Circle progression

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Submediant in chain of fifths[1] About this sound Play .
vi-ii-V-I in C[1] About this sound Play .

In music, the circle progression is a chord progression named for the circle of fifths, along which it travels. It is "undoubtedly the most common and the strongest of all harmonic progressions" and consists of "adjacent roots in ascending fourth or descending fifth relationship", with movement by ascending perfect fourth being equivalent to movement by descending perfect fifth due to inversion.[2]

The circle progression is commonly a circle through the diatonic chords, chords of the diatonic scale, by fifths, including one progression by diminished fifth (in C: between F and B) and one diminished chord (in C: Bo):

Full circle progression in C major[3] About this sound Play .
I-IV-viio-iii-vi-ii-V-I             About this sound Circle progression in major: full 

Shorter common progressions may be derived by selecting certain specific chords from the series completing a circle from the tonic through all seven diatonic chords,[2] such as the primary triads book-ending the progression:

I-                  V-I = I-V-I     About this sound Circle progression excerpt: I-V-I 
I-IV-               V-I = I-IV-V-I  About this sound Circle progression excerpt: I-IV-V-I 
vi-ii-V-I in Mozart's Sonata, K. 545[1] About this sound Play .

The ii-V-I turnaround lies at the end of the circle progression, as does the vi-ii-V-I progression of root movement by descending fifths, which establishes tonality and also strengthens the key through the contrast of minor and major[1].

The circle progression may also contain dominant seventh chords.

Dominant seventh in circle progression in Charlie Parker's "Au Privave" (1956).[4] About this sound Play

[edit] See also

[edit] Sources

  1. ^ a b c d William G Andrews and Molly Sclater (2000). Materials of Western Music Part 1, p.227. ISBN 1551220342.
  2. ^ a b Bruce Benward and Marilyn Nadine Saker, Music In Theory and Practice, seventh edition, 2 vols. + 2 sound discs (Boston: McGraw-Hill, 2003) 1:178. ISBN 978-0-07-294262-0.
  3. ^ Caplin, William E. (2000). Classical Form, p.28. ISBN 019514399X.
  4. ^ Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.202. Seventh Edition. ISBN 978-0-07-294262-0.
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