On 6/1/02 1:01 PM, "[EMAIL PROTECTED]" <[EMAIL PROTECTED]> wrote:
> What confuses me is the Pachelbel Canon, which he used as an example, but it > goes down by fourths, not fifths - but the dominant/tonic (down by fifths) > is generally recognized as the strongest root movement, right? There are, in the theory books, four basic kinds of sequential patterns described (in practice, there are more kinds of sequences, of course, but these are the most common): down by fifth, up by fifth, 5-6 ascending, and 5-6 descending. The first two are obvious. The third is based on two-part writing: quarter notes G-A; A-B; B-C in sop against half note C; D; E in the bass (and so on). Harmonically, in C major (if you wanted to label all chords, even the non-functional ones), this would be I-vi6; ii-vii6; iii-I6. In practice, sometimes the root position chord are replaced by first inversion, and/or first inversion chords replaced by root position. The fourth one is based on two-part 10ths descending stepwise: quarter notes E-D-C-B-A-G in sop against quarter notes C-B-A-G-F-E (and so on). Harmonically, in C major, this looks like I-V6-vi-iii6-IV-I6. Once again, sometimes the root position chord are replaced by first inversion, and/or first inversion chords replaced by root position. Pachelbel's canon uses, as a repeating pattern (a passacaglia or chaconne pattern), the 5-6 descending sequence with all chords in root position, followed by a phrase ending cadence. In C major, it would be the chord sequence above (I-V-vi-iii-IV-I) followed by a the half cadence IV-V. Thus, if you are looking for a common regular movement chord progression in the Pachelbel canon, you won't really find it, since this is based on a sequential pattern. David Froom _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
