MUS 212 Study Guide K (Chapter 11)

Some Less Common Chord Structures

1. On rare occasions, one may encounter in a major key, a major triad built on b7, as in the Haydn example on p. 313.  Here, in the key of A major, Haydn introduces a G triad (bVII) in the sequence ii-bVII-V(four-three)/V-etc.  The return to A major is facilitated by a chromatic alteration of the soprano line.

2. Schumann uses a vii (minor triad) in major in the example on p. 313.  Here, the chord is tonicized in the progression:  V⁷/vii-vii.

3. A chromatic bass line (moving by half steps), will often create one or more chords that are not found elsewhere, as in the example on p. 314.  No chord-by-chord analysis can be meaningful in such a progression.

Complex Harmonic Progressions

4. The simultaneous use of two or more conventional devices, or two varieties of the same device, will often produce sonorities and types of harmonic succession not ordinarily encountered, such as combinations of any of these devices:

• Harmonic sequence
• First inversions in series
• Secondary tonal levels
• Change of mode
• Enharmonic spellings
• Chromatic lines.

Refer to illustrations on p. 316 ff.

5. An "interlocking" sequence may be created by brief harmonic successions which overlap.  For example:

First Inversions in Series with Secondary Tonal Levels and Change of Mode

6. Mozart, in the example on p. 321, used a type of "step progression" first-inversion harmonic sequence:  V⁶-v⁶-IV⁶-bIII⁶-ii^o6-i⁶-V⁷-i.  This is a series of mostly borrowed chords, containing secondary sequences, as well.