Baroque Major Harmony Chord Progressions (Page 2 of 3) in pdf

Baroque Major Harmony Chord Progressions Page 2

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.

Baroque Major Harmony Chord Progressions Page 2