Learning the Descending Diatonic Circle of Fifths

w w
w w
&
In the key of C major,
Play the tonic
Play the note a fifth lower
w
?
Play the note another fifth lower
Continue until you reach the tonic again.

Play the same notes you just played, but

Use your left hand
Start in the middle of the piano keyboard
Use a zig zag pattern, i.e. down, up, down, up, etc.
(This keeps all the notes within one octave.)

Play the same thing with the left hand,

and add the following with your right hand:
Play a diatonic root position triad,
using the left hand note as the root.

&

?w w w w w w w w
ww
& w www
?w w
I

Since the bass is a sequence, we will make the upper voices move
sequentially, as well. There are a few ways to do this. One of the most
common is to have the top voice start a 10th above the bass and alternate,
in contrary motion, 10th, octave, 10th, octave, etc. (this is sometimes
referred to as a 10-8 pattern):

Filling in the inner voices gives:

Especially in two-part writing, one commonly finds the top and

bottom voices a 10th apart throughout, moving in contrary motion
(sometimes referred to as a 10-10 pattern):

w w
w

IV

www
w
vii

www
w
iii

www
w
vi

www
w
ii

www
w
V

www
w
I

w w w w w w w w
&
10
8
10
8
10
8
10
8
w
w
w
w
?
w
w
w
w
w
& ww
?w

ww ww ww w
w w w ww
w w w w

IV

vii

iii

vi

ww ww ww
w w w
w w w
ii

IV

vii

iii

vi

ii

w w w w w w w w
&
10
10
10
10
10
10
1
10
w
w
w
w
?
w
w
w
w

Minor keys work the same as major. However, there is the question as to
whether the 7th note of the scale should be raised to make a leading note.
The answer is that it is not raised when it is not leading to the tonic, and it
is when it does. As a result, it is only raised on the V chord.

&

bbb

? bb

w w
w w

w w
w w

b
&bb

? bb w w w w w w w w
b
b b www ww
b
&
w
? bb w w
b
i

iv

www
w
VII

www
w
III

www
w
VI

www
w

ii

n www ww
w
w w
V

b w w w w w w nw w
&bb
10
8
10
8
10
8
10
8
w
w
w
w
? bb
w
w
w
w
b
b w w w
& b b ww ww ww
? bb w w w
b
i

iv

VII

ww ww ww n w
w w w ww
w w w w

III

VI

ii

ww
w
w
i

etc.

copyright David Clenman 2004

Descending Fifths (diatonic)

Root position

&
?

IV

&

vii

iii

vi

ii

b b b
bb

iv

b b b

Alternating root position with 1st inversion, starting with root position

?
I

IV6

vii

ii6

vi

ii6

I6

bbb

iv6

VII

III

VII III6

VI

ii

VI

ii6

i6

Alternating root position with 1st inversion, starting with first inversion

&

I6

vii6 iii

?
IV

vi6

ii

V6

bbb


b
bb
i6

iv

VII6 III

VI6 ii

n
V6

Descending 5ths with Applied Chords

c
&
?c

Root position triads

#
#

V/

V/

IV

&

#
#

#
#

V/

V/

n # #

Alternating 7th chords with triads (3 voices)

?
V7/

IV

V7/

V/

V7/ V/

V7

# n # n
b

# n # n
&

All 7th chords (3 voices)

V7/ IV

8-7

& b
?

V7/ V 8-7/

# n
#

All 7th chords (3 voices)

V7/ IV7

&
? b

V7/ V

8-7

n # # n

V7

V7/ V7/

V7/ V7/

V7

#
#
#

#

n #

b b b n

bb
b
i

V/

b b b n n
bb b

V7/

V/

n
#

V/

V/

VI

V7/

V/

V/

VI7

V/

n n

V7

b b b n n b b b # n n n

bb b

V7/ V 8-7/

VI7 V 8-7 /

b b

V7/ V7/

V7/ V7/

VI7 V7/

b b b n
bb n
b

n

#

V7/ V 8-7 /

b b b n n b
bb b

V7

n n

V7

n

n

A lovely example of the 2nd line on this page, but in 4 voices and using inversions (alternating3rd and 1st inversion)

V 2 / IV6

V42 / V6/

V 42 / V6/

V42

I6

V 42 / V6/

V42 / V6/

VI 42 V6/

V2

i6

2010 David Clenman

Descending Fifths (diatonic) with 7th Chords

All seventh chords, three voices (Note that the top two voices alternate between 3rd and 7th of the chord.)

&
?

IV7

vii 7 iii7

vi7

&

I7

Four voices

ii7

V7

b b b
bbb

i7

iv7

b b b
bbb

4
3

4
3

b b b
bb

?
4
2

6
5

4
2

6
5

b b b

b
bb

2004 David Clenman

ii 7

VI7

Four voices, alternating third inversion with first inversion, giving a stepwise descent in the bass.

&

VII7 III7

Four voices, alternating root position with 2nd inversion, giving a stepwise descent in the bass.

&

V7

Ascending Fifths
This sequence does not generally go past the submediant chord:

&

ii

vi

Chain of 7-6 Suspensions

One sometimes finds a series of first inversion chords descending by step.
This often occurs in a three voice texture, with the roots in the top voice:

&

The top voice may be delayed, creating a chain of 7 - 6 suspensions:

&

7 -

- 6

7 - 6

- 6

7 -

7 - 6

7 -

Ascending 5-6 Sequence

?
&
?
5

&
?
I

ii

iii

Root-positiont triads ascending by step in parallel

motion.

&

Whoops! PARALLEL 5ths!

IV

V6/ii

ii

V6/iii

iii

V6/IV

IV

&
?
I

ii

iii

IV

&
?

Chromatic version: Accidentals have been added

so that the main chords are approached with applied
dominants.

Let's start again, but this time with 4 voices.

Whoops! PARALLEL 5ths & 8ves!

&
?

Fix the parallel 5ths by making the 5th of each

chord rise a step before the other voices do.

We'll fix the parallel 5ths the same way we did

before.

We can fix the parallel octaves by changing

the tenor like this.

&
?
I

&
?
&
?
I

V6/ii

ii

V6/iii

iii

V6/IV

IV

#
#

V/ii

ii

Same as the previous line, only accidentals have been

added, as before, turning every second chord into the
applied dominant of the next chord.

V/iii

iii

V/IV

Here are the last 2 examples again, only with the

bass and tenor switched.

IV

2004 David Clenman

Monte/Mountain/Rising Sequence
N.B. Often only the first 4 chords are used.
Diatonic version:

& ww
? ww
I

ww
ww
IV

& ww

ww
w
w
ii

ww

Often the first chord of each pair is in 1st inversion:

w
?w

ww
w
w

I6

IV

ww
ww

ww
w
w

ww
ww

iii

vi

ww
w
w

ww
w
w

iii6

vi

w
w

ww
w
w

ii6

Chromatic version (1st chord of each pair is the applied dominant of the 2nd chord).
(This is "Doh a Deer," starting at "Soha needle pulling thread." Notice the ascending semitone motion
in (in this particular voicing) the alto:

& ww
w
?w
I

ww
w
w
(V/IV)

IV

# ww
w
w

V/V

ww
w
w

# ww
w
w

ww
ww

V/vi

vi

ww

ww

vi

And with the first of each pair of in first inversion. Note that the bass now ascends by semitone:

& ww
w
?w

I6 (V6/IV)

w
w

ww

w
#w

ww
ww

w
#w

IV

V6/V

V6/vi

ww

ww
Copyright 2009 David Clenman

Monte

Chromatic version in which the first chord of each pair is an applied dominant 7th of the next chord:

& b ww
w
? w

V7/IV

ww
w
w
IV

w
#w
w
w

V7/V

ww
w
w

w
#w
w
w

ww
w
w

V7/vi

vi

Same, but with the first chord of each pair in 1st inversion, creatinascending semitone motion in bass:

& b ww
? ww
V6/IV
5

ww
ww
IV

ww

ww
ww

V6/V
5

w
#w

ww

ww
ww

V6/vi
5

vi

w
#w

Fonte
(Fountain)
(Sometimes called the Falling Sequence)

The fonte is the following pattern:

Inversions may be used.

The dominant chords may have 7ths.

w
& w

w
w

w
w

w
w

V/ii

ii

w
& w
# ww
?

w
w
ww

w
w
w
w

w
w
ww

6
V5

w
w
ww

b ww
w
w

w
w
ww

ii

vii7

? # ww

6
V 5 /ii

Diminished 7th chords may be used

instead of dominant 7ths.

w
& bw
# ww
?
vii7/ii

w
w

ii

ww

w
w

Copyright 2010 David Clenman

Pachelbel's Canon Sequence

Write I to V:

Copy what you just wrote,

but a 3rd lower:

We could extend the sequence by

copying the pattern yet another 3rd lower:

A variant of this is to have every second

chord in 1st inversion. Notice how this
creates a descending scale in the bass:

&

&

&

&

2004 David Clenman

Mode Mixture
Definition: Mode mixture, or simply mixture, is the use of notes or chords from the parallel major or minor.
Mixture is also known as borrowing.
IN A MINOR KEY
A piece in a minor key may end with a major tonic chord. (Note
the E n in the example to the right.) The raised third is known as
a tierce de Picardie, or Picardy third. This is the main use of mode
mixture in a minor key.
.

b
& b b
? bb
b

c-:

w
n ww

ii 6 V 8-7
5

IN A MAJOR KEY
Assuming you are in C major, each of the following measures shows the normal triad followed by the alternative triad
available through borrowing from c minor, the parallel minor:

& www b www

I

www b www
ii

ii

ww b ww
w bw

iii

bIII

www b www

IV

iv

www b www

www b b www

vi

www b www

bVI

vii

bVII

^
^
^
The most common occurences of mixture in a major key make use of b6. The b6 wants to lead to 5:

&

& b
?

www

IV

vii7 from the minor key is used to lead to I in the major key:

vii7

iv from the minor key. (Often this follows IV and leads to I.)

ii or ii7.

&

^
^
bVI. (This makes use of both b6 and b3.)

&

?
IV

iv

ii 6 V 8-7
5

w
bw
b ww

bVI

One sometimes finds not just a single chord, but an entire section in the parallel minor. In the Classical style, this is how the
minor tonic triad is usually used in a major key.

Note: When two different forms of the same note occur one after
the other, for example 6 and b6, keep the two in the same voice,
and have the lowered note the second of the two.

& b
?

No

Yes

No

MODE MIXTURE AND MODULATION

A borrowed chord may act as a pivot chord in a modulation. For example:

&

vi

IV

iv
Ab: vi

C:

bb

IV6

2003 David Clenman

b
b

V6
5

b ww
bb ww
I

RONDO FORM

Rondo form has a recurring A section, known as the refrain, main theme, or rondo theme. Between
these A sections are contrasting sections, known as episodes or couplets.
Example:
Refrain
A

Episode 1
B

Refrain
A

Episode 2
C

Refrain
A

Many combinations are possible: ABACA, ABACABA, ABACADA, ABACBA, etc.

While rondos usually end with the A section, not all do. (Example: Mozart Oboe/Flute Concerto in
D/III)
Each section may itself be a smaller form, such as binary form.

REFRAIN
All statements of the refrain are in the tonic key.
The refrain is a memorable theme that clearly establishes the tonic key. Sometimes there are two or
more themes, one after the other, all in the tonic key.
The refrain ends with a PAC, providing a clear ending point.
Statements of the refrain after an episode may be abridged.
Statements of the refrain after an episode may have different accompaniment patterns.
Statements of the refrain after an episode may be embellished.

EPISODES
Episodes (with one exception noted below) are generally in different keys than the refrain. In addition,
different episodes are generally in keys different from each other.
An episode may have a clear theme structure, or may be more loosely constructed. An episode may
consist of a group of themes, all in the same key.

TRANSITIONS AND RETRANSITIONS

Episodes and statements of the refrain may have transitional passages between them. These are called
transitions when leading to an episode, and retransitions when leading back to a refrain in the tonic.
The function of a transition is to lead you from one section to another. As such, they tend to have a
restless quality and be modulatory. Use of sequence is common.
Transitions tend not to have clear theme structure. They are often without clear melodic structure, and
are frequently built out of broken chord figures, scales, or other passagework.

CODA
A rondo may end with a coda. The coda (from the Latin word for tail) is a concluding section whose
basic function is to reaffirm the tonic key in order to balance out the precedeing variety of keys. It
may also attempt to tie together elements from previous sections.
A coda may be of any length.
It may state new material, and/or refer to previous material.

In the Classical era, most rondos fall into one of the two following categories:
1. five-part rondo or simple: ABACA (typically used for slow movements)
2. seven-part rondo: ABACABA (typically used for lively finales)

1.

ABACA is called simple rondo or five-part rondo. The key scheme is often:
A

Coda

Major

minor

III

other
contrasting
key

Mozart tends to use IV for the C section

Haydn tends to use the parallel minor for the C section.

2.

ABACABA is called 7 part rondo. The key scheme is often:

A

Major

minor

III

other
contrasting
key

i or I

The C section is most commonly in IV, though vi and the parallel minor are common.

Serenade
Eine kleine Nachtmusik

Wolfgang Amadeus Mozart K 525

1756 - 1791

I
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&
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18
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41
Vn. I

34
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50
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57
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61
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13

III

Menuetto

#3
& 4

Allegretto

Violin I

? # 43

Violoncello

Vn. II

Va.

Vc.

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Vn. II

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Viola

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Violin II

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Fine

14

Vn. I

Vn. II

Va.

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Vn. II

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17

p

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.

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Vn. II

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Vn. I

Vn. II

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n
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26
Vn. I

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B ##

21
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15

IV

T
Allegro
.

.

# C . . .

.
&
p
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& C

p

..
B# C

p

?# C
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p
Rondo

Violin I

Violin II

Viola

Violoncello

5
Vn. I

&

Vn. II

&

Va.

Vc.

Vn. II

Va.

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2
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13
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8
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J
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J J
J

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16

Vn. I

Vn. II

Va.

Vc.

24
Vn. I

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Vn. II

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Vn. II

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29
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17
40
Vn. I

Vn. II

Va.

Vc.

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Vn. II

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Vn. II

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Vn. II

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Vn. I

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50

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45
Vn. I

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D

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. .
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18
61
Vn. I

&

Vn. II

&

Va.

Vc.

Vn. II

Va.

Vc.

? # b
&
&

n b

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f

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Vn. II

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Vn. II

Va.

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b

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76
Vn. I

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n
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71
Vn. I

T
Ti
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b
f
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66
Vn. I

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19
81
Vn. I

Vn. II

Va.

Vc.

&
#
&
B#

b
b

n b

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#
&

86
Vn. I

Vn. II

Va.

Vc.

Vn. I

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Vn. II

&

Vc.

Vn. II

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96
Vn. I

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91

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20
101
Vn. I

Vn. II

Va.

Vc.

&

Vn. II

Va.

Vc.

&

Vn. II

Va.

Vc.

Vn. II

Va.

Vc.

?#
#
&
f
#
&
f
B#
f
?#
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#
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118
Vn. I

.
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T
T

&

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HSMW001A <7>

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. .

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T

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T

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113
Vn. I

#
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107

Vn. I

. . .

. . .

. . .
f
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f

21
123
Vn. I

Vn. II

Va.

Vc.

& n
#
& n
B # n

Vn. II

Va.

Vc.

# .
&

?#

Vn. II

Va.

Vc.

&

Coda

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&
.
#
B

134
Vn. I

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129
Vn. I

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Vn. II

Va.

Vc.

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p


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.

. # .

139
Vn. I

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f
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22

# # n

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Vn. I

Vn. II

Va.

Vc.

Vn. I

Vn. II

Va.

Vc.

Vn. I

Vn. II

Va.

Vc.

Vn. I

Vn. II

Va.

Vc.

# n

&

.
B#
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&
&

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HSMW001A <7>

.
. .

.
.

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.

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.
.

144

.
. .

Neapolitan 6th (bII6)

Find the second degree of the scale:

&

C+

Lower it a semitone:

&

bw

Build a major triad on it:

&

b b www

Put it in first inversion:

&

b b www

Double the third of the chord:

&

b b www

C+:

bII6

copyright David Clenman 2006

^
Typical ways to resolve the Neapolitan 6th: Note that b2 always descends towards the leading tone.

b ^2

to V7

^7

C+:

N6

& bb

to V

Neap6

to the cadential 6
4

to vii7/V

&

?
&

bb

Neap6

bb

n
b
#

Neap6

to V4
2

& bb

?
Neap6
N6

ww
w
w

b b b b

bbb

V7

c-:

& bb

^
Note that the b2 falls a diminished 3rd
to the leading note.

6
4

vii7/V

V4

V7

ww
w
w

Neap6

N6

b b b b n

bbb

5
3

ww
w
w

ww
w
w

ww
w
w
ww
w
w

^7

b ^2

b b b b

bbb
Neap6
N6

bbb
bbb
bbb

Neap6

bbb

Neap6

ww
w
w

6
4

#
vii7/V

- 5
- 3

ww
w
w
i

4
2

The Neapolitan 6th is more commonly found in minor keys than in major.
As the Neapolitan 6th is a variant of ii, any chord that leads to ii can lead to the Neapolitan 6th.
copyright David Clenman 2007