Embedded Files
The harmonic phrase model is a helpful way to explain harmonic grammar. It involves three harmonic functions. A complete harmonic phrase unit is as follows:
Principles of Tonal Harmony
☆ The above progressions embody two essential principles of tonal harmony that in part ensure strong progressions:
i. the circle-of-fifths principle (e.g. vi-ii-V-I)
ii. the descending third principle (e.g. I-vi-IV-ii) Ex. 1.4
Both these principles refer to the movement of the chordal roots. Hence, for example, V6-I and IV-ii6 are still exemplars of the two principles respectively.
Note that progressions whose chordal roots ascend by a third do not always sound idiomatic. I-iii is typically used in I-iii-V or I-iii-vi. On the other hand, ii-IV or IV-vi are far less effective. In the case of V-viio, the progression will be stronger if reversed.
The dominant- and tonic-function chords (D and T chords, for short) are essential to functional harmony for they typically, though not necessarily always, jointly establish the key with some form of perfect cadence; predominant (PD) harmonies (as the prefix of the adjective suggests) are non-tonic harmonies preceding the dominant.
The common progression I-IV-V-I is one simple illustration of a harmonic phrase unit. This is of course not the only possibility; the diagram below neatly illustrates some of the common progressions in relation to this model. (Only root-position chords in the major key are used to illustrate but inversions are possible; the arrows show the possible paths a harmonic progression can take.)
Page updated
Google Sites
Report abuse