Paradigms of Tonal Chord Progression

Robert Kelley

Tonal Idioms

Tonic Pre-Dominant Cadence

Expansion Progression Points
I I6 (arpeggiation) Half Cadences:
vi IV ii
I V6 I (neighbor) V
vi ii
I V65 I (neighbor) V4-3
IV ii
I vii7 I (neighbor) I64 V (V64--53)
vi IV V/V
I V64 I6 (passing) Authentic Cadences:
vi V/V
I V43 I6 (passing) VI
IV V/V
I vii6 I6 (passing) V4-3 I
IV vii iii vi ii
I vii65 I6 (passing) I64 V I (V64--53 I)
vi IV bII6
I ii7 I6 (passing) (weak) vii7 I (weaker)
vi bII6
I V42 I6 (neighbor) Deceptive Cadences:
IV bII6
I vii43 I6 (neighbor) V vi
ii bII6
I IV I6 (neighbor) V4-3 vi
vi It/Fr/Ger +6
I IV I (neighbor) I64 V vi (V64--53 vi)
IV6 It/Fr/Ger +6
I IV64 I (neighbor) Authentic then Plagal:
ii It/Fr/Ger +6
I IV6 I6 (passing/arp.) V I IV I

The passing bass figures between I and I6 can also be used from I6 to I.
Pre-Dominant chords can often be inverted and/or used as seventh chords (except bII6)
Secondary dominants can be used before most Pre-Dominant chords (i.e. V7/IV IV V7/ii ii) and
can appear in any inversion.
All cadences (except half cadences) can use V7 instead of V
In order to be strong, cadences should involve root position chords.
Dominant and sometimes Pre-Dominant chords may also be "expanded" using the same types of
passing figures in the bass as were used with Tonic Expansion. Good examples of this include V
IV6 V6, V6 V43/V V, and IV6 I64 IV.

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 Chords that the (major) Scale Degrees (in the bass) Can Imply

Robert Kelley

This list can be useful for the realization of unfigured basses, or for determining the chords in a
harmonic dictation exercise.
This is not an exhaustive list. The possibilities listed here are only the most common chords that
can harmonize a given bass note.
The chords listed last (for each scale degree) are the least common, and will only occur under
certain circumstances.
Always use your knowledge of tonal motion, part writing rules, and tonal idioms to help you decide
on the appropriate chord.
Applied (secondary) dominants are included, but not applied vii7 chords, which can be substituted
for any inversion of the secondary V7 other than root position.
Second, and third inversion seventh chords are generally not on the list unless they are significant
or occur frequently (e.g. V42, V43).

# = sharp
b = flat
V64 = Passing 64
IV64 = Pedal (Neighbor) 64
I64 = Cadential 64 (V64--53)

Diatonic Scale Degrees

Scale Degree 1 2 3 4 5 6 7
ii
I IV
vii6 I6 V vi V6
IV64 ii6
V64 iii V7 IV6 V65
Chords ii42 ii65
V43 V65/IV I64 ii43 vii7
V42/V V42
V/V V/vi iii6 V/ii V/iii
vi6 bII6
vii65
Chromatically Altered Scale Degrees
Scale Degree #1 b2 #2 b3 #4 #5 b6 b7
bVI
V42/IV
iv6
bVII
Chords V65/ii bII V65/iii i6 V65/V V65/vi ii43
V7/III
Aug.6
v6
vii42

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 The Types of Triads and Seventh Chords

Triads Seventh Chords

Diatonic

Major (M) Major Major (MM)

Minor (m) Major Minor (Mm)

Diminished (, d) Minor Minor (mm)

Half Diminished () or
Diminished Minor (m, dm)

Fully Diminished (, d)

Non-Diatonic

Augmented (+, A) Minor Major (mM)

Diminished Major (M, dM)

Augmented Major (+M, AM)

Augmented Minor (+m, Am)

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 The Qualities of Diatonic Triads and Seventh Chords

Triads

Tonic Supertonic Mediant Subdominant Dominant Submediant Leading Tone

Major
(M) I ii iii IV V vi vii
Major Minor Minor Major Major Minor Diminished

Leading
Tonic Supertonic Mediant Subdominant Dominant Submediant Subtonic
Minor Tone
(m) i ii III iv V# VI VII vii
Minor Diminished Major Minor Major Major Major Diminished

Seventh Chords

Tonic Supertonic Mediant Subdominant Dominant Submediant Leading Tone

Major
(M) I7 ii7 iii7 IV7 V7 vi7 vii7
Major-Major Minor-Minor Minor-Minor Major-Major Major-Minor Minor-Minor Half-Diminished

Leading
Tonic Supertonic Mediant Subdominant Dominant Submediant Subtonic
Tone
Minor
(m) vii7
i7 ii7 III7 iv7 V7 VI7 VII7
Fully-
Minor-Minor Half-Diminished Major-Major Minor-Minor Major-Minor Major-Major Major-Minor
Diminished

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