Harmonic Analysis - Common Harmonic Sequences

Harmonic sequences that show up a lot.

Published: 06 Apr 2012 Updated: 13 Mar 2023Visits: 62Code: MLRMAe-13

INSTRUMENTS: Theory Main: Music Others: ANY Ukulele Guitar Bass Banjo Mandolin Harmonica Drums Piano Lapsteel
Subjects: Theory • Intermediate • Advanced • Progressions

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Harmonic Analysis - Common Harmonic Sequences


Common harmonic sequences and their analysis with scale choices.

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This series, is the book Harmonic Analysis for Chord Substitution and Scale Selection by Curt sheller broken out into individual lessons with additional examples and content. Always, the latest version of the book.

Common Harmonic Sequences

Here are some common harmonic sequences and their analysis with scale choices. (Scale selection is the topic of the next chapter).

Im ImL7* Im7 Im6

Examples of songs with this harmonic sequence or variations and often called a line cliche are: More, Michelle, Embraceable You, Stairway to Heaven. Can also be used as a substitute for a Im lasting for two measures.

This harmonic sequence is often called a line cliche .

Scale Choices:

  • Aeolian (Natural Minor) on the Im
  • Harmonic Minor on the ImL7 *
  • Aeolian (Natural Minor) on the Im7
  • Dorian on the Im6

* min/maj7. L indicates a Large, major seventh present in the chord. A notational shorthand.

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Harmonic Analysis - Common Harmonic Sequences…

Im ImL+5 Im6

Examples of songs with this harmonic sequence are: Witchcraft, Secret Agent Man Theme.

This harmonic sequence is often called a line cliche.

Scale Choices:

  • Aeolian (Natural Minor) on the Im7
  • Harmonic Minor on the Im7+5
  • Dorian on the Im6

Picardy Third

A Picardy Third is when a minor II V resolves to a Major I chord, not the expected Minor I chord. Rarely does the reverse happen where a major II V resolves to a Minor I . ( see Internal Modulation chapter )

Scale Choices:

  • For the II V use Harmonic Minor of the I chord for a traditional sound
  • Locrian of the II for a Contemporary, Modern Sound
  • Ionian (Major) or Lydian of the I

Chromatic Sevenths

Examples of songs with this harmonic sequence are: Fever, Hit the Road Jack, Stray Cat Strut, Walk Don't Run (I, ♭VII, ♭VI, V), Tequila (I7 ♭VII7), Killer Joe (I7 ♭VII7).

Scale Choices:

  • Ionian (Major) on the I
  • Mixolydian +4 on the ♭VII7 and ♭VI7 chords
  • Mixolydian on the V

Confirmation Sequence

The Confirmation Sequence gets its name from the great jazz saxophonist Charlie Parker’s song Confirmation. This sequence typically begins on the I chord of the key and works it way to the IV chord of the key using a series of II V 's. The IV chord would be a major chord type (major or seventh).

Here is an example from the song Bluesette By Toots Thielemans

Confirmation Sequence

This song could be initially labeled as:

I VII III7* VI II7* IVm7 I7* IV

*Secondary Dominant chords resolving to their I chords.

This sequence is better labeled as a series of II V Secondary Dominants resolving to their I chords, which serve as double function chords, both a I of the V and a II of the next cycle:

G: I
Em: II V of I
Dm: II V of I
C: II V of I
G: IV

Scale Choices:

Refer to the Scale Selections lesson for scale choices/solutions.

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End of Lesson - Thanks, Hope You Enjoyed It!

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