Discussion 7a - Using Voice-leading to Create a Harmonic Progression

Class Discussion

“What rules can we apply to voiceleading to make sure all voices are moving correctly within a circle of fifths progression?”

• The root is the most likely tone to be doubled.

• The root of a chord can often stay the same and become the fifth of the next chord.

• The third of a chord resolves up by step to the root of the next chord.

• The fifth of a chord can resolve down to the root of the next chord.

• The bass voice can move in larger leaps. For now, it will stay on the root.

More Rules

• You can omit the fifth from any chord if smooth voice leading allows.

• Never omit the third or the root of a chord.

• When you have a V7 moving to a I chord in root position, it is often better to omit the fifth in the I chord to make sure all voices are present and voice leading is smooth.

Motion Between Two Voices

• Static motion is when both voices stay the same from one chord to the next.

• Oblique motion is when one voice moves and the other stays the same.

• Parallel motion is when both voices move with the same interval size and the same direction.

• Similar motion is when both voices move in the same way with a different interval size (or quality).

• Contrary motion is when both voices move in opposite directions. This could be when both voices move closer to each other, or further away.

Creating a Flow Chart of Chords

• The most distant chord from the I chord is the iii chord. In general, chords want to move in descending perfect fifths.

• The ii chord and the IV chord function in the same way. The V chord and the viio chard also function the same way.

• The way chords want to resolve: iii to vi, vi to ii or Iv, ii or IV to viio or V, and V or viio to I.

• ii chords and IV chords can move to and from each other, as well as the V chord and viio chord.

Class discussion 2021

Tendency tones

• Root in bass goes to root of next chord
• Thirds move up by step to root of next chord
• Fifths move down by step to root of next chord, has options.
• Sevenths move down by step to third of next chord

Voicing Notes

• Disjunct voice (larger leaps, 3rd’s 4th’s or 5th’s, maybe greater)
• Conjunct Line (smooth, stepwise, maybe a third) Bass voices often fall under the catagory of disjunct, while many soprano voicesoften fall under the catagory of conjunct.
• When part writing, we strive for smooth (conjunct) voice leading in all voices except the bass voices.

Chordal Third: The third of any given chord. Note, any given chordal third does not have to be the 3rd scale degree in the current key center. This particular language applies to all other chord tones, most commonly the chordal third, the chordal fifth, and the chordal 7th.

Doubling When doubling a triad, we typically double the root of the chord (not always the case, see the viio chord) Optionally, we may double the fifth to solve voice leading issues. We do not double our thirds (or our sevenths in the case of more than 4 voices).

Notes on predominant and dominant chords

• viio can also be thought of as a V7 with no root. The voice leading functions the same way in both chords.
• IV can be thought of as a ii7 with no root. Their voice leading functions in the same way. Keep in mind that the fa in IV resolves up to sol the same way it would in a ii7, and not down to mi.
• We are observing root movement via descending perfect fifths (via the Circle of Fifths).

Here’s our nifty progressions flowchart, both in major:

iii -> vi -> [ii or IV] -> [V7 or vii%7] -> I -> (any)

IVM7 goes to I (plagal cadence); V7 goes to vi7; iii7 sometimes goes to IVM7; vi7 sometimes goes to V7.

And minor:

III -> VI -> ii%7 or iv -> V7 or viio7 -> I -> (any)

Everything that happens in major, just change the chord quality and it works in minor.

Notes

• Notice that the dominant chords are almost the same in both qualities. The only difference is the seventh of the seven chord.
• All of these chords will also occur as triads. The sevenths have been included in the chart for memorization purposes.
• There are also lateral progressions, where a predominant or dominant chord will go to the other chord in its category rather than proceeding to a dominant or tonic respectively. (I would have included this in the chart but ran up against the limitations of text formatting.)
• Exceptions (notated in major for simplicity, but these happen in minor too)
  • V -> vi: not always as a cadence, but don’t use this if you don’t have to
  • IV -> I: almost always appears a cadence
  • vi -> V: this can happen, but the vi should usually be thought of as a tonic function. Avoid using this. (uncommon)
  • iii -> IV: part of the Pachelbel’s Canon progression. It is dificult to use without creating voice leading issues. Don’t use it. (rare)

Further reading

From Open Music Theory

Analyzing harmony in a piece or passage of music involves more than labeling chords. Even the most basic analysis also involves interpreting the way that specific chords and progressions function within a broader context. Ultimately, no analysis is complete until individual musical elements are interpreted in light of the work as a whole and the historical setting in which the piece occurs. But this resource simply walks through the steps of performing a basic harmonic analysis, interpreting each chord and chord progression in light of the musical phrase in which it occurs.

The first step in a harmonic analysis is to identify phrases. For the most part, that means beginning by identifying cadences. However, not every type of phrase ends with a cadence, so sensitivity to theme types is important. In classical instrumental music, that means listening for period- and sentence-like structures. In Classical or Romantic music with text, that means listening in particular for the ends of poetic lines and melodic phrases.

Once you have identified the musical phrases, it can be helpful to perform a harmonic reduction (thoroughbass reduction, for example) for each phrase. Below the score/thoroughbass line, write the appropriate Roman numeral, T/S/D label for each chord, and/or an uninterpreted functional bass symbol for each chord (T1 T3 S4 etc.). This handout can help you determine the functions of chords in the thoroughbass reduction.

Next identify the general harmonic structure of each phrase. Typical phrases in classical music will do one of the following:

• prolong tonic without a cadence (a classical presentation phrase, for example)
• progress toward an authentic cadence (ending with V⁽⁷⁾ I, D5 T1 in functional bass)
• progress toward a half cadence (ending with V, D5 in functional bass)

If the phrase prolongs tonic (no cadence), label the entire phrase T–––.

If the phrase ends with a cadence, identify the cadential progression. This includes the last chord of the tonic zone, optionally followed by a subdominant chord or zone (most often a single chord), and a required dominant zone (most often a single chord or compound cadence formula). Half-cadence phrases end there. Authentic-cadence phrases continue on to a final tonic zone (usually a single chord).

The the (P) D T of the cadential progression should be labeled as such. Once the cadential progression is identified, everything before it is labeled as tonic prolongation. Regardless of whether it is contrapuntal prolongation, a subsidiary progression, or a combination of the two, it will be labeled T–––. (See Harmonic syntax – prolongation if those terms are unfamiliar to you.)

Thus a phrase ending with a half cadence will have a functional analysis that looks like:

T—————— (P) D

A phrase ending with an authentic cadence will have a functional analysis that looks like:

T—————— (P) D T

Following is an excerpt from the opening of Haydn’s Piano Sonata in C Major, Hob. HVI:21, I. Chords are labeled with Roman numerals and a T/S/D functional label for each chord. The tonic prolongation is shown below that with a T followed by a line for the duration of the tonic zone. The cadential progression is comprised of the last tonic chord (m. 4) through S D T to the PAC in m. 6.

Harmonic syntax concerns the norms or principles according to which harmonies (chords) are placed into meaningful successions. These norms include progressions that are more or less common than others. Those norms generate expectations for listeners familiar with the style: if IV–V is more common than IV–VI, the appearance of a IV chord generates an expectation that the next chord is more likely to be V than it is to be VI.

In Western classical music, harmonies generally group into three harmonic functions — tonic (T), subdominant (S), and dominant (D) — and these functions group together chords that progress to and from other chords in similar ways. For example, since II and IV are both subdominant chords, they will participate in many of the same kinds of chord progressions, and at times can be substituted for each other with only a minimal change to the musical effect.

On a local level (chord-to-chord progressions), we can summarize the tendencies of these functions with the cycle T–S–D–T. That is, harmonies tend to progress through a cyclical progression of those three functions:

T → S → D → T → and so on . . .

That does not rule out T progressing to D, D progressing to S, etc. But it does mean that those progressions tend to be less common, at least in classical music.

Higher-level musical structures also impact the norms according to which these harmonic functions progress. For now, we will consider one higher-level structure that influences chord-progression tendencies — the phrase — and we will limit our study to isolated, complete, self-sufficient phrases. This is an idealized, oversimplified setting — like strict voice-leading — that is useful for learning the basics. Some such phrases even exist in real music! But most of the time there are a number of competing factors that influence the chord-progression strategies employed by a composer at any given moment. However, the idealized phrase is a helpful starting point. Future study will explore how classical composers employ harmonic progressions in larger musical works that combine multiple phrases (which are not self-sufficient) into larger themes and movements.

The idealized phrase

The idealized phrase (also called the phrase model) is a single musical phrase that progresses through an entire cycle of harmonic functions, beginning and ending on tonic. (Strict voice-leading exercises are such phrases.) These phrases begin with a point of stability (tonic), move away from that stable point, and then eventually lead to a point of high tension and resolution (an authentic cadence). This pattern of stability–instability–stability, or rest–motion–rest, with a single goal at the end, should be familiar both from species counterpoint and from strict keyboard-style voice-leading. (This pattern also governs large-scale formal structures in classical music.)

The simplest phrase that exhibits this complete harmonic cycle is a tonic-dominant-tonic progression: I–V–I. This phrase begins and ends with the most stable harmony (I), and includes an authentic cadence (V–I). The V is the high point of instability, containing the tendency tone (ti) that most strongly points to the final point of arrival (do, or tonic).

This harmonic cycle can be expanded by inserting a subdominant chord, a destabilized tonic chord, or both, as in the following examples:

I IV V I
I II V I
I VI V I
I VI II V I

In functional bass terms, any harmonic progression that follows the pattern

T1 → (S_) → D5 → T1

can serve as the basis for a complete idealized phrase. (Harmonies in parentheses are optional.)

Phrases are seldom 3–5 chords long, however, and a harmonic function can be expressed by more than a single chord. Thus we can understand the harmonic functions not simply as chords, but as zones of varying length in a phrase, which can be created by a number of chords or short chord progressions. More generally, then, our idealized musical phrase contains a single progression of functional zones T → (S) → D → T, begins with T1, and ends with an authentic cadence (D5–T1), as seen in the example below.

Triggering and prolonging harmonic functions in an idealized phrase

To establish, or trigger, a harmonic functional zone, composers tend to use a fixed scale degree in the bass. In other words, tonic tends to be triggered by T1 (always I), subdominant by S2 or S4 (including a variety of II and IV chords, in in root position or inversions, with and without sevenths), and dominant by D5 (V, with or without a seventh, or a compound cadence). These four categories of chords — T1, S2, S4, and D5 — are called functional chords (because they trigger the function) or cadential chords (because they can participate in a cadence).

Other chords are often called contrapuntal chords or embellishing chords, and are typically used to prolong a function throughout the zone.

Functional prolongations are shown in a harmonic analysis by writing/typing T, S, or D underneath the individual chord labels (Roman numerals or functional bass) and extending a line from the beginning of the functional zone to the end.

The following excerpt is from Mozart’s Piano Sonata in A Major, K. 331, I., mm. 1–4, with a harmonic reduction and analysis provided below the original score. Such an analysis is called an interpreted harmonic analysis, because the harmonies are interpreted according to the way they behave in the phrase, rather than merely labeled. In this phrase, note the following:

• The tonic zone is triggered by a root-position tonic triad (I or T1).
• Contrapuntal dominant chords (D7 — first-inversion dominant chords) create a passing bass motion between the opening I chord, the vi in m. 3, and the return of I in m. 4.
• The cadential progression begins in m. 4 with the move from I to ii⁶ (S4) and then to the cadential six-four and dominant triad (D5). Note that the entirety of the cadential progression in m. 4 is made up of cadential chords — chords with fixed scale degrees in the bass.
• In contrast, the entire tonic-prolongation zone is made up of contrapuntal chords — variable scale degrees in the bass — with the exception of the I chord that triggered the tonic function.
• The vi chord is a root-position chord, but still an embellishing chord, while the ii⁶ is an inverted chord, but still a functional/cadential chord. The difference is not the inversion, but the scale degree of the bass.

Not all classical phrases as neatly fit the general trends outlined in this resource. As discussed in Style and tendency, the principles of harmonic syntax are both reliable and bendable/breakable, and it is often the music that bends/breaks the “rules” in interesting ways that we care about the most. So in your own analyses, keep these principles in mind as general principles, and simultaneously look for where composers meet these expectations as well as where they break them.

For more details on the triggering and prolonging of harmonic functions in a classical phrase, see Harmonic syntax – prolongation.