Baroque Major Harmony Chord Progressions printable pdf download

Some of the Most Common Chord Progressions

in Baroque Major Harmony

Speak about minor also)

(

Ted Greene – 1974-06-12

All combinations of the three primary triads (I, IV, and V) such as:

I IV V

I V I

I IV V I

I IV I V I

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:

I vi ii V (I)

I vi IV V (I)

iii vi ii V (I)

I iii IV (V) I

I ii (iii) IV I (scalular)

IV iii ii I (scalular)

vi iii IV I

ii vi IV I

10)

(I) IV vii

iii vi ii V I etc.

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.

Baroque Major Harmony Chord Progressions

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