MUTH 151: Theory and Analysis 2

N. Biamonte

Types of harmonic progression: prolongational, sequential, cadential

These are the 3 main functions of harmonic progressions in tonal music.
(see William Caplin’s Classical Form or Analyzing Classical Form, for more details)

Prolongational progressions elaborate and extend a single underlying

harmony, which is usually the tonic or the dominant. Prolongations are
often created by using subordinate chords such as neighbouring and
passing chords—for example, I – vii°6 – I6 or i – V6 – i. In both of these
progressions, the middle chord is a subordinate chord that prolongs the
harmonic function of the chords surrounding it.

Sequential progressions are driven by a repeated pattern of chord roots.

Sequences are often based on the circle of fifths (ascending or descending)
or stepwise patterns. The logic of sequential progressions is often quite
different than the directed tonal syntax shown in our flowcharts of
harmonic progression—for example, sequences often include stepwise root
motion (vi6 – V6 – IV6 – iii6 – ii6) or motion by ascending (rather than
descending) fifths (I – V – ii – vi – iii). The most common sequence types in
in tonal music are descending 5th, descending 3rd, and ascending or
descending 2nd.

Cadential progressions are strongly goal-oriented, and usually do follow

the tendencies outlined in the harmonic flowcharts. A complete authentic
cadential progression (IAC or PAC) includes an initial tonic, a pre-
dominant harmony, a dominant harmony, and a concluding tonic, for
example I6 – ii6 – V – I. The initial tonic and/or the pre-dominant are
sometimes omitted, and in a half cadence (HC) there is no concluding
tonic—the progression ends on V, not I.