Harmony 4: Writing in SATB - Chord Progressions

 

I           goes to             any chord

II          goes to             V (or I6/4 in a cadence)

III        (rare - avoid using)

IV        goes to             II or V

V         goes to             I or VI

VI        goes to             II, IV, or V

VII       goes to             I or V

 

* Avoid repeating a chord from a weak beat to a strong beat!!

 

 

 

1. I to II, II to V, IV to V - TOP 3 FALL

 

2. V to VI, VI to V - DOUBLE THE MIDDLE NOTE OF VI

 


3. V7 to I - GBDF ------- CCCE

 

4. VII6 - DOUBLE THE MIDDLE NOTE

 


5. V6/5, 4/3 (except in rising resolution), 4/2 - LEADING NOTE RISES, 7TH FALLS - GBDF

 

6. V4/3 to I6 - RISING RESOLUTION - GBDF -------- CEGG

 

7. All 6/4 chords - DOUBLE THE LAST NOTE

 


8. II7 (and inversions) - PREPARE THE 7TH AND THE 7TH FALLS - DFAC

 

9. V9 – GB_FA (Leading note rises, 7th falls, 9th in the soprano)

 

10. V11 – GB_F_C (Leading note rises, 7th falls, 11th in the soprano)

 

11. V13 – GB_F__E (Leading note rises, 7th falls, 13th in the soprano)

 

12. VII f 7 (only in MAJOR KEYS)- BDFA

 

13. VII o 7 (MAJOR and MINOR)- BDFA-flat

 

 

 

 

 

 

SPECIAL RULES FOR MINOR KEYS:

 

1.  Raise the leading note (most of the time: see following exceptions).

 

2.  If notes VI and VII are next to each other, then either both are raised or both are left alone (or

     lowered if they were raised before).

 

3.  Chord III usually does not require a raised leading note UNLESS it has been symbolized III x .

 

4.  Tierce de Picardie - I# or I#3 - Raise the middle note of your I chord (usually at the end of a

     piece).

 

5.  Natural or flat VII - without a raised leading note, goes to III or and inversion of V7.

 

7.  II chords in minor keys are usually used in FIRST INVERSION - II6.