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HARMONY
I
Harmony Type: Tonic
Scale Degrees Supported: 1 - 3 - 5
Major Version: Major
Minor Version: Minor
Can Lead To: Any chord type.
Rules:
-- The second inversion is not really used as a tonic chord, mostly used as a cadential 6`4.
-- The first inversion is good for expanding the tonic harmony as well as expansion of the supertonic chord.
II
Harmony Type: Pre- Dominant
Scale Degrees Supported: 2 - 4 - 6
Major Version: Minor
Minor Version: Diminished
Can Lead To: Dominant and other pre-dominant chords.
Rules:
-- ii is the V of V and therefore intensifies the authentic cadence ii-V-I.
-- In minor the root position is rarely used, because of its diminished quality, precautions must be used if this inversion is used.
-- First inversion ii chords can freely substitute for root inversion IV chords.
III
Harmony Type: Secondary Dominant
Scale Degrees Supported: 3 - 5 - 7
Major Version: Minor
Minor Version: Major
Can Lead To: VI mostly, other cases can apply.
Rules:
-- In minor the major version is always used and is usually used in the I-III-V progression, III being the mediant between I and V.
-- III in minor is its relative major, therefore care must be taken when dealing with this chord for it can easily slip into the relative major key.
-- The 5th of the chord should never(never say never!) be doubled, seventh scale degree.
IV
Harmony Type: Pre- Dominant
Scale Degrees Supported: 4 - 6 - 8
Major Version: Major
Minor Version: Minor
Can Lead To: Dominant and other pre-dominant. In some situations it can lead to tonic.
Rules:
-- IV-I is a plagel cadence.
-- First inversion IV chords can freely substitute for root inversion VI chords.
--IV6-V in minor only is a phrygian cadence.
-- IV6 can be also substitute for VI in deceptive cadences.
V
Harmony Type: Dominant
Scale Degrees Supported: 5 - 7 - 2
Major Version: Major
Minor Version: Major
Can Lead To: Tonic.
Rules:
-- the 3rd of the chord, seventh scale degree, should never be doubled (but rules are made to be broken).
-- V-I is an authentic cadence.
VI
Harmony Type: Pre- Dominant
Scale Degrees Supported: 6 - 1 - 3
Major Version: Minor
Minor Version: Major or Diminished
Can Lead To: Dominant and other pre-dominant chords.
Rules:
-- VI in major is the relative minor.
-- VI can freely substitute for I, usually with the 3rd of the chord doubled.
-- V-VI is a deceptive cadence.
VII
Harmony Type: Secondary Dominant
Scale Degrees Supported: 7 - 2 - 4
Major Version: Diminished
Minor Version: Major
Can Lead To: III mostly, other cases can apply.
Rules:
-- In major the root position is rarely used do to its diminished quality and precautions must be used if it is used in root position.
-- Never double the root of VII chords (something bad might happen).
-- VII in minor usually leads to III, VII being the V/ III.
-- in major the vii o6 can be used to expand the tonic chord.
CHORD PROGRESSIONS
-- all chord progressions used during the common practice period follow the hierarchical system.
Tonic
Dominant
Pre-Dominant
Secondary Dominants
aside from these movements the composer must also look for the motion of thirds and fifths as the primary movement, these usually proceed as descending root progressions.
-- pre-dominant chords are used for preparing the dominant.
-- secondary dominants are not as commonly used as the others in harmonic progressions. The secondary dominants are mostly used in linear progressions and as applied dominants.
-- exceptions are made only when chords are used as filler. i.e. they are used in sequences and series or used as passing chords.
-- basic harmonic progressions are fifths, thirds, seconds in order of importance.
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