A chord progression is the order chords are played in a song or a piece of music. The chords you use, and the order you play them constitute the harmony of a song. Chords and their progressions come in patterns and numerous combinations.
Most of this semester has been spent working on counterpoint, and good voice-leading practices – creating wonderful cadences. So far we have encountered the Perfect Authentic Cadence (PAC), Imperfect Authentic Cadence (IAC), and the Half Cadence (HC). This week we introduce the Deceptive Cadence & Deceptive Resolution, Plagal Cadence, and the Phrygian Cadence. Additionally, we will look at different root movements that make our progressions flow more smoothly.
More Cadences!
Deceptive cadences occur when we move from the dominant – V or V7 – to a tonic substitute – VI or vi – at the end of a song. This movement can also happen in the middle of a phrase. When this occurs it is referred to as a deceptive resolution instead. It is best practice to weaken the chord here by inverting it or placing it on a weak beat.
The plagal cadence happens when a IV (iv in minor) chord resolves to a I (i in minor) chord – both chords are in root position. They are called Amen Cadences because they are associated with hymns.
The Phrygian cadence happens when a (iv6) chord resolves to a (V) chord in a minor key, forming a type of half cadence.
Root Progressions
There are three basic root progression movements in tonal music that connect chords; descending fifth, descending third, and ascending second.
Descending fifth progressions show a root movement from 5 to 1. Even though the root may not be in the bass, authentic cadences as a whole can be thought of as descending fifth progressions. This is the strongest root motion in tonal music.
Descending third progressions are found in tonic expansions, but it may also be found in the predominant area of a phrase.
Ascending seconds are found in the connections between I & ii, IV & V, and V & vi. Ascending seconds normally connect two functional areas.
It is a common error to take the easy route with ascending seconds and shift the entire chord up one tone. This will lead to parallel fifths and octaves. You should move the upper parts in contrary motion to the bass line to avoid this
Mediant Triads
Mediant triads share 2 scale degrees with the Tonic & Dominant. For this reason, the mediant is said to have an “Identity crisis.” The mediant has an indistinct relation to tonic or dominant function areas.
Root progressions from triad and dominant are rare. When you think you have found a mediant to dominant connection, it is probably really a dominant function harmony where all the chord tones do not sound simultaneously.
Demonstration
This piece demonstrates many of the techniques learned this semester to form a short 18 bar choral arrangement. Enjoy!
15h-1This is the audio for the score 1642 Voices. Press play. I’d love to hear your feedback below in the comments section.