Unit 2-3: Descending Fourths & Fifths

Objectives

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

Describe the differences between “flat side” and “sharp side” harmony, as well as plagal movement versus movement by fifths, and their typical usage in popular music.
Define each of the following in the context of popular music, providing examples of each using chord notation and Roman numerals: plagal sigh, double plagal and extended plagal progressions, doo-wop progression, and the plagal, authentic, and mixolydian cadences.
Compare and contrast the use of ♭VII chords, plagal progressions, and descending 5ths in popular music with their use in common-practice Western art music.
Provide examples of common chord progressions that use descending 4ths and 5ths. Discuss these progressions in the context of flat- and sharp-side harmony.
Compose and voice a chord progression using descending 4ths or 5ths and incorporate a plagal sigh into one of the progressions. Voices the chords in 3- or 4-voice keyboard style with a rhythmic accompaniment.

Preparation for Class

Read:

Blues-Based Schemas (Bryan Hughes, OMT)
♭VII Chords (PopGrammar) - Just read the first few paragraphs on ♭VII
The ♭VII Chord in Popular Music (Hutchinson, Music Theory for the 21st Century Classroom)
Classical Schemas (in a Pop Context) (Hughes & Schaffer, OMT) - Just read the second section, "Circle of Fifths"
ii - V - I (Lavengood, OMT) - Just read the intro and first section, "ii - V - I as Schema"
Shorter Progressions from the Circle of 5ths (Hutchinson, MT for the 21st Century Classroom)

Watch

What Key is Sweet Home Alabama In?
(Adam Neely, 10 mins)

Songs that use the Subtonic Chord
(David Bennett, 8 mins) - Just watch from 0:00–8:40

Songs that Use 2-5-1 Chord Progressions
(David Bennett, 8 mins) - Just watch from 0:00–8:40

Explore

Piece together a few common progressions discussed in the reading. Experiment with different styles, tempos, and harmonic rhythms

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.

A musical diagram illustrating the relationship between flat-side harmonies and sharp-side harmonies in the key of C major. The diagram presents a series of chords notated on a staff with treble clef, arranged in two sections: Flat-Side Harmonies (shaded blue, moving in descending fourths) Sharp-Side Harmonies (shaded orange, moving in descending fifths) Each chord is labeled with its corresponding Roman numeral function in C major. Flat-Side Harmonies (Left, Blue Section - Descending Fourths) A♭ major (♭VI) – Notes: A♭, C, E♭ E♭ major (♭III) – Notes: E♭, G, B♭ B♭ major (♭VII) – Notes: B♭, D, F F major (IV) – Notes: F, A, C A blue arrow labeled "Descending 4ths" indicates movement between these chords, showing the descending fourths sequence within flat-side harmonies. C Major Chord (Center, Shared Between Both Sections) C major (I) – Notes: C, E, G This chord serves as the tonic (I) chord and the central point between flat-side and sharp-side harmonies. Sharp-Side Harmonies (Right, Orange Section - Descending Fifths) G major (V) – Notes: G, B, D D minor (ii) – Notes: D, F, A A minor (vi) – Notes: A, C, E E minor (iii) – Notes: E, G, B An orange arrow labeled "Descending 5ths" indicates movement between these chords, illustrating the descending fifths sequence within sharp-side harmonies.

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

Discussion

Plagal Sigh: What is the "plagal sigh" in the context of popular music? Where is it typically used in a chord progression? Listen to a few examples that use this progression and discuss the effect of the altered chord in the progression.
♭VII: The ♭VII chord is used more often in popular music than in classical music. What are some common ways that this chord is used? Provide some examples. How would this chord be spelled in the keys of F, D, A, or E? Based on the corpus study discussed in Lesson 3-1 (see the handout here), which chord(s) does this chord most commonly progress to? Why do you think this chord is more common in popular music than in Western art music?
- - When ♭VII moves to I at the cadence, this is often referred to as the Mixolydian cadence. Listen to examples of this cadence in the anthology.

Flat & Sharp Side Harmony: What is the difference between “flat side” and “sharp side” harmony? (See the diagram in the Study Aids section above for help.)
- - In his 2011 article, David Temperley argues that the shift from flat to sharp-side harmony in the Beatles song “A Hard Day's Night” provides contrast, but also serves an expressive role. Consider the flat-side harmony in the verse as compared to the sharpward harmonic move in the bridge. Listen to the audio and examine the lyrics. Discuss the expressive effects of this change in harmony.
    - - Temperley points out several other examples in his article that use similar scalar shifts that may be drawn into the discussion: Who’s “I Can’t Explain,” Electric Light Orchestra’s “Don’t Bring Me Down,” Heart’s “Crazy on You,” and Supertramp’s “Take the Long Way Home.”
Plagal Movement vs. Descending 5ths Movement: What is the difference between plagal movement and descending 5th movement? What are some examples of chord successions of each? (See the diagram in the Study Aids section above for help.)
Schemata: What is the double plagal and the extended plagal progressions? What are examples of pop schemata that use descending 5ths? Discuss these progressions in the context of flat-side and sharp-side harmony. (See the figures in "Reference Aids" above for help with this activity.)
- - Practice writing these progressions in different keys, paying attention to harmonic rhythm and phrase length.
  - Compose a verse or a chorus using a double or extended plagal progression, then voice the progression in 3- or 4-voice keyboard style with a basic rhythmic accompaniment and melody.
Chordal Ambiguity: Lynyrd Skynyrd's song “Sweet Home Alabama” repeats the same 3-chord progression throughout: | D C | G |. What key is this progression in? (Which of those 3 chords is tonic? Consider what the Roman numerals would be in all 3 cases.) Listen to the song and discuss which chord sounds more like tonic to you and why. Then, discuss Adam Neely's argument from the video in the “Watch” section above. He suggests an alternative explanation. What is it and do you agree?
- - Warren Zevon's “Werewolves of London” uses the same progression in the same key and with the same harmonic rhythm. Is the progression equally ambiguous here? Why or why not? Can you think of any other songs that use this progression?

Activity

“Dust in the Wind”: Listen to to Kansas's "Dust in the Wind" and complete the following:
- - Here are the materials: PDF | MuseScore | Youtube
  - Work through each of the steps individually or in groups:
    - - Determine the key, then label all of the Roman numerals below the staff.
      - Identify the song sections (e.g. verse, refrain).
      - Mark the beginning and end of each phrase and circle the cadences.
      - Identify any root movement that descends by 4th or 5th.
  - Discussion Questions:
    - - Which mode is the song in? Is the verse and chorus in a different mode?
      - How are chord inversions used? Consider the three chords on “Close my eyes.” Sing the bassline against the melody line. Consider the G/D chord in m. 3 and the D/F# chord in m. 10. Try playing these passages with root-position chords instead. What is the effect of these inverted chords? How do they contribute to the expressive effect of the song?
      - What type of cadence ends the verse and the chorus?
Analysis in Repertoire: Analyze examples from the repertoire in the anthology sections below. Label chords using Roman numerals and identify the schemata used in the progression. Can you think of any other songs that use these schemata?
Composition: For each of the progressions outlined below, compose a chord progression using both Roman numerals and lead sheet notation. Each example should be in a different key. Indicate harmonic rhythm (e.g. | I IV | V | I IV | V | ). Then, select one or two of your progressions to compose a chordal accompaniment and melody. Compose the harmony in a 3- or 4-part texture, applying voice leading guidelines from Unit 2. Add a rhythmic accompaniment; use one of the accompanimental patterns here (PDF | MuseScore) or create your own. Then, compose a simple melody for your progression that uses only chord tones.
- - A 4-bar chord progression that uses a double plagal or extended plagal progression.
  - A 4-bar chord progression that uses the doo-wop progression or another descending 5ths progression.
  - A 4-bar chord progression that incorporates a plagal sigh.

Repertoire for Practice

Descending 4ths and 5ths: This page includes multiple sections including examples double and extended plagal progression, doo-wop, and other descending and 4th & 5th progressions.
Cadences with IV: This section includes plagal cadences, those ending with a plagal sigh, the deceptive IV cadence, and the IV/5 “sus” cadence. (See the section "Cadences with IV" at the top)
Cadences with ♭VII: This section includes examples of ♭VII - I (mixolydian) cadences. (See the section "Cadences with ♭VII."

Anthology: Descending 4ths & 5ths

Anthology: Cadences with IV

Anthology: Cadences with ♭VII

Assignment

Assignment 3-3

NEXT STEP

Next Lesson: Basslines & Chord Inversions

Practice

Musition:
- Pop Progressions: Levels 2a–3a

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