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Harmonic Progressions I Cadential and Prolongational Progressions PDF
Harmonic Progressions I Cadential and Prolongational Progressions PDF
R. Vigil
I. Cadential Progressions
Taken independently, or with limited connections, harmonies may have an ambiguous identity.
For example, a C major triad may be the tonic in C major, the dominant in F major, the
subdominant in G major, the mediant in A minor, the submediant in E minor, or the subtonic in D
minor.
The two most common pre-dominant harmonies are ii6 and IV (iio6 and iv in minor).
In a true authentic cadence both the dominant and the tonic resolution must be in root position.
^
Perfect Authentic Cadence: the soprano comes to rest on 1.
6
I ii 6 V I PAC I IV V I PAC
2
^ ^
Imperfect Authentic Cadence: soprano comes to rest on 3 or 5.
6 6 6
I IV V I IAC I ii V I IAC
While the goal of an authentic cadence is the tonic, the goal of a half cadence is the dominant.
The dominant must be a root position triad, in order to provide enough stability to end a phrase.
The final chord will either be preceded by the tonic or a pre-dominant.
6
I IV I V HC i iv 6 V HC
(Phrygian)
A deceptive cadence contains all the elements of an authentic cadence, however, as opposed to
resolving to the tonic the bass moves to 6^ and the harmony changes to vi or IV6 (VI or iv6 in
minor).
6
I 6
ii 6 V vi DC I 6
ii 6 V IV DC
3
6
I ii V I PAC IV I Plagal
Neighboring Chords
"An individual harmony is prolonged by one or more neighboring chords when the prolonged
harmony remains in the same position... from the beginning to the end of the
progression."(Caplin, p.25)
I (V) I I (V 6 ) I I (IV) I
4
Passing Chords
"A given harmony is prolonged by one or more passing chords when the prolonged harmony
changes position from the beginning to the end of the position."(Caplin, p. 25)
6
I (vii o6 ) I V (IV 6 ) V I (IV 6 ) I6
Substitute Chords
A subordinate chord is said to substitute for a prolonged harmony when it expresses the same
harmonic function. The two chords will have two tones in common.
A given harmony can be embellished with more than one prolongational strategy in a single
progression.
6 6
I (vi 6 V ) I I (vi IV) I
5
6
I (viio6 ) I 6 IV (ii) V I PAC I (IV ) I IV V HC
6
I (V vi) IV V I PAC
The type of prolongational procedures described above provide an opportunity to use second-
inversion chords. These should be treated in a manner similar to dissonance in third species. As
a rule, the six-four chord should be surrounded by consonant chords, and stepwise motion
should predominate.
6 6 6 6
I (V 4 ) I IV (I 4 ) IV V (ii 4 ) V ii (vi 4 ) ii
6
6 6 6 6
I (V 4 ) I IV (I 4 ) IV V (ii 4 ) V ii (vi 4 ) ii
Six-four chords can also be employed when there is a pedal point in the bass (i.e., as a melodic
motion above a static bass). This technique has the effect of greatly halting a sense of forward
motion. For this reason it should be used sparingly, or as a "special effect."
Good Rare
6 6 6 6
I (IV 4 ) I V (I 4 ) V ii (V 4 ) ii vi (ii 4 ) vi
5 6 5 5 6 5 5 6 5 5 6 5
or: I ( 3 4 3 ) V( 3 4 3 ) ii ( 3 4 3 ) vi ( 3 4 3 )