Unit 3-3: Descending 4ths & 5ths

Objectives

By the end of this lesson, students will be able to:

Recognize the chord schema and transcribe the harmonies for examples from the repertoire that feature descending 4ths and 5ths, including the double plagal, extended plagal, and doo-wop progressions.
Improvise a melody over a descending 4ths or 5ths progression, incorporating 2:3 polyrhythms.
Transcribe the melody and chord progression for a short excerpt from the repertoire, labeling chords, Roman numerals, and the chord schema by type.
Demonstrate further proficiency in performing 2:3 polyrhythms in rhythmic sight-reading examples.

Preparation for Class

Read:

Using a Chord Instrument (Chenette, Foundations of Aural Skills)

Watch

Hearing Supertonic (ii)
(Cynthia Gonzoles, 3 mins)

Hearing I-ii-V-I in "My Darlin' Hometown"
(Cynthia Gonzoles, 1 min)

Recognizing Chord Progressions by Ear
(David Benett, 1 min) - Just watch 2:14-8:41

Explore

Build a few of the new chord schema in a chord player and practice singing the bassline of the progression and argpeggiating the chords.

ChordChord

Chord Player

Reference Aids

The Circle of 5ths: Descending 4ths & 5ths / Flat & Sharp Side Harmonies
Image credit: Sarah Louden

Two side-by-side diagrams of the circle of fifths, illustrating harmonic relationships between chords. Each diagram is a 12-segment wheel, with the inner circle containing the diatonic chords in major keys and the outer circle showing additional harmonies labeled with Roman numerals. Left Diagram: Harmonic Relationships in Fourths and Fifths The inner circle lists the 12 major key centers, arranged in a cycle: C, G, D, A, E, B, F#/Gb, Db, Ab, Eb, Bb, F. The outer circle contains chords labeled with Roman numerals: I (C) ii (D minor) iii (E minor) IV (F) V (G) vi (A minor) ♭II (D♭ major) ♭III (E♭ major) ♭VI (A♭ major) ♭VII (B♭ major) Arrows indicate movement: Clockwise direction represents chords descending by fourths. Counterclockwise direction represents chords descending by fifths. Right Diagram: Flat-Side and Sharp-Side Harmonies The inner circle again lists the 12 major key centers: C, G, D, A, E, B, F#/Gb, Db, Ab, Eb, Bb, F. The outer circle groups harmonies into two tonal regions: Flat Side Harmonies (shaded blue): IV (F major) ♭VII (B♭ major) ♭III (E♭ major) ♭VI (A♭ major) ♭II (D♭ major) Sharp Side Harmonies (shaded yellow): V (G major) ii (D minor) vi (A minor) iii (E minor) The blue section represents chords found in keys with flats, while the yellow section highlights chords found in keys with sharps.

Harmonic Flowcharts for Major and Minor in Common-Practice Western Art Music
Source: Robert Hutchinson, Music Theory for the 21st Century Classroom

A functional harmony flowchart illustrating common chord progressions in tonal music. The chart is divided into five labeled functional areas: Tonic, Tonic Prolongation, Pre-Dominant, Dominant, and Tonic (returning to the starting point). Below each function, corresponding Roman numeral chords are listed: Tonic: I Tonic Prolongation: iii (with a dashed arrow looping to vi), vi Pre-Dominant: IV (with a dashed arrow looping to ii), ii Dominant: V (with a dashed arrow looping to vii°), vii° Tonic: I (returning from V and vii°) Solid arrows indicate the expected progression between functions, moving from Tonic → Tonic Prolongation → Pre-Dominant → Dominant → Tonic. Dashed arrows represent possible alternative movement within a functional area, such as iii to vi within Tonic Prolongation or IV to ii within Pre-Dominant. A caption at the bottom clarifies that "dashed lines represent possible movement within a functional area." The diagram visually represents standard harmonic progressions used in Western tonal music theory.

A functional harmony flowchart illustrating common chord progressions in minor tonal music. The chart is structured into five functional areas: Tonic (Ton.), Tonic Prolongation (Ton. Prol.), Pre-Dominant (Pre-Dom.), Dominant (Dom.), and Tonic (Ton.) (returning to the starting point). Below each function, the corresponding Roman numeral chords in minor are listed: Tonic: i Tonic Prolongation: VII → III (with a dashed arrow looping to VI), VI Pre-Dominant: iv (with a dashed arrow looping to ii°), ii° Dominant: V (with a dashed arrow looping to vii°), vii° Tonic: i (returning from V and vii°) Solid arrows indicate the expected progression between functions, moving from Tonic → Tonic Prolongation → Pre-Dominant → Dominant → Tonic. Dashed arrows represent possible alternative movement within a functional area, such as III to VI within Tonic Prolongation or iv to ii° within Pre-Dominant. A caption at the bottom explains that "dashed lines represent possible movement within a functional area." The diagram visually represents standard harmonic progressions in minor-key tonal music.

In-Class Activities

Improvisation

Rhythmic Improvisation (Hemiola): Continued practice with 2:3 polyrhythms from Unit 2-4.
- - Rhythm Grid with Takadimi syllables
  - Rhythm Grid without rhythmic syllables
Improvising over Descending 4ths & 5ths: Improvise a melody over each of the following progressions. Links are provided for backing tracks. Try arpeggiating each chord first, using solfège until you've internalized which scale degrees are in each chord. If you need a visual guide, create a chord grid using the grids in previous lessons as models. As an added challenge, try adding some 2:3 polyrhythms and syncopations into your improvisation.
- - Double Plagal:
    - - | I | ♭VII | IV | I | (Southern Rock in D)
  - Extended Plagal Progressions:
  - Doo-wop:
    - - | I7 | vi7 | ii7 | V7 | (Jazz Swing in E♭) | I | vi | ii | V | (Bossanova in A)
      - | I | vi | ii | V | from Toby Keith, "I Can't Take You Anywhere" (looped with harmony only)

Sight Reading

Sight-Singing (Blues Melodies): Continue practice sight-reading melodies in the section "Blues Scales."
Sight-Singing (Skips in IV and V): Continue practice sight-reading melodies in all sections.
Rhythm Sight-Reading (Polyrhythm): Continue sight-reading two-part rhythms in the section "Two against Three." Perform the rhythms with a partner or sing one part while you clap the other. These rhythms include triplet divisions across one and two beats.
Rhythm Sight-Reading (Triplets): Continue sight-reading rhythms in all sections. These are melodies that incorporate triplets over once or two beats that can be performed against a steady backing track to practice feeling 2:3.

Sight Singing: Blues Melodies

Sight Singing: Skips with 4 and 6

Rhythms: 2:3 Polyrhythms

Rhythms: Triplets

Aural ID and Dictation

Theory Anthology: Select examples from the theory anthology to use for schema ID. Listen to the progression and identify the schema you hear first as either a descending 4ths or descending 5ths progression. Then transcribe the progression using Roman numerals, chord symbols, and correct harmonic rhythm.
- - Once you're comfortable identifying chord schema, select one example to transcribe both the melody and chords.
Listening for Blues-Based Schemas: Work through the Open Music Theory worksheet (.pdf| .docx). A Spotify playlist is provided here.

Theory Anthology: Descending 4ths & 5ths

Assignment

Assignment 3-3

NEXT STEP

Next Lesson: Modal Harmony

Additional Practice

Auralia:
- Melodic Dictation: Levels 6a–6d
- Chord Progressions: Level 5c
- Pop Chord Progressions: Level 4
- Rhythm Dictation: Level 11
Musition:
- Rhythm Tapping: Levels 9a, 9b
- Polyrhythms: Levels 1–2

Page updated

Report abuse