Diatonic Sequences

  

Lesson 23

October 19th, 2021

Lesson 23

Lecture notes:

  • A sequence is made when a musical idea is expressed, then repeated one or more times. Each repetition of the original idea is transposed up or down from the previous iteration by a consistent interval.
  • A basic musical idea usually comes in either half, full, or two measures. This is what ultimately becomes the sequence pattern when expressed in successive repetition.
  • There are two main types of sequences in music which include the ascending sequences and the descending sequences.
  • The ascending sequences include the ascending-fifth sequence and the parallel 6/3 chords sequence.
  • The descending sequences include the descending-fifth sequence, the Pachelbel sequence, and the descending parallel 6/3 chords sequence.
  • The various sequences follow a specific chord progression pattern. For example, the descending-fifth sequence progression would be I-IV-viio-iii-vi-ii-V-I. The Pachelbel sequence progression would be I-V-vi-iii-IV-I-ii6/5-V7-I. The descending parallel 6/3 chords progression would be I-V-IV-iii-ii-I, and the ascending-fifth sequence progression would be I-V-ii-vi-iii-viio-I. Finally, the ascending parallel 6/3 chords progression would be I-viio-I-ii-iii-I. *These progressions would support major key signatures.* In a minor key, you would have to make the adjustments to make the i minor, III major, VI major, etc...
  • The sequences that transpose their pattern down/up by step are the parallel 6/3 sequences.
  • The descending/ascending sequences are the sequences that transpose their patterns down/up using the circle of fifths.
  • The Pachelbel sequence transposes down by thirds.
  • The two characteristic traits in the bass line of the Pachelbel sequence include either the descending fourth with an ascending step (root position sequence) and the descending stepwise motion (alternating between root position and first inversion)
  • Sequences can be in all root position triads/sevenths or alternate between root position triads/sevenths and first inversion triads/sevenths.
  • The linear intervallic pattern (LIP) often appears with a melodic sequence, bass line, and root progression.
  • Sequences do one of two things. First, they prolong the tonic area of a phrase or provide smooth transitions from one key area to the next.

The photo above shows a descending-fifth sequence with the roman numerals in the key of A major. (Photo Credit: Aldwell-Shacter Chapter 18, http://www.sfcmtheory.com/harmony_supplements/chap_17.htm)


The photo above shows how three simple motivic rhythms were altered and developed in various stages to create the famous song Yesterday by Paul McCartney. (Photo Credit: Ted Sablay, https://www.tedsablay.com/journal/2020/7/24/six-stages-of-motivic-development-in-yesterday-by-the-beatles)


The video above explains a sequence, and the presenter uses visual and audible aids to illustrate his lesson.  In the lesson, the presenter starts off with a simple sequence and shows how to progressively improve the melodic harmony of the initial rhythm. This was audibly executed using a piano and a chorale choir. (Video Credit: Alan Belkin, https://www.youtube.com/watch?v=LExbXo4WGCI)


The video above showcases diatonic chord progressions using the key of C major. The presenter displayed a chart showing chords from the stable to the unstable chords, showing which chord can best lead to another. For example, the IV chord can smoothly move to a I, V, vi, or iii. The presenter also created two sets of 4 measured chord progressions from the chart and demonstrated them using a guitar. (Video Credit: Shedthemusic, https://www.youtube.com/watch?v=B-pj41rgxnc)


The photo above is the music for the Jazz standard "Fly Me To The Moon." You can see where I put lines over the sequences throughout the song. The sequence pattern predominantly present in this piece is the descending fifth.


The video above is me playing the song from the photo above the video.

Comments

Post a Comment

Popular posts from this blog

Dominant Sevenths

Image
  Lesson 17 March 22nd, 2021 Lesson 17 Lecture notes: The dominant seventh chord contains two tendency notes , including the leading tone and the chordal seventh . In a dominant seventh chord , the third degree of that chord is the leading tone for the tonic chord, which would resolve up to the tonic note ( 7 - 1 ). In a dominant seventh chord , the seventh degree , also known as the chordal seventh , is the tonic chord's fourth degree. This note would resolve down to the third degree of the tonic chord ( 4 - 3 ). The two predominant chords that lead to the dominant chord are the minor second and the perfect fourth . The basic phrase model would look like ( T - PD - D - T ) whenever used. Parallel fifths are easy to occur. An excellent way to avoid this is by omitting a note in either the dominant seventh chord or the tonic chord. The note that can be left out of either chord is the fifth-degree note .  Root position ( 7 ) and second inversion ( 4/3 ) dominant seve
Read more

Variations

Image
  Lesson 30 February 4th, 2022 Lesson 30 Lecture notes: There are multiple types of variations , inclusive of the continuous variation , sectional variation , figural variation , chromatic variation , textural variation , and timbral variation . The continuous variation is the continuous flow of a musical idea and a Fortspinnung phrase structure. This variation type was widely used in the Baroque era of music. Fortspinnung is the development process of a specific musical motif . First, the motif in question is developed into a complete musical using sequences , intervallic changes , and simple repetitions . There are two different types of continuous variations . Ground bass or passacaglia and chaconne . The ground bass / passacaglia  is when there is a repeating bass line , and only the upper voices change or vary . In the chaconne , the harmonic progression is repeated and varied while the bass remains the same for several successive variations , but it e
Read more