205:
811:
285:
86:
378:
316:
36:
254:
62:
543:
774:
592:
566:
488:
351:
516:
624:
727:
658:
1203:
619:
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
433:
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
561:
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
361:
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
219:
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
649:) 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.
800:
362:
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:
194:
195:
97:
45:
71:
483:
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.
762:
795:
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.
573:
603:
416:
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
274:
550:
495:
301:
523:
243:
715:
511:
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.
620:
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.
669:
588:. 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.
275:
367:
340:
302:
519:
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.
244:
546:
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.
193:
539:
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.
196:
368:
341:
584:
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
204:
393:, 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
787:" (HWV 56) relies quite heavily on both melodic and harmonic sequencing, as can be seen in the following excerpt. In this vocal reduction, the
1066:
1037:
976:
950:
894:
273:
300:
242:
828:
480:. It usually consists of a series of chords whose bass or "root" notes follow a pattern of descending fifths (or ascending fourths).
1097:
924:
269:
is a sequence where the subsequent segments are decorated or embellished so as to not destroy the character of the original segment:
53:. There are only four segments, continuingly higher, and that the segments continue by similar distance (seconds: C-D, D-E, etc.).
1234:
743:
276:
136:
in the same voice. It is one of the most common and simple methods of elaborating a melody in eighteenth and nineteenth century
810:
303:
212:
245:
366:
339:
693:
569:
Descending 5-6 sequence with every other chord in first inversion. Notice the continuous bass line in the lower staff.
438:
activity. Whether dull or masterly, however, the emphasis is on the underlying process rather than the material itself.
1380:
997:
1167:
385:
A sequence can be described according to its direction (ascending or descending in pitch) and its adherence to the
562:
continuously stepwise, resulting in a figured bass of '5-6', and therefore, the standard descending 5-6 sequence.
369:
342:
185:
is a sequence where the subsequent segments are diatonic transpositions of the first. The following passage from
989:
Schütz, Monteverdi und die „Vollkommenheit der Musik“ – „Es steh Gott auf“ aus den „Symphoniae sacrae“ II (1647)
331:
is a sequence that leads from one tonal center to the next, with each segment technically being in a different
258:
141:
748:
354:
20:
780:
386:
1090:
398:
284:
208:
186:
178:
85:
969:
Classical Form: A Theory of Formal
Functions for the Instrumental Music of Haydn, Mozart and Beethoven.
377:
315:
1227:
1187:
596:
585:
253:
631:
The use of a similar 5-6 pattern outside of sequence is fairly common and is called 5-6 technique.
435:
320:
308:
117:
35:
491:
A descending fifths sequence in C major. Notice the "circle of fifths" pattern in the lower staff.
61:
835:'s sonata de camera gigue in Em. Here the composer sequences up in pitch after cadencing on a V.
641:
473:
402:
477:
773:
472:" sequences, are the most commonly used types of sequences, singular extended in some works of
165:
There are many types of sequences, each with a unique pattern. Listed below are some examples.
1147:
1142:
1062:
1033:
972:
946:
920:
890:
849:
844:
832:
90:
16:
Restatement of a motif or longer melodic passage at a higher or lower pitch in the same voice
1375:
1303:
1286:
1266:
1083:
819:
737:
chromatic (non-diatonic) sequence occurs in the duet of
Abubeker and Fatima from Act III of
709:
705:
469:
394:
1370:
1323:
1298:
1220:
1152:
854:
689:
426:
137:
129:
24:
162:
It is possible for melody or harmony to form a sequence without the other participating.
1276:
1162:
784:
662:
145:
350:
296:
is a literal repetition of the beginning of a figure and stating the rest in sequence:
1364:
1349:
1308:
1291:
1281:
1192:
1177:
1157:
1137:
1117:
701:
422:
418:
390:
133:
121:
89:
Melodic sequence on the lines "Send her victorious," and "Happy and glorious," from "
434:
less imaginative tonal composer as the stock response to a need for transitional or
1344:
1172:
1122:
623:
452:
410:
738:
565:
817:
Other examples include Handel's "Ev'ry valley shall be exalted" ("exalted") from
1333:
697:
591:
332:
661:
Sequence in J.S. Bach's Fugue in G major BWV 860, mm. 17-19, also considered a
542:
487:
1127:
824:
726:
599:. The last two chords are not part of the sequence, but constitute a cadence.
515:
448:
227:
1339:
696:," as illustrated immediately below ("Glo...ria in excelsis Deo"). The one-
657:
1255:
1001:
859:
755:
406:
389:
scale—that is, the sequence is diatonic if the pitches remain within the
231:
200:
J.S. Bach
Concerto for Two Violins in D minor, first movement, bars 22-24
1271:
1261:
1132:
1106:
788:
708:
of a second, and the harmonic aspect does so likewise by following the
685:
1202:
1328:
1313:
1243:
125:
381:
from J.S. Bach's the "Air" from the Suite 3 in D, BWV 1068, bars 3-4
234:
intervals in the first, and half-step + whole-step in the second. A
1032:. Mississauga, Ont.: Frederick Harris Music, 2010. 116-21. Print.
809:
772:
725:
656:
622:
590:
564:
541:
514:
486:
376:
364:
349:
337:
314:
298:
283:
271:
252:
240:
203:
191:
109:
595:
The root position variant of the descending 5-6 sequence used in
792:
751:
455:
from melodies to
Baroque lyrics are often built from sequences.
1216:
1079:
429:, this device is widespread throughout Western music history.
998:"Gerald Drebes - 2 Aufsätze online: Monteverdi und H. Schütz"
967:
Caplin, William Earl. "Fundamental
Progressions of Harmony."
915:
Mark, Christopher (2006). "Tippett, Sequence, and
Metaphor",
1075:
155:
Usually in only one direction: continually higher or lower
1212:
238:
is the repetition of a rhythm with free use of pitches:
177:
is a sequence where the subsequent segments are exact
23:. For the means of triggering musical notes, see
152:Two segments, usually no more than three or four
19:For the unrelated genre of Gregorian chant, see
431:
249:The opening bars of "The Star-Spangled Banner"
1228:
1091:
421:). Although stereotypically associated with
189:demonstrates both kinds of sequence at work:
8:
758:," composed almost exactly 100 years later)
680:A well-known popular example of a threefold
627:Image of the ascending 5-6 sequence in music
468:Descending fifths sequences, also known as "
906:Benward and Saker (2003), Glossary, p. 363.
158:Segments continue by same interval distance
1235:
1221:
1213:
1098:
1084:
1076:
1024:
1022:
1020:
1018:
1053:
1051:
1049:
1047:
1045:
971:New York: Oxford UP, 2000. 29-31. Print.
881:
879:
877:
875:
747:(compare a similar passage in the famous
963:
961:
959:
84:
995:14, p. 25-55, spec. 40 and 49, online:
937:
935:
933:
871:
401:). The non-diatonic sequence tends to
943:Early Music: A Very Short Introduction
215:in D minor, first movement, bars 22-24
887:Music: In Theory and Practice, Vol. I
7:
67:Real, rather than tonal, sequence.
684:diatonic sequence is found in the
14:
148:). Characteristics of sequences:
1201:
60:
34:
288:From "The Star-Spangled Banner"
280:From "The Star-Spangled Banner"
132:) passage at a higher or lower
1057:Aldwell and Schachter (2003).
425:, and especially the music of
181:of the first segment, while a
1:
1028:Sarnecki, Mark. "Sequences."
941:Kelly, Thomas Forest (2011).
889:, p.111-12. Seventh Edition.
226:, A versus F, E, D). We have
919:, p. 96. Clarke, David, ed.
829:D-minor harpsichord concerto
694:Angels We Have Heard on High
1061:, p.273-78. Third Edition.
785:For Unto Us a Child is Born
704:is shifted downward at the
41:Sequence ascending by step
1397:
1168:List of chord progressions
885:Benward and Saker (2003).
831:. Another can be found in
18:
1250:
1199:
1113:
1059:Harmony and Voice Leading
443:Christopher Mark (2006),
744:Prisoner of the Caucasus
733:The following threefold
409:or to cause temporarily
259:The Star-Spangled Banner
213:Concerto for Two Violins
749:Rodgers and Hammerstein
346:Mozart Minuet in F, K 5
319:J.S. Bach Prelude from
307:J.S. Bach Prelude from
21:Sequence (musical form)
987:Gerald Drebes (1992):
814:
777:
730:
677:
628:
611:
581:
558:
531:
503:
446:
382:
374:
358:
347:
324:
312:
289:
281:
262:
250:
216:
201:
105:
823:, the opening unison
813:
776:
729:
660:
635:Less common sequences
626:
594:
568:
545:
518:
490:
380:
373:Bach Air from Suite 3
372:
353:
345:
318:
306:
287:
279:
256:
248:
207:
199:
88:
335:in some sequences:
329:modulating sequence
1381:Repetition (music)
815:
778:
731:
678:
629:
612:
582:
559:
532:
504:
474:Claudio Monteverdi
459:Harmonic sequences
383:
375:
359:
348:
325:
313:
290:
282:
263:
251:
217:
202:
106:
91:God Save the Queen
1358:
1357:
1210:
1209:
1143:Chord progression
1067:978-0-15-506242-9
1038:978-1-55440-270-0
977:978-0-19-514399-7
951:978-0-19-973076-6
895:978-0-07-294262-0
850:Imitation (music)
845:Chord progression
833:Arcangelo Corelli
682:descending fifths
597:Pachelbel's Canon
586:Pachelbel's Canon
464:Descending fifths
370:
343:
304:
277:
267:modified sequence
257:Opening bars of "
246:
236:rhythmic sequence
197:
169:Melodic sequences
1388:
1237:
1230:
1223:
1214:
1205:
1100:
1093:
1086:
1077:
1070:
1055:
1040:
1026:
1013:
1012:
1010:
1009:
1000:. Archived from
985:
979:
965:
954:
939:
928:
913:
907:
904:
898:
883:
807:
806:
805:
803:
769:
768:
767:
765:
722:
721:
720:
718:
710:circle of fifths
676:
675:
674:
672:
610:
609:
608:
606:
580:
579:
578:
576:
557:
556:
555:
553:
530:
529:
528:
526:
507:Ascending fifths
502:
501:
500:
498:
470:circle of fifths
444:
397:(i.e., they are
371:
344:
305:
278:
247:
225:
224:
198:
142:Classical period
104:
103:
102:
100:
78:
77:
76:
74:
64:
52:
51:
50:
48:
38:
1396:
1395:
1391:
1390:
1389:
1387:
1386:
1385:
1361:
1360:
1359:
1354:
1324:Steps and skips
1246:
1241:
1211:
1206:
1197:
1153:Harmonic rhythm
1109:
1104:
1074:
1073:
1056:
1043:
1027:
1016:
1007:
1005:
996:
993:SchĂĽtz-Jahrbuch
986:
982:
966:
957:
940:
931:
917:Tippett Studies
914:
910:
905:
901:
884:
873:
868:
855:Melodic pattern
841:
827:of J.S. Bach's
801:
799:
798:
797:
763:
761:
760:
759:
716:
714:
713:
712:
690:Christmas carol
670:
668:
667:
666:
655:
645:(also known as
637:
617:
604:
602:
601:
600:
574:
572:
571:
570:
551:
549:
548:
547:
537:
524:
522:
521:
520:
509:
496:
494:
493:
492:
478:Heinrich SchĂĽtz
466:
461:
445:
442:
427:Antonio Vivaldi
365:
338:
299:
272:
241:
222:
221:
192:
173:In a melody, a
171:
138:classical music
98:
96:
95:
94:
83:
82:
81:
80:
79:
72:
70:
69:
68:
65:
56:
55:
54:
46:
44:
43:
42:
39:
28:
25:Music sequencer
17:
12:
11:
5:
1394:
1392:
1384:
1383:
1378:
1373:
1363:
1362:
1356:
1355:
1353:
1352:
1347:
1342:
1337:
1331:
1326:
1321:
1316:
1311:
1306:
1301:
1296:
1295:
1294:
1284:
1279:
1277:Melodic motion
1274:
1269:
1264:
1259:
1251:
1248:
1247:
1242:
1240:
1239:
1232:
1225:
1217:
1208:
1207:
1200:
1198:
1196:
1195:
1190:
1185:
1180:
1175:
1170:
1165:
1163:List of chords
1160:
1155:
1150:
1145:
1140:
1135:
1130:
1125:
1120:
1114:
1111:
1110:
1105:
1103:
1102:
1095:
1088:
1080:
1072:
1071:
1041:
1014:
980:
955:
929:
908:
899:
870:
869:
867:
864:
863:
862:
857:
852:
847:
840:
837:
654:
651:
642:Sound of Music
636:
633:
616:
613:
536:
535:Descending 5-6
533:
508:
505:
465:
462:
460:
457:
440:
357:Minuet in F K6
323:in G, BWV 1007
294:false sequence
183:tonal sequence
179:transpositions
170:
167:
160:
159:
156:
153:
146:Romantic music
66:
59:
58:
57:
40:
33:
32:
31:
30:
29:
15:
13:
10:
9:
6:
4:
3:
2:
1393:
1382:
1379:
1377:
1374:
1372:
1369:
1368:
1366:
1351:
1350:Voice leading
1348:
1346:
1343:
1341:
1338:
1335:
1332:
1330:
1327:
1325:
1322:
1320:
1317:
1315:
1312:
1310:
1307:
1305:
1302:
1300:
1297:
1293:
1290:
1289:
1288:
1285:
1283:
1280:
1278:
1275:
1273:
1270:
1268:
1265:
1263:
1260:
1258:
1257:
1253:
1252:
1249:
1245:
1238:
1233:
1231:
1226:
1224:
1219:
1218:
1215:
1204:
1194:
1193:Voice leading
1191:
1189:
1186:
1184:
1181:
1179:
1176:
1174:
1171:
1169:
1166:
1164:
1161:
1159:
1158:Harmonization
1156:
1154:
1151:
1149:
1146:
1144:
1141:
1139:
1136:
1134:
1131:
1129:
1126:
1124:
1121:
1119:
1118:Accompaniment
1116:
1115:
1112:
1108:
1101:
1096:
1094:
1089:
1087:
1082:
1081:
1078:
1068:
1064:
1060:
1054:
1052:
1050:
1048:
1046:
1042:
1039:
1035:
1031:
1025:
1023:
1021:
1019:
1015:
1004:on 2016-03-03
1003:
999:
994:
990:
984:
981:
978:
974:
970:
964:
962:
960:
956:
952:
948:
944:
938:
936:
934:
930:
926:
925:0-521-02683-0
922:
918:
912:
909:
903:
900:
896:
892:
888:
882:
880:
878:
876:
872:
865:
861:
858:
856:
853:
851:
848:
846:
843:
842:
838:
836:
834:
830:
826:
822:
821:
812:
808:
804:
794:
790:
786:
782:
775:
771:
766:
757:
753:
750:
746:
745:
740:
736:
735:ascending 5-6
728:
724:
719:
711:
707:
703:
699:
695:
691:
687:
683:
673:
664:
659:
652:
650:
648:
644:
643:
634:
632:
625:
621:
615:Ascending 5-6
614:
607:
598:
593:
589:
587:
577:
567:
563:
554:
544:
540:
534:
527:
517:
513:
506:
499:
489:
485:
481:
479:
475:
471:
463:
458:
456:
454:
453:amplification
450:
439:
437:
436:developmental
430:
428:
424:
423:Baroque music
420:
414:
412:
408:
404:
400:
396:
392:
388:
379:
363:
356:
352:
336:
334:
330:
322:
317:
310:
297:
295:
286:
270:
268:
260:
255:
239:
237:
233:
229:
220:pitches (C, B
214:
210:
206:
190:
188:
184:
180:
176:
175:real sequence
168:
166:
163:
157:
154:
151:
150:
149:
147:
143:
139:
135:
131:
127:
123:
119:
115:
111:
101:
92:
87:
75:
63:
49:
37:
26:
22:
1318:
1254:
1188:Simultaneity
1182:
1123:Alberti bass
1058:
1029:
1006:. Retrieved
1002:the original
992:
988:
983:
968:
942:
916:
911:
902:
886:
818:
816:
779:
742:
734:
732:
681:
679:
646:
640:
638:
630:
618:
583:
560:
538:
510:
482:
467:
447:
432:
415:
411:tonicization
384:
360:
328:
326:
293:
291:
266:
264:
235:
218:
182:
174:
172:
164:
161:
113:
107:
449:Ritornellos
321:Cello Suite
309:Cello Suite
118:restatement
1365:Categories
1128:Banjo roll
1008:2015-02-07
945:, p.53-4.
866:References
825:ritornello
399:transposed
228:whole-step
124:or longer
1340:Ululation
1148:Four-part
741:'s opera
739:CĂ©sar Cui
688:from the
405:to a new
232:half-step
209:J.S. Bach
187:J.S. Bach
1336:(figure)
1319:Sequence
1304:Phrasing
1287:Ornament
1267:Interval
1256:Balungan
1183:Sequence
860:Ostinato
839:See also
756:Do-Re-Mi
706:interval
700:melodic
653:Examples
451:and the
441:—
407:tonality
403:modulate
395:interval
387:diatonic
223:♭
130:harmonic
114:sequence
1376:Harmony
1299:Pattern
1272:Melisma
1262:Cadence
1133:Cadence
1107:Harmony
1030:Harmony
820:Messiah
789:soprano
698:measure
686:refrain
647:Rosalia
126:melodic
116:is the
1371:Melody
1329:Timbre
1314:Rhythm
1244:Melody
1065:
1036:
991:, in:
975:
949:
923:
893:
781:Handel
702:motive
663:bridge
419:chords
355:Mozart
1345:Voice
1309:Pitch
1292:Trill
1282:Motif
1178:Pitch
1138:Chord
391:scale
134:pitch
122:motif
120:of a
110:music
1334:Type
1173:Note
1063:ISBN
1034:ISBN
973:ISBN
947:ISBN
921:ISBN
891:ISBN
802:Play
793:alto
791:and
783:'s "
764:Play
752:song
717:Play
671:Play
639:The
605:Play
575:Play
552:Play
525:Play
497:Play
476:and
311:in G
144:and
128:(or
112:, a
99:Play
73:Play
47:Play
333:key
211:'s
108:In
1367::
1044:^
1017:^
958:^
932:^
874:^
770::
723::
665:.
413:.
327:A
292:A
265:A
230:+
93:"
1236:e
1229:t
1222:v
1099:e
1092:t
1085:v
1069:.
1011:.
953:.
927:.
897:.
754:"
692:"
417:(
261:"
140:(
27:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
