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Essential Melodic Motion
The most important melodic elements in a cycle of fifths are the same as those of the dominant seventh
chord – the seventh falls and the third rises. The seventh often appears as a passing note falling from the
root, as illustrated below.
The chords used in a cycle of fifths are often seventh chords. It is possible to build a seventh chord on any
degree of the scale, and those built on degrees other than the dominant are called "secondary sevenths".
The phrase "the seventh falls and the third rises" applies to the secondary seventh chords and this provides
the melodic foundation for a cycle of fifths progression.
Let us build a cycle of fifths using the standard resolutions of thirds and sevenths, starting with a IV chord
in C major. We will begin with the root of the chord in the soprano and the third in the tenor. These two
voices will illustrate the important melodic elements of the progression. The bass will contain the roots of
the chords.
The first progression is from IV to VII, an F chord to a B chord. In the soprano the root passes down
through the 7th of IV and moves to the 3rd of VII. At the same time the tenor moves from the
3rd of IV up to the root of VII.
The roles of the soprano and tenor can now be reversed. In the soprano, the 3rd of VII, rises to the root
of the next chord – III. Meanwhile the tenor passes down through the 7th of VII to the 3rd of III.
We now have the root of the chord back in the soprano and the 3rd in the tenor, but we have moved
down a step from where we started – from IV to III.
The pattern can be continued in the same way, always moving the 3rd up and the 7th down.
This progression works quite well even without the bass line. The interval between the soprano and tenor
at the start of each new chord is either a 3rd or a 6th, so the progression always sounds sweet.
Play this progression at the piano in a variety of keys, until you are thoroughly familiar with it.
© 2005 Andrew Hodgson
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