (The
dotted ties indicate implied suspensions.)

The ascending 5-6 sequence also gets its name from a
pattern of alternating intervals of the 5ths and 6ths
Note: the pattern can also be expressed as 6-5.

This example starts with the interval of a 6 th and
is most visible in the bass and tenor parts.

The ascending 5-6 sequence is commonly found in a
root-position variant. The root-position variant provides
for a much more interesting bass line.