Baroque Counterpoint - Top 2 Strings (mainly)

Ted Greene – 1989-01-09 and 1989-03-25

One way Baroque composers worked with counterpoint was to base it on chord progressions. A logical
place for us to begin is with I, IV, and V, since easily 90% of this music is based on some form of “one”,
“four” or “five” chord!

Let’s start by looking at small groupings of notes in the soprano. The notes 6, 7, and 8 are often
harmonized to imply IV, V(7), I:

Notice we’re using

roots and thirds
here to imply
the chords.

Now let’s try some more active counterpoint based on these intervals which are based on the chords:
Baroque Counterpoint- Top 2 Strings (mainly) - Ted Greene, 1989 page 2

Assignment:
1) Practice all these passages over and over until you can play them clearly, quickly, and with all
notes ringing for the correct amount of time.
2) Transpose your favorites to at least a few other keys for now.
3) Analyze the harmonic implications…it’s easy stuff here…all I IV V or V7 for now, as mentioned
above.
4) For those of you who are not convinced of the chordal implications of counterpoint, try the
following:

Welcome to the world of 2-part counterpoint….you’re in good company. Bach, Beethoven, Mozart and
Stravinsky for starters!
Baroque Counterpoint- Top 2 Strings (mainly) - Ted Greene, 1989 page 3

We will focus on notes 3, 4, and 5 in the major scale on this page.

As before, we’re using

roots and thirds to
imply the most
commonly used chords
under these three
melody tones,
I IV and V.

Now some more active counterpoint:

Baroque Counterpoint- Top 2 Strings (mainly) - Ted Greene, 1989 page 4
 Baroque Modulation Schemes
Ted Greene, 1975-03-27
C to Dm (I to ii):
(Try 7ths for triads or vice versa anywhere)
Vamping on i, V creates an urge for sub-dominant colors or the cycle of 4ths starting from iv(7).

1) Home Key Chord Scale Preparation of New iiº - V:

C…. G - F - Eº (B¨6) - A(7) - Dm

E¨6 - F6 - (Eb64) B¨ - C72 - F or just B¨ (C) - F

C - Dm - Eº - A - Dm

2) Home Key Chord Scale Preparation of New iv - V:

Dm - C - Bº - Am - Gm - A - Dm
C - Dm - Em - F - Gm - A - Dm

3) Home Key Chord Scale Preparation of new II - V:

C - Dm (or D) - E - A - Dm (Gm - C - F etc.)
G - F - E - A - Dm
F - G - E - A(7) - Dm and other inversions applied to all concepts on this page.

4) Home Key Chord Scale Preparation of New V:

5) Home Key Cycle Preparation of New ii±7 - V7:

(B±7) E7 - (E±7) A7 - Dm
F²7 - B±7 - E±7 - A7 - Dm
C²7 - F²7 - B±7 (E7) - E±7 - A7 - Dm
G7 - C²7 - F²7 - B±7 - E±7 - A7 - Dm
Dm7 - G7 - C²7 - F²7 - B±7 - E7 - E±7 - A7 - Dm
Am7 - Dm7 - G7 - C²7 - F²7 - E±7 - A7 - Dm
Elisions are possible in any cycle (that is, any chord may be left out).
Example of cycle using small triads to open triads: real high C - F64 - Bº - Eº64 - A - Gº64 - open triad Dm

6) Home Key Cycle Preparation of Gm6 - A7:

(Possibly prepare with G7) from anywhere.

7) Unprepared ii±7 (iv6) - V7, II(7), V7, V, viiº, viiº7:

8a) Unprepared New Key Cycle:

Dm7 - Gm7 (or G7) - C7 - F²7 or F7 - B¨²7 - E±7 (or B±7 - E7) - A7 - Dm (or D7)
Also: C7 - F²7 - B±7 - E7 - E±7 - A7
Or: F²7 - B¨²7 (B±7 - E7) - E±7 - A7
Or: B¨²7 - E±7 - A7 - Am6 - Dm72 - G6 - C72 - F6 - B¨ - Eº6 - A72 etc.

8b) Direct Modulation: Go right into new key and play a progression or pedal device.
“Baroque Modulation Schemes” - Ted Greene, 1975-03-27 p. 2

9) Remember that E(7)(¨9) - A (or E±7 - A) can be used to bring the new key to a temporary halt.

10) IV6 - V6 - i: (F6) - G6 - A6 - Dm. [see#13 below]

11) Mediant Relation of Preparation:

C - C7 - A7 or: C - C72 - A7 (A72 - Dm6)

12) Ascending or Descending Preparation of New ii±7 - V7:

C - G6 - Am - Em6 - F - C6 - E±72 - A6 - Dm
Or: C - G743 - C6 - F - E±765 - A (B¨ - F6) - Dm
Or: (F) - C6 - Dm7 or G743 - C (G6) - E±743 - A - Dm
C64 - F²765 - G765 - C (or F64) - E±72 - A765 - Dm…
Try starting from other than I.

13) Ascending or Descending Preparation of New V:

F6 - G6 - A6 - Dm
C - E64 - Am - A72 - Dm6 - Gm665….

14) Sequence Modulation:

E765 - Am - C765 - F - A765 - Dm…
Or: D6 - E765 - Am, B¨6 - C765 - F, G6 - A765 - Dm…

15) Switch Modulation iº - i:

E7¨943 - Dm64 - E7¨965 - A72 - Dm6 - Gm72 etc.
Also: A7¨943 - Gm64 - A7¨965 - E7¨943 - Dm64 - E7¨965 - A72…

16) Like #10:

G - G72 - A743 - (Gm64 - A765) - Dm

___________________________________________________________________________

C to F (I to IV):

1) Home Key Cycle Preparation of New ii7 - V7 - I, IV²7 - V7 - I, V7, or Whole New Key Cycle
2) Above Unprepared

3) Ascending or Descending Bass Preparation of V7 - IV(64) - I:

C - G743 - C765 - B¨64 - F….
C6 - G743 - C7 - B¨6 - F64 - C7….
Key of F to B¨: F - C765 - F72 - E¨ - B¨6 - F743 - Bb….
C64 - F6 - C72 - B¨ - F64 - C - F….
C64 - G72 - C765 - B¨6 - F64 - C7 - F….
B¨6 - C765 - F
Chord scale: C6 - B¨6 - F64 - C7 - F….
“Baroque Modulation Schemes” - Ted Greene, 1975-03-27 p. 3

4) Direct Modulation:
Go right to progression like I - ii72 - V765 in new key from middle of old key phrase or otherwise.

5) vi - iii - IV - I:
(Am - Em) F - C - Dm - Am - B¨ - C - F

6) ii - vi - IV - I:
Gm - Dm - B¨ - F etc.

7) Sequence Modulation by Tonicization:

C - (D7 - E7) - Am or C - E743 - Am
C743 - B¨64 - F….
(B¨6 - C765 - B¨64) - F….
Also: C…..Dm…..F

8a) vi - IV - I:

8b) ii7 - I:
C: G765 - A765 - B¨6 - C765 - B¨64 - F - C7/F - F

_______________________________________________________________________________

C to Am (I to vi):

1) Home Key Cycle Preparation of ii±7 - V7, ii7 - V7, II7 - V7, iv7 - V7, V7 or Whole New Key Cycle:
Also: F#±7 – B7 (B±7) – E7.
F#±7 - B±7 - E7
B7 - B±7 - E7
Gm7 - C7 - F²7 - B±7 - E7
Gm7 - C7 - F#±7 - B7 - B±7 - E7

2) Unprepared ii±7 - V7, ii7 - V7, II7 - V7, ¨II - V7, iv7 - V7, V7
3) Direct Modulation
4) Sequence Modulations
5) II - VI - iv - i
6) After Home Key V in Cycle or Anywhere

_______________________________________________________________________________

C to Em (I to iii):

1) Home Key or New Key Cycle Preparation of ii±7 - V7, iv7 - V7, ¨II - V7, V7
Also: Gm7 - C7 - F#±7 - B7.

2) Home Key Chord Scale Preparation of iiº - V: Am - G - F#º - B - Em; Dm - Em - F#º - B - Em.
Home Key Chord Scale Preparation of iv - V: C - Bº - Am - B - Em.
“Baroque Modulation Schemes” - Ted Greene, 1975-03-27 p. 4

3) Ascending or Descending Bass Preparation of New ii±7 - V7 (or iv7 - V7 or VI7)

C - G765 - F6 - C64 - F#±7 - B7…
C - G765 - F#±765 - B72…
C - G765 - Am - Em6 - F - C6 - F#±72 - B765…
C6 - G743 - F64 - G765 - F#±765 - B…
C6 - G743 - F#±743 - B - Em
C6 - G743 - F64 - G765 - F²765 - C64 - F#±7 - B…
C6 - F - C64 - F6 - F²765 - F#±765 - B…
C6 - F - F#±7 - B743 - Em6
C64 - F6 –F#±765 - B…
C64 - F6 - G765 - C - F#±743 - B(7)…
C64 - F6 - G765 - C - G743 - F#±72 - B743 (or B64) - Em6
C64 - G72 - C6 - G743 - F64 - Em743 (or Em64) - F#±765 - B…
Try starting from other than I
C64 - G72 - Am743 - B765…
C - C6 - F - F#±7 - C64 - E765 - Am - C72 - Em64

4) Direct [Modulation]
5) Sequence Modulations
6) i Diminished - i (Switch Modulation): See C to Dm above.
7) VI - III - iv - i
8) ii±7 (or II) - VI - iv - i
9) iv (6)

_______________________________________________________________________________

C to G (I to V):

1) Cycles:
(C7) - F#±7 (or F²7) - Bm7 - Em7 - Am7 - D7 - G (or C64)….
C - F#±7 - Bm - E7 - Am - D7….

2) Chord Scale – Preparation of viiº - (IV)

(C6 - Bº6) - Am6 - G6 - F#º6 - C64 - G64 - D - G
C6 - Am6 - F#º6 - C64 - G64 - D7 - G….
(C) - Dm - Em (or Eº) - F#º - Bm - Em etc….
(Em) - C - Am - F#º - Bm6 - Em etc. (possibly I64 )
C - Am - F#º - C6 - G64 - D7 - G….
Am - G - F#º - B6 - Em or C - G64 or D - G….
Am - G - F#º - C6 - D7 (Bm6) or Em - Am or D - G…
“Baroque Modulation Schemes” - Ted Greene, 1975-03-27 p. 5

3) Ascending or Descending Bass Preparation of vii±7

(C - Dm7no5th) - C6 - F#±7 - Bm743 etc….
(C - Dm7no5th) - C6 - F - C64 - F#±7 - G6 - C - G64….
C - G765 - F6 - C64 - F#±7 or D7 - Em(7) or C6 - G64 or D7 - G….
C6 - G743 - C or F64 - G765 - F#±765 - Bm(7) or C G64 or D7 - G….
C64 - D743 or F#±65 - Bm - Em7 etc.
C64 - F²765 - G765 - F#±765 - Bm7 - Em7 etc.
C64 - F²765 - G765 - C or F64 - G743 - C²765 - F/9 - F#±7 - Bm743 - Em7 - Am743 etc.

4) ii - vi - IV - I
5) #iv±7 – I with or without Prepared Bass or Chord Scale or Cycle
6) Sequence Modulation: C…..Em…..G
7) vi - IV - I
8) vi - V - I
(Am - Em - F) C - Dm - Am - B¨

Long Key Schemes: Em………E7……….Am…….A7……..Dm-F

Bach Prelude to “great A Minor” Fugue:

Am - E7¨9/3 - Em/3 - D\9/3 or 9th/3 - E7 - C/3 - B7¨9/3 - B±7/3 - A/9/3 - Am/3 -
E7/5 (or Em/5, etc.) Offshoots: Am - B7¨9/3 - E7/7 - C#±7 - Bm/5

iii - V(7) = Classical Romantic

Progression from Prelude by Vincent Lubeck:

G\D - Em\R/B - F#m7\E - D#º\R/3 - Am\5/5 - Em - G\R/3 - G7\7/3 - C\4-3 - Am6\F# -
Dm\G - Am\A - D7\3 - G\R/5 - D\high D - A7\3/D - D\D - D7/7 - E7\3/5 (gradual entrance in live) - Am

|----------------------------key of IV-------------------------------------------|
Long Cycles: C - F - B¨ - Eº- A - Dm - Gm - Cm - F - B¨ - Eº - A - Dm - Gm - C - F - Bº - E - A or Am
C - F - B¨ - Eº- A - Dm - Gm - Cm - F - Bº - E - Am - Dm - Gm - C - F - Bº - E - Am

Distant Baroque: to ¨VII:

G - B±7 - A765 - Dm - Gm7 - C7….
C - F#±765 - B72 - E±765 - B¨64….

to….II: |------ of II ------|

vi 4 – V 4 - iiiº64 - ii64 - I64….
6 6

Also: VI - iv - ii± - V (vi - IV - ii - V)

 Baroque Modulation or Secondary Chord “Openers”
Use confirming or negating progression after each example
Ted Greene, 1975-01-13

From I to ii (C to Dm)
1) ii±7 (or ii°) V7 (or vii°, vii°7) i Device: Precede new ii±7 with any diatonic chord in old key
(especially V) in a progression. Bring in by way of:
a) Chord scales (especially 1st inversion)
b) Cycle of 4ths, starting on any degree, with or without “same root” preparation:
B±7 E7 E±7 A7. (optional elision)
c) Ascending or Descending Bass Progression
d) Other types of Sequences: [see below]
e) Special 3-note Sequences
f) Broken Bass Progression
g) Contrary Runs
h) Counterpoint Devices, Harmonic patterns, and Musica Ficta.
2) iv(7,6) V(7) (or II7 V7) i Device: As above.
3) (III) IV V I Device: Just bring right in.
4) Whole Diatonic Cycle in New Key: Just bring right in, or prepared with new V(7) or ii (iv) ±7 V(7).
Options of including §vi±(7) II(7) or ¨II(6). (Rare option: real harmonic minor cycle)
5) Cycle from iv or IV
6) Cycle from VII
7) Cycle from III
8) Cycle from VI or §vi±7 – go to V ala Brandenburg #4 (3rd movement).
9) Progression starting with new i, such as all combinations of:
i iv V (vii°) or (bring in as above) i ii±7 V or i VI ii V
or i VI iv V or i III iv V or pedals in new key.
±
10) Any dominant harmony brought in as in ii 7 V7; also mediant relation:
C7 A7 or C C72 A7 A72 Dm6 or D6. Also i64 may precede V, V7, or V7¨9
11) VI III iv i or iv i VI III – bring in as above.
12) ii° VI (iv) i or ¨II VI (iv) i – bring in as above
13) ii vi vi6 I — bring in as above.
14) Others: VI(7) i | i°7 i64 | iv(6) i | ii±7 II7¨9 i | iv6 VI | V VI | III iv |
15) ½ Cadence Formulas: follow ii°, ii±7, or iv, iv7, iv6 with II7¨9 V;
also Lydian VI V | i v6 VI (ii±7) V |
(i) V i iv or ii 7 V | ii 7 or iv V i V
± ±
|
16) Combinations of Any Principles
17) VI iv ii±(V) i
18) VI iv (V) i
19) iv ii± (V) i
Baroque Modulation or Secondary Chord “Openers” page 2

Typical Confirming Progressions (Observe Basses):

A7¨943 Dm6 A7¨965 Dm A7 B¨ Gm6 Dm64 A7 Dm
E7¨965 Dm64 Gm6 A Dm
A7¨92 or B¨72 (Huge Dens.) Dm64 Gm6 Dm62 or E7¨943 C#°(7) B¨6
Dm6 Gm E7¨965 A Dm
Dm A6 Dm Em7(no 5th ) Dm6 Dm
Big Æ B¨ A G E A A Dm
6
Gm6 D 4 Gm6 E¨°6 Asus
B¨72 or E7¨9 5 or A7¨92 Dm64 A7(¨9) 43 Dm6 Gm Dm64 etc.
6

Dm Dm6 Gm Gm6 Dm64 A7 Dm

Dm A6 Dm Gm Dm64 A7 Dm
D7 Gm Dm64 A(7) Dm

Dominants Can Resolve to iv64 (also to VI, i°7 and others)

Example:
Key of E¨: Fm743 B¨7 E¨²743 A¨²7 D±743 G(7) C743 B¨m64 C7¨965 G7¨943 Fm64
G7¨965 C72 F765 B¨m72 (Fm6) C743 B¨m64 Fmsus Fm
Big Density…………...

I to vi or iii: As above, but also ¨II to any dominant – Approach as above.

I to IV or V: In major, equivalent of all above principles plus | iii6 V72 I | vi V I | ii7 I |
vi6 (#iv±7) or II7 I | vii±7 IV |
To IV Only: vi iii or (I V) ¨VII IV I V I; for Renaissance sound use ¨III, ¨VII, ¨VI occasionally.

In any modulation where possible add “new key” passing tones or decoration to help loosen the bond of the old
key.

Substitute (also Follow or Precede) Chords Whose Roots Are a 3rd Apart:

C7¨965 F²72 B±765 E72 C7¨92 F²743 B±7 E743 C7¨92 etc.

Sequence Modulation (that is ideas in sequence) Can be applied to these cycle.

Sequence Modulation is a form of Direct or Abrupt Modulation.
Baroque Modulation or Secondary Chord “Openers” page 3

Complete Key Cycles for Modulation:

1) C F B¨ E¨ etc. Am Dm Gm Cm etc.
2) C G D A etc. Am Em Bm etc.
3) C Am F Dm B¨ Gm etc. Am F Dm B¨ Gm E¨ etc.
4) C Em G Bm D etc. Am C Em G Bm D etc.
5) C Dm F Gm B¨m Cm etc. Am C Dm F Gm B¨ etc.
6) C Am, Dm F, B¨ Gm etc. Am C, F Dm, Gm B¨, E¨ Cm etc.
7) C Em, Bm G, D F#m etc. Am F, B¨ Dm, Gm E¨ etc.

(Use all or part of the following cycles)

Some Diatonic Key Cycles for Modulation or Simple Tonicization:

Mix melodic minor.

[ (C) G Em ] (C Am, F Dm) Am F Dm Use quasi-E for Em
(C) Em G, Am C Dm F Am C Dm F if desired.
(C) Dm F, Am C (Em G) Am C Em G
(C) F Am Em C G Am Em C G Also majors for minors
C Am Dm F Am F C Em in these progressions
(C) Am G F Em Dm C Am C F Dm
A start from anywhere Am G F Em Dm C Am
[ C Dm (Em) ] F G Am C Am C Dm (Em) F G Am
(C) Em Am Dm G C F Am Dm G C F Am
(Am Dm) C F Dm G Em Am C Am Dm F C G Em Am
C G Dm Am Em Am Dm C F Em Am
C F Am Dm Am F C G Dm Am Em C Am
C G Em Am C F Dm Am Em G C Dm F
C G Em Am C Dm F Am Em C G Dm Am
(Em G) C Am Dm F Am Em C Dm F Am
Am Em G C F Dm
Baroque Modulation or Secondary Chord “Openers” page 4

Start on All Degrees

Symmetric Chord Progressions (Sequences) With or Without Voice-Leading

4ths C F B° Em… | C F, Dm G | C F, Am Dm… | C F, Em Am… |

Start on “and”

5ths C G Dm A… | Am Em, G Dm | C G, Am Em | C G Em B or B¨ |

3rds C Am F | C Em G… | C Am F, Bm G#° E or Bb Gm E° | 
C Am F, Dm B° G | C Em G, Dm F Am | C Am, B¨ Gm… | 
C Am, Em C… | C Am, G Em | C Em, Dm F | C Em, Am C | 
C Em, B¨ Dm | C Em, G Bm | C Em, F Am | C Am, Dm B° | 
    C Am, F Dm |
Renaissance
Also with or without 7ths:
Example: C²7 Am765 F²743 Dm72 B±7 G765 Em743 etc.

melody E E
chords C Am
Do down in 2nds.

2nds C B° Am G… | C Dm Em… | C B°, Dm C | C B°, Em Dm | C B°, B° Am |

C B°, F Em | C Dm, B° C | C Dm, Dm Em | C Dm, G Am | C Dm, Am B° |
C Dm C B°, Am B° Am G | C B° C Dm, Em Dm Em F | C Em Dm C
and other Harmonized Scale Patterns.

Distant Baroque Modulation: 1) Complete Cycles, 2) Picardy, 3) 1/2 Cadences.

 Bass View and Summary of Baroque Harmonic Vocabulary
Ted Greene, 1974-12-03, 1978-07-08

This information is given in the keys of C and Am, but can be transposed to all other keys as well.

Key of C

Bass
Note Commonly used chords on these bass notes_________________________________________

C C, C²7, (C6) Dm7 F, F²7, F6 Am, Am7

± °
C7 D7 (D7¨9) F# 7 (F# ) Am6 G pedal dominants B7¨9
_________________________________________________________________________________________
D Dm, Dm7, Dm6 (Em7) G, G7 B±7, B°
D, D7 E7, E7¨9, E±7 (G7¨9) Gm6, Gm7 (Gm) B¨²7, B¨6 Bm, Bm7
_________________________________________________________________________________________
E C, C²7, (C6) Em, Em7 (F²7) Am, Am7 IV²7/7 is safer in high resister
± ±
C7 (C7¨9) E, E7 F# 7 Am6 Gm6, E 7, E A7, A7¨9, A, C#±7, Em6
_________________________________________________________________________________________
F Dm, Dm7, Dm6 F, F²7, F6 G7 B±7, B°
E7¨9 (G7¨9), Gm7 (B¨, B¨ 7, B¨6)
_________________________________________________________________________________________
G C, C²7, (C6) Em, Em7 G, G7 Am7
C7, (C7b9) E 7, E Gm6, Gm7, Gm (G pedal dom’s) A7, A7¨9 C#±7, Em6 (D pedal dom’s)
± °

_________________________________________________________________________________________
A Dm, Dm7, Dm6 F, F²7, F6 Am, Am7 B±7
D, D7, (D7¨9) F#±7, (F#°), Am6 A7, A B7, B7¨9, Bm7 (B¨²7)
_________________________________________________________________________________________
B C²7 Dm6 Em, Em7 G, G7 B±7, B°
E, E7, E7¨9 (G7¨9) B, B7, Bm, Bm7 C#±7, Em6
_________________________________________________________________________________________
C# A7, A7¨9, A C#±7, Em6 (C7¨9)
_________________________________________________________________________________________
D# B7, B7¨9, B (D7¨9) F7
_________________________________________________________________________________________
F# D, D7, (D7¨9) F#±7, F#°, Am6 B7, B7¨9, B
_________________________________________________________________________________________
G# E, E7, E7¨9 (G7¨9)
_________________________________________________________________________________________
B¨/A# C7 (C7b9) E°, E±7 Gm, Gm7, Gm6 A7¨9 B¨, B¨ 7, B¨6 F#(7), (F#7¨9)
(II of iii)
__________________________________________________________________________________________
“Bass View and Summary of Baroque Harmonic Vocabulary” - Ted Greene p.2

Key of Am
Bass
Note Commonly Used Chords on These Bass Notes_______________________________________

A Am, Am7, Am6, (A° better voice-leading to V) B±7 (Bm7), Dm, Dm7, Dm6, D, D7, (D7¨9)
(D#°) E pedal dom’s F, F²7, F6 (F#°) F#±7 A, A7, A7¨9, B7, B7¨9
_________________________________________________________________________________________
B B°, B±7, Bm, Bm7 (C²7) Dm6 E, E7, E7¨9, Em, Em7 F° G, G7, (G7¨9), G#°
B, B7 C#±7, Em6
_________________________________________________________________________________________
C A°, Am, Am7, Am6, Am²7 C, C²7, C6, C+no3, C° Dm7, D7 (D7¨9) F, F²7, F6, F#°, F#±7
A°7 B7¨9 C7 G pedal dom’s (Fm, Fm6)
_________________________________________________________________________________________
D B°, B±7, Bm, Bm7 D°, Dm, Dm7, Dm6, D, D7, (D7¨9) E7, E7¨9, Em7 G, G7, (G7¨9), G#°
B¨, B¨²7, B¨6 E±7 Gm, Gm7, Gm6 (Fm6)
_________________________________________________________________________________________
E Am, Am7, Am6 B¨° C, C²7, C6, C#° E, E7, Em, Em7 (F²7), F#±7
A, A7, A7¨9 C7, (C7¨9) B pedal dom’s E°, E±7 Gm6 C#±7, Em6
_________________________________________________________________________________________
F B°, B±7 Dm, Dm7, Dm6, D° E7¨9 F, F²7, F6, F° G7, (G7¨9)
B¨, B¨²7, B¨6 Gm7 (Fm, Fm6)
_________________________________________________________________________________________
G Am7 C, C²7, C6, C#° Em, Em7 G, G7, G°
A7, A7¨9 C7, (C7¨9) E°, E±7 Em6, C#±7 Gm, Gm7, Gm6
_________________________________________________________________________________________
B¨/A# A7¨9 B¨, B¨²7, B¨6, B¨° C7, (C7¨9) E°, E±7 G°, Gm, Gm7, Gm6 F#(7), (F#7¨9)
(II of v)
_________________________________________________________________________________________
C# A, A7 A7¨9, B¨° C#°, C#±7, Em6 (C7¨9) G°
_________________________________________________________________________________________
D# A° B, B7, B7¨9 C° (D7¨9) D#° F7 A°7
_________________________________________________________________________________________
F# Am6, A°7 B7, B7¨9, B C° D, D7, (D7¨9) D#° F#°, F#±7
_________________________________________________________________________________________
G# (G#°), D°, E, D7, E7¨9 (Fm, F°, Fm6) (G7¨9)

__________________________________________________________________________________________

Common Harmonic Vocabulary Summary:

C, C²7, C6, C7, (C7¨9), Dm, Dm7, Dm6, D, D7, (D7¨9), Dm, Em7, E°, E±7, E, E7, E7¨9, Em6
E pedal dom’s, F, F²7, F6, F7/E¨, (Fm, Fm6), F#°, F#±7, G, G7, (G7¨9), G pedal dom’s, Gm, Gm7, Gm6
(G#°), Am, Am7, Am6, A, A7, A7¨9, B¨, B¨²7, B¨6, Bm, Bm7, (B and D pedal dom’s), B±7, B°

Also: many diminished triads; various add9, sus, /9sus, /#11, /9#11 – which all usually resolve whenever used.
 Cadences
Ted Greene 3-29-1975
Much of the earliest known music was vocal, not instrumental; naturally, the singers had to have little
pauses to breathe, so music came to be divided into sections that are called phrases. Actually, this is just a theory,
but regardless of how phrases came into being, they continue to regulate even much of the music heard today. A
study of different types of phrases will come later with a study of Form, but for now, one particular facet will be
discussed at bit: The ends of phrases are called Cadences. Cadences are classified in two ways:
1) By the chords involved at the very end (when I and V are used, the cadence is called authentic. When I and
IV are used, the cadence is called plagal. In minor keys i and V are used for the authentic, i and iv for the
plagal); and
2) By how final the cadence sounds.

Specific Types of Cadences:

1) Perfect Authentic Cadence — uses the progression V - I or V7 - I (V - i or V7 - i in minor) in which the V

chord has its root in the bass and the I has its root in both the bass and soprano; it is very final sounding:

2) Imperfect Authentic Cadence — also has the V - I (V - i) progression but with one or more of the following
conditions:
a) The I has its 3rd or 5th in the bass
b) The I has its 3rd or 5th in the soprano
c) The V has its 3rd or 5th in the bass
Imperfect Authentic Cadences are less final sounding than their Perfect brothers:
V7 I
Cadences Ted Greene, 1975-03-29— page 2
 
 
 

3) Authentic Half Cadence — these use the I - V (i - V) progression and like the imperfect cadences, do not
sound completely final (in this case because they end on V). If V is preceded by any chord other than I, it
is still known as half cadence.

i V

4) Plagal Cadence — uses IV - I (iv - i); is often added after a V or V - I; usually sounds very final.

V i iv I Å Picardy 3rd

5) Deceptive Cadence — this occurs when V goes to any chord besides I (i). The most common chord to be
used is vi (VI), but others are used too (actually a plagal cadence that goes V - IV - I is also technically a
deceptive cadence). Deceptive cadences always give the feeling that something else has to come.

V vi
Cadences Ted Greene, 1975-03-29— page 3
 
 
 

Cadences are often disguised by melodic continuity in one or more parts, to keep the flow of a piece going:

J. S. Bach – Bouree – 1st Lute Suite

Perfect authentic cadence

V i

etc.

melodic continuity

In all the cadences except the Perfect Authentic, vii° or other related chords may replace V.

There are other types of 1/2 cadences, that is, some phrases substitute a different chord for V, but they are more
rare.

It is suggested that from now on, when you study a piece of music, you should analyze the cadences; there is much
to be learned about a composer’s thinking by studying his choice of cadences.

[The chord diagrams included here are merely suggestions by the transcriber. There are other fingering possibilities as well,
and Ted would probably have encouraged a student to play the examples in other areas of the neck and in different keys.]
 Catalogue of Common Baroque Harmonies and Their Progressions
Ted Greene – 1975-04-06

Major Key
Tonics Subdominants Dominants
of I: I, I∆7, I6, vi, vi7, iii, iii7 IV, IV∆7, IV6, ii, ii7, II, II7 (i 7) (II7¨9), V, V7, V pedal dominants, vii○, vii±7, (V7¨9),
○

II pedal dominants, #iv○, #iv±7, (vii6) (iii6)

of IV: IV, IV∆7, IV6, ii, ii7, (vi, vi7) ¨VII, ¨VII∆7, ¨VII6, v, v7, vii○, vii±7, V, V7, (I), I7, iii○, iii±7, I pedal dominants, (vi6, I7¨9)
(V7¨9), V pedal dominants
of V: V, (V∆7), V6, iii, iii7, vii, vii7 I, I∆7, I6, vi, vi7, VI, VI7, VI7b9, #i○, #i±7, II, II7, II pedal dominants, #iv○, #iv±7, (II7¨9),
VI pedal dominants (vii6)
of vi vi, vi7, #iv○, #iv±7, (I, I∆7, I6, I7) vii , vii±7, vii, vii7, VII, VII7, VII7¨9, bVII, III, III7, III7¨9, III pedal dominants, #v○, #v○7
○

of ii: ii, ii7, vii○, vii±7, (IV, IV∆7, IV6, IV7)
of iii: iii, iii7, #i○, #i±7, (V, V7, V6, V∆7)
bVII∆7, ii, ii7, ii6, II, II7, II6, IV, IV∆7, IV6,
IV7, VII pedal dominants
iii○, iii±7, iii, iii7, III, III7, III7b9, v, v7, v6, VI, VI7, VI7¨9, V pedal dominants, #i○, #i○7
V, V7, V6, ¨VII, bVII∆7, ¨VII6, II pedal doms.
#iv○, #iv±7, vi, vi7, vi6, VI, VI7, I, I∆7, I7, I6, VII, VII7, VII7¨9, VII pedal dominants, #ii○,
IV, IV∆7, (#iv, #iv7, #IV, #IV7, #IV7¨9, #ii○7
#IV pedal dominants
 Catalogue of Common Baroque Harmonies and Their Progressions Ted Greene, 1975‐04‐06 page 2

The way to read this chart is as follows: if a square is blank then all chords in its category (as listed above) are good progressions. Any
exceptions are listed; parentheses means optional. ~~~ means whole category is excluded. 7ths and 6ths are not listed (except in special cases)
but are understood to be included. 7¨9’s and ○7’s tend to progress to everything (more on ○7’s below).
As you can see, hopefully, almost any chord progresses to almost any other.

Tonics Subdoms Doms Tonics Subdoms Doms Tonics Subdoms Doms Tonics Subdoms Doms Tonics Subdoms Doms Tonics Subdoms Doms
of IV of IV of IV of V of V of V of vi of vi of vi of ii of ii of ii of iii of iii of iii
I to:
I7 to: no I∆7 ~~~ (vii), no I (vii6) (vii, VII) (V)
no V
ii to: no
#i±7
II to: (~~~) (~~~)
iii to:
iii○ to: ~~~ ~~~ no I (vii○) no (~~~) no I (~~~)
vii, (VII)
ii6, II6
III to no V
no vii
IV to: no #i○
#iv○ to:
V to:
v to: no I (~~~) no V no I∆7 no vii (#i○) no I∆7 no VII
(iii) no vii no VII
vi to:
VI to:
bVII to: no I no V (~~~) (~~~) ~~~ I7 only ~~~
(iii)
vii○ to:
vii to: no I
VII to: (I) no I7 no I7

Any 7¨9 or ○7 can be replaced with one of its 4 related diminished triads in 3 or 4 notes, in any inversion;
also minor triads are used to replace diminished triads sometimes (as appoggiatura chords).
IV7 is used as V of bII of vi or right to vii (IV7 is acting as a subdominant in this case)
/9’s [add9’s], suspensions and appoggiatura chords are common also.

All above applies to minor keys as well if you use the Relative minor key relationship and remember the chords.
Example: I becomes III, ii becomes IV, #iv○ becomes Rvi○, etc. [R = raised]
 Common Diatonic Chord Progressions in Baroque Harmony
Ted Greene, 1975-03-24

Major Keys:
The I, IV, and V are the most commonly used chords in major keys, probably due to
the fact that they are the only diatonic major triads (the ii, iii, and vi being minor and the vii
being diminished). In other words, because the I, IV, and V are all major chords, a generous
use of them strongly establishes the feeling of being in a major key. An interesting sidelight
to this is that the I, IV, and I, when considered collectively, contain all seven notes of the
major scale. Because of all these reasons, the I, IV, and V are call the PRIMARY TRIADS.

The ii, iii, vi, and vii° are often referred to as the SECONDARY TRIADS, but to avoid
confusion later with another use of the term “Secondary,” they will be called NON-PRIMARY
TRIADS. These non-primary triads are sprinkled in with the primary triads to add variety and
interest. One of the common ways in which they are used can be illustrated from the
following:

Each of the primary triads has a strong relationship to two other triads whose roots are
a 3rd higher and lower. Example: A (I) is related to C#m (iii), and F#m (vi). The reason for
this is that each of the triads a 3rd above and below a primary triad have two tones in
common with it. These common-tone brothers are called RELATED TRIADS. Any primary
triad may be preceded, followed, or replaced with its related triad(s).

Theoretically, according to the above principle, I is related to iii, vi; IV is related to vi,
ii; and V is related to vii°, iii. In practice though, composed have favored the following
relationships:

Primary Related Primary Related Primary Related

I vi, iii IV ii V vii,
(iii6 as an
appoggiatura
Tonics Subdominants Dominants chord. Other
iii’s are rare.)

The following is a list of some chord progressions of the Baroque era, all listed with
root position triads, although inversions are commonly mixed in was well. Notice that in
many cases, the related triads are just elaborating on the I-IV-V type patterns. Also, in any
progression, you might wish to try vii° or iii6 for V as they will not be listed to save space.
Also, I64 is commonly used before V at ends of phrases.
“Common Diatonic Chord Progs in Baroque Harmony” - Ted Greene, 1975-03-24 p. 2

1) I - IV - I
2) I - V - I
3) I - IV - (I) - V - I
4) I - V - (I) - IV - I
5) I - IV - ii - V - I
6) I - IV - vi - ii - V - I
7) vi - ii IV - V - (I)
8) I - vi - V - I
9) (I) - vi - ii - V - I
10) (I) - vi - IV - (V) - I
11) (I) - vi - IV - (ii) - V - I
12) I - iii - IV - (V) - I
13) (I) - iii - IV - (ii) - V - I
14) vi - IV - ii - V - (I)
15) (I) - iii - vi - ii - V - I
16) (I) - iii - vi - IV - ii - V - I
17) (I) - vi - iii - IV - (V) - I
18) (I) - vi - iii - IV - ii - V - I
19) I - V - vi - IV - ii - V - I
20) I - V - vi - iii - IV - V - I (or swap last V and I)
21) I - IV - viiº - iii - vi - ii - V - I
III and other cycle variations or fragments
22) ii - vi - (viiº) - IV - I
23) ii - V - (I)
24) IV - V - (I)
25) vi - ii - IV - (V) - I
Non-diatonic:
26) II - III - IV - V - I
27) #ivº - viiº - IV - (V) - I
28) vi - viiº - IV - (V) - I
29) #viº - I - IV (and/or ii) - V - I
30) #viº - I
31) (I) - iii - IV - vi - ii - V - (I)
32) I - V - vi - IV - I - (ii) - V - (I)
33) ii - vi - IV - V - (I)
34) I - IV - ii - V - (I)

Remaining progressions are “other root progressions using non-diatonic chords.”

_____________________________________________________________________
“Common Diatonic Chord Progs in Baroque Harmony” - Ted Greene, 1975-03-24 p. 3

Minor Keys:
The concepts in minor keys are similar to the above, but due to use of three different
types of minor scales, there are more chords involved. Generally, the PRIMARY TRIADS in
minor keys are considered to be i, iv, and V.
Here is a breakdown according to the common use by composers:

Primary Related Primary Related Primary Related

i (§vi°, VI, III) iv ii°, ¨II, IV, V vii°, III+
(I – Picardy 3rd) ii, VI (v, VII)

Tonics Subdominants Dominants

Some common minor key progressions:

1) i - iv - i
2) i - V - i
3) i - iv - (i) - V - I
4) i - V - (i) - iv - i
5) i - iv - ii° - V - i
6) i - iv - VI - ii° - V - i
7) i - VI - V - i
8) i - VI - ii° - V - i
9) i - VI - iv - V - i
10) (i) - VI - iv - ii° - V - i
11) i - III - iv - (V) - i
12) (i) - III - iv - ii° - V - i
13) (i) - III - VI - iiº - V - i
14) (i) - III - VI - iv - ii° - V - i
15) (i) - VI - III - iv - (V) - (i)
16) (i) - VI - III - iv - ii° - V - i
17) i - v - VI - ii° - V or i - v - VI - iv - V
18) i - v - VI - iv - iiº - V - i
19) i - v - VI - III - iv (and/or any kind of ii) - V - i
20) i - iv - VII - III - VI - ii° - V - I
And other cycle variations or fragments.
°
21) iv - i - ii - (VI) - V - (i)
22) ii - iv - (V) - (i)
23) (ii°) - VI - ¨II - V - (i)
24) ii° - VI - iv - (V) - i
“Common Diatonic Chord Progs in Baroque Harmony” - Ted Greene, 1975-03-24 p. 4

25) ii° - VI - (iv) - (V) - (i)

26) V - i
27) ii° - V - (i)
28) iv - V - (i)
29) II - V - (i)
30) IV - V - (i)
31) ¨II - V - i
32) II - ii° - V (i)
33) ii° - II - V (i)
34) [VI] - II7¨9 - V - (i)
35) ¨II - ii° (or iv) - V - (i)
36) V7¨9 - iv - II7¨9 - (i) - V - (i)
37) i - §vi° - II (and/or ii°) - V - (i)
38) §vi° - ii° - V - i°

The ii, IV, and vi° can be used as substitutes above according to melodic minor principles,
while vii°, III+6 can be used, like in major keys, for V.

Some other common types of chord progressions result from 1) bass lines, 2) sequences, and
3) successive 1st inversions, all of which have to be covered as separate topics.
[1/2 cadences]
 Melody and Harmony Relationships in Minor Keys
Ted Greene — 1976-03-05

In the Baroque period there were, as you know, three types of minor scales used: NATURAL,
HARMONIC and MELODIC. When a Baroque composer (such as Bach, Handel, Scarlatti or Vivaldi)
wrote a piece of music in a minor key, he did not stick to one of the three types exclusively, but rather,
mixed them up according to what kind of chords he wanted to imply or use in his harmony. The following
is a list of the conventional melody and harmony relationships of the time.
But first a few general guidelines:
l. In the MELODIC minor scale, the R6th was rarely, if ever used without the R7th. [R=Raised].
2. In the HARMONIC minor scale, the 6th was usually not followed with the R7th or vice versa, except in
dominant harmony (as you will see below).
3. If you have already learned somewhere that the melodic minor is supposed to ascend in one form and
descend in another, I’m sorry to say this but it’s simply not true. There are many examples in the music of
Bach, for instance, of the R6th and R7th being used in a descending melody (see example page). There are
reasons, that seemed to be logical, for the theory of 2 different forms of melodic minors, but composers
didn’t abide by this reasoning, as a casual study of their works shows.

DIATONIC HARMONY

CHORD | SCALE

i : Melodic minor for ascending and descending (more rare) melodies.

Harmonic minor for ascending and descending melodies.
Natural minor for descending melodies only.
i7 : Natural minor for ascending and descending melodies.

(from here on down, assume that a given scale is used both ascending & descending).

ii°, iiø7 : Natural and Harmonic, or Natural with a raised 3rd.

ii, ii7 : Melodic, Melodic with a raised 3rd, or II Melodic Minor
III, III7 : Natural
(III+, III7+) : Melodic and Harmonic
iv, iv7, iv6 : Harmonic and Natural, also on iv: iv Melodic, Harmonic and Natural, also on
iv7: iv7 Natural, also on iv6: iv Melodic.
IV, IV7 : Melodic.
 V, V7 : Melodic and Harmonic (with 6th to R7th [or vice versa] sometimes).
V7b9 : Harmonic (with 6th to R7th [or vice versa] sometimes).
VI, VI7 : Harmonic and Natural.
Rvi°, Rviø7 : Melodic.
VII, VII7 : Natural.
Rvii° : Melodic and Harmonic (with 6th to R7th [or vice versa] sometimes).
Rvii°7 : Harmonic (with 6th to R7th [or vice versa] sometimes).
(Rviiø7) : Melodic.

I : Picardy Scale (1 2 3 4 5 b6 b7 8) or think of it as the iv Melodic minor, centering

in the V region (l/2 cadence in iv Melodic minor).

Actually the ideal (but most time-consuming) way to know this material is to think of a different scale for
each different chord, these scales all having the same letter name as the roots of the chords they are being
used for. The advantage of this way is that in the long run, it is less confusing (this will become clear later).
But for now, the above guides will probably prove helpful.
There are more “exotic” chords used in Baroque harmony, but the melody and harmony relationships of
these will come later, chromatic tones will also be discussed.
 Modulation (part 1)
Ted Greene 10-01-1975
One of the greatest joys in all Baroque music is the sound of a good modulation (change of key). The great masters
of this period (J. S. Bach, Handel, etc.) were all adept at the science of modulation, and this is one reason why their
music is so likeable Good modulations add excitement, interest, variety, and harmonic richness; they also make
possible longer pieces of music without everything sounding monotonous (which tends to happen if you stay in one
key too long); and, very importantly, they help composers to plan out the main “scheme” of a piece by using the
different key areas as dividing points for the different sections or entrances of the themes (for student: define
“theme” in your own words).
Play the following: [The chord diagrams given below show just one way to finger it.]

Notice that phrase 1) uses simple tonicization (G#7 C#m), which some might call temporary modulation, while
phrase 1a) is a real modulation to a new key. What is the difference? It is a question of duration first of all: G#7 -
C#m are just two chords in the key of C#m, while the whole 1a) phrase is in the key of B.
Play both phrases again (right in a row); notice that another factor that makes your ear accept that there is a
modulation to the key of B is the final CADENCE. Cadences or strong chord progressions tend to firmly establish
a key. (The word “strong” here means the same thing as the word “normal” Æ like some normal progressions you
are familiar with are I - vi - ii - V or IV - V - I or vi - iii - IV - I, etc.)
Sometimes you will encounter examples that are ambiguous: Example Æ
C7 - F - B±7 - E - Am Å is this I - IV - vii± - III -vi, or III - VI - ii± - V - i ?
Oftentimes, what follows a progression like this will clear up the problem.
Example: C7 - F - B±7 - E - Am - Dm - G7 – C.
The easiest and most logical explanation of this is unquestionably I - IV - vii± - III - vi - ii - V - I.
What about C7 - F - B±7 - E - Am - Dm - Am6/4 - E7 - Am ?
Probably the easiest way to look at this is: III - VI - ii± - V - i - iv - i - V - i
although some might also like: |------ of vi -----|
I - IV - vii± - III - i - iv - i - V - i
Modulation (part 1) Ted Greene, 1975-10-01 — page 2
 
 
 

While there are no hard and fast rules that cover all situations as far as modulation analyses goes, if you force
yourself to think logically, you will be able to deal with these analytical problems if they arise. It is good practice
to analyze the works of J. S. Bach and his contemporaries, for there is a wealth of knowledge in them, just waiting.

One question that you might be asking is, “What keys can I modulate to?” In the Baroque period, composers
almost always modulated to one of the RELATED KEYS. Related keys are those keys whose key signature does
not differ from the “home key” (the home key is the main key of the piece as indicated by the first key signature) by
more than one sharp or flat.

Examples:
If the home key is C, then the related keys are Am (same key signature), F and Dm (one flat more), and G and Em
(one sharp more).

Likewise, if the home key is A, the related keys are F#m (same key signature), D and Bm (one sharp less) and E
and C#m (one sharp more).

If the home key is Am, the related keys are C (same key signature), Dm and F (one flat more), and Em and G (one
sharp more).

If the home key is F#m, the related keys are A (same key signature), Bm and D (one sharp less), and C#m and E
(one sharp more).

Interesting sidelight: It is a phenomenon that the related keys and the home key are the I, IV, V and their relative
minors Æ vi, ii, and iii, (if the home key is major).

If the home key is minor, then the home key and related keys are the i, iv, and v and their relative majors Æ III, VI,
and VII. Pretty amazing stuff.

Now that you know which keys to modulate to (for a Baroque sound), your next question might be, “How do I do
it?” The basic steps in most modulations are:
1) Establish the home key.
2) Play a chord or chords that start a strong progression in the new key; this chord (or chords) mustn’t clash
with the home key (more on this later)
3) Confirm the new key by finishing the strong progression, with or without a cadence; often, as in phrase 1a
at the top of page 1, more than one strong progression will be “chained” together:
ii - V - I
I - (iii) - vi - I6/4 - V - I

Secondary dominants or subdominants can be used in the new key’s progression(s).

Example:
C - F - C - G7 - Am - C7 - F - A7 - Dm - Gm6 - F6/4 - C7 - F
I - IV - I - V - vi - V7 - I - III7 - vi - ii - I6/4 - V - I
|----------------- of IV ----------------------|

Example:
C - G6 - C - F - E - E76/5 - Am - B7b94/3 - B±74/3 - B7b96/5 - Am6/4 - E7 - Am
I - V - I - IV V…….. - i - II7 - ii± - II7 - i -V - i
|--------------------------------- of vi -------------------------------------|

Since you already know how to establish a key, we will move right along and talk about step 2), that is, how you
can start to set up the new key. One of the smoothest ways to do this is to use a strong progression (in the new key)
whose first chord(s) is (are) diatonic to the home key and the new key. This chord is known as a common chord or
pivot chord. The pivot chord serves as a “bridge” between the two keys, helping one to flow gradually into the
other. In the phrases at the top of [page 1], the first chord in the key of B is the pivot chord (it is vi of E and ii of
B). Those examples will follow on the next page.
 Modulation (part 3)
Ted Greene 10-03-1975

Pivot chords are not always used as the 1st chord in a strong modulating progression:
Example:

C - F6/4 - C - A76/5 - Dm - A - Dm or C6/4 - Dm74/3 - F#±7 - B6 - Em - Am6 - Em6/4 - B7 – E(m)

V i ii V i
in high register
In the 1st example, C is not really a pivot chord; if you decided to analyze it as one, the progression would then be
VII - V – i, which is not normal (not that it’s so terrible, but it’s not normally used by composers). So if you saw
this progression in a piece of music, you would be pretty safe in assuming that the composer was thinking V - i not
VII - V - i; therefore there is no pivot chord.

The 2nd example above really illustrates, without a doubt, a modulation with no pivot chord; remember, according
to our use of the term so far, a pivot chord must be diatonic to the home key and the new key. The Dm7 is not
diatonic to the new key and the F#±7 is not diatonic to the home key, so there is no pivot chord; and yet if you
played this example you would see that it sounds good anyway. So we can say that the use of a pivot chord is not
absolutely necessary (you will see why this is important in a little while).

Now for specific techniques on how to construct a modulation:

What must be known are: At least one, preferably a lot of good chord progressions that establish the new key but
don’t sound forced or abrupt in relation to the home key. Luckily, even when not using pivot chords, most normal
progressions will work when modulating from the home key to any related key. When no pivot chord is used, the
only way you can really know if some progression works as a modulation is to use your ears.

The following list of modulating progressions was compiled in two ways:

1) All the pivot chords between a home key and its related keys were lined up and normal progressions
were built in the new keys, starting from these pivot chords.

2) All of the most “normal” progressions that had not been derived already from the pivot chords were
tried; those that sounded forced or unmusical were scrapped, those that didn’t were added to the list. In
each progression many inversions or different settings were tried to avoid snap judgments.

You can be sure that Bach, Handel, Scarlatti, and the other masters of the Baroque era had similar lists, but they
must have kept them in their minds because they didn’t leave us a written record (other than their music itself) of
their favorite modulation progressions. It is hoped that you will make a thorough study of this list (eventually)
trying many examples of each progression; the rewards are well worth the time it will take.

It is important to realize that there are many ways to combine these formulas as well: for example, to go from the
key of C to the key of Dm you might try the ii±7 - V(7) - i formula combined with i - iv - i - V - i formula:

C - F - Em7b52 - A76/5 - Dm - Gm - Dm6/4 - A7 - Dm

ii± V i iv i V i

As you might guess, this multiplies the possibilities of this list many times over. Good luck, you’ll need it (just
kidding).
Modulation (part 3) Ted Greene, 1975-10-03 — page 2
 
 
 

From Key of I to Key of ii

Modulating Progressions (numbered, of course, in terms of the new key, ii):
 
| V(7) (i) | ii° V(7) (i) | ii±7 V(7) (i) | iv6 V(7) (i) | iv(7) V(7) (i) | II(7) V(7) (i) |

| II7b9 V(7) (i) | IV(7) V(7) (i) | ii(7) V(7) (i) | II7(b9) ii±7 V(7) (i) | ii±7 II7(b9) V(7) (i) |

i(7) can precede or go between any of the chords in some of these progressions, yielding results like:

| (i) ii±7 i V(7) (i) | i iv6 i V(7) (i) | (i) iv(7) i V(7) (i) |
Actually, i, iv, and V can be combined in many good ways which serve as good modulating progressions.
Other examples (using triad symbols only):

| i V i iv i V i | i V i V i iv i V i | i iv i i iv V i | i iv i iv i V i | i iv i V i iv V |
To really get into these kind of progressions, you should go back and check out the material on “Cadential
Progressions as Viewed from the Bass.” There are many progressions there that combine tonics, sub-dominants,
and dominants, and you will most likely find them very useful for modulation. By “these kind of progressions” it is
meant those progressions which use the most significant tonics, sub-dominants, and dominants, which are off-
shoots of i, ii°, II, iv, bII, IV, VI, Rvi°, and V(in minor keys). [“R” means “raised”] Remember also that Rvii°,
V7b9, and pedal dominants can be used for V; also pedal dominants can replace II(7) on II7b9; and don’t forget
Deceptive Cadences. Also Rvi° can replace i.

To sum up our list so far, we could say that we can set up the key of ii with the most common progressions using
the Primary chords and all kinds of “ii’s” which we would normally use in that key anyway (except that we aren’t
using the N6 chord [Neapolitan sixth chord] to go to the key of ii).

Other good modulating progressions (using triad symbols only, for simplicity):

| (i) [or I] iv [or IV] VII III VI ii° V etc. | (VII) III VI ii° V etc. | (i) VI ii° V (i) |
| (i) Rvi° II (and/or ii°) V (i) | i VI iv V (i) | (i) III VI iv ii° V (i) | (i) VI III iv V (i) |
| (i) VI III iv i | (i) V VI III iv (and/or ii°) V (i) | Å optional: include II or i II

| (i) v VI iv (and/or ii°) V (i) | ii° VI (iv) V (i) | ii° VI iv (V) i | ii° VI III iv (i) V (i) |

| III ii° (VI) (i) V (i) | III iv (ii°) V i | ii iv (V) (i) | iv i ii° (VI) V (i) | ii° VI bII V (i) |

| I(7) iv [or IV] to any chord that normally follows iv | Also bII VI ii° V

One last point: As mentioned at the bottom of [Part 1], once you enter the new key, any secondary harmony may
be used.
 Modulation (parts 4-5)
Ted Greene 10-04, 05-1975

From Key of I to Key of IV

Modulating Progressions (triad symbols only):

| vi iii IV (V) I | vi IV (V) I | vi IV (ii) V (I) | (vi) vii° IV (V) I | (iii) vi ii V I | II III IV V (I) |

| vi ii IV (V) I | iii IV (ii) V I | ii V I | IV V I |I IV vii° iii (or III) vi ii V (I) | vi V (I) |

| #iv° I IV (and/or ii) V I | #iv° vii° IV (V) I |

Try preceding I, iii, or vii° with #iv° or II7. Also, you may replace V with vii°; also possible: Deceptive Cadences.
I can precede any progression or be put between any chords.

From Key of I to Key of vi

Modulating Progressions (triad symbols):

| V (i) | ii° V (i) | iv V (i) | II V (i) | bII V (i) | IV V (i) | ii V (i) | II ii° V (i) |

| ii° II V (i) | bII II7b9 V (i) | bII ii° (or iv) V (i) |
All kinds of combinations of tonics, sub-dominants, and dominants as indicated for key of ii, on [Part 3]

| i (or I) iv (or IV) VII (or bvii) III VI ii° (or ii or bII or II) V (i) |
Try starting the previous cycle progression on different chords, like iv or VII or III or VI. Also try Rvi° for VI

| VI III iv i | (ii°) VI bII V (i) | iv i ii° (VI) V (i) | ii iv (V) (i) | ii° VI III iv (i) V (i) |
| V7b9 iv II7b9 (i) V (i) | (i) VI iv (and/or ii° or bII or II) V (i) | (i) VI III iv V (i) |
| (i) v VI (III) iv (and/or any kind of ii, II, etc.) V (i) | ii° VI iv (V) i | ii° VI (iv) V (i) |
As usual, i can be injected just about anywhere. Also Rvii°, V7b9, and pedal dominants are possible for V.
Likewise, pedal dominants for II; Rvi° for i; deceptive cadences, also I(7) iv or IV….

From Key of I to Key of V

Modulating Progressions (triad symbols):

| V I | ii V (I) | IV V (I) | #iv° I | (I) vi ii V (I) | (I) vi IV V (I) | vi IV ii V (I) | vi V (I) |

| vi ii IV V (I) | I IV ii V (I) | I iii vi IV (and/or ii) V (I) | I V vi IV I (and/or ii) V (I) |
| (I) IV vii° iii vi ii V (I) | II III IV V (I) | ii vi IV I | ii vi IV V (I) |
As usual, all kinds of tonic, sub-dominant and dominant progressions will work. I can be injected anywhere; vii° can
be used for V, also possible: deceptive cadences.
Modulation (parts 4-5) Ted Greene, 1975-10-04, 05 — page 2
 
 
 

From Key of I to Key of iii

Modulating Progressions (triad symbols):

|V (i) | ii° V (i) | iv V (i) | bII V (i) | II(7b9 only) V (i) | IV V (i) | II7b9 ii° V (i) | bII ii° V (i) |
As before, all kinds of combinations of tonics, sub-dominants, and dominants.

| i ii° II7b9 V (i) | (i)(or I) iv VII III VI ii° (or bII or II7b9) V (i) | Try starting the cycle on other chords too.

| i VI iv (and/or ii° or bII) V (i) | VI III iv i | VI III iv V (i) | ii° VI iv (V) i | ii° VI (iv) V (i) |

| (ii°) VI bII V (i) | ii° VI III iv (i) V (i) | iv i ii° (VI) V (i) | I7 iv or IV….
°
Once again, i can go almost anywhere; Rvii , V7b9, and pedal dominants are possible for V; likewise, pedal
dominants for II, and check out deceptive cadences.

Minor “Home” Key:

From Key of i to Key of III
Modulating Progressions (triad symbols):

| (vi) IV (V) I | vi iii IV (V) I | vi IV (ii) V (I) | (vi) vii° IV (V) I | (iii) vi ii V (I) |

| vi ii IV (V) I | vi V (I) | iii IV (ii) V (I) | V I | ii V (I) | IV V (I) | #iv° I | I IV ii V (I) |

| iii vi IV (and/or ii) V (I) | All kinds of tonic, sub-dominant, and dominant progressions.

| I V vi iii IV I V | I V vi iii IV V I | (I) IV vii° iii vi ii V (I) | Start the cycle on any chord; also check
out the cycles on the “Secondary Sub-dominant” page.

| II III IV V (I) | vii° IV #iv° I V I | Try preceding I, iii, or vii° with #iv° or II7

| I V vi IV I V I | I V vi IV I ii V | I can go almost anywhere in these progressions; also vii° can replace V;

don’t forget deceptive cadences.

From Key of i to Key of iv:

Use same progressions as Key of I to Key of ii.

From Key of i to Key of VI:

Use same progressions as Key of I to Key of IV.

From Key of i to Key of v:

Use same progressions as Key of I to Key of iii.

From Key of i to Key of VII:

Use same progressions as Key of I to Key of V.
Modulation (parts 4-5) Ted Greene, 1975-10-04, 05 — page 3
 
 
 

Modulations between Related Keys or Back Home Again:

Composers of the Baroque (and later) period(s) were not only concerned with modulating from a home key to its
various related keys, but also from one related key to another, and from any related key back to the home key. The
following are guidelines for these techniques:

From Key of ii to Key of I:

Use same progressions as Key of I to Key of V.

From Key of ii to Key of vi:

Use same progressions as Key of I to Key of iii.

From Key of ii to Key of IV:

Use same progressions as Key of i to Key of III.

From Key of ii to Key of iii: (Rarely used. Why?)

Modulating Progressions (triad symbols):

| (VI) iv V (i) | bII iv (or ii°) V (i) | VI III iv (V) i | i iv VII III VI ii° V i and other cycle progressions.
| iv i ii° (VI) V (i) | Also deceptive cadences and substitutes for V.

From Key of ii to Key of V: (Rarely used.)

Modulating Progressions (triad symbols):

|V I | ii V (I) | VI V (I) | (vi) IV (and/or ii) V (I) |I IV vii° III vi ii V (I) | ii vi IV (V) I |
Usual miscellaneous facts as well.

From Key of iii to Key of I:

Use same progressions as Key of I to Key of IV.

From Key of iii to Key of vi:

Use same progressions as Key of I to Key of ii.

From Key of iii to Key of V:

Use same progressions as Key of i to Key of III.

From Key of iii to Key of IV:

Although this situation is pretty rare, almost any progression that can be used to go to a major key (like those involved
in going from Key of I to Keys of IV or V) will work pretty well.

From Key of iii to Key of ii:

In a similar fashion, almost any progression that can be used to go to a minor key (like those involved in going from
Key of I to Keys of ii, iii or vi) will work pretty well here.
Modulation (parts 4-5) Ted Greene, 1975-10-04, 05 — page 4
 
 
 

From Key of IV to Key of I:

Use same progressions as Key of I to Key of V or Key of i to Key of III

From Key of IV to Key of vi:

Use same progressions as Key of I to Key of iii.

From Key of IV to Key of ii:

Use same progressions as Key of I to Key of vi.

From Key of IV to Key of iii:

Almost never done as a modulation, only rarely as simple tonicization of both keys.

From Key of IV to Key of V:

Often done as simple tonicization of both keys, but almost never as a modulation.

From Key of V to Key of I:

Use same progressions as Key of I to Key of IV or Key of i to Key of III

From Key of V to Key of vi:

Use same progressions as Key of I to Key of ii.

From Key of V to Key of iii:

Use same progressions as Key of I to Key of vi.

From Key of V to Key of IV:

Pretty rare (modulation) but major key progressions will work out okay; tonicization is pretty common.

From Key of V to Key of ii:

Use minor key progressions; this situation is mediumly common.

From Key of vi to Key of I:

Use same progressions as Key of i to Key of III.

From Key of vi to Key of IV:

Use same progressions as Key of I to Key of IV.

From Key of vi to Key of ii:

Use same progressions as Key of I to Key of ii.

From Key of vi to Key of V:

Use same progressions as Key of I to Key of V.

From Key of vi to Key of iii:

Use same progressions as Key of I to Key of iii.
Modulation (parts 4-5) Ted Greene, 1975-10-04, 05 — page 5
 
 
 

To figure out all of these concepts (about modulating from one related key to another or back to the home key) if the
home key is minor, simply remember all of the information you already have. Example: Suppose you want to know
what progressions will work well when modulating from the key of VI back to the key of i; if you remember these
keys in terms of their counterparts in the relative major home key, then you see that the good progressions would be
those that work for going from the keys of IV to vi (which are actually the same as those for the keys of I to iii).

You may think it would be easier to just write all this out, as a separate list for minor keys—you’re right—but I’m
getting tired of writing and thinking about Baroque modulation (I don’t want to ever hear about one again for weeks!)
But seriously, it is good for your brain to figure all this stuff out, although you won’t be copping out if you do decide
to write out a separate list.

An interesting feature of the subject of modulation is that of choosing a Harmonic Device to “bring in” or prepare the
modulating progression. Some of the common ones are:

1) Prepare the modulating progression with a diatonic chord scale (broken up with melodic figures, preferably)
in the home key. Example: say you want to modulate from the key of C to the key of Dm (I to ii), and you
are going to use the ii° - V - i progression as the modulator; you could play something like:
B° - Am - G - F - E° - A6 - Dm etc.
vii° vi V IV ii° V i
| ----- of ii -----|

2) Prepare the new progression in a cycle of 4ths. Using the same modulator as in 1) above, i.e. the new ii° - V.
Here is an example:
F7 4/3 - B±7 - E±7 4/3 - A - Dm etc.
IV vii±7 ii±7 V i
|------- of ii --------|

3) Prepare the new progression with any progression (in the home key) which is derived from a bass line.
Example:
C - G6 - Am - Em6 - F - C6 - E±72 - A6 - Dm etc.
ii° V i

4) Prepare the new progression with any normal progression in the home key. Example:

C - Am - Dm - Gm6 6/5 - Dm6/4 - A7 - Dm

I vi ii
i iv i V i
|---------------- of ii -------------------- |
Tonicize the new
key’s tonic (or?)

5) Prepare the new key in a sequence: Examples:

C - E76/5 - Am - C76/5 - F - A76/5 - Dm - Gm6/2 - Dm6 - Gm6 - Dm6/4 - A7 - D

C - F6 - G76/5 - C, - Am - D6 - E76/5 - Am, - F - Bb6 - C76/5 - F - Gm6 - C7 - F

6) Jump right into the new key after a pause or cadence in the home key (this is called Direct or Abrupt
Modulation).
Modulation (parts 4-5) Ted Greene, 1975-10-04, 05 — page 6
 
 
 

7) The new progression can be reached through a deceptive resolution or deceptive cadence:

C - Am - Dm6 - G72 - E±7 - A7 - Dm or C - A7 - Bb - E°6 - E7b96/5 - A(7) - Dm

8) The new progression can be reached as the beginning of a progression in another key than the home key:

C - G6 - C - E7 - F - Bb6 - E° - A6 - Dm
V VI
|-- of vi --|
III VI ii° V i
|-------------- of ii ---------------|
This process could be referred to as Chain Modulation.
9) Most modulations introduce tones that are not diatonic to the home key; most often, these tones are part of
one or more of the chords in the new key. However, sometimes one or more of these tones are used as a “coming
attraction” to help loosen the bond of the old key.

Another example of Sequence Modulation: (little triads)

Example: C - F6/4 - G6 - C, - Am - Dm6/4 - E6 - Am, - F - Bb6/4 - C6 - F etc.

In the Baroque period, other key areas than those discussed so far were modulated to at times, but because
they are the exception rather than the rule, and because they were used much more frequently during the Classical
period, they will be discussed later.
A good point for helping you get more familiar with modulations is that of listening to many pieces of music,
trying to follow a composer’s thinking in regards to this. Virtually any piece of Baroque music will do, but some of
the greatest ones for this are the concertos or fugues (of Bach and the other masters), where everything just keeps
flowing along for a considerable length of time, due to the nature of the form. In a lengthy piece, a composer must
draw upon the resources of modulation a little more (as a rule) — this, plus the fact that these pieces sound fantastic,
makes it an educational and enjoyable “task” to listen and analyze them.
Don’t be discouraged if you can’t follow everything that goes on—there are not many people running around
anywhere who are capable of that. But, in time, you’ll be able to follow more and more as your familiarity with the
subject of modulation increases; you’ll be able to say things like, “There he goes, into the key of V again” or “Why
that sneaky rascal, I thought he was going into the key of vi and he went into ii instead.” Lots of fun.

Assignment:
1) Write out all the related keys of all 15 major keys, then do same for all 15 minor keys. “Number” everything too (indicate
what’s what with Roman numerals). Then practice memorizing this information until you have it down.
2) Practice many different types of modulations — remember, if you work with all the concepts given, it is going to take a long
time, so be patient, try and work systematically, and you will see results.
 Progressions Using 1st Inversions; Figured Bass
Ted Greene, 1974-12-27

You might wish to consult the voice-leading reference charts to extract ideas for use on
these progressions. Try all progressions in lots of keys; add decoration and generally strive to
make each one interesting, so that they are not a chore.
To understand the symbols, first it is necessary to talk about Figured Bass.

Figured Bass

Figured bass is a system of musical shorthand where chords are indicated by the
relationship in close voicing, of all the notes to the bass note. Example: a closed triad in 1st
inversion has (from the bass up) the following intervals: a 3rd, and a 6th (whether or not the
3rds and 6th’s are major or minor depends on the type of triad). A 2nd inversion closed triad
has the intervals of a 4th, and a 6th (from the bass up).

In musical shorthand any 1st inversion (close, open, 4-note) is referred to as a 63 or more
commonly, just 6. For instance, a C in 1st inversion is written C6 (not written as C6 because
there is another chord that is written with this larger 6).

Similarly, any 2nd inversion is referred to as a 64. For instance, a C in 2nd inversion is
written C64 (no problem here about the size of the 6 or 4)

Progressions to Gain Familiarity with 1st Inversions

(Try reversing V and I when they appear as the last two chords of any progression)

1) I - I6 - IV - V - I
2) I - IV - IV6 - V - I
3) I - IV - IV6 - V6 - I
4) I - IV - V - V6 - I
5) I - I6 (or iii) - IV - IV6 - V - V6 - I
6) I6 - I - ii6 - ii - V - V6 - I
7) I - vi - ii6 - V - I
8) I - vi - ii - V6 - I
9) I6 - vi - ii6 - V - I
10) I - I6 - vi - vi6 - ii - ii6 - V - V6 - I
11) I - I6 - vi - vi6 - IV - IV6 - V - V6 - I
12) iii6 - vi - ii6 - V - I
13) iii - vi6 - ii - V6 - I
14) iii - iii6 - vi - vi6 - ii - ii6 - V - (V6 - I)
15) vi - iii6 - IV - I6
16) vi6 - iii - IV6 - I
17) ii6 - vi - IV6 - I
“Progressions Using 1st Inversions; Figured Bass” - Ted Greene, 1974-12-27 p. 2

18) ii - vi6 - IV - I6
19) vi - vi6 - iii - iii6 - IV - IV6 - I
20) ii - ii6 - vi - vi6 - IV - IV6 - I
21) I - viiº6 - I6 - IV6 - V - V - vi
22) I - viiº6 - I6 - V - vi - V6 - I
23) I - V6 - I - viiº6 - I6 - ii6 - V
24) I - V6 - vi - iii6 - IV - I6 - (ii) - V - (I)
25) viiº - IV6 - V - ii6 - iii - viiº6 - I
26) ii - I6 - IV - iii6 - vi - V6 - I
27) IV - iii6 - vi - V6 - I - viiº6 - I6
28) I6 - viiº6 - vi6 - V6 etc. [IV6 - iii6 - ii6 - I6]
29) I6 - viiº6 - viiº6 - vi6 - vi6 - V6 - V6 etc. [IV6 - IV6 - iii6 - iii6 - ii6 - ii6 - I6]
30) I6 - ii6 - iii6 - IV6 etc. [V6 - vi6 - viiº6 - I6]
31) I - vi6 - viiº - V6 - vi - IV6 etc. [V - iii6 - IV - ii6 - iii - I6]
32) I - vi6, - ii - viiº6, - iii - I6, etc. [IV - ii6, - V - iii6, - vi - IV6, - viiº - V6, - I]

_____________________________________________________________________

In 3/4 Time

1) I - vi - V6 - I - I6 - IV - V - IV6 - V6 - I
2) I - I6 - vi - ii - ii6 - V - I - I - IV6 - V
3) I - I6 - vi - IV - IV6 - V6 - I - ii6 - V - I
4) I - iii6 - iii - IV - V - V6 - I - IV - I6 - V
5) iii - iii6 - vi - ii - ii6 - V - I - IV6 - V - I
6) iii - vi - vi6 - ii - V - V6 - I - viiº6 - I6 - V
7) vi - vi6 - iii - IV - IV6 - I - ii6 - ii - V - I
8) ii - ii6 - vi - IV - IV6 - I - iii - viiº6 - V6 - I

[3/4] In Minor Keys

1) i - Rviº - V6 - i - i6 - iv - V - IV6 - V6 - i
2) i - i6 - VI - iiº - iiº6 - V - i - i - iv6 - V
3) III - III6 - VI - iiº - iiº6 - V - i - iv6 - V - i
4) III - IV - VI6 - ii(º) - V - V6 - i - Rvii º6 - i6 - V
5) VI - VI6 - III - iv - iv6 - i - ii º6 - ii º - V - i
_____________________________________________________________________
“Progressions Using 1st Inversions; Figured Bass” - Ted Greene, 1974-12-27 p. 3

In Minor Keys

1) i - i6 - iv - V - i
2) i - iv - iv6 - V - i
3) i - III6 (or V) - IV6 - V6 - I
4) i - iv - V - V6 - i
5) i - i6 - iv - iv6 - V - V6 - i
6) i - i6 - IV - IV6 - V - V6 - i
7) i - VI - iiº6 - V - i
8) i - i6 - VI - VI6 - iiº - ii º6 - V - V6 - i
9) i - i6 - VI - VI6 - iv - iv6 - V - V6 - i
10) i - i6 - VI - VI6 - IV - IV6 - V - V6 - i
11) III6 - VI - iiº6 - V - i
12) III - VI6 - ii(º) - V - i
13) III - III6 - VI - VI6 - iiº - iiº6 - V - (V6 - i)
14) VI - III - iv6 - i
15) VI6 - III - iv6 - i
16) iiº6 - VI - iv6 - i
17) iiº - VI6 - iv - i6
18) VI - VI6 - III - III6 - iv - iv6 - i
19) i - Rviiº6 - i6 - iv6 - V - V - VI
20) i - Rviiº6 - i6 - V - Rviº - V6 - i
21) i - Rviiº6 - i6 - v - VI - V - i
22) i - V6 - i - Rviiº6 - i6 - ii6 - V
23) i - v6 - VI - iiº6 - V - V6 - i
24) i - v6 - VI - III6 - iv - i6 - (iiº) - V - (I)
25) iiº - i6 - iv - III6 - Rviº - V6 - i
26) iv - III6 - Rviº - V6 - i - viiº6 - i6
27) i6 - VII6 - VI6 - v6 - iv6 - III6 - iiº6 - V - i
28) i6 - iiº6 - III6 - IV6 - V6 - Rviº6 - Rviiº6 - i
29) i6 - VII6, - VII6 - VI6, - VI6 - v6, etc. [v6 - iv6, - iv6 - iii6, - iii6 - iiº6, - iiº6 - I6]
30) i6 - VI6, - VII6 - iv6, - VII - iv6, etc.
31) i - VI6, - iiº - VII6, - III - i6
 Some of the Most Common Chord Progressions
in Baroque Major Harmony
(Speak about minor also)
Ted Greene – 1974-06-12

1) All combinations of the three primary triads (I, IV, and V) such as:
a) I IV V b) I V I c) I IV V I
d) I IV I V I e) I V (I) IV I
A generous use of I, IV and V chords in a piece of music creates a strong feeling of a “key” or “tonal
center”; an over-use of them creates monotony. The secondary triads (ii, iii, vi, [viiº]) are used to balance
out the sound and create more interest. Some of the most common progressions using them are:
2) I vi ii V (I) 3) I vi IV V (I) 4) iii vi ii V (I)
5) I iii IV (V) I 6) I ii (iii) IV I (scalular) 7) IV iii ii I (scalular)
8) vi iii IV I 9) ii vi IV I 10) (I) IV vii± iii vi ii V I etc.
Roots up a 5th Roots up a 5th Roots up in 4ths

11) ii V iii vi
up a 4th

As stated above, more or less, the I, IV, and V are the three main pillars of a major key. It’s commonly
accepted that iii and vi are substitutes for I, ii for IV, and viiº for V.
This is usually stated:
Tonics: I, iii, vi | Sub-Dominants: ii, IV | Dominants: V, viiº (sometimes iii is used as a dominant also).
These chords are said to be functioning in the above ways.

Practice all above progressions in 3- and 4-note triads using good voice-leading. Do eventually in all keys.
Also do comparable versions in minor keys using both v and V, ii± for iiº where it sounds better (also try ii)
— other than these suggestions, stick to the natural minor chords.

Cadences
Much of the earliest known music was vocal, not instrumental; naturally, the singers had to have little
pauses to breathe, so music came to be divided up into what are known as Phrases. The closing points of
these phrases are called Cadences; even today most music is still regulated by phrases and cadences. Most
cadences have used combinations of the three primary triads (or their substitutes).

Cadences are classified in two ways:

1) by which of the three primary chords are used at the end. (When Tonic and Dominant are used it
is called an Authentic Cadence; when Tonic and Sub-Dominant are used it is known as a Plagal Cadence.)
2) by how final the cadence sounds. The terms perfect and imperfect identify cadences that end with
the tonic triad. The Perfect Authentic Cadence uses the progression V - I or V7 - I (and comparable in
minor), in which the V chord has its root in the bass and the I has its root in both the bass and soprano.
Some of the Most Common Chord Progs in Baroque Major Harmony — Ted Greene, 1973-11-11 page 2

Perfect Authentic:

The Imperfect Authentic [Cadence] uses the V - I progression also but the
I chord has its 3rd or 5th in the bass and/or the soprano, or the V has its 3rd or 5th in the bass.
They sound less final.

The Authentic Half [Cadence] uses the progression I - V; (if a chord other than I is used to precede V, it is
still called a half cadence).

Half cadences give the impression of

more to come.

The Plagal Cadences are exact counterparts to the Authentic ones in terms of the types and rules.
The Perfect Plagal [Cadence] uses the progression IV - I in which the IV chord has its root in the bass and
the I has its root in bass and soprano.
The Imperfect Plagal [Cadence] uses IV - I, and I has either its 3rd or 5th in bass and/or soprano, or IV has
its 3rd or 5th in the bass.
The Plagal Half Cadence uses the progression I - IV (or sometimes V - IV, vi - IV, etc.). Examples:
Perfect Plagal Imperfect Plagal

Plagal Half

Take some songs and analyze the cadences.

[Ted’s note to himself:] Include Deceptive

and all cadences in minor keys too.
 Structures
Ted Greene – 1973, October 22

A Phrase is the smallest form in music expressing a complete thought. It is usually either 2 or 4 measures
long and ends with a cadence. Fill in the following phrases using only I, IV, V chords first; then later use
other chords (ii, iii, vi, vii°).

Same in minor (notice use of melodic minor scale)

Make up some phrases now in major and minor keys and harmonize them.

A Period consists of two phrases,

the first of which ends with a half-cadence, the second with a perfect authentic cadence.

Harmonize these periods and make up some of your own in major and minor keys, in 4/4 and 3/4 time.

A Parallel Period is one in which at least the first parts of the first and second phrases are alike.

Invent original motives and develop them into parallel periods.

 
Structures – Ted Greene, 1973-10-22 page 2
 
 

A Double-Period is usually 16 or 8 bars long with the following cadences evenly distributed:
1) Imperfect Authentic
2) half [cadence]
3) Any but perfect authentic.
4) Perfect Authentic

This is not the only cadence scheme, just the most common.

Example of Double-Period:
 Summary and Bass View of Baroque Harmony
Ted Greene, 1972-12-03, 1978-07-08
This information is given in the keys of C and Am but can be transposed to all other keys as well.
Key of C:
Bass Note Commonly Used Chords on These Bass Notes:
C C, C²7, (C6), Dm7 F, F²7, F6, Am, Am7
C7, ± °
D7, (D7b9), F# 7, (F ), Am6, G pedal dom.’s, B7b9_______
D Dm, Dm7, Dm6, (Em7) G, G7 B±7, B°
D, D7 E7, E7b9, E±7 (G7b9) Gm6, Gm7, (Gm) Bb, (Bb²7, Bb6), Bm, Bm7__
E C, C²7, (C6) Em, Em7 (F²7) Am Am7 IV²7/7 is [safe?] in high register
C7, (C7b9) E, E7 F#±7, Am6 Gm6, E±7, E° A7, A7b9, A, C#±7, Em6__
F Dm, Dm7, Dm6 F, F²7, F6 G7 B±7, B°
E7b9 (G7b9), Gm7, (Bb, Bb²7, Bb6)_____________________________________
G C, C²7, (C6) Em, Em7 G, G7, Am7
C7, (C7b9), E 7, E , Gm6, Gm7, Gm, (G pedal dom’s.), A7, Ab9, C#±7, Em6, (D pedal dom’s.)____
± °

A Dm, Dm7, Dm6, F, F²7, F6, Am, Am7 B±7

D, D7, (D7b9), F#±7, (F#°), Am6 A7, A B7, B7b9, Bm7 (Bb²7)______
B C²7 Dm6 Em, Em7 G, G7 ±
B 7, B °

E, E7, E7b9 (G7b9) B, B7, Bm, Bm7 C#±7, Em6_______________________

C# A7, A7b9, A, C#±7, Em6, (C7b9)_______________________________________________
D# B7, B7b9, B (D7b9) F7________________________________________________________
F# D, D7, (D7b9), F#±7, F#°, Am6 B7, B7b9, B__________________________________________
G# E, E7, E7b9, (G7b9)
Bb (A#) C7 (C7b9) E°, E±7 Gm, Gm7, Gm6 A7b9 Bb, Bb²7, Bb6, F#(7)  [II of iii], (F#7b9)________
_________________________________________________________________________________________
Key of Am:
Bass Note Commonly Used Chords on These Bass Notes
A Am, Am7, Am6 (A°)  [better voice-leading to V], B±7, (Bm7), Dm, Dm7, Dm6, D, D7 (D#°), E pedal dom’s.
F, F²7, F6, (F#°), F#±7 (A°7), A, A7, A7b9, B7, B7b9 (D7b9)_____________
B ° ±
B , B 7, Bm, Bm7 (C²7) Dm6 E, E7, E7b9, Em, Em7, F ° G, G7, (G7b9), G#°
B, B7 ±
C# 7, Em6_______________________________________________________________
C Am, Am7, Am6, Am²7, C, C²7, C6, C+no3, C°, Dm7, D7, (D7b9) F, F²7, F6 F#°, F#±7
A°, A°7, B7b9, C7 G pedal dom’s. (Fm, Fm6)______________________
D B°, B±7, Bm, Bm7, D°, Dm, Dm7, Dm6, D, D7, (D7b9), E7, E7b9, Em7 G, G7, (G7b9), G#°
Bb, Bb²7, Bb6, E±7, Gm, Gm7, Gm6 (Fm6)____________________________
E Am, Am7, Am6, Bb ° C, C²7, C6, C# ° E, E7, Em, Em7 (F²7) F#±7
A, A7, A7b9 C7, (C7b9), B pedal dom’s. ° ±
E , E 7 Gm6 C#±7, Em6___________________
F B°, B±7, Dm, Dm7, Dm6, D° E7b9 F, F²7, F6, F°, G7, (G7b9)
Bb, Bb²7, Bb6 Gm7 (Fm, Fm6)_____________________________________________
G Am7 C, C²7, C6, C#°, Em, Em7, E° G, G7, G°
A7, A7b9, C7, (C7b9), E°, E±7 Em6, C#±7 Gm, Gm7, Gm6____________________
Bb (A#) ° ° ± °
A7b9, Bb, Bb²7, Bb6, Bb , C7, (C7b9) E , E 7, G Gm, Gm7, Gm6, F#(7), (F#7b9)  [II of v]__
C# A, A7, A7b9, Bb° C#°, C#±7, Em6 (C7b9) G°___________________________________________
D# B, B7, B7b9, C°, D#°, (D7b9) F7 A°, A°7 ______________________________________________
F# Am6, A°7, B7, B7b9, B, C° D, D7, (D7b9), D#°, F#°, F#±7_________________________________
G# (G#°), D°, E, E7, E7b9 (Fm, Fm6, F°) (G7b9)__________________________________________
_________________________________________________________________________________________
Common Harmonic Vocabulary Summary: C, C²7, C6, C7, (C7b9), Dm, Dm7, Dm6, D, D7, (D7b9), Em, Em7, E°, E±7,
E, E7, E7b9, Em6, E pedal dom’s, F, F²7, F6, F7/Eb, (Fm, Fm6), F#°, F#±7, G, G7, (G7b9), G pedal dom’s., Gm, Gm7, Gm6, (G#°),
Am, Am7, Am6, A, A7, A7b9, Bb, Bb²7, Bb6, Bm, Bm7, (B+D pedal dom’s), B±7, B°.
Also: many diminished triads; various /9, sus, /9sus, /#11, /9#11 which all usually resolve whenever used.
 Summary of Diatonic Chord Progressions in Baroque Harmony
Ted Greene, 1975-03-24

MAJOR KEYS:
The I, IV, and V are the most commonly used chords in major keys, probably due to the fact that they
are the only diatonic major triads, (the ii, iii and vi being minor and vii being diminished). In other words,
because the I, IV, and V are all major chords, a generous use of them strongly establishes the feeling of being in
a major key. An interesting sidelight to this is that the I, IV, and V, when considered collectively, contain all
seven notes of the major scale. Because of these reasons, the I, IV and V are called the Primary Triads.

The ii, iii, vi and vii° are often referred to as the Secondary Triads, but to avoid confusion later with
another use of the term “secondary,” they will be called the Non-Primary Triads. These non-primary triads are
sprinkled in with the primary triads to add variety and interest. One of the common ways in which they are
used can be illustrated from the following:

Each of the primary triads has a strong relationship to two other triads whose roots are a 3rd higher and lower.
EXAMPLE: A (I) is related to C#m (iii), F#m (vi). The reason for this is that each of the triads a 3rd above
and below a primary triad have two tones in common with it. These common-tone brothers are called Related
Triads. Any primary triad may be preceded, followed, or replaced with its related triad(s). Theoretically,
according to the above principle, I is related to iii, vi; IV is related to vi, ii; and V is related to vii°, iii. In
practice though, composers have favored the following relationships:

PRIMARY RELATED PRIMARY RELATED PRIMARY RELATED

I vi, iii IV ii V vii°, (iii6 as an appoggiatura
chord, other iii’s are rare)
TONICS SUBDOMINANTS DOMINANTS

Following is a list of some chord progressions of the Baroque era, all listed with root position triads, although
inversions are commonly mixed in as well in practice. Notice that in many cases, the related triads are just
elaborating on the I IV V type patterns. Also in any progression, you might wish to try vii° or iii6 for V (as they
will not be listed to save space). Also I64 is commonly used before V at ends of phrases.

I IV I, I V I, I IV (I) V I, I V (I) IV I and many other combinations of I IV V (and their related

chords), especially those combinations derived from a Bass viewpoint – more on this later.

(ii) V I IV V I [I IV ii V I]
(I) IV vi ii V I I vi V I (I) vi ii V I
(I) vi IV (V) I vi ii IV V I vi IV ii V I
vi (or I) iii IV (V) I iii IV I vi ii V I iii vi ii V I
iii vi IV V I I V vi iii IV V I I V vi IV I (or ii) V I
I V vi iii IV I ii V I I iii IV vi ii V I ii vi IV (V) I
[ii vi vii° IV I V I] [vi vii° IV (V) I] (I) IV vii° iii vi ii V I
Summary of Diatonic Chord Progressions in Baroque Harmony Ted Greene, 1975-03-24 page 2

MINOR KEYS:
The concepts in minor keys are similar to the above, but due to the use of three different types of minor
scales, there are more chords involved. Generally, the Primary Triads in minor keys are considered to be i, iv,
and V. Here is a breakdown according to the common use by composers:

PRIMARY RELATED PRIMARY RELATED PRIMARY RELATED

i (Rvi°, VI, III iv ii° bII, IV, V Rvii°, III+
(I - Picardy 3rd) ii, VI (Lvi°, Lvi, iv°)

TONICS SUBDOMINANTS DOMINANTS (v, VII)

[Editors Note: R = “Raised,” “Regular,” or natural. L = “Lowered”

Rvi° in a minor key = a diminished chord built on the natural, “regular,” or “raised” 6th degree.
Rvii° = a diminished chord built on the natural, “regular,” or “raised” 7th degree of the key.
Lvi ° refers to the flatted 6th.]

Some minor key progressions:

i iv i, i V i, I iv (i) V i, i V (i) iv i also many other combinations as explained above.

(ii°) V I iv V I ii V i
IV V i [i iv ii° V i] (i) iv VI ii° V i
i VI V I (i) VI ii° V I (i) VI iv (V) i
VI III iv (V) I VI III ii° (V) I III VI ii° V i
III VI iv V I III iv i VI ii° V I i v VI (ii°) V (i)
i v VI III iv i ii V i v VI III iv (or ii°) V I i III iv VI ii° V i
ii° VI iv (V) I ii° VI III iv (i) V (i) (i) IV VII III VI ii° V i

The ii, IV and Rvi° can be used as substitutes according to the melodic minor principles, while Rvii°,
+
III , Lvi°, and iv° can be used for V.
Quite often, I is used for i at the end of a phrase. [Picardy 3rd]

Some other common types of Baroque chord progressions result from:

1) Secondary Harmony (chords of other keys, used in the home key).
2) Sequences.
3) Successive 1st inversions, and as mentioned,
4) Bass viewpoint;
They will be covered later as separate topics.