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The ascending 5-6 sequence, like the ascending fifths sequence, adorns a stepwise ascent. It follows a root movement pattern of down a third (usually to a first inversion chord sharing the same bass note as the first note) followed by a root movement up a fourth. This is often accomplished through an
444:
The device of sequence epitomises both the goal-directed and the hierarchical nature of common-practice tonality. It is particularly prevalent in passages involving extension or elaboration; indeed, because of its inherently directed nature, it was (and still is) often pulled from the shelf by the
572:
The sequence is almost never unadorned as shown above, but is generally filled in with intervening chords. The standard way of filling in this descending thirds pattern is to interpolate a first inversion chord in between each of these descents by thirds. The result is a bass line that moves down
372:
The above passage starts in F major and modulates to Bb major and then, via the chord of G, to C major. Sometimes sequential passages combine more than one of the above characteristics. In the third and fourth bars of the “Air” from J.S. Bach’s
Orchestral Suite No. 3 in D major, the violin part
230:
Note: In the example image above, the annotation "the intervals in the second sequence are the same as in the first" is not entirely correct. The descending pitches in the first segment (G to A), have different intervals than in the second segment (C to D). The difference being in the last three
660:) sequence features root movement up a fourth followed by root movement down a third. Both chords are in root position. The sequence is very similar to the ascending 5-6 sequence since it also allows for an overall stepwise ascent between parallel triads, much like the ascending 5-6.
811:
373:
forms a tonal sequence with the notes modified to fit the harmony, while the intervals in the bass line are unchanged, creating a real sequence. The whole passage also forms a modulating sequence, starting in D major and moving through E minor at the start of the fourth bar:
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For example, if a descending fifths sequence in C major starts with the note C, the next note will be F, a perfect fifth below the first note. The next few notes will be B, E, A, D and so on, following a pattern of descending fifths.
773:
806:
lines reiterate a florid two-beat melodic motif for three and a half bars in a series of melodic sequences on the word "born." More subtle, though still present, is the underlying ascending 5-6 harmonic sequence.
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427:
At least two instances of a sequential pattern—including the original statement—are required to identify a sequence, and the pattern should be based on several melody notes or at least two successive harmonies
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The ascending fifths sequence, contrary to the descending fifths sequence, consists of a pattern of ascending fifths (or descending fourths). It is much less common than the descending fifths sequence.
631:
alternation of root position and first inversion chords. The figured bass is the same as the descending 5-6 sequence, but the bass itself follows an ascending pattern rather than a descending pattern.
680:
599:. The Pachelbel sequence changes the first inversion chords in the descending 5-6 sequence to root position chords, resulting in a bass pattern that moves down a fourth, and then up stepwise.
286:
378:
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An ascending fifths sequence in C major. Notice the "circle of fifths" pattern in the lower staff similar to the descending fifths sequence, except going in the opposite direction.
255:
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The basic pattern of a descending 5-6 sequence (with intervening chords removed) in C major. The pattern in the lower staff descends by a third each time in this sequence.
204:
550:
The descending 5-6 sequences, also known as descending third sequences, consist of a series of chords whose root notes descend by a third each sequential repetition.
207:
379:
352:
595:
An important subtype of the descending 5-6 sequence is the root position variant, also known as the
Pachelbel sequence, due to the use of this sequence in
215:
404:, or chromatic (or non-diatonic) if pitches outside of the diatonic scale are used and especially if all pitches are shifted by exactly the same
798:" (HWV 56) relies quite heavily on both melodic and harmonic sequencing, as can be seen in the following excerpt. In this vocal reduction, the
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491:. It usually consists of a series of chords whose bass or "root" notes follow a pattern of descending fifths (or ascending fourths).
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is a sequence where the subsequent segments are decorated or embellished so as to not destroy the character of the original segment:
64:. There are only four segments, continuingly higher, and that the segments continue by similar distance (seconds: C-D, D-E, etc.).
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in the same voice. It is one of the most common and simple methods of elaborating a melody in eighteenth and nineteenth century
821:
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Descending 5-6 sequence with every other chord in first inversion. Notice the continuous bass line in the lower staff.
449:
activity. Whether dull or masterly, however, the emphasis is on the underlying process rather than the material itself.
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A sequence can be described according to its direction (ascending or descending in pitch) and its adherence to the
573:
continuously stepwise, resulting in a figured bass of '5-6', and therefore, the standard descending 5-6 sequence.
380:
353:
196:
is a sequence where the subsequent segments are diatonic transpositions of the first. The following passage from
1000:
Schütz, Monteverdi und die „Vollkommenheit der Musik“ – „Es steh Gott auf“ aus den „Symphoniae sacrae“ II (1647)
342:
is a sequence that leads from one tonal center to the next, with each segment technically being in a different
269:
152:
759:
365:
31:
791:
397:
1101:
409:
295:
219:
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Classical Form: A Theory of Formal
Functions for the Instrumental Music of Haydn, Mozart and Beethoven.
388:
326:
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264:
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The use of a similar 5-6 pattern outside of sequence is fairly common and is called 5-6 technique.
446:
331:
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128:
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A descending fifths sequence in C major. Notice the "circle of fifths" pattern in the lower staff.
72:
846:'s sonata de camera gigue in Em. Here the composer sequences up in pitch after cadencing on a V.
652:
484:
413:
488:
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483:" sequences, are the most commonly used types of sequences, singular extended in some works of
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There are many types of sequences, each with a unique pattern. Listed below are some examples.
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Restatement of a motif or longer melodic passage at a higher or lower pitch in the same voice
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chromatic (non-diatonic) sequence occurs in the duet of
Abubeker and Fatima from Act III of
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It is possible for melody or harmony to form a sequence without the other participating.
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is a literal repetition of the beginning of a figure and stating the rest in sequence:
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Melodic sequence on the lines "Send her victorious," and "Happy and glorious," from "
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less imaginative tonal composer as the stock response to a need for transitional or
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17:
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Other examples include Handel's "Ev'ry valley shall be exalted" ("exalted") from
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Sequence in J.S. Bach's Fugue in G major BWV 860, mm. 17-19, also considered a
553:
498:
1138:
835:
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610:. The last two chords are not part of the sequence, but constitute a cadence.
526:
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1350:
707:," as illustrated immediately below ("Glo...ria in excelsis Deo"). The one-
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scale—that is, the sequence is diatonic if the pitches remain within the
242:
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J.S. Bach
Concerto for Two Violins in D minor, first movement, bars 22-24
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of a second, and the harmonic aspect does so likewise by following the
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136:
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from J.S. Bach's the "Air" from the Suite 3 in D, BWV 1068, bars 3-4
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intervals in the first, and half-step + whole-step in the second. A
1043:. Mississauga, Ont.: Frederick Harris Music, 2010. 116-21. Print.
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The root position variant of the descending 5-6 sequence used in
803:
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from melodies to
Baroque lyrics are often built from sequences.
1227:
1090:
440:, this device is widespread throughout Western music history.
1009:"Gerald Drebes - 2 Aufsätze online: Monteverdi und H. Schütz"
978:
Caplin, William Earl. "Fundamental
Progressions of Harmony."
926:
Mark, Christopher (2006). "Tippett, Sequence, and
Metaphor",
1086:
166:
Usually in only one direction: continually higher or lower
1223:
249:
is the repetition of a rhythm with free use of pitches:
188:
is a sequence where the subsequent segments are exact
34:. For the means of triggering musical notes, see
163:Two segments, usually no more than three or four
30:For the unrelated genre of Gregorian chant, see
442:
260:The opening bars of "The Star-Spangled Banner"
1239:
1102:
432:). Although stereotypically associated with
200:demonstrates both kinds of sequence at work:
8:
769:," composed almost exactly 100 years later)
691:A well-known popular example of a threefold
638:Image of the ascending 5-6 sequence in music
479:Descending fifths sequences, also known as "
917:Benward and Saker (2003), Glossary, p. 363.
169:Segments continue by same interval distance
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982:New York: Oxford UP, 2000. 29-31. Print.
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758:(compare a similar passage in the famous
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1006:14, p. 25-55, spec. 40 and 49, online:
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412:). The non-diatonic sequence tends to
954:Early Music: A Very Short Introduction
226:in D minor, first movement, bars 22-24
898:Music: In Theory and Practice, Vol. I
7:
78:Real, rather than tonal, sequence.
695:diatonic sequence is found in the
25:
159:). Characteristics of sequences:
1212:
71:
45:
299:From "The Star-Spangled Banner"
291:From "The Star-Spangled Banner"
143:) passage at a higher or lower
1068:Aldwell and Schachter (2003).
436:, and especially the music of
192:of the first segment, while a
1:
1039:Sarnecki, Mark. "Sequences."
952:Kelly, Thomas Forest (2011).
900:, p.111-12. Seventh Edition.
237:, A versus F, E, D). We have
930:, p. 96. Clarke, David, ed.
840:D-minor harpsichord concerto
705:Angels We Have Heard on High
1072:, p.273-78. Third Edition.
796:For Unto Us a Child is Born
715:is shifted downward at the
52:Sequence ascending by step
1408:
1179:List of chord progressions
896:Benward and Saker (2003).
842:. Another can be found in
29:
1261:
1210:
1124:
1070:Harmony and Voice Leading
454:Christopher Mark (2006),
755:Prisoner of the Caucasus
744:The following threefold
420:or to cause temporarily
270:The Star-Spangled Banner
224:Concerto for Two Violins
760:Rodgers and Hammerstein
357:Mozart Minuet in F, K 5
330:J.S. Bach Prelude from
318:J.S. Bach Prelude from
32:Sequence (musical form)
998:Gerald Drebes (1992):
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346:in some sequences:
340:modulating sequence
18:Modulating sequence
1392:Repetition (music)
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470:Harmonic sequences
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102:God Save the Queen
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1154:Chord progression
1078:978-0-15-506242-9
1049:978-1-55440-270-0
988:978-0-19-514399-7
962:978-0-19-973076-6
906:978-0-07-294262-0
861:Imitation (music)
856:Chord progression
844:Arcangelo Corelli
693:descending fifths
608:Pachelbel's Canon
597:Pachelbel's Canon
475:Descending fifths
381:
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278:modified sequence
268:Opening bars of "
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247:rhythmic sequence
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180:Melodic sequences
16:(Redirected from
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721:circle of fifths
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481:circle of fifths
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408:(i.e., they are
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928:Tippett Studies
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866:Melodic pattern
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838:of J.S. Bach's
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438:Antonio Vivaldi
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184:In a melody, a
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36:Music sequencer
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1174:List of chords
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546:Descending 5-6
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368:Minuet in F K6
334:in G, BWV 1007
305:false sequence
194:tonal sequence
190:transpositions
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157:Romantic music
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1199:Simultaneity
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1134:Alberti bass
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1017:. Retrieved
1013:the original
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332:Cello Suite
320:Cello Suite
129:restatement
1376:Categories
1139:Banjo roll
1019:2015-02-07
956:, p.53-4.
877:References
836:ritornello
410:transposed
239:whole-step
135:or longer
1351:Ululation
1159:Four-part
752:'s opera
750:CĂ©sar Cui
699:from the
416:to a new
243:half-step
220:J.S. Bach
198:J.S. Bach
1347:(figure)
1330:Sequence
1315:Phrasing
1298:Ornament
1278:Interval
1267:Balungan
1194:Sequence
871:Ostinato
850:See also
767:Do-Re-Mi
717:interval
711:melodic
664:Examples
462:and the
452:—
418:tonality
414:modulate
406:interval
398:diatonic
234:♭
141:harmonic
125:sequence
1387:Harmony
1310:Pattern
1283:Melisma
1273:Cadence
1144:Cadence
1118:Harmony
1041:Harmony
831:Messiah
800:soprano
709:measure
697:refrain
658:Rosalia
137:melodic
127:is the
1382:Melody
1340:Timbre
1325:Rhythm
1255:Melody
1076:
1047:
1002:, in:
986:
960:
934:
904:
792:Handel
713:motive
674:bridge
430:chords
366:Mozart
1356:Voice
1320:Pitch
1303:Trill
1293:Motif
1189:Pitch
1149:Chord
402:scale
145:pitch
133:motif
131:of a
121:music
1345:Type
1184:Note
1074:ISBN
1045:ISBN
984:ISBN
958:ISBN
932:ISBN
902:ISBN
813:Play
804:alto
802:and
794:'s "
775:Play
763:song
728:Play
682:Play
650:The
616:Play
586:Play
563:Play
536:Play
508:Play
487:and
322:in G
155:and
139:(or
123:, a
110:Play
84:Play
58:Play
344:key
222:'s
119:In
1378::
1055:^
1028:^
969:^
943:^
885:^
781::
734::
676:.
424:.
338:A
303:A
276:A
241:+
104:"
1247:e
1240:t
1233:v
1110:e
1103:t
1096:v
1080:.
1022:.
964:.
938:.
908:.
765:"
703:"
428:(
272:"
151:(
38:.
20:)
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