Music 2649a: Expanded Chromatic Sequential Progressions

Chromatic Sequence vs. Expanded Chromatic Sequential Progression:

A.

B.

lk~;]

:c
T

)]J

"':& CO

:sz1

s:
PO

a·1

A3

Non-sequential Progressions outlining Equal Division of the Octave:

_.A

WI

J .l
I

r
I

'r
I

tJ
I

.l J.j

rr
J J
I

'r
I

f
_l

.~.

l'r ~ ~~ r r "r
J
I

j
I

rJ

1t'r

~dbVII I VI:
F

r
16 W 5 4-3 y6-

r
[}I

rr
8-7 4-3

rv" v~ I
Db

@DI

IbVII

w6

IbVI!

16

V6-#5
F

1)-=1

Examples from the Literature: Chopin, Nocturne in G major, Op. 37, no. 2, mm. 130-end (outlines equal division of the octave into ascending m3rds every 3 chords with implied D2 (+P4/-P5) sequence every two chords.)

Db Bb
A3

F#
Db

E E

C#
yjj07/V

VI

yjj07/V

11 ----~-----------------------------------------134
#I

Pi)

e)

;;-::::::-

_.
to.

..
..J

_......-j

-....

.:»
~ ..J

I~t J.

r
I~

..
r-I

pp

1.1·

:1.:
Fo·

F:

"'=
,,

*-

~.

b--------------~--------------------------------Harmonic Reduction (mm. 130-133 only)

.J/L

..

G:

Wagner, Lohengrin, Act I, Scene 2, mm. 370-77 (non-sequential, but nearly sequential; outlines equal division of the octave into ascending m3rds)

11

j_

--~ ]_b"1B£ IJ.

.]1

t ..

..
~~.l

,· ·

~
.- ..

TI

"

~mq.l

-IJ.Ii.-D -n
..

_,J_

1 .1
... 4 -.-_-

--_ ..

..

. .

-T",,J

-.

- ...

-.

..

---

.. . --

>
..

-_.- .._--

. ._~,._

]1

r-j'J ~-J I

~~

- J,
~

I'"

17r.._

1l.l
I
e.J

.
P"""'I

· ·

J~
f'

JI

,.......-'.,J

f'

Ii
~

--

Harmonic Reduction:
II
I
I

-'
ill 1

"'iJ

... ... ...

~

........__, .,
~L---'" H...

/I

-.......

'1"',-",'"
•
I.

11,.

...

<;:»

~.L

.---J

I
Ab:

IlJ

[ill

Ul

Coltrane, Giant Steps (Bridge) (Outlines equal division of the octave into ascending M3rds)

1"1

I
U'"

I
l'

,.JJ.

~ tJ ~

"I

. .
E~ :

~J J
I

t'

l'

kn

j~

J
-

k~

(
~

j
I-

r:

-8-

. (.

1
7T

:# -

Chopin, Mazurka in A b Major, Op. 59, No.2, mm. 81-89 (Sequential from mm. 85-88b1; outlines equal division of the octave into descending M3rds)

81

Harmonic Reduction (mm. 85-88bl only)

I ~~~~"~.~~~»~~~~~~~I~--~~~~'~~~~'~~~~~~--~~~

t3

~.
I
•

P1lt
I 17

<

.
•
7

...-...

1,..

--

Wagner, Siegfried, Act III, "Magic Sleep Spell," mm. 124-36 (non-sequential, but nearly sequential; outlines equal division of the octave into descending M3rds)

r. 124
-@l

~t!

112R

h~,:n:
~n
'1

1~
I hno
~

##

,.---------~~

. .
#-e-_ _

Ilo

I~-e<,

Ic-e_..

g-e-

1'\

..o..~

~.f2.

«:
I"

tin

h.,.-

~,.J -~J~

-'!J

. 01.-9.

~..o.. ~

.....

II.~~

,~-e-

1'1

Harmonic Reduction:

.,...-j--.r . I'

~.I-

c#:

(WI

#III)

Chopin, Mazurka in F# Minor, Op. 6, No.1, rnm. 1-10 (non-sequential but almost sequential in mm. 5-8; outlines equal division of the octave into descending M2nds)

lIiJH:

~ >-

3 if

I
<

.
•

l'

. .

p
,1

..
~.

>~~

--

:it ~.

..

,. _,

cresco

1- -,
4-

r
•
I

.
~

~.

>

legato

8 I <

JI "',~

It)

",,4_

bJ
I I

..
'lh

.
11'

::::--

rubato

._

• -

~.

ii

.. ..
~.

.. -.,.

>~

cresco
.

1-"#'_

Rimsky-Korsakov, Scheherazade, Op. 35, I, mm. 11-25 (Outlines equal division of the octave into ascending M2nds)

c#

.....

~a#
@J

151~

· · ·
~J.j~

'1

.· · .

t;;OiiI

L.J..--......II

. . II
F

I~ liT

· ·

"

~.J

.J~

/'I"b..l..l~
I

'1

1"

tr··b
fI

101

~h,J----"1

l@f I

'1

. . /'ib'l . I

J"J

. .

r1b..l
I·

ql~
1

· · I ·

r4

· ·
/lbl
1

i'1

Jr .

. .

/'j..l ..lJ'\
A

u
I

lot

.h,t·~.J

. .

]"l

tr·~9
--

J-.----.J

::::::==-

· ·

" -rJ

>

.. .
1

>

.. .
I

. .. .

rJll~

/'j'.J.Jj\

f/j;.Ji\

/"'1'111'\
:;